{"id":1301,"date":"2019-05-02T17:06:24","date_gmt":"2019-05-02T16:06:24","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1301"},"modified":"2023-07-14T16:27:55","modified_gmt":"2023-07-14T15:27:55","slug":"missing-body-heritage-studies","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/missing-body-heritage-studies\/","title":{"rendered":"The Missing Body and Embodiment in Heritage Studies (3.3)"},"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\/07\/missing-body-heritage-dance.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/missing-body-heritage-dance.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/missing-body-heritage-dance.jpg 608w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/missing-body-heritage-dance-480x267.jpg 480w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-15288 lazyload\" width=\"608\" height=\"338\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 608px, 100vw\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/missing-body-heritage-dance.jpg\" alt=\"\" class=\"wp-image-15288\" width=\"608\" height=\"338\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/missing-body-heritage-dance.jpg 608w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/07\/missing-body-heritage-dance-480x267.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 608px, 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-6ab5bb76c40e4\" 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-6ab5bb76c40e4\" 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\/missing-body-heritage-studies\/#Embodiment_the_Body_and_Heritage\" >Embodiment, the Body and Heritage<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/missing-body-heritage-studies\/#Safeguarding_ICH_and_Maintaining_Cultural_Diversity\" >Safeguarding ICH and Maintaining Cultural Diversity<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/missing-body-heritage-studies\/#Embracing_Cultural_Embodiment_and_Body-Mind_Unity\" >Embracing Cultural Embodiment and Body-Mind Unity<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/missing-body-heritage-studies\/#Audiences_Choreographers_and_Dance_Production\" >Audiences, Choreographers and Dance Production<\/a><\/li><\/ul><\/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\/missing-body-heritage-studies\/#Replacing_Dualism_With_Post-Dualist_Duality\" >Replacing Dualism With Post-Dualist Duality<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Embodiment_the_Body_and_Heritage\"><\/span>Embodiment, the Body and Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In the<a href=\"https:\/\/worlddanceheritage.org\/tangible-vs-intangible-critique\/\"> previous section<\/a>, Kirshenblatt-Gimblett (2004, p. 53) was quoted as suggesting that the model of ICH accords value to the carriers of oral traditions, to their \u2018<a href=\"https:\/\/worlddanceheritage.org\/terminology\/\">habitus<\/a> and habit\u2019 and that intangible heritage is alive.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is an important point, but the carriers are also individuals who have\/are bodies. Ruggles and Silverman (2009, p. 11) argue that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Place and performance are bound together through the human body . . . The dramatic shift in values implied in the Intangible Heritage Convention . . . represents a radical paradigm shift from the objective nature of material culture to the subjective experience of the human being.<\/p>\n<cite>Ruggles and Silverman (2009)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Safeguarding_ICH_and_Maintaining_Cultural_Diversity\"><\/span>Safeguarding ICH and Maintaining Cultural Diversity <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to Skounti (2008) and <a href=\"https:\/\/experts.illinois.edu\/en\/publications\/from-tangible-to-intangible-heritage\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Ruggles and Silverman (opens in a new tab)\">Ruggles and Silverman<\/a> (2009), Logan (2007, p. 33) (investigating the links between safeguarding ICH, maintaining cultural diversity and enforcing human rights) opines that intangible heritage is:<\/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\">\u2018embodied in people rather than in inanimate objects\u2019 and that \u2018managing intangible heritage . . . we are dealing with embodied and living heritage\u2019.<\/p>\n<cite>Logan (2012, p.236)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Graeff (2014, p. 12) also draws attention to the body in ICH, with regards to music, by pointing out that, \u2018even if material objects like musical instruments, scores and recordings may be essential components of musical traditions . . . learning an instrument and a musical practice always implies the use of the body\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Graeff (ibid.) posits that musical repertoires can be archived within bodies, even when there are no external records and this is particularly true for \u2018Afro-Brazilian traditions, which having been violently oppressed on the one hand, and scarcely documented on the other, did not cease to live and to be transmitted\u2019.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Embracing_Cultural_Embodiment_and_Body-Mind_Unity\"><\/span>Embracing Cultural Embodiment and Body-Mind Unity <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The field of dance, instead, embraces cultural embodiment and body-mind unity. In <a href=\"https:\/\/worlddanceheritage.org\/dance-study-approach\/\">2.3 (dance study approach)<\/a>, I mentioned Novack (1988) and her embodied approach to the study of dance in relation to culture.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since the late 1980s, the dance field has been engaging more and more with sociological theories of embodiment (Daly, 1991; Kapchan, 1994; Reed, 1998; Buckland, 2001; Giurchescu, 2001; Sklar, 2001; Thomas, 2003, 2013; David, 2012; Fensham and Kelada, 2012b; Stock, 2012).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, in dance, the body becomes a carrier of cultural heritage in a tangible way.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Buckland (2001, p. 1) argues, dance \u2018has a particular propensity to foreground cultural memory as embodied practice by virtue of its predominantly somatic modes of transmission\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Grau (2007, p. 193) posits:<\/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\">Cultures and histories are embodied in all of our activities. . . . These in-corporations of world-views are often incarnated in a more &#8220;distilled&#8221; way in the extra-ordinary activities of dancers and other movement specialists.<\/p>\n<cite>Grau (2007)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Giurchescu (2001) argues that dancers can never be separated from their socio-cultural background, which is interlocked with the individual\u2019s physical and mental features.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She observes that dance is cultural and it is alive in the body of the performer, \u2018as a psychosomatic entity, the dancer is the &#8220;soul and body&#8221; of dance\u2019 (2001, p. 109).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Audiences_Choreographers_and_Dance_Production\"><\/span>Audiences, Choreographers and Dance Production<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Audiences, choreographers, and other people involved in the production and fruition of dance also experience it in an embodied and culturally influenced way, with their senses, as argued by Reason and Reynolds (2010).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These senses include the kinaesthetic sense and the kinaesthetic empathy that an observer feels by looking at movement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, there is a scientific basis to these assertions, as the neuroscientist, Damasio posits (2012, p. 103), \u2018mirror neurons are . . . the ultimate as-if body device . . . the simulation, in the brain\u2019s body maps, of a body state that is not actually taking place in the organism\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the following sections, I will build the conceptual framework of <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">holistic dance\/heritage<\/a>, by turning to the theories of Merleau-Ponty, Bourdieu, and Giddens.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These will give me the theoretical tools to gradually integrate all the tangible and intangible elements of heritage into a fluid, comprehensive model, in which material and immaterial elements interact.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Replacing_Dualism_With_Post-Dualist_Duality\"><\/span>Replacing Dualism With Post-Dualist Duality <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The first step to achieve this is to \u2018replace the dualism (two divided and distinct entities) of tangible vs intangible with the post-dualist idea of duality (a unity of two divergent aspects of the same reality)\u2019 (Lo Iacono and Brown, 2016, p. 88).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The concept of duality is borrowed from Giddens\u2019 Structuration Theory, in which social structures and individual agency are combined to form a duality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first dualism that will need overcoming is that of mind and body, as the body is the main channel through which material and immaterial life interact.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Shilling (2005, p. 11) posits, in sociology, the body is \u2018a <em>source of<\/em>, a <em>location for<\/em> and a <em>means<\/em> by which individuals are oriented towards society\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For Shilling, drawing on his analysis of Simmel, Marx, and Durkheim, the body is a source of society because the body creates:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>social life<\/li>\n\n\n\n<li>a location because society expresses itself on people\u2019s bodies (for example, the way they move and dress)<\/li>\n\n\n\n<li>a means because the body is a medium through which individuals interact with society and position themselves within it, either in accordance with or in opposition to it. <\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Merleau-Ponty\u2019s phenomenology will be the first theoretical tool that will help me to overcome the tangible\/intangible dualism by means of a holistic view of mind and body, linked through habit.<\/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\/phenomenology\/\"><span style=\"text-decoration: underline;\"><strong>Using Merleau-Ponty and phenomenology for heritage studies<\/strong><\/span><\/a><strong>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The missing body in heritage studies. Intangible cultural heritage and unity of body and mind. Sociological theories to overcome dualisms.<\/p>\n","protected":false},"author":2,"featured_media":15288,"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":[18],"tags":[],"class_list":["post-1301","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-framwork"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Missing Body in Heritage Studies. Theories of Embodiment and ICH.<\/title>\n<meta name=\"description\" content=\"The missing body in heritage studies. Intangible cultural heritage and unity of body and mind. 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