{"id":1274,"date":"2019-05-02T16:00:13","date_gmt":"2019-05-02T15:00:13","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1274"},"modified":"2023-08-13T13:28:49","modified_gmt":"2023-08-13T12:28:49","slug":"literature-summary","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/literature-summary\/","title":{"rendered":"The Need for a Fluid and Holistic Model of Dance\/Heritage Emerges"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-large is-style-rounded\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-literature.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-literature.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-literature-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance literature conclusion\" class=\"wp-image-1283 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-literature.jpg\" alt=\"Dance literature conclusion\" class=\"wp-image-1283\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-literature.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-literature-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/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-6ab5be4802014\" 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-6ab5be4802014\" 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\/literature-summary\/#The_Missing_DanceHeritage_Model\" >The Missing Dance\/Heritage Model<\/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\/literature-summary\/#Applying_a_Dialogical_Paradigm_to_DanceHeritage\" >Applying a Dialogical Paradigm to Dance\/Heritage<\/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\/literature-summary\/#Timespace_transmission_DanceHeritage\" >Time\/space transmission &amp; Dance\/Heritage<\/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\/literature-summary\/#Emerging_Questions\" >Emerging Questions<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Missing_DanceHeritage_Model\"><\/span>The Missing Dance\/Heritage Model<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The picture delineated by this literature review on dance\/heritage is complex, thus the need for a fluid and holistic model of dance\/heritage emerges.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The inspiration for my research is the 2003 UNESCO Convention on ICH, so this ICH definition has been the starting point for my enquiry.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">However, that definition needs to engage with the current discourses on heritage and dance (which include issues of transmission, authenticity, internationalization, identity, and uses of heritage) and it raises more questions than it can answer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The literature has generated a series of sensitizing concepts, which will provide me with \u2018a general sense of reference and guidance\u2019 (Blumer, 1954, p. 7) with which to approach my research.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Applying_a_Dialogical_Paradigm_to_DanceHeritage\"><\/span>Applying a Dialogical Paradigm to Dance\/Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In my quest, I will apply a dialogical paradigm, to allow the emergence of a fluid model of dance\/heritage.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">This does not mean that I will not seek authenticity in heritage because, at the core of a continuously changing activity (due to transmission between different generations and cultures; change of uses and contexts and individuals\u2019 creativity), there are traditions or \u2018restored behaviors\u2019 which define a genre and distinguish it from others.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, I will acknowledge that authenticity can have different levels in dance\/heritage: the level of forms, conventions and traditions and the level of the individual feelings and intentions of the performer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My interpretation of authenticity, however, will follow Lowthorp\u2019s (2015) idea of fluid authenticity as a practice adapts to new audiences.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Timespace_transmission_DanceHeritage\"><\/span>Time\/space transmission &amp; Dance\/Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Time\/space transmission is crucial for dance\/heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will adopt a non-linear approach to time, as systems to record and notate dance (increasingly common in a globalized, technologically advanced world) allow practitioners to learn from cultural artifacts from the past, rather than just from live teachers, so heritage becomes de-temporialised.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, heritage can be de-territorialized as it is not necessarily linked to a nation-state and individuals and communities do not need to share a territory, in order to share heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I recognize that dance\/heritage is rooted in specific cultures of origin so it is not acultural.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It can though be transcultural and hybrid, as cultures cross each other and influence each other in a web, and individuals (as well as traditions) can be part of several cultures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dance\/heritage, moreover, is valued as long as societies or individuals can use it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This use is often economic and political; thus it can be dissonant and foster division rather than peaceful coexistence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, heritage can have positive emotional and sentimental values.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dance\/heritage can also provide its users with a sense of identity and ontological security, both at individuals\u2019 and at groups\u2019 level (belonging). Identity can be cohesive or divisive.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, dance\/heritage is people-centered and, as such, its curation needs to involve its practitioners as embodied individuals. Moreover, dance is a multidimensional phenomenon: embodied, emotional, discursive, cognitive, cultural, and social at the same time. For this reason, I will adopt a holistic (meaning that I will try to engage with the multiple aspects of dance) and ethnochoreological approach to dance\/heritage.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Emerging_Questions\"><\/span>Emerging Questions<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">These sensitizing concepts raise a series of questions, such as:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Are individuals\u2019 creativity\/agency, as well as changes in heritage due to various factors, and traditions compatible?<\/li>\n\n\n\n<li>Is the separation of tangible and intangible elements of dance\/heritage feasible? <\/li>\n\n\n\n<li>How would a holistic model of dance\/heritage, which includes people (with bodies, thoughts and emotions, identities and interconnections with others), artifacts, space, society and cultures work?<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"> In <a href=\"https:\/\/worlddanceheritage.org\/research\/framwork\/\"><span style=\"text-decoration: underline;\"><strong>the following chapter<\/strong><\/span><\/a>, I will try to answer these questions with the support of some sociological theories, which will underpin the resulting conceptual framework.<\/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\/framework-intro\/\">The conceptual framework introduction<\/a><\/span>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fluidity and a holistic model for researching intangible dance living heritage. The missing body and applying a dialogical paradigm.<\/p>\n","protected":false},"author":2,"featured_media":1283,"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-1274","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>A Fluid and Holistic Model of Dance Heritage Emerges<\/title>\n<meta name=\"description\" content=\"Fluidity and a holistic model for researching intangible dance living heritage. 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