{"id":1197,"date":"2019-04-30T20:14:55","date_gmt":"2019-04-30T19:14:55","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1197"},"modified":"2023-07-14T16:19:03","modified_gmt":"2023-07-14T15:19:03","slug":"identity-cultural-heritage","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/identity-cultural-heritage\/","title":{"rendered":"Identity and Cultural Heritage (2.7)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Identity and dance heritage\" class=\"wp-image-1208 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture.jpg\" alt=\"Identity and dance heritage\" class=\"wp-image-1208\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/identity-culture-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Heritage Identity and Continuity <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The theme of identity is recurrent in cultural heritage discourse. It is mentioned in the 2003 UNESCO definition, which states that ICH provides people with \u2018a sense of identity and continuity\u2019 (UNESCO, 2003, p. 2).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A sense of identity is connected with what <a href=\"https:\/\/www.britannica.com\/biography\/Anthony-Giddens\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"><strong>Giddens<\/strong> <\/a>(1984) calls \u2018ontological security\u2019, a feeling of comfort that comes from the daily repetition of familiar actions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Identity is connected with <a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">internationalization, discussed in the previous section<\/a>. A dialogical paradigm of heritage, lived within a transcultural world, leads to a fluid and dynamic concept of identity.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Liquid Modernity and Heritage<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">As Bauman (2006) argues, we live at a time of \u2018liquid modernity\u2019, where identities, as well as (2006, p. 182) \u2018reference frames, orientation points, classifications and evaluations\u2019 flow.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity.jpg 700w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity-300x166.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity-600x333.jpg 600w\" decoding=\"async\" width=\"700\" height=\"388\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-1214 lazyload\"  sizes=\"(max-width: 700px) 100vw, 700px\" \/><noscript><img decoding=\"async\" width=\"700\" height=\"388\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity.jpg\" alt=\"\" class=\"wp-image-1214\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity.jpg 700w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity-300x166.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/liquid-modernity-600x333.jpg 600w\" sizes=\"(max-width: 700px) 100vw, 700px\"><\/noscript><figcaption class=\"wp-element-caption\">Liquid modernity is useful for understanding dance and heritage.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">However, I do not share Bauman\u2019s (2006, pp. 82\u201383) feeling of despair when he argues that \u2018the search for identity is the ongoing struggle to arrest or slow down the flow\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As discussed in 2.5, the idea of fluidity and change in life is not new, as <a href=\"https:\/\/plato.stanford.edu\/entries\/heraclitus\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Heraclitus (opens in a new tab)\">Heraclitus<\/a>, in the late 6<sup>th<\/sup> century BC, was already comparing the human condition to a flowing river.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, change and flow are inevitable conditions of existence (although, admittedly, Bauman\u2019s angst was caused by the pace and depth of change that these flows bring about for individuals in liquid modernity).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Cultural Memory<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Heritage, through its combination of flow and stability (<a href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/\"><span style=\"text-decoration: underline;\"><strong>as explained in 2.5<\/strong><\/span><\/a>), can provide people with an anchor to shape their identities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Isar et al. (2011, p. 9) posit, \u2018today, having a heritage is indispensable to having an identity and cultural memory\u2019. However, heritage and identity, as <span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">explained in 2.6<\/a><\/strong><\/span>, need not be always linked to a static location, or the culture in which we were born.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Welsch (1999, p. 6), for instance, posits that \u2018work on one&#8217;s identity is becoming more and more work on the integration of components of differing cultural origin\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, as Grau argues (2007, p. 191): <\/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\">individuals can belong to a virtually unlimited number of categories, which will contribute to the make up of their identities [which] overlap, and . . . are . . . dynamic and ever-changing\u2019. <\/p>\n<cite>(Grau, 2007)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\n\nAn example of transcultural identity is the transcultural dance scene in Hawaii where, according to Van Zile (1996, p. 43):\n\n<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dance is a\npowerful visual and kinetic image that can serve as a symbol of ethnic\nidentity-but the identity might simply reflect the origin of the dance rather\nthan the ethnicity of those who do it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In a transcultural world, choice\nis important. As Hendry states (2008, p. 271):<\/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\">Ideas about oneself and one\u2019s social allegiances that usually reflect birth and upbringing, but may also include an element of choice, especially in response to the global dissemination of good and cultural ideas, and the increased movement of people within this globalized world.<\/p>\n<cite>Hendry (2008)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">As a form of cultural heritage, dance, as Wilcox (2011, p. 239) states, constitutes an \u2018embodied site of identity formation\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Furthermore, Giurchescu (2001, p. 114) comments that, \u2018dance may function as identity symbol\u2019 in a way that is \u2018polysemic\u2019 on the two levels of \u2018personal identity\u2019 and \u2018group identity\u2019, which is \u2018the way an individual identifies with others, according to a set of common traits, interests and experiences\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this research, I will attempt to discover how Raqs sharqi affects its practitioners\u2019 identities, if it does and if identity matters for them.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The section that follows will focus on uses of dance\/heritage by individuals, communities and governments.<\/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\/uses-of-dance-heritage\/\">The uses of dance heritage<\/a><\/span>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Identity and Cultural Heritage. Identity theories for heritage and dance. Cultural memory, liquid modernity and Giddens ontological security.<\/p>\n","protected":false},"author":2,"featured_media":1208,"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-1197","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>Identity and Cultural Heritage. Continuity through Cultural Heritage.<\/title>\n<meta name=\"description\" content=\"Identity and Cultural Heritage. Identity theories for heritage and dance. 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I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.","sameAs":["https:\/\/worlddanceheritage.org\/about-us\/","https:\/\/www.pinterest.co.uk\/danceheritageuk\/"]}]}},"_links":{"self":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/1197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/comments?post=1197"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/1197\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/1208"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=1197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=1197"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=1197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}