{"id":2496,"date":"2019-05-10T14:27:34","date_gmt":"2019-05-10T13:27:34","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2496"},"modified":"2023-08-22T11:12:25","modified_gmt":"2023-08-22T10:12:25","slug":"choreological-analysis","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/choreological-analysis\/","title":{"rendered":"Sociological and Choreological Analysis of Raqs Sharqi in Egyptian Cinema and TV (the 1970s and 1980s)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Choreological Analysis\" class=\"wp-image-2515 lazyload\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\"  sizes=\"(max-width: 300px) 100vw, 300px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance.jpg\" alt=\"Choreological Analysis\" class=\"wp-image-2515\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/choreologicala-analysis-dance-267x400.jpg 267w\" sizes=\"(max-width: 300px) 100vw, 300px\"><\/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-6ab5bc1861410\" 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-6ab5bc1861410\" 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\/choreological-analysis\/#Traditional_Kinemes_and_Dance_Movements_in_the_1970s_and_1980s\" >Traditional Kinemes and Dance Movements in the 1970s and 1980s<\/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\/choreological-analysis\/#Analysis_Tables_%E2%80%93_Dance_Traditions_Authenticity_Heritage_and_Transculturality\" >Analysis Tables &#8211; Dance Traditions, Authenticity, Heritage and Transculturality<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/choreological-analysis\/#Authenticity_in_Raqs_sharqi\" >Authenticity in Raqs sharqi<\/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\/choreological-analysis\/#Ways_of_Innovating_in_Raqs_Sharqi\" >Ways of Innovating in 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-5\" href=\"https:\/\/worlddanceheritage.org\/choreological-analysis\/#Dance_and_the_Field_of_Cultural_Production\" >Dance and the Field of Cultural Production<\/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\/choreological-analysis\/#Transcultural_Elements\" >Transcultural Elements<\/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\/choreological-analysis\/#TangibleIntangible_Heritage_Framework\" >Tangible\/Intangible Heritage Framework<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Traditional_Kinemes_and_Dance_Movements_in_the_1970s_and_1980s\"><\/span>Traditional Kinemes and Dance Movements in the 1970s and 1980s <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Table 25 shows that the traditional kinemes are still performed, along with those that had been observed for the first time in the previous timeframe, such as the hip jewel.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes.jpg 587w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-205x300.jpg 205w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-548x800.jpg 548w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-365x533.jpg 365w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-274x400.jpg 274w\" decoding=\"async\" width=\"587\" height=\"857\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Traditional kinemes and dance movements in the 1970s\" class=\"wp-image-2476 lazyload\"  sizes=\"(max-width: 587px) 100vw, 587px\" \/><noscript><img decoding=\"async\" width=\"587\" height=\"857\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes.jpg\" alt=\"Traditional kinemes and dance movements in the 1970s\" class=\"wp-image-2476\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes.jpg 587w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-205x300.jpg 205w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-548x800.jpg 548w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-365x533.jpg 365w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/traditional-kinemes-274x400.jpg 274w\" sizes=\"(max-width: 587px) 100vw, 587px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Table 25<\/strong> &#8211; Traditional kinemes and dance movements in the 1970s and 1980s <br> (from the PhD of Dr Valeria Lo Iacono, 2019)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In addition, Soheir Zaki hip drops become this dancer\u2019s signature movement and new kinemes are introduced, in particular by Nelly Fouad who is the most innovative in terms of movement vocabulary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to many allokines, such as layering of movements and motifs (combinations of steps that will be imitated in the future and will become part of the common Raqs sharqi repertoire), Nelly <span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/glossary-raqs-sharqi-movements\/\">uses kinemes<\/a><\/strong><\/span> that I had not seen before.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These include:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>movements inspired by dances from the Gulf<\/li>\n\n\n\n<li>maya (reverse vertical hip figure of 8)<\/li>\n\n\n\n<li>chest lifts and drops<\/li>\n\n\n\n<li>chest circles<\/li>\n\n\n\n<li>belly pops (quick release and contraction of lower abdominals)<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">There are then two more new movements, which I observed in both Soheir Zaki\u2019s and Nelly Fouad\u2019s videos, which are:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>pelvic tilts with weight transfer between one leg positioned in front and the other leg that is slightly back<\/li>\n\n\n\n<li>Egyptian walk, or <em>hagalla<\/em>, which involves stepping down on one foot at a time, whilst lowering the corresponding hip.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Analysis_Tables_%E2%80%93_Dance_Traditions_Authenticity_Heritage_and_Transculturality\"><\/span>Analysis Tables &#8211; Dance Traditions, Authenticity, Heritage and Transculturality<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Table 26 and Table 27 highlight the themes that have emerged from this timeframe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The main theme is the dialectic between tradition and innovation and the individual agency associated with the choice to either innovate or not.<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis.jpg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"CLICK IMAGE BELOW TO SEE LARGE SIZE VERSION (opens in a new tab)\">CLICK IMAGE BELOW TO SEE LARGE SIZE VERSION<\/a><\/strong><\/span><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-300x143.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-768x365.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-800x381.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-600x285.jpg 600w\" decoding=\"async\" width=\"990\" height=\"471\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Sociological dance analysis of Raqs Sharqi\" class=\"wp-image-2480 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"471\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis.jpg\" alt=\"Sociological dance analysis of Raqs Sharqi\" class=\"wp-image-2480\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-300x143.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-768x365.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-800x381.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/sociological-dance-analysis-600x285.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 26<\/strong> &#8211; Raqs Sharqi in Egyptian Cinema and TV \u2013 1970s and Early 1980s (Part 1) &#8211; Ph.D. of Dr Valeria Lo Iacono (2019) <\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis.jpg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"CLICK IMAGE BELOW TO SEE FULL SIZE VERSION (opens in a new tab)\">CLICK IMAGE BELOW TO SEE FULL SIZE VERSION<\/a><\/strong><\/span><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-300x153.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-768x391.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-800x407.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-600x305.jpg 600w\" decoding=\"async\" width=\"990\" height=\"504\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-2483 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"504\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis.jpg\" alt=\"\" class=\"wp-image-2483\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-300x153.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-768x391.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-800x407.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Ethographic-dance-analysis-600x305.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"> <br><strong>Table 26<\/strong> &#8211; Raqs Sharqi in Egyptian Cinema and TV \u2013 1970s and Early 1980s (Part 1) &#8211; Ph.D. of Dr Valeria Lo Iacono (2019)<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Authenticity_in_Raqs_sharqi\"><\/span>Authenticity in Raqs sharqi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Soheir Zaki can be identified as the traditionalist in this timeframe and a discourse around authenticity in Raqs sharqi can be constructed starting from the figure of this dancer, who was called \u2018truly oriental\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I agree with Zhu (2015, p. 595) who, instead of seeing authenticity as an objective phenomenon, decides to \u2018approach authentication as a social process in heritage discourse\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As such, Soheir Zaki embodied all the elements on which an authenticity discourse (evinced from written sources and interviews) has been built over time by the Raqs sharqi community.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rather than being centered around movements or costumes, authenticity for Raqs sharqi is based on certain feelings and body attitudes (for instance, relaxation, playfulness), which Daniel (1996) and Hashimoto (2003) have identified as being important for authenticity in the performing arts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Burkitt (2014, p. 7) posits, \u2018feelings and emotions only arise in patterns of relationships, which include the way we look at and perceive the world, and these also result in patterns of activity that can <a href=\"https:\/\/worlddanceheritage.org\/theory-practice\/\">become dispositions<\/a>\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">point of view of living heritage<\/a> (<a href=\"https:\/\/worlddanceheritage.org\/framework-intro\/\">following the conceptual framewor<\/a>k in Chapter 3), this is connected with the idea of an emotional habitus as heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These embodied dispositions are part of what is considered by practitioners the essence of authentic Raqs sharqi. In addition, another element that has emerged in the Raqs sharqi authenticity discourse is being yourself on stage and expressing your individual feelings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is agreement over a shared movement vocabulary and certain costumes, but these are not as important. As Ann commented about authenticity:<\/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\">I think the basic thing with Egyptian is they do hip drops . . . they do shimmies and they do shoulder shimmies. And they do figures of eight . . . and I found, with the women that I\u2019ve met that, apart from them listening to the music and feeling it . . . that\u2019s the moves that they do, so I think that\u2019s the authentic Egyptian that\u2019s developed down from mother to daughter and everything else is being the flourishes and the embellishments that have gone on top and changed over the years.<\/p>\n<cite>Research volunteer (from the PhD of Dr Valeria Lo Iacono, 2019)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Joana\ncommented, regarding the different elements that contribute to authenticity:<\/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\">On a more superficial level, you know immediately if the dancer knows what she is doing. And authenticity starts there. . . . You know from the body attitude. Because there is a specific attitude for every style. Then we\u2019re talking about clothing. We\u2019re talking about props. You can tell how much she researched by details.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What she is wearing, shoes, something on her hair, makeup. Second, authenticity is connected with the understanding of the music, your inner attitude. . . . Authenticity, I think, is a combination of knowledge and personality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because, you cannot be authentic in Egyptian dance, if you just know the context and act accordingly. You have to be you. That\u2019s authenticity.<\/p>\n<cite>Research volunteer (from the PhD of Dr Valeria Lo Iacono, 2019) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Connecting authenticity to being true to oneself (\u2018you have to be you\u2019 as in the quote above), is a modern Western construct, based on an idea first promoted by Rousseau, from whom \u2018we learned that what destroys our authenticity is society\u2019 (Trilling, 1972, p. 92).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This stance was adopted also by twentieth-century philosophers, such as Heidegger, who contrasts authenticity with inauthenticity, which was caused by people being caught in an \u2018everydayness\u2019 that prevents them from truly \u2018owning\u2019 themselves (Bendix, 2009, p. 18).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As such, it is questionable whether being true to oneself would be part of an authenticity discourse for somebody who comes from a different cultural background.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Still, this element has seeped into the international Egyptian Raqs sharqi authenticity discourse. Thus, the interaction between individual agency, a sense of personal identity\/authenticity, and cultural authenticity can help explain changes in the authenticity discourse, if the concept of fluid authenticity is adopted.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The most traditionalist dancers so far, <a href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/\"><span style=\"text-decoration: underline;\"><strong>Tahia Carioca<\/strong><\/span><\/a> and <a href=\"https:\/\/worlddanceheritage.org\/soheir-zaki\/\"><span style=\"text-decoration: underline;\"><strong>Soheir Zaki<\/strong><\/span><\/a>, have been labeled \u2018bint al balad\u2019 and the feelings considered authentic in Raqs sharqi (confidence, honesty, spontaneity, grounded body feeling) are also associated with the Baladi spirit, therefore with Cairo\u2019s working classes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Raqs sharqi is also associated with the middle and upper classes, in particular in connection with the venues where it takes place as a form of presentational dance, which only people with enough financial capital can attend.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This association with upper classes translates into movements in the quality of elegance (slightly more lifted, whilst still relaxed attitude), which emerges as one of the distinctive characteristics of Raqs sharqi as opposed to social Egyptian dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This constitutes a form of appropriation of the habitus from a certain social group to another or, as Desmond (1993) would argue, a form of hybridity, as the habitus of different classes merges in a dance genre.<\/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<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Ways_of_Innovating_in_Raqs_Sharqi\"><\/span>Ways of Innovating in Raqs Sharqi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The two innovative dancers of this timeframe, Nagwa Fouad and Nelly Foaud, each innovate in different ways.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nagwa\u2019s innovations are expressed in her productions, which take Raqs sharqi closer to theatrical dance (theatrical in the sense employed by Desmond (1993) of staged and codified dance), rather than to its social origins (such as Soheir Zaki\u2019s interpretation, which relies more on simplicity and purity of form).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Nagwua Fouad seeks a connection with traditions by drawing from Egyptian folkloric dance traditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nelly Fouad innovates with movements, as she creates new allokines and motifs from the old traditional kinemes, by layering and combining movements in a variety of new ways.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, both Nelly and Nagwa are \u2018authentic\u2019 according to the Raqs sharqi authenticity discourse, as they also embody the truly oriental feelings of joy, playfulness, sensuality, musicality, emotional expressiveness, and other feelings listed in Table 26.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, even a traditional dancer such as Soheir Zaki, not only develops her own style, even within the tradition, but she also innovates albeit in more subtle ways. In particular, Soheir innovated by being the first dancer to ever perform to Umm Kahltoum\u2019s songs.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dance_and_the_Field_of_Cultural_Production\"><\/span>Dance and the Field of Cultural Production<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">It seems that each dancer creates a niche for herself, as she competes in the field of cultural production with other dancers, to improve and then maintain her position.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Based on Bourdieu\u2019s (Bourdieu and Johnson, 1993, p. 30) conception of art as a field, Raqs sharqi is \u2018a <em>field of forces<\/em>, but it is also a <em>field of struggles<\/em> tending to transform or conserve this field of forces\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">New artists in the field push for a change but older artists want to keep things unchanged (even if they innovated in their heyday) and (ibid, p. 60) \u2018the history of the field arises from the struggle between the established figures and the young challengers\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the field of Raqs sharqi, older generations of dancers rarely appreciate newer generations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Tahia Carioca and Samia Gamal were both quoted as saying that new dancers were:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>vulgar (with the exception of Soheir Zaki for Tahia) (Cifuentes, 1994)<\/li>\n\n\n\n<li>Nagwa Fouad did not like modern costumes, in particular, Dina\u2019s, and did not think much of Dina as a dancer either (Adum, 2010)<\/li>\n\n\n\n<li>Soheir Zaki was not impressed by young Egyptian dancers she saw perform in 2001 at Raqia Hassan\u2019s <em>Ahlan Wa Sahlan Oriental Dance Festival<\/em>, commenting that \u2018none of them had yet reached an advanced level in the dance\u2019 (Sullivan, 2002, para. 36).<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">In this timeframe, the heritage dimension of Raqs sharqi is growing, as dancers look back to acknowledge their heritage, which they see expressed not only in the folkloric dances of Egypt but also in the old films of the Golden Era.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Nagwa Fouad acknowledged that Golden Era movies and dancers provided inspiration for her own shows.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, innovations introduced by each generation of dancers become part of the tradition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Music is also part of the Raqs sharqi heritage, as old songs, as well as new ones (created in the 70s and 80s specifically for the most famous dancers), accompany the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These songs, both from the Golden Ages and the 1970s and 80s, are now part of the classic Raqs sharqi repertoire.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Transcultural_Elements\"><\/span>Transcultural Elements<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Most transcultural elements from this timeframe are identifiable in the dance movements: especially those performed by Nelly Fouad, which were inspired by dances of the Gulf region.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This could be due to Egyptian dancers occasionally working in other Middle Eastern countries, such as Lebanon (where Nelly Fouad first became famous) and the Gulf region, such as Soheir Zaki and Nagwa Fouad who performed in Abu Dhabi (TheCaroVan, 2015f, 2015i).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At this time, television becomes increasingly important for the recording and transmission of Raqs sharqi, and recordings from TV shows, as well as scenes from movies, contribute to the establishment of a recorded dance\/heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Technology, therefore, asserts itself even more clearly as an important factor for safeguarding heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Likewise, politics and economy are deciding factors, as in this timeframe expensive dance shows are produced for the benefit of a wealthy segment of society who appreciates watching Raqs sharqi live in exclusive venues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, the agency and choices of individual famous dancers shape the direction towards which this type of heritage evolves.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"TangibleIntangible_Heritage_Framework\"><\/span>Tangible\/Intangible Heritage Framework<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In what follows I highlight the most prominent tangible\/intangible elements from the Living Heritage Framework to be found in this timeline.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Firstly, there is the phenomenological level of the feelings that, according to the international Egyptian Raqs sharqi discourse, tend to be a sign of \u2018authenticity\u2019 (authenticity will be discussed further in 6.2) as discussed in this section.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Feelings can then become dispositions (drawing on Burkitt [2014] cited earlier in this section), and dispositions are seen by Bourdieu (1977) as components of habitus.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Secondly, Egyptian Raqs sharqi is a field of cultural production in which dancers tend to accumulate capital and create their own niche, by developing a unique style within the constrictions of the field.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, the wider social field of Egyptian society influences the way in which the heritage of Egyptian Raqs sharqi develops via politics and economics.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the tastes and dispositions of different social classes within society influence the field of cultural production of Egyptian Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thirdly, the dialectic between tradition and innovation, in this timeframe, is heavily influenced by the choices and the agency of the dancers who were analyzed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The movement vocabulary is a set of rules, which also becomes a set of resources in innovating, as is the case for Nelly Fouad.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Traditions themselves are both rules and resources, which, in Giddensian terms, are components of social structure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dancers can choose to either embrace them completely and use them to positions themselves as traditional, \u2018truly oriental\u2019 dancers (Soheir Zaki) or to show continuity with tradition while at the same time innovating (Nagwa Fouad who draws on folkloric traditions but creates entirely innovative productions).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The contrasts between the dancers in this time frame can be explained using the Living Heritage Framework.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, dancers willingly seem to position themselves in opposition to other dancers to distinguish themselves as different, by using the rules and resources at their disposal and that they are most comfortable with, in an attempt to defend their position in the field of cultural production.<\/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><span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/raqs-sharqi-1980s\/\">The Last Big Raqs Sharqi Stars in Egypt (1980s and 1990s)<\/a><\/strong>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Traditional Kinemes and Dance Movements in the 1970s and 1980s Table 25 shows that the traditional kinemes are still performed, along with those that had been observed for the first time in the previous timeframe, such as the hip jewel. In addition, Soheir Zaki hip drops become this dancer\u2019s signature movement and new kinemes are [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2517,"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":[20],"tags":[],"class_list":["post-2496","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-raqs-sharqi"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sociological &amp; choreological analysis of Raqs Sharqi in Egyptian Cinema<\/title>\n<meta name=\"description\" content=\"Raqs sharqi and belly dance sociological and choreological analysis for Egyptian Cinema and TV. 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