{"id":2948,"date":"2019-05-12T18:05:57","date_gmt":"2019-05-12T17:05:57","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2948"},"modified":"2023-08-17T18:33:50","modified_gmt":"2023-08-17T17:33:50","slug":"laban-analysis-2000s","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/","title":{"rendered":"Laban Movements Analysis of Belly Dancers from the 2000s (5.7.9)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Laban research for dancing\" class=\"wp-image-3044 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing.jpg\" alt=\"Laban research for dancing\" class=\"wp-image-3044\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-research-dancing-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-6ab5bc5ba7dfe\" 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-6ab5bc5ba7dfe\" 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\/laban-analysis-2000s\/#Dance_Movements_Analysis\" >Dance Movements 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\/laban-analysis-2000s\/#Raqs_sharqi_as_a_Worldwide_Transcultural_Heritage\" >Raqs sharqi as a Worldwide Transcultural Heritage<\/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\/laban-analysis-2000s\/#Fluid_Authenticity_and_Dance_Heritage\" >Fluid Authenticity and Dance Heritage<\/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\/laban-analysis-2000s\/#Emerging_Elements_in_Raqs_sharqi_Heritage\" >Emerging Elements in Raqs sharqi Heritage<\/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\/laban-analysis-2000s\/#Class_Baladi_and_Afrangi\" >Class, Baladi and Afrangi<\/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\/laban-analysis-2000s\/#Heritage_and_the_Connection_Between_Dance_and_Music\" >Heritage and the Connection Between Dance and Music<\/a><\/li><\/ul><\/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\/laban-analysis-2000s\/#Other_Elements_Impacting_on_Heritage_Change\" >Other Elements Impacting on Heritage Change<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/#Technology_and_Ecomin_Factors_Affecting_Heritage\" >Technology and Ecomin Factors Affecting Heritage<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/#Shift_in_Social_Acceptance_of_the_Dance\" >Shift in Social Acceptance of the Dance<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/#Gender_and_Dance_Heritage\" >Gender and Dance Heritage<\/a><\/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\/laban-analysis-2000s\/#Living_Heritage_and_Dance\" >Living Heritage and Dance<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/#Quality_of_Dance_Movements_and_Heritage\" >Quality of Dance Movements and Heritage<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/#Artefacts_and_Objectified_Cultural_Capital\" >Artefacts and Objectified Cultural Capital<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/#Chapter_Summary\" >Chapter Summary<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dance_Movements_Analysis\"><\/span>Dance Movements Analysis<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Table 39 below summarizes the movements noticed in this time frame.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/laban-movements-analysis-706x1024.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/laban-movements-analysis-706x1024.jpg 706w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/laban-movements-analysis-480x696.jpg 480w\" decoding=\"async\" width=\"706\" height=\"1024\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Laban anaylsis of the belly dancers from early 2000s\" class=\"wp-image-12665 lazyload\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 706px, 100vw\" \/><noscript><img decoding=\"async\" width=\"706\" height=\"1024\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/laban-movements-analysis-706x1024.jpg\" alt=\"Laban anaylsis of the belly dancers from early 2000s\" class=\"wp-image-12665\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/laban-movements-analysis-706x1024.jpg 706w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/laban-movements-analysis-480x696.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 706px, 100vw\"><\/noscript><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The only new kineme I have noticed is the heel stomps, lifting and lowering both heels at the same time once, to stress an accent in the music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Most of the innovations instead come from a change in the quality of the movements and in the emphasis given to body parts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, Raqia Hassan focuses on the deep abdominal muscles, while Dina accentuates the contrast between contraption and release and weight shifting and introduces a wider variety of facial expressions (including sadness as well as joy).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/randa-kamel\/\">Randa Kamel<\/a> is the first one whose movements quality is for the most part sudden, direct, and with a bound flow, as opposed to all the other dancers who (each in different degrees) prefer sustained, indirect and free-flowing movements (using the opposite qualities only for specific accents).<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/camelia\/\">Camelia<\/a> also, like Randa, prefers direct and sudden movements, but for the most part, free-flowing rather than bound. Hence, these two dancers both distinguish themselves for their energetic style, but Randa is more powerful, while Camelia is softer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Table 40 and Table 41 highlight the main themes of this timeframe. The most evident characteristic from the late 90s onwards is the global diffusion of Egyptian Raqs sharqi.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqs_sharqi_as_a_Worldwide_Transcultural_Heritage\"><\/span>Raqs sharqi as a Worldwide Transcultural Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\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\/raqs-sharqi-transcultural-heritage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"CLICK ON IMAGE BELOW TO SEE LARGER VERSION (opens in a new tab)\">CLICK ON IMAGE BELOW TO SEE LARGER VERSION<\/a><\/strong><\/span><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-300x145.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-768x372.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-800x388.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-600x291.jpg 600w\" decoding=\"async\" width=\"990\" height=\"480\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Raqs sharqi transcultural heritage\" class=\"wp-image-2958 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"480\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage.jpg\" alt=\"Raqs sharqi transcultural heritage\" class=\"wp-image-2958\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-300x145.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-768x372.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-800x388.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/raqs-sharqi-transcultural-heritage-600x291.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 40<\/strong> \u2013 2000s. Raqs sharqi as a worldwide transcultural heritage \u2013 Part 1<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Back in the 1970s, Raqs sharqi (along with other belly dance genres\/styles) was imported into the USA, due to the diaspora from the Middle East and later it spread to London, through the nightclubs that catered for wealthy Arabs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Now though, thanks to mass travel, the use of DVDs, and the Internet, this genre has spread globally, to places such as North and South America, Japan, Korea, China, the whole of Europe, <span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/worlddanceheritage.org\/belly-dance-worldwide\/\">Australia<\/a><\/strong><\/span>, and New Zealand.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In particular, festivals (in which every style of belly dance is taught, including Egyptian Raqs sharqi) have become ubiquitous.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are at least four different yearly dance festivals in Egypt, which focus on Egyptian styles, and several others worldwide, attended by practitioners from many different countries who go there to learn and teach and, among these, there are Egyptian teachers who live in or outside of Egypt and travel for teaching.<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"CLICK THE IMAGE BELOW TO SEE LARGE VERSION (opens in a new tab)\">CLICK THE IMAGE BELOW TO SEE LARGE VERSION<\/a>.<\/span><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-300x153.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-768x391.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-800x407.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-600x305.jpg 600w\" decoding=\"async\" width=\"990\" height=\"504\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Part 2 of Transcultural heritage\" class=\"wp-image-2962 lazyload\"  sizes=\"(max-width: 990px) 100vw, 990px\" \/><noscript><img decoding=\"async\" width=\"990\" height=\"504\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2.jpg\" alt=\"Part 2 of Transcultural heritage\" class=\"wp-image-2962\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2.jpg 990w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-300x153.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-768x391.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-800x407.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/transcultural-heritage-2-600x305.jpg 600w\" sizes=\"(max-width: 990px) 100vw, 990px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 41<\/strong> &#8211; 2000s. Raqs sharqi as a worldwide transcultural heritage \u2013 Part 2 <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">This timeframe coincides with the emergence, of what Urry (2007, p. 5) calls a \u2018mobile world\u2019, where \u2018there are extensive and intricate connections between physical travel and modes of communication and these form new fluid sites\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These connections are created by the co-existence of forms of \u2018physical mobilities\u2019, with ever more powerful and faster \u2018virtual mobilities\u2019 thanks to the Internet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This has generated a worldwide transcultural community of Raqs sharqi enthusiasts, who connect via the Internet (using social media, emails, blogs) and sometimes meet in person at festivals or during trips, as Urry (2007, p. 164) notes, \u2018people meet up from time to time, dwelling together in a shared place\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this way, international dance communities become what Giddens (1984, p. XXVII) refers to as \u2018inter societal systems\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Practitioners become members of what Welsch (1999, p. 204) terms \u2018transcultural networks, which have some things in common while differing in others, showing overlaps and distinctions at the same time\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Following from the above considerations, Raqs sharqi heritage can now be transmitted via:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>in-person interaction, with dancers who embody the heritage by drawing from traditions<\/li>\n\n\n\n<li>or from DVDs and online videos. <strong>Subsequently, heritage transmission has become de-territorialised<\/strong>, because anyone in the world can watch and post videos, but also de-temporalized, because it is possible to watch dance from the past and learn by watching dancers who are not even alive today.<\/li>\n<\/ul>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Hence, transmission opportunities have increased but these do not follow a linear path. The use and sharing of online videos of dance is also significant, because it allows the practitioners who upload these videos to be active participants in heritage safeguarding.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Practitioners actively influence heritage by posting dance videos online because, as Pietrobruno (2014, p. 758) observes:<\/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\">Once a video is uploaded onto YouTube, a combination of cultural forms comes into play \u2013 narratives and lists \u2013 whose potential to document and shape intangible heritage is forged through human subjectivity and interpretation.<\/p>\n<cite>Pietrobruno (2014)<\/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=\"Fluid_Authenticity_and_Dance_Heritage\"><\/span>Fluid Authenticity and Dance Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In terms of fluid authenticity, the same topics emerge once again in the discourse, such as spontaneity, emotions, fun, connecting with the audience, musicality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, a new element has emerged, from the discourse of non-Egyptian dancers who go to Cairo to learn more about Raqs sharqi, that is, the feeling of the place as a sensorial experience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, the way in which Egyptians move, the sounds, sights, and smells of Cairo, which captivate its visitors.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is important for the practitioners\u2019 discourse on heritage, because, as Burkitt observes (1999, p. 2), \u2018the way in which we sense our body in the world seems to be . . . important in creating meaning\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, visitors perceive phenomenologically a sense of peace in the midst of chaos, which is reflected in the feeling of relaxation that traditional Egyptian Raqs sharqi is supposed to have, whilst also being proud and strong.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Emerging_Elements_in_Raqs_sharqi_Heritage\"><\/span>Emerging Elements in Raqs sharqi Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In the heritage discourse, an emerging element is Raqs sharqi being in danger of disappearing in Egypt with Dina, for instance, declaring to be the \u2018last guardian\u2019 of this heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This could just be a reaction against change from older generations of dancers. For example, Tahia Carioca was quoted as saying \u2018after a Nagwa Fouad show . . . that in her opinion modern dancers looked as if they were trying to pass a kidney stone\u2019 (Azzazy, 1999).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is connected with the dynamics of conflict in the field of cultural production, as mentioned in 5.5.4.<\/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=\"Class_Baladi_and_Afrangi\"><\/span>Class, Baladi and Afrangi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">However, there is also a class issue, the afrangi\/Baladi dialectic that has emerged since the birth of Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqs sharqi has shown, from the start, a certain amount of \u2018class hybridism\u2019 with elements from Baladi and afrangi classes reflected in the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In contemporary Raqs sharqi, baladi (or, more recently, shaabi) and upper-class elements still coexist. Dancers now appear in Shaabi music videos and movies and a \u2018Baladi\u2019 aesthetic has developed in dancers\u2019 looks, hair, and make-up.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, the upper classes (and dancers catering for them) feel nostalgia for the \u2018golden age\u2019 classier look. The epitome of this style is Samia Gamal who, herself, was quoted as saying that \u2018these days the dancers are vulgar.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They wear mini-skirts . . . that does not look Oriental! (Cifuentes, 1994, para. 8), and \u2018You want to know what I think about dancing these days? Farida Fahmy is the only one whose elegant dancing appeals to me\u2019 (Moawad, 1968, para. 32).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This baladi\/afrangi dichotomy also possibly reflects the distinction that Bourdieu (1984) drew between legitimate taste, associated with the dominant classes, rich in educational capital, and \u2018popular\u2019 taste, mostly associated with working classes.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Heritage_and_the_Connection_Between_Dance_and_Music\"><\/span>Heritage and the Connection Between Dance and Music<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Another element that has emerged, regarding how different elements of heritage interact, is the connection between dance and music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the <a href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/\">authenticity discourse<\/a>, it has become clear how important music is for Raqs sharqi, in particular, live music because of that element of spontaneity that is enhanced if dance and music are co-produced at the same time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, it seems that dance and music are now disconnected as the performance of the dance is taking place worldwide, but the source of the music is still in Egypt, so part of the heritage is lost when the dance is performed without live music.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Other_Elements_Impacting_on_Heritage_Change\"><\/span>Other Elements Impacting on Heritage Change<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Multiple elements have emerged, in this timeframe, that can hinder or promote heritage, or generally influence its development.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Technology_and_Ecomin_Factors_Affecting_Heritage\"><\/span>Technology and Ecomin Factors Affecting Heritage<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Firstly, technology, as mentioned previously, can facilitate the international reach and transmission of heritage.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Economic factors are also crucial, not only as dancers with high economic capital (often non-Egyptians) can invest more in the development of their art but also as businesses develop around heritage, whose interest it is to promote it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, Raqia Hassan has created a brand around Egyptian dance, organizing festivals, producing CDs and DVDs, and designing costumes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Regarding costumes, a small industry has grown in Egypt for designing and making them, catering for an international market.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is a niche market, but it is a good example of how living heritage can support a sustainable form of <a href=\"https:\/\/worlddanceheritage.org\/dance-tourism-airports\/\">tourism if the culture<\/a> is (Hendry, 2008, p. 275) \u2018shared rather than consumed<em>\u2019<\/em>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Shift_in_Social_Acceptance_of_the_Dance\"><\/span>Shift in Social Acceptance of the Dance<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Secondly, there has been a change in taste and a shift in social acceptance of the dance, which might affect the way this dance is perceived and its hopes of surviving in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Egyptian people\u2019s attitude towards raqs sharqi has always been ambivalent, but, if this is coupled with difficult economic conditions, it could indeed be a threat to the survival of this form of heritage in its country of origin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the increasing internationalization of the dance has opened up new opportunities for Raqs sharqi dancers, but it has also increased pressure from competition from foreign dancers, introducing new players in the field of cultural production.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This can be an opportunity to foster creativity and raise standards. However, it can also lead to changes in the feeling of the dance, as it loses its original soft and spontaneous feeling when dancers try hard to impress international audiences, who do not necessarily appreciate the same qualities in the dance.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Gender_and_Dance_Heritage\"><\/span>Gender and Dance Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Thirdly, gender can also influence the development of dance\/heritage. More male Egyptian dancers are involved in the transmission of this dance today.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the majority of them were trained in ballet, and in the Reda tradition, styles that were considered in Egypt better <a href=\"https:\/\/worlddanceheritage.org\/male-belly-dancers\/\">suited to men<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This influence makes their dance style quite balletic (more elevated and stiffer than traditional Raqs sharqi). As these dancers teach and perform abroad, they pass on their interpretation of Raqs sharqi.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Living_Heritage_and_Dance\"><\/span>Living Heritage and Dance<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In terms of the interaction of the tangible\/intangible elements in this timeframe, <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">the Living Heritage Framework (3.7)<\/a> can help situate the new themes that have come to light.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">First of all, the body is still a central resource for social agents to innovate on a tradition (or perpetuate it as it is).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the fact that in this timeframe innovations happen with regards to the quality of movements (in the Laban analysis sense) and highlighting different body parts, foregrounds the role of the body even more.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The feeling of being in the body (the lived experience) and kinaesthetic empathy have become expressive resources to challenge structural rules.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A dancer like Dina now distinguishes herself within the field of cultural production through the use of artifacts (costumes in particular) as well as the emotional expressivity of her body (through the quality of movements).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, the actual movement vocabulary has not changed much as she still draws inspiration from dancers of the past.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Quality_of_Dance_Movements_and_Heritage\"><\/span>Quality of Dance Movements and Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The way in which dancers draw on the quality of movements can also explain some of the contrasts in the data.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, Randa, whose movement qualities are completely opposite to those of other dancers, makes a bold statement that goes beyond simply marketing and positioning herself in the international field of Egyptian Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By comparing her dance style with some of the statements she makes in interviews, it seems that she is proposing an alternative way of being a dancer and a woman in Egyptian (and possibly world) society.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Randa seems to be showing, through the assertiveness of her movements\u2019 qualities, that dance is a hard craft that needs to be taken seriously and that a woman can be strong and assertive, rather than delaa (soft and teasing).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She looks back at and gets inspiration from dancers of the past but also breaks with tradition. Randa is using movement qualities as resources to create her own narrative and support change.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Artefacts_and_Objectified_Cultural_Capital\"><\/span>Artefacts and Objectified Cultural Capital  <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In this timeframe, artifacts are central as forms of objectified cultural capital (which can be converted into economic capital) but also as resources.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, technology facilitates the global diffusion of Egyptian Raqs sharqi, and costumes made in Egypt are sold to international customers. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This (2000s) is the last timeframe in the development of Egyptian Raqs sharqi, based on my video analysis. I will briefly summarise this chapter, before moving on to the synchronic discussion of data in Chapter 6.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Chapter_Summary\"><\/span>Chapter Summary<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The aim of this chapter was to provide a holistic view of Raqs sharqi within a Living Heritage Framework guided by a dialogical paradigm.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This point of view has informed the Raqs sharqi history outlined in this chapter, through the figures of its most influential dancers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have focused on the sensitizing concepts (used as headings for the tables I designed) that have emerged from the literature review, which has, in turn, shaped the research questions, in order to be able to then address them.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have analyzed <a href=\"https:\/\/worlddanceheritage.org\/methods-framework\/\">six timeframes<\/a> diachronically, categorizing the findings in the sensitizing concepts of:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>authenticity<\/li>\n\n\n\n<li>heritage<\/li>\n\n\n\n<li>transculturality<\/li>\n\n\n\n<li>change vs tradition and transmission.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Additionally, a new category of influences on heritage has emerged.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Within these six categories, I have inserted the tangible and intangible elements of heritage to find out how they interact.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Having analyzed the six timeframes separately, the next step will be to gather this information together and consolidate it into a synchronic analysis. This will be dealt with in the next chapter.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong><span style=\"text-decoration: underline;\">Next Page &gt;&gt; We move onto <a href=\"https:\/\/worlddanceheritage.org\/authenticity-findings\/\">Chapter 6 and the Discussion section starting with authenticity findings<\/a>.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dance Movements Analysis Table 39 below summarizes the movements noticed in this time frame. The only new kineme I have noticed is the heel stomps, lifting and lowering both heels at the same time once, to stress an accent in the music. Most of the innovations instead come from a change in the quality of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":3044,"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-2948","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>Laban Movements Analysis of belly dancers from the 2000s (5.7.9)<\/title>\n<meta name=\"description\" content=\"Laban dance movements analysis for Raqs sharqi belly dancers since 2000. 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