{"id":1449,"date":"2019-05-04T15:38:01","date_gmt":"2019-05-04T14:38:01","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1449"},"modified":"2024-05-01T19:56:27","modified_gmt":"2024-05-01T18:56:27","slug":"theory-practice","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/theory-practice\/","title":{"rendered":"Using Bourdieu&#8217;s Theory of Practice for Dance and Heritage Research (3.5)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Theoryt of practice and dance.\" class=\"wp-image-1457 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance.jpg\" alt=\"Theoryt of practice and dance.\" class=\"wp-image-1457\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/theory-practice-dance-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-6ab5bb7f06ed1\" 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-6ab5bb7f06ed1\" 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\/theory-practice\/#Connecting_Tangible_Embodied_Elements_of_Heritage_with_the_Intangibles_Culture\" >Connecting Tangible (Embodied) Elements of Heritage with the Intangibles (Culture)<\/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\/theory-practice\/#Habitus_and_Practice\" >Habitus and Practice<\/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\/theory-practice\/#Dispositions_and_Habitus\" >Dispositions and Habitus<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/theory-practice\/#History_and_Habitus\" >History and Habitus<\/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\/theory-practice\/#Habitus_History_and_Transmission\" >Habitus, History, and Transmission<\/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\/theory-practice\/#Embodied_Objectified_and_Institutionalized_Capital\" >Embodied, Objectified, and Institutionalized Capital<\/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\/theory-practice\/#Class_and_Bourdieu\" >Class and Bourdieu<\/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\/theory-practice\/#CorporealCultural_Habitus_and_Knowing\" >Corporeal\/Cultural Habitus and Knowing<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/worlddanceheritage.org\/theory-practice\/#Theory_of_Practice_and_Reflexivity\" >Theory of Practice and Reflexivity<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/theory-practice\/#Transmitting_Heritage_over_Time\" >Transmitting Heritage over Time<\/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\/theory-practice\/#Agency_and_Habitus\" >Agency and Habitus<\/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\/theory-practice\/#Conceptual_Tool_and_Determinism\" >Conceptual Tool and Determinism<\/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\/theory-practice\/#Social_Agents\" >Social Agents<\/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\/theory-practice\/#Introducing_Giddens\" >Introducing Giddens<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Connecting_Tangible_Embodied_Elements_of_Heritage_with_the_Intangibles_Culture\"><\/span>Connecting Tangible (Embodied) Elements of Heritage with the Intangibles (Culture) <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu\u2019s theory of practice is a useful conceptual tool to connect the tangible (embodied) elements of heritage with the intangibles (culture).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Csordas posits (1993, p. 137) \u2018Bourdieu&#8217;s concern with the body, worked out in the empirical domain of practice, is parallel and compatible with Merleau-Ponty&#8217;s analysis in the domain of perception\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu\u2019s interest in the body builds on Mauss\u2019 ([1934] 1992, p. 455) \u2018techniques of the body\u2019, which are \u2018the ways in which, from society to society, men [<em>sic<\/em>] know how to use their bodies\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The dualism that Bourdieu set out to overcome, with his theory of practice, is the pervasive opposition of subjectivity and objectivity in the social sciences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He commented (1990, p. 25) \u2018of all the oppositions that artificially divide social science, the most fundamental . . . is the one that is set up between subjectivism and objectivism\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To overcome such opposition, Bourdieu developed a theory of practice, based on a mutual connection of social structures and embodied human agents, through practical everyday activities (practices) and behaviors, producing habitus.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing-300x184.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing-768x471.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing-600x368.jpg 600w\" decoding=\"async\" width=\"800\" height=\"491\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dr Valeria Lo Iaconio dancing.\" class=\"wp-image-1481 lazyload\"  sizes=\"(max-width: 800px) 100vw, 800px\" \/><noscript><img decoding=\"async\" width=\"800\" height=\"491\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing.jpg\" alt=\"Dr Valeria Lo Iaconio dancing.\" class=\"wp-image-1481\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing-300x184.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing-768x471.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/valeria-dancing-600x368.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\"><\/noscript><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/worlddanceheritage.org\/about-us\/\">Dr Valeria Lo Iacono<\/a> dancing performing belly dance.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Habitus_and_Practice\"><\/span>Habitus and Practice<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Habitus is produced by sociocultural environments through practices; habitus, in turn, generates practices. Bourdieu (1977, p. 72) explains 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\">The structures constitutive of a particular type of environment (for example, the material conditions of existence characteristic of a class condition) produce habitus, systems of durable, transposable dispositions, structured structures predisposed to function as structuring structures.<\/p>\n<cite>Bourdieu  (1977)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Habitus, therefore, is a fusion of tangible\/intangible, because it is partly physical, partly perceptual and it consists of practical dispositions, which are learned by watching (perception), judging (appreciation), and doing (action):<\/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\">Produced by practice of successive generations, in conditions of existence of a determinate type, these schemes of perception, appreciation, and action, which are acquired through practice and applied in their practical state without acceding to explicit representation, function as practical operators through which the objective structures of which they are a product tend to reproduce themselves in practice. <\/p>\n<cite>(Bourdieu, 1977, p. 97) <\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dispositions_and_Habitus\"><\/span>Dispositions and Habitus<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Through practice, people produce dispositions, which are parts of habitus and orientations toward the world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu (1977, p. 15) argues that dispositions are durably \u2018embedded in the agents\u2019 very bodies in the form of mental dispositions . . . and also . . . in . . . ways of standing, sitting, looking, speaking, or walking\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, dispositions are key in understanding how practice shapes agents, because the mental dispositions, through actions, influence the body.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Ness (1992) refers to Bourdieu\u2019s concept of habitus to make sense of how the<em> sinulog <\/em>dance incorporated specific ways of moving, which were identified by Ness as distinctive ways of moving of the inhabitants of Cebu City, in the Philippines.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"History_and_Habitus\"><\/span>History and Habitus<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Another reason why Bourdieu\u2019s concept of habitus is important for <a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">the field of heritage<\/a> is the idea that habitus is rooted in history. Bourdieu (1990, p. 56) contends that habitus is \u2018embodied history, internalized as a second nature . . . the active presence of the whole past of which it is the product\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This helps explain how intangible heritage can be transmitted through the body. Moreover, as Lo Iacono and Brown (2016, p. 95) posit:<\/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\">Habitus helps to think beyond the dualism of tangible bodies vs intangible rules and traditions, as habitus is physical, but also partly intangible being the location for the expression of social structures and the legitimate, valued practices and tastes they contain.<\/p>\n<cite>Lo Iacono and Brown (2016 )<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Habitus_History_and_Transmission\"><\/span>Habitus, History, and Transmission<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The historical dimension of habitus is also important because it helps <a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">explain how dance\/heritage is transmitted <\/a>from the field to the habitus of the dancer (as well as other people involved in the field of dance, such as the audience and the choreographer), through field-specific practices.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Field and capital are two crucial elements in the theory of practice. A field is a specific area of society, with its own rules and internal relationships, and more or less autonomous from the other fields.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu (1992, p. 97) explains that \u2018the social cosmos is made up of a number of such relatively autonomous social microcosms . . . that are the site of a logic and a necessity . . . <em>specific and irreducible<\/em> to those that regulate other fields\u2019. He continues:<\/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\">At each moment, it is the state of the relations of force between players that defines the structure of the field. We can picture each player as having in front of her a pile of tokens of different colors, each color corresponding to a given species of capital she holds, so that her <em>relative force in the game<\/em>, her <em>position<\/em> in the space of play, and also her <em>strategic orientation toward the game <\/em>. . . <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">the moves that she makes . . . depend both on the total number of tokens and on the composition of the piles of tokens she retains, that is, on the volume and structure of her capital . . . players can play to increase or to conserve their capital, their number of tokens, in conformity with the tacit rules of the game . . . <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">but they can also get in it to transform, partially or completely, the immanent rules of the game.<\/p>\n<cite>Bourdieu  (1992, pg 99)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Embodied_Objectified_and_Institutionalized_Capital\"><\/span>Embodied, Objectified, and Institutionalized Capital <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">According to\nBourdieu (1992, p. 119), there are three types of capital:<\/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\">Economic capital, cultural capital and social capital . . . cultural capital . . . exists in three forms, embodied, objectified or institutionalized<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"> Social capital is the sum of the resources, actual or virtual, that accrue to an individual or a group by virtue of possessing a durable network of . . . relationships of mutual acquaintance and recognition.<\/p>\n<cite>Bourdieu (1992, pg 119)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The relationship between habitus, capital, field, and practice is summarised by Bourdieu (1984, p. 101) with the equation: \u2018[(habitus)(capital)] + field = practice\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The amount of capital that each individual possesses influences their place in society (the class they belong to). Each class, for Bourdieu (1977, p. 85), has a class habitus, dispositions common to the agents who belong to that class as \u2018social class . . . must be brought into relation . . . with the class habitus, the system of dispositions (partially) common to all products of the same structures\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Class_and_Bourdieu\"><\/span>Class and Bourdieu<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Taste, according to Bourdieu (1984, p. 147), is influenced by the class individuals belong to and is \u2018a system of classificatory schemes which may only very partially become conscious\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, Reason and Reynolds (2010, p. 55) (during their research on audience appreciation of dance performances, drawing on Pierre Bourdieu\u2019s ideas on taste, cultural capital, and habitus), found that \u2018spectators\u2019 responses were often . . . influenced by prior experience, expectations, and taste\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, a dance genre can be considered a field of cultural production (Bourdieu and Johnson, 1993) with its own rules and in which individuals (dancers, audiences, choreographers), possess:<\/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\"> Different forms of convertible capital (for example, developing and converting physical capital &#8211; as practical dance performance &#8211; into symbolic capital\/prestige, from becoming known as a great dancer and\/or into economic capital from earning money from performances).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The intangible elements (all culturally shaped) are the sets of movements and conventions of the dance, as well as the taste both of the audience and of those who create and\/or perform the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The tangible elements are the embodied individuals and the performance is the moment in which the dance is expressed. However, performance, being a form of habitus, . . . includes conscious elements (such as consciously learning and performing a piece of choreography), and also ways of moving that are culturally and socially influenced. <\/p>\n<cite>(Lo Iacono and Brown, 2016, p. 96) <\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"CorporealCultural_Habitus_and_Knowing\"><\/span>Corporeal\/Cultural Habitus and Knowing<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/islamic-culture.jpg\" decoding=\"async\" width=\"288\" height=\"250\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-1465 lazyload\"\/><noscript><img decoding=\"async\" width=\"288\" height=\"250\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/islamic-culture.jpg\" alt=\"\" class=\"wp-image-1465\"><\/noscript><figcaption class=\"wp-element-caption\">Fig 4 &#8211; Example of Islamic design from the Mausoleum of Mohammed V in Rabat, Morocco<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As Sklar (1994, p. 11) argues, \u2018movement is a corporeal way of knowing\u2019. Dance in Muslim countries (and Raqs sharqi is no exception) is a good example of corporeal\/cultural habitus and way of knowing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For Ibsen al Faruqi (1978), dance in those countries reflects the way in which other art forms are expressed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Arabic designs, for example (see Figure 4), are abstract (as Islam does not allow figurative visual representations) and characterized by intricate and minute details.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, Raqs sharqi is traditionally improvised and abstract and focuses on small movements and isolations of the torso, rather than high leaps or big limbs movements.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ibsen al Faruqi (1978, p. 10) reflects that \u2018the beautiful details of an Islamic painting or building or dance remain hidden from the casual viewer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Only with that viewer&#8217;s careful investigation of the minutiae do they disclose their treasure\u2019.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Theory_of_Practice_and_Reflexivity\"><\/span>Theory of Practice and Reflexivity <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu\u2019s theory of practice and use of reflexivity also helps to start understanding the issue of change in intangible dance\/heritage, because habitus is rooted in history and individuals can actively influence the field through their habitus.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They can influence the field and the rules of the game through practice. According to Bourdieu (1992, p. 136):<\/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\">Social agents are the product . . . of the history of the whole social field and of the accumulated experience of a path within the specific subfield . . . <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">social agents will actively determine, on the basis of these socially and historically constituted categories of perception and appreciation, the situation that determines them.<\/p>\n<cite>Bourdieu (1992)<\/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=\"Transmitting_Heritage_over_Time\"><\/span>Transmitting Heritage over Time<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">This helps to explain how dance\/heritage is not only transmitted over time, but also how it changes according to cultural contexts and practices and individuals\u2019 relationship to them.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu also attributes change to power struggles within a field. For example, in cultural fields:<\/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\">Change . . . is the result of change in the power relation . . . When a new literary or artistic group makes its presence felt . . . the previously dominant productions may . . . be pushed into the status either of outmoded or of classic works. (Bourdieu and Johnson, 1993, p. 32)<\/p>\n<cite>Bourdieu and Johnson (1993)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In spite of addressing the issue of change in terms of power struggles in the field, Bourdieu\u2019s theory has been criticized because it does not allow social actors enough agency.<\/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=\"Agency_and_Habitus\"><\/span>Agency and Habitus<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Jackson (1996) criticizes Bourdieu for placing habitus outside of the influences of the individual, who, therefore, has no agency to make a decision.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Jackson (1966), habitus has become a dogma, an abstract entity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, Bourdieu\u2019s theory does not account for \u2018those moments in social life when the customary, given, habitual, and normal is disrupted, flouted, suspended, and negated\u2019 (Jackson, 1996, p. 22).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, Farnell (2000) posits that Bourdieu perpetuates a body-mind dichotomy because habitus is acted by the body without any conscious input from the mind (as habitus is so ingrained in social actors, that it does not require any conscious or discursive process to be carried out).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, Farnell (2000, p. 409) argues that \u2018the conception of habitus denies the possibility of thoughtful action because it limits the body to its Cartesian status, a mindless, unconscious repository and mechanistic operator of practical techniques\u2019.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Conceptual_Tool_and_Determinism\"><\/span>Conceptual Tool and Determinism<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Regardless of the above critiques, Bourdieu\u2019s theory is still worth using as it is a very valuable conceptual tool to understand society and its power struggles in their totality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bourdieu\u2019s theory is particularly comprehensive because of the way it connects different forms of capital, embodied practice (habitus), and social agents who interact in social fields. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, Bourdieu\u2019s determinism is arguable as Bourdieu (2005, p. 47) himself acknowledged the changing nature of habitus as he stated that \u2018in rapidly changing societies, habitus changes constantly, continuously, but within the limits inherent in its original structure\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Other sociologists who engage with Bourdieu\u2019s theory recognize the changing nature of habitus.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Hilgers (2009) acknowledges that habitus is in perpetual mutation, and Wacquant (2007, p. 268) posits that habitus \u2018can be modified through the acquisition of new dispositions and . . . can trigger innovation whenever it encounters a social setting discrepant with the setting from which it issues\u2019.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><a href=\"https:\/\/bit.ly\/31eCTrO\" target=\"_blank\" rel=\"NoFollow noopener noreferrer\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper-480x270.jpg 480w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-13011 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\/2020\/10\/dance-research-paper.jpg\" alt=\"\" class=\"wp-image-13011\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper-480x270.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\"><\/noscript><\/a><\/figure><\/div>\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=\"Social_Agents\"><\/span>Social Agents<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, Bourdieu\u2019s social agents still think and act, but they do so whilst being shaped and informed by the structural knowledge they have incorporated.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In order to overcome any dichotomies further, in the conceptual framework for this thesis, Merleau-Ponty\u2019s and Bourdieu\u2019s theories are used to complement each other, <a href=\"https:\/\/symondsresearch.com\/stress-management\/\"><span style=\"text-decoration: underline;\">stressing<\/span><\/a> the importance of both a subjective (phenomenological) approach to dance\/heritage, as well as the objective influence of society and its power struggles.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introducing_Giddens\"><\/span>Introducing Giddens<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In addition, Giddens Structuration Theory is another complementary theory included in this framework, as it allows individuals an additional level of agency.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, for further insights into how individuals and their creativity can change heritage, the next step will be to refer to Giddens\u2019 Structuration Theory and the agency\/structure duality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the following section, cultural artefacts, which are also forms of objective capital, according to Bourdieu (1992, p. 119), will be integrated into the <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">model of living heritage<\/a> through Giddens\u2019 concept of resources, thus helping to bridge further the tangible\/intangible divide.<\/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\/structuration\/\"><span style=\"text-decoration: underline;\"><strong>Giddens: Structuration Theory<\/strong><\/span><\/a><strong>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Theory of Practice for Dance. Using Bourdieu&#8217;s ideas of habitus, capital and practice to explain transmission and change in dance as a form of embodied ICH.<\/p>\n","protected":false},"author":2,"featured_media":1457,"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-1449","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>Bourdieu\u2019s Theory of Practice for Dance &amp; Heritage Research (3.5)<\/title>\n<meta name=\"description\" content=\"Theory of Practice for heritage and dance research. 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Traditional dance, tourism and preservation.","publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worlddanceheritage.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/worlddanceheritage.org\/#organization","name":"World Dance Heritage","url":"https:\/\/worlddanceheritage.org\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","width":1276,"height":294,"caption":"World Dance Heritage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/danceperception"]},{"@type":"Person","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42","name":"Valeria","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","caption":"Valeria"},"description":"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. 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\/1449","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=1449"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/1449\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/1457"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=1449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=1449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=1449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}