{"id":1104,"date":"2019-04-28T20:40:44","date_gmt":"2019-04-28T19:40:44","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1104"},"modified":"2024-11-20T11:55:01","modified_gmt":"2024-11-20T11:55:01","slug":"egyptian-raqs-sharqi-literature","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/","title":{"rendered":"Egyptian Raqs Sharqi Literature Review (2.3.2)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">In the <a href=\"https:\/\/worlddanceheritage.org\/dance-research-framework\/\">introduction (1.1)<\/a>, I mentioned the fact that much has been written academically on different aspects of belly dance but no studies have been done so far focusing solely on Egyptian Raqs sharqi style.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Bellydance literature review\" class=\"wp-image-1106 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review.jpg\" alt=\"Bellydance literature review\" class=\"wp-image-1106\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/bellydance-literature-review-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In this part of the literature review, I discuss some academic studies that have included references to Egyptian-style belly dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will also engage with studies that investigate how Egyptian Raqs sharqi has been transmitted or experienced across different cultures.<\/p>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5bd0b342c1\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5bd0b342c1\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Ibsen_al_Faruqi\" >Ibsen al Faruqi<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Farida_Fahmy_and_Mahmoud_Reda\" >Farida Fahmy and Mahmoud Reda<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Van_Nieuwkerk_and_Lorius\" >Van Nieuwkerk and Lorius<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Valeria_Lo_Iacono\" >Valeria Lo Iacono<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#JBacon\" >J.Bacon<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Caitlin_McDonald\" >Caitlin McDonald<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Siouxsie_Cooper\" >Siouxsie Cooper<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Shay_and_Sellers-Young_and_McDonald_and_Sellers-Young\" >Shay and Sellers-Young and McDonald and Sellers-Young<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Kathleen_Fraser\" >Kathleen Fraser<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/egyptian-raqs-sharqi-literature\/#Sellers-Young_2016\" >Sellers-Young 2016<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Ibsen_al_Faruqi\"><\/span>Ibsen al Faruqi<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The oldest article I found, which is very useful in understanding the dance vocabulary in Islamic countries (which includes Egyptian Raqs sharqi), was written by <a aria-label=\"Ibsen al Faruqi (1978 (opens in a new tab)\" href=\"https:\/\/www.cambridge.org\/core\/journals\/dance-research-journal\/article\/dance-as-an-expression-of-islamic-culture\/486C4E93ACEEE51837D7C1F0FFC582A6\" target=\"_blank\" rel=\"noreferrer noopener\">Ibsen al Faruqi (1978<\/a>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This article focuses on some of the formal characteristics of dance from Islamic countries (such as the small intricate movements, the preference for improvisation, the repetitions and serial structure, the abstract nature).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ibsen al Faruqi (1978) compares the characteristics of the dance with other art forms from the same countries, such as painting, calligraphy, and music, highlighting a common aesthetic thread.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These characteristics are not specific only to Egyptian Raqs sharqi, but they can be observed in this dance genre, which helps to start understanding the formal aspects of the dance and how it relates to the culture it originated from.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Farida_Fahmy_and_Mahmoud_Reda\"><\/span>Farida Fahmy and Mahmoud Reda<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A very informative study on Egyptian dances is <a href=\"http:\/\/www.faridafahmy.com\/ThesisVideo.html\" target=\"_blank\" rel=\"noreferrer noopener\" label=\"Farida Fahmy\u2019s MA thesis (opens in a new tab)\">Farida Fahmy\u2019s MA thesis<\/a> (Fahmy, 1987) as she was one of the founders of the Reda troupe in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/reda-troupe\/\">In 5.3.4 I<\/a> will write in more detail about Mahmoud Reda.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">For now, it is enough to mention that Mahmoud Reda was a choreographer, who choreographed dance scenes for Egyptian movies in the first half of the 20<sup>th<\/sup> century and he traveled across Egypt to document local folkloric dances and then created versions of these dances for the stage, which his troupe performed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fahmy\u2019s thesis (1987) details the troupe\u2019s experience of choreographing and performing Egyptian folkloric dance for the stage and, although it does not focus solely on Raqs sharqi, there is an interesting section that explains how Mahmoud Reda changed Raqs sharqi for the stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">His input, <a href=\"https:\/\/worlddanceheritage.org\/reda-troupe\/\">as explained in 5.3.4<\/a>, was very influential for the development of modern Egyptian Raqs sharqi.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Van_Nieuwkerk_and_Lorius\"><\/span>Van Nieuwkerk and Lorius<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">There are two publications (Van Nieuwkerk, 1995; Lorius, 1996) from the 1990s that are often cited in the Raqs sharqi literature and which I will draw on in the course of this thesis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They are not specifically on Raqs sharqi, but they are useful for understanding the cultural background against which Egyptian Raqs sharqi developed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Van Nieuwkerk\u2019s (1995) study focuses on the role of female performers in Egyptian society and it includes a history section.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Although it is not specifically about Raqs sharqi dancers, it is useful to understand the role of dancers in Egyptian society and some historical background.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lorius\u2019 (1996) article focuses on the Egyptian actress and dancer Fifi Abdou (I have written more about her in 5.6.1) and it describes one of her live shows, in which Fifi performs different styles of Egyptian dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The main point though is made around how Fifi embodies the Baladi (or working class) culture from Egypt and how she manages to disrupt the traditional patriarchal discourse of Egyptian culture, through her use of humor and personal charisma during her performance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With regards to Baladi culture, a very useful text to understand more about it is Early\u2019s (1992) ethnography carried out in a Baladi quarter of Cairo, in which she explores the lives and attitudes of Baladi women.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Valeria_Lo_Iacono\"><\/span>Valeria Lo Iacono<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Within the last 15 years, four PhDs on belly dance have been completed in the UK, which are worth mentioning and which are particularly relevant to this thesis as they focus on the international dimension of this dance.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">This PhD that you are reading here (Lo Iacono, 2019) focuses on Egyptian style belly dance and on the intangible aspects of the dance as a form of living heritage. You can also read:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a rel=\"noreferrer noopener\" aria-label=\"Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance (opens in a new tab)\" href=\"https:\/\/www.researchgate.net\/publication\/290605568_Beyond_Binarism_Exploring_a_Model_of_Living_Cultural_Heritage_for_Dance\" target=\"_blank\">Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/www.researchgate.net\/publication\/325081873_Intangible_Cultural_Heritage_Beyond_Borders_Egyptian_Bellydance_Raqs_Sharqi_as_a_Form_of_Transcultural_Heritage\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Intangible Cultural Heritage Beyond Borders: Egyptian Bellydance (Raqs Sharqi) as a Form of Transcultural Heritage<\/a> <\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/tinyurl.com\/y3gnysmb\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper-480x270.jpg 480w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-15476 lazyload\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg\" alt=\"\" class=\"wp-image-15476\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper-480x270.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\"><\/noscript><\/a><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"JBacon\"><\/span>J.Bacon<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Bacon\u2019s (2003) thesis is circumscribed to a specific group of \u2018non-Arabic\u2019 belly dancers in Northampton, England, who practice Egyptian-style belly dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some of the issues raised include how this type of dance is experienced by this group and how the dance has been transmitted to England. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bacon (2003) presents a review of the literature, available at the time of her writing, on Egyptian dance, but she focuses mainly on the role of women and of dancing women in Egyptian society, rather than on the dance itself.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She describes and lists a few sources of popular literature on Egyptian dance and belly dance in general and she describes the panorama of belly dancing (including Egyptian style) in England (i.e., schools, festivals, some practitioners) to set the scene for her research.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As part of her field research, Bacon (ibid.) presents a list of the most common dance dynamics and movements that her participants perform.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These include the most common isolations in belly dance, such as, hip circles, hip drops, hip figures of eight, and shimmies, which match some of the movements I have observed through my video analysis in Chapter 5.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In terms of the reasons why her participants want to learn Egyptian Raqs sharqi, she highlights the fact that this dance provides them with a vehicle for transgression, to move in ways that are considered sensual and otherwise socially unacceptable.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the teacher encourages participants to develop their own style, thus exercising agency which is, as it will emerge from my thesis, an important element of Egyptian Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Bacon (ibid.), every participant follows her own pathway in her process of discovery of Egyptian dance, which is connected with their individual experiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, Bacon (ibid.) reports that the group she studied are not interested in the cultural origins of Egyptian dance, but rather their interest lies solely in the pursuit of leisure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The most interesting ideas though that I have gathered from Bacon\u2019s (2003) research are her interdisciplinary approach and her interest in the ways in which Egyptian Raqs sharqi has been transmitted across different countries and cultures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In terms of the interdisciplinarity of her research, Bacon (2003, p. 12) declares that she is \u2018drawing from sociology, anthropology of dance, dance ethnography and performance studies, in order to give prominence to the way in which dancing is never fixed but always in a state of becoming\u2019 and that her (ibid.) \u2018intention is to find a suitable theoretical frame where the action of dancing can be represented beyond Cartesian body-mind dualities\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The interdisciplinarity is what my thesis is also aiming towards, for similar reasons, and I agree with Bacon with regards to the need to overcome body-mind dualities in the representation of dancing (as explained in Chapter 3).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bacon (2003, p. 104) is interested in the way in which Egyptian Raqs sharqi has migrated across the world and she writes&nbsp; \u2018it is not simply that Egyptian dancers traveled to the United States or England and brought their dance with them, nor is it as simple as the Orientalist agenda that suggests the West appropriates from the East\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I agree with Bacon in this respect. The transmission of Egyptian Raqs sharqi between different countries has not been a straight and unidirectional process, as I highlight in Chapter 5 and Chapter 6. Bacon (2003, p. 210) employs the concept of \u2018network\u2019 to explain this phenomenon:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">The network of Arabic dancing is something that exists prior to a participant&#8217;s involvement with the world of Arabic dancing&#8230; This consists of workshops, classes, teachers, support organisations and the paraphernalia created by these organisations such as newsletters, magazines, videos and the like . . . Within the networks individually embodied paths exist and co-exist . . . knowledge exists in the popular memory, on the internet, in books, videos and the like and these exist and co-exist with the performative knowledge of the dancing.<\/p>\n<cite>Bacon (2003)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bacon (2003) adds that people become aware of these networks once they start dancing and they choose their own path within the network, thus experiencing different aspects of the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In<a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\"> 2.6<\/a> and 6.4 I will also try to ascertain how Egyptian Raqs sharqi is transmitted through bodies, experiences, and artifacts and I will draw on Urry\u2019s (2007) concept of mobilities and Welsch\u2019s (1999) transculturality to support my argument.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In particular, I will argue that Urry\u2019s mobilities provide the link between transcultural networks and physical and virtual movement of people, artifacts, and ideas.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Caitlin_McDonald\"><\/span>Caitlin McDonald<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Another Ph.D. thesis on Egyptian Raqs sharqi that has inspired my own research is Caitlin McDonald\u2019s (2010) research in Egypt, the UK, and the US.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">McDonald (2010) focuses on the globalization of Egyptian Raqs sharqi and the performativity of gender and identity through this dance. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her research is not so much concerned with the dance itself (although she took a series of videos of dance, which she shared online), but rather with the way in which participants experience it and with the discourse around this dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In particular, her focus on <a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">globalisation<\/a> and the role of the Internet for the <a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">transmission of this dance form<\/a> has provided me with some ideas and starting points for my own research, which I then took in different directions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">McDonald (2010) identifies a global \u2018belly dance community\u2019, which uses the Internet to keep connected, and, in her research, she focuses on a game called \u2018Second Life\u2019, in which players use Avatars to live a virtual life.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This game, according to McDonald (2010), provides a platform for belly dancers to interact virtually. Inspired by McDonald\u2019s research on the use of IT, I focused instead on websites, social media, and online video sharing platforms to investigate how these facilitate the global transmission of Egyptian Raqs sharqi.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Siouxsie_Cooper\"><\/span>Siouxsie Cooper<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Until the publication of Lo Iacono (2019) the most recent Ph.D. research on Egyptian Raqs sharqi carried out in the UK was Cooper\u2019s (2015) thesis, which is concerned with the way in which this dance genre is practiced in England and the reasons why Egyptian style is considered a mark of \u2018authenticity\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cooper\u2019s (2015) argument is that, although belly dance practice in the UK involves (and has always involved) elements of different styles of belly dance, if dancers are connected to Egypt (if they trained or worked there) their dancing will be considered more \u2018authentic\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cooper (2015, p. 17), drawing on Bourdieu\u2019s concept of capital, argues that \u2018authenticity acts as a functional exponent that adds or subtracts cultural currency . . . in Belly Dance discourse\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cooper\u2019s (2015) research focuses on discourses around the dance rather than the dance and its formal aspects but her concept of authenticity is interesting.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She connects the <a href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/\">authenticity narrative<\/a> with power relations (and thus, the opportunity to increase a dancer\u2019s social, cultural, and economic capital). Cooper (2015, p. 65) describes authenticity as a:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Narrative that validates a Belly Dance practice . . . these narratives reinforce any pre-existing power relations found within a given Belly Dance community of shared practice . . .&nbsp; a narrative of authenticity represents a form of constructed authenticity.<\/p>\n<cite>Cooper (2015)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Cooper (2015, p. 9) being trained in Egypt allows English\npractitioners \u2018to authenticate their Belly Dance identity, create and own an\nEnglish Belly Dance tradition, and improve their economic value as artists in a\nlarger Belly Dance global market\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this thesis, I will also deal with the concept of authenticity but seen from a different angle (see<a href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/\"> 2.5<\/a> and 6.2).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While I agree with Cooper (2015) that authenticity is based on a shared narrative and it is constructed, I try to find out not what makes the dancing of non-Egyptians be perceived as authentic, but if there is a shared discourse among international practitioners on what actually is \u2018authentic\u2019 Egyptian Raqs sharqi, if there is such a thing.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Shay_and_Sellers-Young_and_McDonald_and_Sellers-Young\"><\/span>Shay and Sellers-Young and McDonald and Sellers-Young <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Two publications that include references to Egyptian Raqs sharqi (as well as to other styles of belly dance), and which I will be quoting throughout this thesis where appropriate, are two collections of essays by Shay and Sellers-Young (2005) and by McDonald and Sellers-Young (2013).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Topics in these collections include:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Social dancing in Egypt (Adra, 2005)<\/li>\n\n\n\n<li>Dance in Egyptian films (Dougherty, 2005)<\/li>\n\n\n\n<li>The feeling of Egyptian dance (Bordelon, 2013)<\/li>\n\n\n\n<li>and the recent developments of raqs baladi in Egypt (Roushdy, 2013). <\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Kathleen_Fraser\"><\/span>Kathleen Fraser<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A recent and informative publication is Fraser\u2019s (2014) research on records of belly dance in Egypt between 1760 and 1870. Fraser (2014) reconstructs a history of belly dance in Egypt before it was possible to film it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She bases her reconstruction on sources (writings and drawings) from European travelers. Egyptian descriptions are not included simply because, according to Fraser, there are none.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Citing Saleh\u2019s Ph.D. thesis, Fraser (2014, sec. On Writing This Book) points out that, although \u2018Egypt is known as a nation with a rich folk dance tradition, both its historical records of the past and the research interests of the present pay little or no attention to its ethnic dancing\u2019 possibly because of the negative attitude in Egypt towards dance. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a rel=\"noreferrer noopener\" aria-label=\"ser (2014) (opens in a new tab)\" href=\"https:\/\/www.amazon.co.uk\/Before-They-Were-Belly-Dancers\/dp\/0786494336\" target=\"_blank\">Fraser (2014)<\/a> is aware of the caveats involved in using European travellers\u2019 account of the dance, i.e. their biases, their orientalist attitude and the exoticisation of a different culture, thus she tries to compare as many sources as possible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fraser\u2019s (ibid.) study is the first one that analyses these sources in a systematic and rigorous way and she manages to build a verisimilar picture, which includes the types of performers and their status in society, their professional organizations, the costumes, and the movement vocabulary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This gives the reader a useful insight into what Egyptian dance might have been like before the 20th century.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, I will draw on Fraser\u2019s research at the <a href=\"https:\/\/worlddanceheritage.org\/birth-raqs-sharqi\/\">beginning of Chapter 5 <\/a>and I will continue reconstructing my version of the story from the first half of the 20th century.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In reconstructing a story of Egyptian Raqs sharqi through video analysis, however, I share Fraser\u2019s&nbsp; (2014, sec. On Writing This Book) concern that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">As a dance researcher writing about another culture . . . it was not possible for me to write \u201cthe\u201d history of these Egyptian performers, but rather . . . I was creating \u201ca\u201d history, inevitably a personal one defined within the limits of my skills of cultural awareness.<\/p>\n<cite>Fraser (2014)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Sellers-Young_2016\"><\/span>Sellers-Young 2016<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The most recent publication by Sellers-Young (2016) on belly dance, includes references to Egyptian Raqs sharqi, orientalism, the transmission of Middle Eastern dances across the globe, and the way in which it has shaped the identities of its practitioners and the new forms, such as tribal, that have emerged.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This publication is based on visits to belly dance communities around the world that Sellers-Young did, as well as a review of the literature on belly dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are some useful insights that I will be drawing on, where appropriate, throughout this thesis.  In the next section of this literature review, I will bring together the literature on heritage and on dance to discuss some issues that these two fields have in common.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will focus on <a href=\"https:\/\/worlddanceheritage.org\/research\/literature-review\/\">transmission, authenticity, internationalization, identity, and uses of dance\/heritage<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&gt;&gt; See <span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/amzn.to\/35pCb0a\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Barbara Sellers-Young&#8217;s Books on Amazon<\/a><\/strong><\/span><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <\/strong><span style=\"text-decoration: underline;\"><strong>The transmission of heritage and UNESCO<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Egyptian Raqs Sharqi literature review. PhD theses and academic writings about this dance genre, style of belly dance, and Sellers-young.<\/p>\n","protected":false},"author":2,"featured_media":1106,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-1104","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-literature-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Egyptian Raqs Sharqi Literature Review. Theses and Academic Writings.<\/title>\n<meta name=\"description\" content=\"Egyptian Raqs Sharqi literature review. 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