{"id":2591,"date":"2019-05-10T19:15:48","date_gmt":"2019-05-10T18:15:48","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2591"},"modified":"2023-08-17T18:40:04","modified_gmt":"2023-08-17T17:40:04","slug":"1980s-raqs-sharqi","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/1980s-raqs-sharqi\/","title":{"rendered":"Sociological Analysis of  Raqs Sharqi Stars in Egypt 1980s &#038; 1990s (5.6.4)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Belly dance movements analysis\" class=\"wp-image-2696 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\/belly-dance-movements.jpg\" alt=\"Belly dance movements analysis\" class=\"wp-image-2696\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-movements-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-6ab5bc348ad53\" 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-6ab5bc348ad53\" 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\/1980s-raqs-sharqi\/#Dance_Sociological_Analysis\" >Dance Sociological Analysis<\/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\/1980s-raqs-sharqi\/#Authenticity_Feelings_and_Attitudes\" >Authenticity, Feelings and Attitudes<\/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\/1980s-raqs-sharqi\/#Body_of_Heritage_and_Raqs_sharqi\" >Body of Heritage and Raqs sharqi<\/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\/1980s-raqs-sharqi\/#Raqs_Sharqi_Heritage_and_Tangible_Artefacts\" >Raqs Sharqi, Heritage, and Tangible Artefacts<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/1980s-raqs-sharqi\/#Kinaesthetics_and_Feelings\" >Kinaesthetics and Feelings<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/1980s-raqs-sharqi\/#Economic_Capital\" >Economic Capital<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/1980s-raqs-sharqi\/#Tangible_Aspects_and_Embodied_Feelings_of_Dance_Heritage\" >Tangible Aspects and Embodied Feelings of Dance Heritage<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dance_Sociological_Analysis\"><\/span>Dance Sociological Analysis<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Looking at Table 31, there do not seem to be many new movements being developed in this timeframe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are the oldest kinemes, plus the more recent ones that have, by now, become part of the movement vocabulary and various allokines.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A new kineme, which I have seen Mona el Said do during her drum solo, today is referred to a \u2018belly flutters\u2019, tiny and fast vibrations of the upper abdominals in isolation.<br><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements.jpg 587w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-206x300.jpg 206w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-551x800.jpg 551w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-367x533.jpg 367w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-275x400.jpg 275w\" decoding=\"async\" width=\"587\" height=\"853\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Table analysis of 1980s and 1990s Raqs sharqi dance movements\" class=\"wp-image-2596 lazyload\"  sizes=\"(max-width: 587px) 100vw, 587px\" \/><noscript><img decoding=\"async\" width=\"587\" height=\"853\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements.jpg\" alt=\"Table analysis of 1980s and 1990s Raqs sharqi dance movements\" class=\"wp-image-2596\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements.jpg 587w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-206x300.jpg 206w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-551x800.jpg 551w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-367x533.jpg 367w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/1980-raqs-sharqi-dance-movements-275x400.jpg 275w\" sizes=\"(max-width: 587px) 100vw, 587px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Table 31<\/strong> &#8211; 1980s and 1990s Raqs sharqi dance movements analysis.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>&gt;&gt; <\/strong><span style=\"text-decoration: underline;\"><a rel=\"noreferrer noopener\" aria-label=\"CLICK TABLE BELOW TO SEE FULL LARGE VERSION (opens in a new tab)\" href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis.jpg\" target=\"_blank\"><strong>CLICK TABLE BELOW TO SEE FULL LARGE VERSION<\/strong><\/a><\/span><strong> &lt;&lt;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-300x138.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-768x355.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-800x369.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-600x277.jpg 600w\" decoding=\"async\" width=\"990\" height=\"457\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Raqs sharqi sociology analysis\" class=\"wp-image-2599 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"457\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis.jpg\" alt=\"Raqs sharqi sociology analysis\" class=\"wp-image-2599\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-300x138.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-768x355.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-800x369.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-sociology-analysis-600x277.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 32<\/strong> &#8211; 1980s-1990s &#8211; The last big Raqs sharqi stars \u2013 Part 1 <\/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\/big-raqs-sharqi-stars.jpg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"CLICK IMAGE BELOW TO SEE LARGER VERSION (opens in a new tab)\">CLICK IMAGE BELOW TO SEE LARGER VERSION<\/a><\/strong><\/span><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-300x146.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-768x373.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-800x389.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-600x292.jpg 600w\" decoding=\"async\" width=\"990\" height=\"481\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Table 33 \u2013 1980s-1990s - The last big raqs sharqi stars \u2013 Part 2\" class=\"wp-image-2604 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"481\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars.jpg\" alt=\"Table 33 \u2013 1980s-1990s - The last big raqs sharqi stars \u2013 Part 2\" class=\"wp-image-2604\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-300x146.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-768x373.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-800x389.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/big-raqs-sharqi-stars-600x292.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Table 32 and Table 33 summarise the main themes emerging from this timeframe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the strongest themes is how powerful the influence of economics, politics, and taste can be for the survival of dance\/heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the mid-1990s, almost suddenly, Raqs sharqi shows disappear because of a lack of customers interested in going to the nightclubs where the dances were being performed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This was due to political events and changes in the taste of Egyptian audiences, as explained earlier.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A growing religious conservativism in Egypt did not help, but conservativism alone would have not been able to bring the industry down so suddenly.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Not even the social restrictions of a conservative father such as Mona al Said\u2019s, who wanted to kill her for being a dancer, stopped her from pursuing her career.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It might have been different if the economic climate had not supported a career in dance. In this situation, economic capital seemed to be much more powerful than any other form of capital to support the arts and, therefore, the survival of this heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This same financial capital aided the transcultural transmission of Raqs sharqi, as clubs with Arabic music and dance opened in London.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is significant for Raqs sharqi, a genre aimed, from its inception, at catering for a section of society with higher than average economic capital.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Authenticity_Feelings_and_Attitudes\"><\/span>Authenticity, Feelings and Attitudes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Regarding authenticity, in this timeframe, the idea of specific feelings and attitudes associated with raqs sharqi is still present in the discourse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The feelings are the same, that is:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>sense of humour<\/li>\n\n\n\n<li>joy<\/li>\n\n\n\n<li>smiling<\/li>\n\n\n\n<li>relaxation<\/li>\n\n\n\n<li>interaction with the audience<\/li>\n\n\n\n<li>minimalism and sincerity.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Additionally, the idea of charisma emerges, as Fifi Abdou is the quintessentially charismatic performer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Through her embodiment of dance traditions, she drew the audiences in, fusing (Preston-Dunlop, 2010, p. 7) \u2018all the participants in the event in a multilayered tangible process\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Music and musicality are also central. It is possible to see this visually in the videos of dance we have, whether from movies, TV shows, or live performances, as the musicians are very often present, playing a variety of instruments, accompanying the dancer, and interacting with her in a very subtle way.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The importance of music for dancers and their embodied relationship to it, is stressed by Sedlmeier, Weigelt, and Walther (2011, p. 303), who, during their research, pointed out how \u2018dancing might increase the liking for the music one is dancing to\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Body_of_Heritage_and_Raqs_sharqi\"><\/span>Body of Heritage and Raqs sharqi<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In this timeframe, the body of heritage associated with Raqs sharqi keeps consolidating.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One characteristic that seems now part of the Raqs sharqi heritage is the dialectic between afrangi and Baladi elements in the dance, with some dancers being more closely associated with one rather than the other influence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, Fifi Abdou is very Baladi, while Lucy, even though she was born in a poor part of Cairo (the dancer\u2019s own class background does not seem to determine her choice of dance style) is more classical and \u2018elegant\u2019, thus embodying the upper-class influences on this dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mona al Said seems to be somewhere in between. In terms of movement vocabulary, in addition to the traditional kinemes, we see how new kinemes and allokines created by dancers over the years, are repeated by successive generations of dancers, becoming part of a body of traditions that grow as a living form of heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, the reference to dancers of the past remains strong with, for example, <a href=\"https:\/\/worlddanceheritage.org\/lucy-classical-raqs-sharqi\/\">Lucy<\/a> comparing her arms movements to Samia Gamal\u2019s.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqs_Sharqi_Heritage_and_Tangible_Artefacts\"><\/span>Raqs Sharqi, Heritage, and Tangible Artefacts <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">It becomes clear, in this timeframe, how heritage assumes a tangible form in artifacts, such as the new video cassettes with dance shows that are sold in and out of Egypt, or embodied in people, as famous performers from this era teach internationally when they get older.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The dialectic between traditions and change is not so strong in this era, as none of the most prominent dancers seems to want to innovate anything dramatically.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Each has her own style, but there is no strong desire to innovate. A trend started by Fifi Abdou in this era is mimicking the words of the songs and using gestures to express them.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She was the only one, up until her time, to do it, but it became commonplace later on, with dancers such as Dina and Randa Kamel following this trend.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, Fifi was the first to use the shisha pipe (smoking it in the midst of performance) during her show, which was a combination of comedy, music, and dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The shisha did not become a very common prop in the Raqs sharqi repertoire. Nevertheless recently, other dancers, such as Galit Mersand in the UK (Duran, 2010), have been inspired by Fifi and used the shisha in their own performances, causing the shisha to become part of the Raqs sharqi body of heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this timeframe, there are some <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">new elements that surface in connection with the Living Heritage Framework<\/a> (3.7).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Kinaesthetics_and_Feelings\"><\/span>Kinaesthetics and Feelings<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Firstly, feelings are still important and in particular, the term \u2018charisma\u2019 emerges in <a href=\"https:\/\/worlddanceheritage.org\/fifi-abdou\/\">reference to Fifi Abdou<\/a>, whereby she manages to transmit strong emotions and create a strong kinaesthetic empathy with the audience.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Economic_Capital\"><\/span>Economic Capital<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Secondly, economic capital comes forth as the most important capital for the survival of the Egyptian Raqs sharqi tradition, which shows the influence of social fields on the fields of cultural production.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, taste is still very relevant as something that can impact on the survival of heritage or transform it radically.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is not just the case for Egyptian Raqs sharqi as, for example, Baghirova (2007) explains that Azerbaijani Mugham (a musical style) is changing from an improvisational style with meditative feeling to a style that focuses more on technical virtuosity, due to changes in the taste of its audiences.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Tangible_Aspects_and_Embodied_Feelings_of_Dance_Heritage\"><\/span>Tangible Aspects and Embodied Feelings of Dance Heritage<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Thirdly, the tangible aspects of heritage emerge strongly, such as for example the artifacts (video cassettes) in which the tradition is imprinted, or iconic dancers who start teaching and become personifications or embodiments of heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, a contrast has risen in this timeframe with regard to performers who embody feelings connected with different social classes: Fifi Abdou (Baladi) and Lucy (afrangi).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This theme had already come up in 5.3.5 with a similar contrast between <a href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/\">Tahia Carioca (baladi)<\/a> and <a href=\"https:\/\/worlddanceheritage.org\/samia-gamal\/\">Samia Gamal (afrangi<\/a>, elegant style, that Lucy admitted being inspired by).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Just as previously noticed, the dancers\u2019 individual personalities may explain their inclinations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is less clear how their socio-cultural background might influence their disposition, as Lucy came from a working-class background (although she might have wanted to show her ambitions to social mobility through her dance).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, in this timeframe, it seems more than ever that identifying oneself with one class or another is a structural resource used by dancers in their presentation of self-identity, to position themselves in the field.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The necessity to adopt a presentation of self-identity for marketing purposes seems even more relevant in this timeframe, as dancers have even more media at their disposal through which to present themselves: cinema, television, and video cassettes (all of which can be accessed internationally).<\/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\/transcultural-heritage\/\">We move on to the 2000s &#8211; The Era of Raqs Sharqi as Global Trans\/cultural Heritage<\/a>.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dance Sociological Analysis Looking at Table 31, there do not seem to be many new movements being developed in this timeframe. There are the oldest kinemes, plus the more recent ones that have, by now, become part of the movement vocabulary and various allokines. A new kineme, which I have seen Mona el Said do [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2698,"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-2591","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 Analysis of Raqs Sharqi Stars in Egypt 1980s &amp; 1990s (5.6.4)<\/title>\n<meta name=\"description\" content=\"Dance sociological analysis and authenticity. Raqs sharqi in Egypt in the 1980s and 1990s. 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