{"id":1133,"date":"2019-04-29T19:56:50","date_gmt":"2019-04-29T18:56:50","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1133"},"modified":"2023-08-28T11:42:09","modified_gmt":"2023-08-28T10:42:09","slug":"authenticity-intangible-heritage","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/","title":{"rendered":"Authenticity in Intangible Heritage (2.5)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Cultural dance authenticity\" class=\"wp-image-1141 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity.jpg\" alt=\"Cultural dance authenticity\" class=\"wp-image-1141\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/cultural-dance-authenticity-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/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-6ab5bb50ce0bf\" 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-6ab5bb50ce0bf\" 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\/authenticity-intangible-heritage\/#The_Concept_of_Authenticity_in_Heritage\" >The Concept of Authenticity in Heritage<\/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\/authenticity-intangible-heritage\/#Nara_Document_on_Authenticity\" >Nara Document on Authenticity<\/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\/authenticity-intangible-heritage\/#UNESCO_2005_Guidelines\" >UNESCO 2005 Guidelines<\/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\/authenticity-intangible-heritage\/#The_Yamato_Declaration\" >The Yamato Declaration<\/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\/authenticity-intangible-heritage\/#Critique_of_the_Concept_of_Authenticity\" >Critique of the Concept of Authenticity<\/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\/authenticity-intangible-heritage\/#Authenticity_as_a_Modern_Construct\" >Authenticity as a Modern Construct<\/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\/authenticity-intangible-heritage\/#Decontextualization_and_Denaturalization_of_Intangible_Heritage\" >Decontextualization and Denaturalization  of Intangible Heritage<\/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\/authenticity-intangible-heritage\/#Fluid_Authenticity\" >Fluid Authenticity<\/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\/authenticity-intangible-heritage\/#Living_Modern_Traditions\" >Living Modern Traditions<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Nara_Authenticity_Indicators_List_and_Raqs_Sharqi\" >Nara Authenticity Indicators List and Raqs Sharqi<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#What_Makes_a_Performance_a_Genuine_Representation_of_a_Genre\" >What Makes a Performance a Genuine Representation of a Genre<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Jo_Butterworth_and_Hybrid_Forms\" >Jo Butterworth and Hybrid Forms<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Yvonne_Daniel_and_Rumba\" >Yvonne Daniel and Rumba<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Hashimoto_and_Japan\" >Hashimoto and Japan<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Dance_as_an_Ephemeral_Activity\" >Dance as an Ephemeral Activity<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Dance_and_Restored_Behaviour\" >Dance and Restored Behaviour<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Concept_of_Authenticity_in_Heritage\"><\/span>The Concept of Authenticity in Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">Transmission<\/a> and change are connected with the concept of authenticity, which is difficult to assess for intangible heritage, in particular following a dialogical paradigm of heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the idea of authenticity clashes with the idea that intangible heritage promotes \u2018human creativity\u2019 (UNESCO, 2003, p. 2), since creativity implies agency and freedom to change.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The word authenticity was introduced by UNESCO in 1977 in <em>Issues arising in connection with the implementation of the World Heritage Convention<\/em> (UNESCO, 1977, p. 8) (<a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco.jpg\">see Table 2<\/a>), which restricted the concept of authenticity to four components: \u2018design, materials, workmanship, and settings\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This was in line with the 1964 Venice Charter (ICOMOS, 1964), which, Cameron and Inaba (2015, p. 31) remark, focused on \u2018tangible attributes\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Cameron and Inaba (2015) continue, it soon became clear that focusing only on tangible elements, even for architectonic and monumental heritage, was problematic, due to the perishable nature of the materials used for buildings in some parts of the world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, as Zhu (2015, p. 597) argues, Japanese and Chinese buildings have what he calls a \u2018built-in obsolescence\u2019 as they are constructed with perishable materials, in need of regular replacement, but the building&#8217;s location always maintains a symbolic meaning.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nara_Document_on_Authenticity\"><\/span>Nara Document on Authenticity <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">These issues led to a long process, described by Cameron and Inaba (2015), leading to the <a rel=\"noreferrer noopener\" label=\"Nara Document on Authenticity (opens in a new tab)\" href=\"https:\/\/www.icomos.org\/en\/charters-and-texts\/179-articles-en-francais\/ressources\/charters-and-standards\/386-the-nara-document-on-authenticity-1994\" target=\"_blank\">Nara Document on Authenticity<\/a> (UNESCO, 1994), which pre-dates the 2003 ICH Convention.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Through the Nara Document on Authenticity, UNESCO recognized that different cultures have different ways of understanding authenticity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Article 13 of the Nara Document on Authenticity states that sources for judgment on authenticity \u2018may include form and design, materials and substance, use and function, traditions and techniques, location and setting, and spirit and feeling, and other internal and external factors\u2019. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"UNESCO_2005_Guidelines\"><\/span>UNESCO 2005 Guidelines<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">After the 2003 Convention on ICH, UNESCO issued the <em>Operational Guidelines for the Implementation of the World Heritage Convention<\/em> (UNESCO, 2005, p. 20), stating that authenticity is one of the determining conditions for the recognition of \u2018outstanding universal value\u2019 by UNESCO.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The 2005 Guidelines list the same marks of authenticity as the Nara Document, adding two more elements: \u2018management systems\u2019 (as part of traditions and techniques) and \u2018language, and other forms of intangible heritage\u2019 (UNESCO, 2005, p. 21).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In summary, the authenticity indicators for UNESCO (ibid.) are:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Form\nand design.<\/li>\n\n\n\n<li>Materials\nand substance.<\/li>\n\n\n\n<li>Use\nand function.<\/li>\n\n\n\n<li>Traditions,\ntechniques and management systems.<\/li>\n\n\n\n<li>Location\nand setting.<\/li>\n\n\n\n<li>Spirit\nand feeling.<\/li>\n\n\n\n<li>Language,\nand other forms of intangible heritage.<\/li>\n\n\n\n<li>Other\ninternal and external factors.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Some of the above-listed elements can be applied to dance:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Form and design can refer to choreography or movement vocabulary<\/li>\n\n\n\n<li>Materials and substance to props and costumes<\/li>\n\n\n\n<li>Use and function could be the reason why a dance is performed (for example, ritual or social)<\/li>\n\n\n\n<li>Traditions, techniques and management systems can refer to dance traditions, such as ways of moving and of managing performances<\/li>\n\n\n\n<li>Locations and setting can be the physical performance space, the social setting, or if the dance is participatory or presentational<\/li>\n\n\n\n<li>Spirit and feeling can be the feelings of the performers, the feelings that a dance genre or performance is supposed to convey, or the emotions induced in the audience.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Yamato_Declaration\"><\/span>The Yamato Declaration<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">However, as Bortolotto (2013) and Deacon and Smeets (2013) point out, the term authenticity does not appear in the 2003 UNESCO Convention.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rather, it \u2018has been discouraged by the Organs of the Convention\u2019 (Deacon and Smeets, 2013, p. 139).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the Yamato Declaration, as also pointed out by Bortolotto (2013) and Deacon and Smeets (2013), states that \u2018the term \u201cauthenticity\u201d as applied to tangible cultural heritage, is not relevant when identifying and safeguarding intangible cultural heritage\u2019 (<a href=\"http:\/\/www.bunka.go.jp\/english\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Japanese Agency for Cultural Affairs<\/a> and UNESCO, 2004, para. 8).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bortolotto (2013, p. 75) argues that \u2018UNESCO\u2019s rejection of the concept of authenticity in its approach to heritage is a development consistent with academic theories of culture\u2019. I will consider a few of these below.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Critique_of_the_Concept_of_Authenticity\"><\/span>Critique of the Concept of Authenticity<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Handler (1986) and Bendix (2009) are two of the scholars who critique the concept of authenticity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bendix (2009, p. 7) identifies folklore as \u2018a vehicle in the search for the authentic, satisfying a longing for an escape from modernity\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bendix (ibid.) posits that nationalist movements, since the Romantic era (in the 19th century), have always used folklore and the idea of authenticity to build a sense of belonging and national identity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The reason why authenticity is problematic for Bendix (2009, p. 9) is that its existence implies its opposite, the fake, a spurious tradition, thus \u2018continually upholding the fallacy that cultural purity rather than hybridity are the norm\u2019 (I will return to the concept of hybridity in 2.6).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, labeling something as authentic, according to Bendix (2009, p. 8), leads to its commodification and \u2018once a cultural good has been declared authentic, the demand for it rises, and it acquires a market value\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, it follows that authenticity is a discourse that facilitates issues of power and economics. Indeed, Purkayastha (2014, p. 55) presents a compelling example of an Indian dance practitioner and choreographer,<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Uday Shankar, whose innovative works were considered \u2018inauthentic\u2019 as they \u2018defied the hegemonic tendencies of the classicism project of the Indian nationalists\u2019.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/iIboLXIpOL8?feature=oembed\" title=\"Anna Pavlova &amp; Uday Shankar heritage Project | Official Trailer (HD) | Abundant Art UK\" width=\"1080\" height=\"608\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Uday Shankar<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Authenticity_as_a_Modern_Construct\"><\/span> Authenticity as a Modern Construct<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, for Handler (1986), authenticity is a modern cultural construct that is linked to the idea of individualism, part of a view of the world that sees cultures as discrete and separate entities asserting each other against other cultures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He connects authenticity with ideas of individualism and commodification by stating that (Handler, 1986, p. 4):<\/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\">Contact with authentic pieces of culture [i.e. museums, private collections or experiencing food in so called ethnic restaurants] . . . allows us to appropriate their authenticity, incorporating that magical proof of existence into what we call our &#8216;personal experience&#8217;. <\/p>\n<cite>Handler (1986)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I agree with the arguments put forward so far according to which authenticity is a modern construct that leads to commodification, issues of power differentials and that a quest for authenticity could lead to the \u2018freezing\u2019 of heritage that UNESCO (2016a, para. 22) warns against (<a href=\"https:\/\/worlddanceheritage.org\/dance-research-framework\/\">as mentioned in 1.1<\/a>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, I agree with Bortolotto (2013) and Deacon and Smeets (2013) who argue that the idea of authenticity is still present, even if implicitly, in the 2003 Convention and that stakeholders may still value authenticity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In order to support this point, Bortolotto (2013) uses the example of the Mexican cuisine nomination, in which the terms authenticity occurs nine times.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bortolotto (2013, p. 78) argues that \u2018the values conveyed by this word [authenticity] are not likely to be eradicated from heritage discourse since the two are closely interrelated\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Margari (2016) identifies such connections when, writing about dance, she points out that, even if the 2003 Convention acknowledges that ICH is constantly recreated, it is nevertheless connected to ideas of stability and continuity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, Margari (2016, p. 243) posits, \u2018the idea of a fragile and endangered intangible heritage that needs national or even international protection appears to be based on the monumental perception of ephemeral cultural elements\u2019 and dance events acquire a different entity and become \u2018intangible monuments\u2019 (2016, p. 246).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Decontextualization_and_Denaturalization_of_Intangible_Heritage\"><\/span>Decontextualization and Denaturalization  of Intangible Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Deacon and Smeets (2013, p. 140) note this discrepancy in the 2003 Convention regarding authenticity by highlighting the presence of the words <a href=\"https:\/\/worlddanceheritage.org\/identity-cultural-heritage\/\">\u2018identity\u2019<\/a> and \u2018continuity\u2019&nbsp; for communities in the text of the Convention (UNESCO, 2003 art. 2.1) and UNESCO&#8217;s warning about the danger of &#8216;decontextualization&#8217; and &#8216;denaturalization&#8217; in the Operational Directives (UNESCO, 2005, para. 102).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Furthermore, Deacon and Smeets (2013), conclude that communities should decide what should be maintained and what should change and they add that (2013, p. 140):<\/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 Operational Directives implicitly acknowledge a broader view of community-defined context and continuity that is quite compatible with a community-centred reading of authenticity in the Nara Document. Communities themselves are often reluctant to abandon the notion of authenticity.<\/p>\n<cite>Deacon and Smeets (2013) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seeger (2015) explains this discrepancy as a compromise between academics (who pushed for a non-fixed idea of ICH whereby there was no space for authenticity), and non-academics (more used to the words \u2018authentic\u2019 and \u2018original\u2019).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, Seeger (2015, p. 139) writes that \u2018the final wording was often a mixture of various positions . . . both old and new elements\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Fluid_Authenticity\"><\/span>Fluid Authenticity<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Overall though, I agree with Deacon and Smeets (2013) that the Nara definition of authenticity is compatible with a community-centered interpretation of authenticity and thus the text of the Nara Document should be applicable to ICH. I, therefore, embrace Lowthorp\u2019s (2015) concept of \u2018fluid authenticity\u2019 and Bakka\u2019s (2015) distinction between the dance concept and the dance realisation, <a href=\"https:\/\/worlddanceheritage.org\/case-studies\/\">as explained in 2.2.1<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, a dance form can abide by certain guidelines that help people distinguish between different genres, but at the same time the realisation (the actual moment of performance) can be unique and open to interpretations, \u2018a practice can thus remain stable without being frozen\u2019 (Bakka, 2015, p. 152).<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Adopting a fluid definition of authenticity would also allow us to come to terms with the idea that traditions, as Handler and Linnekin (1984, p. 288) argue, are \u2018neither genuine nor spurious\u2019 because traditions, although based on or inspired by events from the past, are always adapted to present needs and circumstances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Zebec (2007) when researching <em><a href=\"https:\/\/www.researchgate.net\/publication\/259429741_Tanac_Dances_and_Migrations_on_the_Island_of_Krk_Croatia\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"tanac dance in Croatia (opens in a new tab)\">tanac<\/a><\/em><a href=\"https:\/\/www.researchgate.net\/publication\/259429741_Tanac_Dances_and_Migrations_on_the_Island_of_Krk_Croatia\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"tanac dance in Croatia (opens in a new tab)\"> dance in Croatia<\/a>, noticed that the younger dancers used a faster tempo compared to previous generations, probably because of how they wanted to come across on stage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As an expert, Zebec (2007, p. 15) recognised the difference but he thought it was not appropriate to impose a slower tempo to the young dancers in the name of authenticity, \u2018since the young now embody the tanac according to their own conceptions and the circumstances of contemporary life\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, Van Zile (2002, p. 62), when writing about traditional Korean dances and whether those that are performed today are authentic or invented traditions, she comes to the conclusion that it does not matter as \u2018whether dance selected for recognition are actual activities from the past or recent constructions of a romanticized past, they nonetheless contribute to an important contemporary living tradition\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, what is more important is the value that is given today to a practice that makes it important for a community.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/wL4FtvGK1oI?feature=oembed\" title=\"Mudangchum: Traditional Korean Shaman Dance\" width=\"1080\" height=\"608\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Living_Modern_Traditions\"><\/span>Living Modern Traditions<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Another example of living modern traditions is highlighted by Ness\u2019 (1992) study on the <em><a rel=\"noreferrer noopener\" aria-label=\"sinulog dance (opens in a new tab)\" href=\"https:\/\/inbetweencolumns.wordpress.com\/2017\/12\/29\/sinulog-dance-of-worship-in-cebu\/\" target=\"_blank\">sinulog<\/a><\/em><a rel=\"noreferrer noopener\" aria-label=\"sinulog dance (opens in a new tab)\" href=\"https:\/\/inbetweencolumns.wordpress.com\/2017\/12\/29\/sinulog-dance-of-worship-in-cebu\/\" target=\"_blank\"> dance<\/a> tradition from the Philippines.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ness (1992) reports that there are many forms in which dance is performed and the most modern can be seen in parades that have today become a tourist attraction in Cebu City.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In spite of being modern and removed from the traditional context of the original dance, Ness (1992, p. 182) argues that \u2018through a complicated but conventional series of reinterpretations, the parade dances reconstructed an authenticated local identity . . . reinvention of tradition, done not to reenter the past but to reclaim its unique integrity for contemporary purposes\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ness (1992) explains that these parades were not an exact reconstruction of codified choreographies, but they were based on a rigorous study of the past, to which they made references whilst being made for the present and allowing for creativity. Thus, they were \u2018authenticated forms of the tradition\u2019 (Ness, 1992, p. 190).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nara_Authenticity_Indicators_List_and_Raqs_Sharqi\"><\/span>Nara Authenticity Indicators List and Raqs Sharqi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Having discussed how authenticity can still be relevant today for ICH, albeit in a flexible and not essentialist form, in what follows, I will investigate if there are any elements that could be added to the Nara Document\u2019s authenticity indicators list, which are specific or better suited to dance and Egyptian raqs sharqi in particular.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the course of this research, for example, spirit and feeling will emerge as particularly important for raqs sharqi. I will adopt a middle ground position with regards to authenticity, following a dialogical approach to heritage, and taking into consideration traditions, feelings, and attitudes, as well as the unique circumstances under which each performance takes place.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, I will try to accommodate for change, as explained towards the end of this section.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the field of dance studies, <a href=\"https:\/\/worlddanceheritage.org\/dance-study-approach\/\">as highlighted in 2.3<\/a>, in the 19th-century authenticity was sought in dance practiced in rural areas, away from the corrupting influence of the city.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Today\u2019s approach is more dialogical and holistic, but assessing authenticity for dance has always been difficult because, until recently, there were no ways of recording it, nor easy notation systems.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, a filmed dance performance only represents one point of view, as Thomas comments (2003, p. 131) &#8216;the idea of documentary film as a \u2018living record\u2019 in itself has increasingly been called into question . . . the way in which dance is shot . . . positions the gaze of the audience in a more fixed manner than a live performance\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Videos are an interpretation of dance, because of the subjective way in which they are shot.  <br><\/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\">Whether the record of a dance is contained in a written description or an oral account, or exists on film or video, the standpoint of the person who records the event is a vital factor in the evaluation and use of that source.<a href=\"#one\">[1]<\/a><\/p>\n<cite>Adshead (1988, p. 19)  <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Regarding authenticity in dance, Thomas (2003) explores one aspect, which refers to the reproduction of old choreographies and how faithful it is possible to be to the \u2018original\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This aspect of authenticity in dance will not be explored further in this research because in raqs sharqi, although choreography is used for group performances and for teaching purposes, the focus is mainly on improvisation.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"What_Makes_a_Performance_a_Genuine_Representation_of_a_Genre\"><\/span>What Makes a Performance a Genuine Representation of a Genre<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Another aspect, analyzed by Daniel (1996) and Buckland (2001), revolves around what makes a performance a genuine representation of a specific genre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This aspect of authenticity is more relevant to the purpose of this study. In the course of this research, one of the aims will be to discover what participants perceive as being authentic in Raqs sharqi and if this is important for their experience of this genre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This will be particularly relevant because of the transcultural dimension of Raqs sharqi today, which means that dance changes not only between generations, but also in the transition between different cultural settings.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Jo_Butterworth_and_Hybrid_Forms\"><\/span>Jo Butterworth and Hybrid Forms <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">As Butterworth states (2012, p. 31), \u2018through globalisation, practice and the advent of scientific research, dance techniques have been developed, appropriated and fused into hybrid forms\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Change and hybridism, are not phenomena new to dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kealiinohomoku (1970, p. 35) remarks that \u2018all dances are subject to change and development no matter how convenient we may find it to dismiss some form as practically unchanged for 2,000 years\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ritzer (2008, p. 178) suggests that, in <a href=\"https:\/\/worlddanceheritage.org\/dance-tourism-airports\/\">tourism setting, performing arts<\/a> are in danger of losing their authenticity, because \u2018shows are often watered down . . . designed to please the throng of tourists and to put off as few of them as possible\u2019.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism.jpg 700w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism-300x165.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism-600x330.jpg 600w\" decoding=\"async\" width=\"700\" height=\"385\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance production and performance for tourists in NYC using traditional dance.\" class=\"wp-image-1156 lazyload\"  sizes=\"(max-width: 700px) 100vw, 700px\" \/><noscript><img decoding=\"async\" width=\"700\" height=\"385\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism.jpg\" alt=\"Dance production and performance for tourists in NYC using traditional dance.\" class=\"wp-image-1156\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism.jpg 700w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism-300x165.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/tradition-dance-tourism-600x330.jpg 600w\" sizes=\"(max-width: 700px) 100vw, 700px\"><\/noscript><figcaption class=\"wp-element-caption\">Dance is often used in a touristic setting &#8211; The question is how this changes dance.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">While Ritzer\u2019s point is worth acknowledging, it is, nevertheless, limited since it does not take into consideration the performer\u2019s (or, indeed, the culturally informed spectator\u2019s) point of view.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Yvonne_Daniel_and_Rumba\"><\/span>Yvonne Daniel and Rumba<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Daniel (1996) shows a different perspective, by arguing that dance performances can still be authentic in tourism settings, despite the changes in the scale and context of the performances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Daniel reports that, in spite of changes in settings, costuming, and light, voudou dance performances retain their authenticity in the mental disposition of the performers who, sometimes, manage to achieve a state of trance even whilst performing for tourists.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, in this situation, authenticity is to be sought at a deeper level of experience, in the energy that performers transmit to the audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In <a rel=\"noreferrer noopener\" aria-label=\"Cuban rumba (opens in a new tab)\" href=\"https:\/\/theculturetrip.com\/caribbean\/cuba\/articles\/a-brief-introduction-to-cuban-rumba-dancing\/\" target=\"_blank\">Cuban rumba<\/a>, according to Daniel (ibid), authenticity is achieved during the \u2018sabados de la rumba\u2019 (events organised by the Cuban government), in which performers invite tourists to dance with them.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Both tourists and dancers enter a liminal (see footnotes) world in which boundaries disappear and everybody enjoys dancing. When dancing with tourists who do not dance the rumba \u2018properly\u2019, performers are free to improvise and experiment, getting new ideas from outsiders, something they cannot do during staged performances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, Daniel (1996, pp. 781, 782) concludes that, rather than exhibiting \u2018the usual effects of artistic commoditization . . . dance is often . . . a holistic and multisensory phenomenon that . . . communicates to tourists and performers at a fundamental level\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Daniel\u2019s insights reveal several aspects and layers of authenticity in dance, which will be explored in the course of this research.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms.jpg 700w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms-300x181.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms-600x362.jpg 600w\" decoding=\"async\" width=\"700\" height=\"422\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance art in Japan\" class=\"wp-image-1159 lazyload\"  sizes=\"(max-width: 700px) 100vw, 700px\" \/><noscript><img decoding=\"async\" width=\"700\" height=\"422\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms.jpg\" alt=\"Dance art in Japan\" class=\"wp-image-1159\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms.jpg 700w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms-300x181.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/japan-dance-forms-600x362.jpg 600w\" sizes=\"(max-width: 700px) 100vw, 700px\"><\/noscript><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Hashimoto_and_Japan\"><\/span>Hashimoto and Japan  <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Regarding folkloric performing arts in Japan, <a href=\"https:\/\/asianethnology.org\/downloads\/ae\/pdf\/a1464.pdf\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Hashimoto (opens in a new tab)\">Hashimoto<\/a> (2003, p. 226) locates authenticity \u2018in practitioners&#8217; subjectivity, and in the creativity with which they adapt to new contexts\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hashimoto\u2019s research shows a variety of contexts in which performances take place and different concepts of authenticity apply to each.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Hana-Taue is the traditional performance that takes place once a year and is classified by the government as \u2018cultural property\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This has to follow traditions, in order to \u2018preserve\u2019 the old ways. Other performances of the same art take place all year round in athletic grounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This type of performances does not have to adhere to traditions so strictly, thus creativity and innovation are not only allowed but expected. In this context, authenticity is found in the performers\u2019 attitude and deeply felt feelings, rather than in the form alone. According to one of Hashimoto\u2019s (2003, p. 234) interviewees, \u2018the ritual will die out if we stick to only the old forms\u2019<em>.<\/em> Hence, Hashimoto (2003, p. 227) argues, \u2018we should reconstruct the notion of authenticity by considering the experiences, attitudes, and feelings of the practitioners of folk performing arts\u2019 <\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">While I agree\nwith Daniel and Hashimoto on the importance of performers\u2019 attitudes and\nfeelings in assessing authenticity, dance genres still have traditions that need\nadhering to, to a certain extent, for a certain genre to be identifiable. Adshead\n(1988, p. 78) notes:<\/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\">Genres and styles place constraints upon, and in some cases actually specify, the nature and range of the material of the dance and the relevant kinds of techniques for creating, performing and presenting it.<\/p>\n<cite>Adshead (1988)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Adshead (1988) adds that genres also allow considerable freedom and fluidity, letting choreographers and dancers develop individual styles, which makes dance performances unique.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This fluidity can extend to the point at which a new genre is born out of an old tradition and, Adshead (1988, p. 76) posits, \u2018the gradual formulation of new genres . . . exist as both continuations and reactions to what has gone before\u2019.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">The dialogical paradigm of heritage includes change, thus being suited for dance authenticity, as it leaves space for creativity. However, this needs to be balanced with the traditions without which genres would not exist and without which a concept of heritage would be meaningless, as there would be nothing to transmit and safeguard.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dance_as_an_Ephemeral_Activity\"><\/span>Dance as an Ephemeral Activity<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, each dance performance is unique and, because of this, scholars such as Mackrell (1997) have stated that dance is an ephemeral activity, because:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>each performance is unique<\/li>\n\n\n\n<li>different viewers interpret the same performance in different ways<\/li>\n\n\n\n<li>performances change depending on the bodies of different dancers who perform it at different times<\/li>\n\n\n\n<li>there is no common object against which to test our opinion and we do not yet have a satisfactory way of recording dance that embraces all perspectives of a given dance.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">However, Mackrell\u2019s (1997) position does not consider permanent elements, identified by Hodgens (1988) as \u2018crystallisation\u2019 (<a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\"><span style=\"text-decoration: underline;\">as mentioned in 2.4) and by Adshead (1988) as genre-specific<\/span><\/a> \u2018constraints\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Performances (not limited to dance) are at the same time permanent and ephemeral, similar and different. Just like the human condition in Heraclitus\u2019 river analogy, performances are always different:<\/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\">LI (D. 91) Plutarch: [According to Heraclitus one cannot step twice into the same river, nor can one grasp any mortal substance in a stable condition, but by the intensity and the rapidity of change it scatters and again gathers. Or rather, not again nor later but at the same time it forms and dissolves, and approaches and departs.] (Kahn, 1981, p. 168) <\/p>\n<cite>Plutarch<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Heraclitus concluded that the paradoxical truth of life was that change was the only enduring aspect of existence; this might be applied to the permanent\/ephemeral distinction.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Schechner (2013, p. 29), performances are never completely new because they are made by bits of \u2018restored behaviour\u2019, which are \u2018physical, verbal, or virtual actions that are not-for-the-first-time; that are prepared or rehearsed\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time though, performances are unique and \u2018many events and behaviours are one-time events\u2019 (ibid). So, Schechner wonders (2013, p. 30), \u2018how can both Heraclitus and the theory of restored behaviour be right?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Performances are made from bits of restored behaviour, but every performance is different from every other\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The answer, Schechner (2013) contends, is the uniqueness of each performance context, how the parts are combined and performed and the reception from the audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schechner (2013, p. 36) explains that \u2018performances can be generalized at the theoretical level of restoration of behaviour, but as embodied practices each and every performance is specific and different from every other\u2019.<\/p>\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=\"Dance_and_Restored_Behaviour\"><\/span>Dance and Restored Behaviour<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In dance, traditions constitute restored behaviour, while specific situations and the relationships between elements of the performance provide uniqueness and allow for creativity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If traditions are considered, alongside feelings and attitudes (following Hashimoto\u2019s (2003) and Daniel\u2019s (1996) insights), two types of authenticity emerge: an \u2018objective\u2019 level, which refers to traditions, and a \u2018subjective\u2019 level, connected with participants\u2019 feelings and attitudes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As mentioned earlier, I apply a dialogical paradigm to authenticity, which takes into consideration the traditions, as well as the unique circumstances under which each performance takes place.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I agree with Naguib (2008, p. 472) who posits that tradition \u2018involves imitation, repetition, and also a certain degree of innovation, which is a basic requisite to the process of transformation and helps turn stagnation into movement and change\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This section has highlighted the hybridity of dance, due to different cultures interacting, which affects the issue of authenticity. The data from the ethnochoreological research in this thesis will support the idea of dance hybridity, as it will be detailed further in <a href=\"https:\/\/worlddanceheritage.org\/research\/raqs-sharqi\/\"><span style=\"text-decoration: underline;\"><strong>Chapters 5<\/strong><\/span><\/a> and 6.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the section that follows, the topic of internationalisation and how it affects dance\/heritage will be covered in more detail.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Footnotes\"><\/span>Footnotes<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">1 &#8211; When I analyzed the dance videos for this research (4.6.1), I was mindful that they are visual artefacts, which have their own \u2018sites\u2019 and \u2018modalities\u2019 (Rose, 2012) as well as representing dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2- Drawing on Turner\u2019s (1969, p. 95) concept of liminality as being \u2018neither here nor there; \u2026 betwixt and between the positions assigned and arrayed by law, custom, convention and ceremonial\u2019.<\/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; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">Internationalization of Heritage, transculturality and hybridism<\/a><\/span>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Authenticity in Intangible Heritage. Critique, UNESCO 2005 Guidlines, Nara Document on Authenticity, Yamato Declaration and fluid authenticity.<\/p>\n","protected":false},"author":2,"featured_media":1141,"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-1133","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>Authenticity in Intangible Heritage. UNESCO, Nara Document Authenticity.<\/title>\n<meta name=\"description\" content=\"Authenticity in Intangible Heritage. 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