{"id":2611,"date":"2019-05-11T12:57:37","date_gmt":"2019-05-11T11:57:37","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2611"},"modified":"2023-08-07T10:39:58","modified_gmt":"2023-08-07T09:39:58","slug":"transcultural-heritage","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/","title":{"rendered":"The Era of Raqs Sharqi as Global Transcultural Heritage and the 2000s (5.7)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Raqs sharqi musicians including drummer and singer.\" class=\"wp-image-2688 lazyload\" width=\"300\" height=\"450\"  sizes=\"(max-width: 300px) 100vw, 300px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians.jpg\" alt=\"Raqs sharqi musicians including drummer and singer.\" class=\"wp-image-2688\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-musicians-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-6ab5bc3971d70\" 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-6ab5bc3971d70\" 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\/transcultural-heritage\/#Moving_from_the_1990s_to_the_2000s\" >Moving from the 1990s to the 2000s<\/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\/transcultural-heritage\/#Shaabi_%E2%80%93_A_New_Popular_Form\" >Shaabi &#8211; A New Popular Form<\/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\/transcultural-heritage\/#The_1990s_and_the_International_Impact_of_Belly_Dance\" >The 1990s and the International Impact of Belly Dance<\/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\/transcultural-heritage\/#Sources_and_Younger_Generation\" >Sources and Younger Generation<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Moving_from_the_1990s_to_the_2000s\"><\/span>Moving from the 1990s to the 2000s<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">From the early 1990s, there has been a decline in the number of big Raqs sharqi stars in Egypt and the Middle East, for a variety of reasons, as discussed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since then, Raqs sharqi has almost disappeared from Egyptian movies; many of the nightclubs where it was performed for wealthy Arabs have closed down, and there are fewer Egyptian professional dancers than there used to be (at least in the more upmarket circuit).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Raqs sharqi has not disappeared and new opportunities have emerged for its transmission.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Shaabi_%E2%80%93_A_New_Popular_Form\"><\/span>Shaabi &#8211; A New Popular Form<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Raqs sharqi is still part of Egyptian heritage, as well as its social form Baladi, which has now developed into a new popular form, called <em>shaabi<\/em>. <a aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.worldbellydance.com\/baladi-and-shaabi\/\" target=\"_blank\" rel=\"noreferrer noopener\">Shaabi, as Lo Iacono (2014)<\/a> explains, means \u201cof the people\u201d and it is a type of music emerged from the 1970s in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Its songs can be about politics, personal life or have no meaning at all. Shaabi is associated with the working classes of urban Cairo and a type of social dance has developed with the same name, based on the same traditional movement vocabulary of Baladi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are films with dance scenes that <a href=\"https:\/\/worlddanceheritage.org\/authenticity-implications-intangible-cultural-heritage-dance\/\">use Shaabi<\/a> music, in which dancers such as Dina (TheCaroVan, 2014c) and, more recently, Sahar Samar (Cairo Mirage Official, 2014) have appeared.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, Raqs sharqi has become an international form of heritage, which has spread way beyond Egypt thanks to diasporas, mass travel, mass media of communication, and the Internet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the following section, I will explore the contemporary developments of Raqs sharqi in Egypt and its international impact.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_1990s_and_the_International_Impact_of_Belly_Dance\"><\/span>The 1990s and the International Impact of Belly Dance<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In this timeframe, Raqia Hassan, Dina, Dandash (whose dance I analyzed but I did not include it in this thesis, as there are not enough videos available of her to watch and compare) and Randa are the most established artists in the Raqs sharqi scene.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As for the younger dancers, it is difficult to know who the new emerging talents in Cairo are, without spending time in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will base my analysis on those dancers whose names and videos have appeared online on English language sites.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There seem to be certain trends. Some dancers perform and teach folkloric style dance and Raqs sharqi to international audiences at festivals and workshops in Egypt and abroad.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Many of these teachers are men and they mainly perform folklore (but teach also Raqs sharqi); I will cover more about them in 5.7.8.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Others appeal to a section of mainstream Egyptian society and they appear in Shaabi music videos. A third group appeal to the Egyptian upper classes, wanting to represent a \u2018refined\u2019 version of the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to Egyptian dancers, in Cairo, there are several non-Egyptian dancers, from many different countries, who moved to Egypt to work as dancers, not out of necessity, but out of passion for this dance and the music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These are key to the spreading of Egyptian dance worldwide, as they stay in touch with people from their own countries, they write about the dance in their own languages and when they go back home, they take back with them a deep knowledge of Egyptian dance, which they then teach abroad. I will discuss more about them in 5.7.7.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Sources_and_Younger_Generation\"><\/span>Sources and Younger Generation<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">My main sources for gathering data on the youngest generations of performers and teachers in Cairo today are the websites of three big yearly oriental dance festivals in Cairo:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Ahlan Wa Sahlan<\/em> (<a rel=\"noreferrer noopener\" aria-label=\"Ahlan wa Salan Festival (opens in a new tab)\" href=\"https:\/\/www.facebook.com\/ahlanwasahlanfestival\/\" target=\"_blank\">Ahlan wa Salan Festival<\/a>, no date), run by Raqia Hassan, where one of the main teachers is Dina<\/li>\n\n\n\n<li>the <em><a rel=\"noreferrer noopener\" aria-label=\"Nile Group Festiva (opens in a new tab)\" href=\"https:\/\/nilegroup.se\/\" target=\"_blank\">Nile Group Festiva<\/a>l<\/em> (Nile Group Festival, no date), where two of the master teachers are Mahmoud Reda and Farida Fahmy<\/li>\n\n\n\n<li><em>Raqs, of Course<\/em> (<em>Raqs of Course &#8211; Egyptian Dance Festival, no date), organized<\/em> by Randa Kamel. <\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">From the teachers\u2019 lists on these sites, it emerges that there is a big variety of teachers from different countries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are folkloric dancers, as well as Raqs sharqi dancers and some are from Egypt, some are non-Egyptians working in Egypt and many are non-Egyptians who live and work outside of Egypt, but train in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The countries of origin of non-Egyptian dancers are very varied including, for example, Argentina, Australia, Brazil, China, Dominican Republic, France, Germany, Greece, Hungary, India, Italy, Japan, Korea, Mexico, Norway, Russia, Spain, Sweden, UK, Ukraine, and the USA.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Of the Egyptians, the majority are men, who, for the most part, teach folkloric dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The lists of dancers in these festivals&#8217; websites are certainly not exhaustive of all the dancers who perform in Cairo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, these are teachers who are more likely to be known on the international circuit and, therefore, more likely to influence the transmission of Egyptian dance on a global scale, both by teaching in-person and by making dance videos aimed at practitioners.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Out of the very few Egyptian women who dance and teach at these festivals, I have selected two for the analysis, based on the number of videos of their dance available online (as they are enough to allow me to gather some meaningful insights) and the fact that they can be considered primarily Raqs sharqi performers, rather than predominantly folkloric. They are Camelia and Sahar Samara.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\">Next Page &gt;&gt; <strong><span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/\">Analysis of  Raqia Hassan (1990s to 2000s Raqs sharqi stars)<\/a><\/span>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Moving from the 1990s to the 2000s From the early 1990s, there has been a decline in the number of big Raqs sharqi stars in Egypt and the Middle East, for a variety of reasons, as discussed. Since then, Raqs sharqi has almost disappeared from Egyptian movies; many of the nightclubs where it was performed [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2690,"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-2611","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>The Era of Raqs Sharqi as global transcultural heritage and Shaabi.<\/title>\n<meta name=\"description\" content=\"Raqs Sharqi and global transcultural heritage and dance. Moving from the 1990s to the 2000s, Shaabi, and international impact on belly dance.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worlddanceheritage.org\/transcultural-heritage\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Era of Raqs Sharqi as global transcultural heritage and Shaabi.\" \/>\n<meta property=\"og:description\" content=\"Raqs Sharqi and global transcultural heritage and dance. Moving from the 1990s to the 2000s, Shaabi, and international impact on belly dance.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/transcultural-heritage\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-11T11:57:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-08-07T09:39:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-musicians.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"560\" \/>\n\t<meta property=\"og:image:height\" content=\"315\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"The Era of Raqs Sharqi as Global Transcultural Heritage and the 2000s (5.7)\",\"datePublished\":\"2019-05-11T11:57:37+00:00\",\"dateModified\":\"2023-08-07T09:39:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/\"},\"wordCount\":902,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/belly-dance-musicians.jpg\",\"articleSection\":[\"Egyptian Raqs Sharqi Analysis\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/\",\"name\":\"The Era of Raqs Sharqi as global transcultural heritage and Shaabi.\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/belly-dance-musicians.jpg\",\"datePublished\":\"2019-05-11T11:57:37+00:00\",\"dateModified\":\"2023-08-07T09:39:58+00:00\",\"description\":\"Raqs Sharqi and global transcultural heritage and dance. Moving from the 1990s to the 2000s, Shaabi, and international impact on belly dance.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#primaryimage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/belly-dance-musicians.jpg\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/belly-dance-musicians.jpg\",\"width\":560,\"height\":315,\"caption\":\"Belly dance musicians\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/transcultural-heritage\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dance Research\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Egyptian Raqs Sharqi Analysis\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/raqs-sharqi\\\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"The Era of Raqs Sharqi as Global Transcultural Heritage and the 2000s (5.7)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"name\":\"World Dance Heritage Research Centre\",\"description\":\"World Dance Heritage. 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\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Era of Raqs Sharqi as global transcultural heritage and Shaabi.","description":"Raqs Sharqi and global transcultural heritage and dance. Moving from the 1990s to the 2000s, Shaabi, and international impact on belly dance.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/","og_locale":"en_GB","og_type":"article","og_title":"The Era of Raqs Sharqi as global transcultural heritage and Shaabi.","og_description":"Raqs Sharqi and global transcultural heritage and dance. Moving from the 1990s to the 2000s, Shaabi, and international impact on belly dance.","og_url":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/","og_site_name":"World Dance Heritage Research Centre","article_published_time":"2019-05-11T11:57:37+00:00","article_modified_time":"2023-08-07T09:39:58+00:00","og_image":[{"width":560,"height":315,"url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-musicians.jpg","type":"image\/jpeg"}],"author":"Valeria","twitter_card":"summary_large_image","twitter_creator":"@danceperception","twitter_site":"@danceperception","twitter_misc":{"Written by":"Valeria","Estimated reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#article","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/"},"author":{"name":"Valeria","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42"},"headline":"The Era of Raqs Sharqi as Global Transcultural Heritage and the 2000s (5.7)","datePublished":"2019-05-11T11:57:37+00:00","dateModified":"2023-08-07T09:39:58+00:00","mainEntityOfPage":{"@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/"},"wordCount":902,"publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"image":{"@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-musicians.jpg","articleSection":["Egyptian Raqs Sharqi Analysis"],"inLanguage":"en-GB"},{"@type":"WebPage","@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/","url":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/","name":"The Era of Raqs Sharqi as global transcultural heritage and Shaabi.","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#primaryimage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-musicians.jpg","datePublished":"2019-05-11T11:57:37+00:00","dateModified":"2023-08-07T09:39:58+00:00","description":"Raqs Sharqi and global transcultural heritage and dance. Moving from the 1990s to the 2000s, Shaabi, and international impact on belly dance.","breadcrumb":{"@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worlddanceheritage.org\/transcultural-heritage\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#primaryimage","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-musicians.jpg","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/belly-dance-musicians.jpg","width":560,"height":315,"caption":"Belly dance musicians"},{"@type":"BreadcrumbList","@id":"https:\/\/worlddanceheritage.org\/transcultural-heritage\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worlddanceheritage.org\/"},{"@type":"ListItem","position":2,"name":"Dance Research","item":"https:\/\/worlddanceheritage.org\/research\/"},{"@type":"ListItem","position":3,"name":"Egyptian Raqs Sharqi Analysis","item":"https:\/\/worlddanceheritage.org\/research\/raqs-sharqi\/"},{"@type":"ListItem","position":4,"name":"The Era of Raqs Sharqi as Global Transcultural Heritage and the 2000s (5.7)"}]},{"@type":"WebSite","@id":"https:\/\/worlddanceheritage.org\/#website","url":"https:\/\/worlddanceheritage.org\/","name":"World Dance Heritage Research Centre","description":"World Dance Heritage. 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\/2611","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=2611"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/2611\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/2690"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=2611"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=2611"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=2611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}