{"id":1120,"date":"2019-04-29T19:22:19","date_gmt":"2019-04-29T18:22:19","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1120"},"modified":"2026-02-05T12:57:45","modified_gmt":"2026-02-05T12:57:45","slug":"transmission-cultural-heritage","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/","title":{"rendered":"Transmission of Cultural Heritage (2.4)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full is-resized is-style-rounded\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min.jpg 810w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min-480x267.jpg 480w\" decoding=\"async\" width=\"810\" height=\"450\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Transmission dance heritage\" class=\"wp-image-15395 lazyload\" style=\"width:650px;height:undefinedpx\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 810px, 100vw\" \/><noscript><img decoding=\"async\" width=\"810\" height=\"450\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min.jpg\" alt=\"Transmission dance heritage\" class=\"wp-image-15395\" style=\"width:650px;height:undefinedpx\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min.jpg 810w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min-480x267.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 810px, 100vw\"><\/noscript><\/a><\/figure>\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-6ab5bb4881427\" 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-6ab5bb4881427\" 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\/transmission-cultural-heritage\/#Transmission_of_Heritage_Introduced\" >Transmission of Heritage Introduced<\/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\/transmission-cultural-heritage\/#Essentialist_vs_Dialogical_Approaches_to_Heritage_Transmission\" >Essentialist vs Dialogical Approaches to Heritage Transmission<\/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\/transmission-cultural-heritage\/#Transmission_and_Past_Present_and_Future_Connections\" >Transmission and Past, Present, and Future Connections<\/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\/transmission-cultural-heritage\/#Intangible_Cultural_Heritage_Changes_During_Transmission\" >Intangible Cultural Heritage Changes During Transmission<\/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\/transmission-cultural-heritage\/#Cultural_Appropriation\" >Cultural Appropriation<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Transmission_of_Heritage_Introduced\"><\/span>Transmission of Heritage Introduced<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In the <a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">heritage literature<\/a>, the element of transmission has emerged, particularly regarding ICH, which is \u2018transmitted generation to generation\u2019 (UNESCO, 2003, p. 2).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Naguib (2013, p. 5) comments, \u2018the notion of safeguarding is central to intangible cultural heritage. It conveys the idea of protecting and preserving, while at the same time transmitting far and wide\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The paradigms of heritage discussed in <a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">2.2<\/a> can be applied to the idea of transmission, as a tradition can be transmitted in a very conservative way (closer to the essentialist paradigm) or in a way that allows for greater innovation (following a dialogical paradigm).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Essentialist_vs_Dialogical_Approaches_to_Heritage_Transmission\"><\/span>Essentialist vs Dialogical Approaches to Heritage Transmission<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">In dance, there seems to be a continuum from an \u2018essentialist\u2019 way of transmitting a tradition to a \u2018dialogical\u2019 one and different genres, or even different practitioners within the same genre, occupy a different position in this continuum.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the essentialist approach, tradition is closely adhered to, while the dialogical approach is more fluid and it allows re-adaptations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">No genre occupies one extreme position, but different degrees in between.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Hodgens states (1988, p. 75), dance is \u2018firmly embedded in specific conventions and traditions\u2019 but \u2018within genres and styles . . . there is considerable freedom and fluidity\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, the <a href=\"https:\/\/worlddanceheritage.org\/morris-dancing\/\">Abbots Bromley Horn Dance<\/a> in the county of Staffordshire and the <a aria-label=\"Britannia Coco-Nut dance of Bacup (opens in a new tab)\" href=\"https:\/\/www.coconutters.co.uk\/\" target=\"_blank\" rel=\"noreferrer noopener\">Britannia Coco-Nut dance of Bacup<\/a>, in the Rossendale Valley of Lancashire, studied by Buckland (2001), gravitate towards the essentialist approach, as traditions that are hundreds of years old have been transmitted in the most conservative way possible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Closer to the opposite end of the spectrum, towards a dialogical paradigm, there are genres, such as post-modern dance, which are very open to experimentation (Daly <em>et al.<\/em>, 1992).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In my research, I will try to assess which position Egyptian Raqs Sharqi occupies in this spectrum, particularly for culturally aware practitioners.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The dialogical approach to heritage will be relevant throughout this thesis, even when discussing other key themes, such as transmission, authenticity, and internationalization.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer-300x169.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer-768x432.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer-600x338.jpg 600w\" decoding=\"async\" width=\"800\" height=\"450\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Indian dancer\" class=\"wp-image-1884 lazyload\"  sizes=\"(max-width: 800px) 100vw, 800px\" \/><noscript><img decoding=\"async\" width=\"800\" height=\"450\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer.jpg\" alt=\"Indian dancer\" class=\"wp-image-1884\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer-300x169.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer-768x432.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/indian-dancer-600x338.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\"><\/noscript><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Transmission_and_Past_Present_and_Future_Connections\"><\/span>Transmission and Past, Present, and Future Connections <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Transmission is also connected with time and past-present-future connections, as suggested in the <a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">heritage section (2.2)<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the heritage discourse, connecting the past with the present allows people to acquire a sense of identity and continuity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Smith states (2006, p. 4), \u2018heritage is about . . . using the past, and collective or individual memories, to negotiate new ways of being and expressing identity\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Howard (2003, p. 21) clarifies this point further and connects the past with the present and the future in heritage, by arguing that \u2018history is interested in the past, heritage is interested in how the past might be conserved and interpreted for the benefit of the present and the future\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the heritage discourse, past, present, and future fuse in what Hern\u00e0ndez i Mart\u00ed (2006, p. 102) considers a type of hybridization, as it mixes \u2018elements\u2009that\u2009have\u2009been\u2009rescued\u2009from\u2009the\u2009past\u2009with\u2009 elements\u2009generated in\u2009the\u2009present,\u2009for\u2009its\u2009future\u2009endurance\u2019.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">I would argue, however, that transmission does not always follow a linear and uninterrupted pattern.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At a time in which it is easier to record and share recordings of dance (thanks to electronic technologies and communication), the transmission of heritage has become de-territorialised and de-temporalised.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Heidegger (1971, p. 163) foresaw before the Internet was invented, \u2018all distances in time and space are shrinking. . . . Distant sites of the most ancient cultures are shown on film as if they stood this very moment\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The concepts of deterritorialization and detemporalisation are connected with globalisation, which leads to a shrinking of time and space, as Giddens (1991, p. 21) posits, \u2018globalisation is best understood as expressing fundamental aspects of time-space distanciation . . . the intersection of presence and absence\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will return in more detail to the global dimension of heritage in the section about internationalization (2.6).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Intangible_Cultural_Heritage_Changes_During_Transmission\"><\/span>Intangible Cultural Heritage Changes During Transmission<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">During transmission, ICH can undergo changes. In dance, changes can affect choreological elements, meanings, attitudes, artifacts, and the kinds of people and bodies that are interested in or allowed to perform.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, certain elements remain the same, allowing us to identify genres and distinguish them from one another.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Hodgens states (1988, p. 72), \u2018genres are \u2018crystallisations\u2019 of specific knowledge, beliefs, ideas, techniques, preferences or values around which particular traditions and conventions for producing and receiving dance have grown\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In dance, these \u2018crystallisations\u2019 are transmitted. One of the aims of this thesis is to identify what has changed in Raqs sharqi, as well as what its genre-specific \u2018crystallisations\u2019 are.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Change is not only driven by practitioners\u2019 agency. When dance genres are transmitted between different cultures, different societies, or different segments within the same society, the process may lead to \u2018dissonance\u2019 (drawing on Tunbridge and Ashworth\u2019s (1996, p. 8) expression of \u2018dissonant heritage\u2019 (1996)).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Reed (1998), sometimes, in countries subjected to colonialism, local dances were suppressed, whilst at other times they were transformed under the lens of exoticism, which reinforced (Reed, 1998, p. 509) \u2018stereotypes of mystical spirituality and excessive sexuality\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Desmond (2003) comments that, when a dance genre is transmitted between two cultures, the media flatten the complexities of the culture of origin, as happened with the samba dancer Carmen Miranda.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She was a Hollywood movie star between the 1930s and 1950s, representing a simplified version of Brazilian culture in Americans\u2019 imagination. Edensor (2001, p. 70) argues that tourism performances can perpetuate misconceptions and exoticism in dance through a \u2018cultural staging\u2019, which \u2018raises controversies about the reproduction of stereotypes associated with primitivism, exoticism, and eroticism. Paradoxically, though, it may also replenish moribund local traditions\u2019.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Changes also happen when dance is transmitted between different classes within the same or different societies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, according to Savigliano (1995), tango, which originated in Buenos Aires brothels, became less sensual since becoming popular among the Argentinean and Uruguayan middle classes and the Parisian elite.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It then became more sentimental, choreographically more polished, with a slower tempo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Desmond (2003) argues that, when a dominant group borrows a dance from a subordinate group, that dance changes to suit the tastes of the new group.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the values of the dominant group change too, as a result of this new contact.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cultural_Appropriation\"><\/span>Cultural Appropriation<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/theconversation.com\/when-does-borrowing-become-cultural-appropriation-in-dance-81375\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Appropriation also happens in reverse (opens in a new tab)\">Appropriation also happens in reverse<\/a>, when less powerful groups borrow from more powerful ones.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For Desmond (1993, p. 57), the appropriation process sheds light \u2018on the unequal distribution of power and goods that shape social relations\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However (ibid p. 41), \u2018concepts of hybridity or syncretism more adequately describe the complex interactions among ideology, cultural forms, and power differentials that are manifest in such transfers\u2019 (I will return to the concept of hybridity in 2.6).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this respect, dance\/heritage can be subjected to dissonance. According to Tunbridge and Ashworth (1996, p. 8):<\/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 heritage product is a response to the specific needs of actual or potential users . . . thus there is an almost infinite variety of possible heritages, each shaped for the requirements of specific consumer groups . . . reinforcement, coexistence or conflict between the products may be encountered.<\/p>\n<cite> Tunbridge and Ashworth (1996)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The relationship between change and authenticity, tradition, and innovation will be discussed further in the following section.<\/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><a href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/\"><span style=\"text-decoration: underline;\"><strong>Authenticity in  ICH (Intangible Heritage).<\/strong><\/span><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Transmission of cultural heritage. Safeguarding of intangible cultural heritage; essentialist vs dialogical approach; past, present and future and changes.<\/p>\n","protected":false},"author":2,"featured_media":15395,"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-1120","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>Transmission of Cultural Heritage and Intangible Cultural Heritage.<\/title>\n<meta name=\"description\" content=\"Transmission of cultural heritage. Safeguarding intangible heritage; essentialist vs dialogical approach; past, present, future, and changes.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Transmission of Cultural Heritage and Intangible Cultural Heritage.\" \/>\n<meta property=\"og:description\" content=\"Transmission of cultural heritage. Safeguarding intangible heritage; essentialist vs dialogical approach; past, present, future, and changes.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-29T18:22:19+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-05T12:57:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/transmission-dance-heritage-min.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"810\" \/>\n\t<meta property=\"og:image:height\" content=\"450\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"Transmission of Cultural Heritage (2.4)\",\"datePublished\":\"2019-04-29T18:22:19+00:00\",\"dateModified\":\"2026-02-05T12:57:45+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/\"},\"wordCount\":1160,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/transmission-dance-heritage-min.jpg\",\"articleSection\":[\"Literature Review\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/\",\"name\":\"Transmission of Cultural Heritage and Intangible Cultural Heritage.\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transmission-cultural-heritage\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/transmission-dance-heritage-min.jpg\",\"datePublished\":\"2019-04-29T18:22:19+00:00\",\"dateModified\":\"2026-02-05T12:57:45+00:00\",\"description\":\"Transmission of cultural heritage. 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