{"id":2977,"date":"2019-05-12T18:50:57","date_gmt":"2019-05-12T17:50:57","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2977"},"modified":"2023-08-16T11:47:17","modified_gmt":"2023-08-16T10:47:17","slug":"authenticity-findings","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/authenticity-findings\/","title":{"rendered":"Authenticity and Dance Heritage Findings &#038; Discussion (6.1 and 6.2)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance authenticity\" class=\"wp-image-2987 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity.jpg\" alt=\"Dance authenticity\" class=\"wp-image-2987\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-authenticity-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-6ab5ba5f4a563\" 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-6ab5ba5f4a563\" 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\/authenticity-findings\/#Introduction\" >Introduction<\/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\/authenticity-findings\/#Authenticity_UNESCO_and_the_Nara_Document\" >Authenticity, UNESCO and the Nara Document<\/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\/authenticity-findings\/#Specific_Values_for_Authenticity\" >Specific Values for Authenticity<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/authenticity-findings\/#Restored_Behaviour_and_Heritage\" >Restored Behaviour  and Heritage<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/authenticity-findings\/#Movement_Vocabulary\" >Movement Vocabulary<\/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\/authenticity-findings\/#Heritage_Kinemes_and_Allokines\" >Heritage, Kinemes and Allokines<\/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\/authenticity-findings\/#Tarab_Feeling_and_Expression\" >Tarab, Feeling and Expression<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/authenticity-findings\/#The_Audience_and_Authentic_Raqs_sharqi\" >The Audience and Authentic 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-9\" href=\"https:\/\/worlddanceheritage.org\/authenticity-findings\/#Observations_by_Practitioners\" >Observations by Practitioners<\/a><\/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\/authenticity-findings\/#Live_Music_Influence\" >Live Music Influence<\/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\/authenticity-findings\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introduction\"><\/span>Introduction<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In the previous chapter, I focused on the history of Raqs sharqi and analyzed six timeframes separately.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this chapter, I will bring these timeframes together focusing instead on the six analytical areas 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\/traditions<\/li>\n\n\n\n<li>transmission and influences on heritage<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">While the dance analysis was diachronic, in the sense that it built a story through time, this chapter is synchronic, as it draws from ideas spanning across different timeframes (albeit based on the historical insights provided by the dance analysis).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The six themes in this chapter reflect more closely the literature review and the conceptual framework.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The aim, for this chapter, is to delve deeper into these six areas and connect my findings more tightly with the sociological analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, I have used more data from the interviews than I did in the dance analysis, as I wanted to provide further insight into practitioners\u2019 individual experiences of their raqs sharqi practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I found that a synchronic and social analysis was better suited for this purpose.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Authenticity_UNESCO_and_the_Nara_Document\"><\/span>Authenticity, UNESCO and the Nara Document<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Article 13 of the UNESCO\u2019s Nara Document on Authenticity (UNESCO, 1994) states that criteria for the judgment on 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\">&#8230;may include form and design, materials and substance, use and function, traditions and techniques, location and setting, and spirit and feeling, and other internal and external factors.<\/p>\n<cite>UNESCO (1994)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Even though the Nara Document pre-dates the 2003 Convention on Intangible Heritage, it paves the way for it, by recognizing that authenticity, even for monumental heritage, goes beyond its material aspects.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The 2005 UNESCO Operational Guidelines, include the same elements in their list of attributes that express authenticity, adding only two elements: \u2018management systems\u2019 (as part of traditions and techniques) and \u2018language, and other forms of intangible heritage\u2019 (UNESCO, 2005, p. 21).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Specific_Values_for_Authenticity\"><\/span> Specific Values for Authenticity <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">One of my research aims was to assess the specific values for authenticity according to practitioners within the international Egyptian style raqs sharqi community.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My perspective was partially influenced by the elements listed in the Nara Document and, indeed, I found that some of those are more relevant to Raqs sharqi and more important for its practitioners than others.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For them, feelings, emotions, attitudes, and feeling for the music seem more important than artifacts (such as costumes and props), locations, or social occasions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These intangible elements of feeling and attitudes (which are culturally shaped) are indissolubly linked to the human body.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this respect, the \u2018lived\u2019 aspect of dance becomes prominent for the practitioners of this international community, in connection with the first circle of the <a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">model of (in\/tangible) living cultural heritage<\/a> described in 3.7 and <a href=\"https:\/\/worlddanceheritage.org\/phenomenology\/\">inspired by Merlau-Ponty\u2019s phenomenology<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, traditions such as the movement vocabulary, in the Raqs sharqi heritage discourse, are implicit in the sense that the use of some basic movements is taken for granted.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Restored_Behaviour_and_Heritage\"><\/span>Restored Behaviour  and Heritage<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In the literature review (2.5), I came to the conclusion that each performance is unique as it happens once, but also never completely new because, as Schechner (2013, p. 29) argues, performances are made by bits of \u2018restored behaviour\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I also mentioned that there are two types of authenticity: an \u2018objective\u2019 level (relating to traditions) and a \u2018subjective\u2019 level (connected with participants\u2019 feelings and attitudes, as highlighted by Daniel (1996) and Hashimoto (2003)).<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">I then stated that I would adopt a middle ground position, following a dialogical approach to heritage, which takes into consideration traditions, feelings and attitudes and the unique circumstances under which each performance takes place.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Before starting the data collection, I associated traditions with the restored behavior and feelings and attitudes with the individuality of the dancer and the uniqueness of each performance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, it has emerged that some feelings and attitudes are traditionally associated with a dance genre as a whole, and not only with individual dancers and\/or performances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Given the interpretive research paradigm I have adopted, I am not attempting to define an absolute authenticity standard for Raqs sharqi. Rather, the parameters of authenticity have emerged as part of the practitioners\u2019 discourse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">People involved in heritage are key and, as Zhu (2015, p. 596) posits, \u2018authenticity is no longer a property inherent in an object, but a projection from beliefs, context, ideology or even imagination\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the authenticity discourse can change over time and I agree with Weiss\u2019 position on authenticity in music when she states that \u2018authenticity is a relative, flexible, and malleable concept\u2019 (Weiss, 2014, p. 519). <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Movement_Vocabulary\"><\/span>Movement Vocabulary<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The first element I will unravel in this section is that of movements. As mentioned above and in 5.5.2, the adoption of a certain movement vocabulary is taken for granted, but it is possible to make variations in the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, movements can be acquired perceptually, as highlighted following Merleau-Ponty\u2019s phenomenology (3.4).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, <a href=\"https:\/\/worlddanceheritage.org\/structuration\/\">following Giddens\u2019 Structuration Theory<\/a> (3.6), they can also be employed willingly as rules to abide by and\/or as authoritative resources through which performers express agency.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Heritage_Kinemes_and_Allokines\"><\/span>Heritage, Kinemes and Allokines<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">As observed from the video analysis, there is a limited number of kinemes, which consist of hips, torso, and shoulder isolations, such as figures of eight, circles, hip drops, and shimmies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are, however, infinite numbers of allokines, given by variations in size of movements, layering, movement quality, contractions and release, direction, and many more subtle details.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ibrahim Akef, for instance, only \u2018identified \u201cshimmies\u201d, undulating movements . . . circles and \u201ceights\u201d, as well as . . . hip thrusts and drops as being the original \u201cSharqi\u201d or oriental movements\u2019 (Chamas, 2009, para. 12). Everything else, as my research participant Ann pointed out, is \u2018flourishes and embellishments\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the dance analysis, I maintained that Soheir Zaki (5.5.2), in the specialist discourse, is seen as the quintessentially authentic Raqs sharqi dancer, \u2018truly oriental\u2019. The first authenticity elements, of a phenomenological nature, can be identified in feelings and emotions. The idea that dance expresses emotions is not new, Hanna (1999), for example, already asserted this.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Raqs sharqi, however, expressing emotions is essential. For example, Randa (Dubinina, 2011) said once about Russian dancers that a lot are \u2018very good, but no feeling.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">You have to care about feeling\u2019 and Nelly Fouad, about foreign dancers in general (Evanoff, 2012, para. 13) stated: \u2018Technically fantastic . . . but they lack the feeling\u2019. My research participants also agreed that feeling is essential. Lidia, for example, said that \u2018technique is important but the emotion has to come first\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What type of feelings should a Raqs sharqi dancer project? First of all, it is about the connection with the music and expressing the music and the lyrics of the song (if there are any). Abila, in her interview, stated:<\/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\">When you see, even somebody like Randa Kamel, who dances very fast, very big, in a way that appeals to westerners and she still has a feeling for the music. If you watch somebody like Dina . . . when she\u2019s really dancing she is so <em>in<\/em> the music.<\/p>\n<cite>Abila<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Helen explained that for her authenticity is \u2018a feeling for the music and if your audience feels that you really are expressing the music through your body, if they get that connection . . . then that to me is authentic\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Francesca describes the feeling of Egyptian music and songs, by saying that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Even when it\u2019s very, very happy . . . there is always this little . . . melancholy that goes under . . . Turkish is less concentrated on feeling, not that they do not have feelings, but . . . the focus is more on the movement. In Egypt, the focus is on what the dancer has to say.<\/p>\n<cite>Francesca (Research volunteer for the PhD of Dr Valeria Lo Iacono)  <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Tarab_Feeling_and_Expression\"><\/span>Tarab, Feeling and Expression <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The idea of feeling the music and expressing it to the audience is connected to the concept of tarab, which I mentioned previously (2.3, 3.4, 5.2.2.2, 5.5.2, 5.7.2).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is a feeling of ecstasy and, for Joana Saahirah (2014), to achieve tarab \u2018you have to become the music and the music has to be a part of who you are\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tarab involves the connection with the audience and, as Bordelon commented (2013: 45), \u2018the audience members can identify with the dancer and thereby access the music in an entirely unique, physical fashion\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The embodiment with the music eliminates the distinction between the tangible realm of the body and the intangible realm of the mind.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Merleau-Ponty ([1945] 1992, p. 102) argued \u2018the union of soul and body . . . is enacted at every instant\u2019 and, as Preston-Dunlop contends (2010, p. 7), \u2018embodying a dance work fuses all the participants in the event in a multilayered tangible process\u2019.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Audience_and_Authentic_Raqs_sharqi\"><\/span>The Audience and Authentic Raqs sharqi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The ability to connect with the audience also emerges as one of the authentic characteristics of raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This idea is summarised by Raqia Hassan who stated that \u2018never should a dancer dance only for herself\u2019 (Taj, 2008, para. 23).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The connection with the audience is aimed at sharing a sense of tarab and it probably derives from the original social and celebratory function of Egyptian dances (indeed, Raqs sharqi dancers are still hired to perform at weddings).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Dina (Talaat and Guibal, 2011, p. 24) stressed, \u2018what would a wedding be without dancing, a party without its dancer?\u2019 In this respect, dance is a \u2018field-specific practice\u2019 that shapes the dancers\u2019 habitus, which is \u2018produced by practice of successive generations, in conditions of existence of a determinate type\u2019 (Bourdieu, 1977, p. 97).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because Raqs sharqi is a field-specific habitus, the type of feelings that dancers need to express are not only those that are in the music and the lyrics of the songs, but also culturally encoded body attitudes and feelings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Blacking (1983, p. 95) argued:<\/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\">dance is a social institution and no matter how individual the inner world of a dancer may be, feelings are culturally encoded as soon as they are brought into action as dance.<\/p>\n<cite>Blacking (1983)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As highlighted in 5.7.7, foreigners who go to Egypt to learn the dance, notice the way in which Egyptians move and how this is reflected in the dance, their habitus.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Observations_by_Practitioners\"><\/span>Observations by Practitioners<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">From observations expressed by practitioners and the dance videos analysis, the embodied feelings that have emerged (as core dispositions in that habitus) are:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>relaxation<\/li>\n\n\n\n<li>softness<\/li>\n\n\n\n<li>minimalism (i.e. small, internal movements, \u2018hidden from the casual viewer\u2019 (Ibsen al Faruqi, 1978, p. 10))<\/li>\n\n\n\n<li>joy<\/li>\n\n\n\n<li>playfulness<\/li>\n\n\n\n<li>flirting<\/li>\n\n\n\n<li>coyness<\/li>\n\n\n\n<li>power<\/li>\n\n\n\n<li>strength<\/li>\n\n\n\n<li>sexiness\/sensuality<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">My research participants highlighted the same feelings. Elindia, for example, explains that \u2018Turkish dance is more flamboyant.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But, an Egyptian dancer\u2019s movements, are more internalised\u2019. Helen states that \u2018Turkish to me looks a lot flashier, and a lot busier, whereas Egyptian, seems a lot calmer, even when it\u2019s lively . . . a bit more introspective\u2019.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">They also noticed the power and strength in Raqs sharqi. Lorna, talking about the essence of Egyptian raqs sharqi, explains that \u2018there is a strength, a feminine strength, a pulling back of power\u2019 and Angela states that what makes this dance Egyptian is \u2018an attitude . . . <em>really<\/em> expressive confidence. . . . almost a sassy informality\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dina (Talaat and Guibal, 2011, p. 95), as mentioned earlier (5.7.2), thinks that \u2018Oriental dance . . . embodies all the faces of a woman\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As for sexuality, as it is expressed in Raqs sharqi, she stresses that (ibid, p. 167-168) \u2018in the West, few know that Islam gives an important role to the intimate life, to conjugal relations. Sexuality is . . . an aspect of life that is treated naturally\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sexuality though is often associated with coyness, as Nimeera (no date, para. 9) said about Soheir Zaki \u2018she was known for her sweet facial expression, at times just a little saucy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mostly she used a sweet smile, coyly looking away\u2019. This attitude is explained by Adra (2005, p. 42) who states that traditional belly dancing is play, in which social restraints are allowed to be lowered, if dance is performed \u2018at home and between close friends\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The relaxation of raqs sharqi can be explained by a different perception of time that Egyptian people traditionally have. Joana explained that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">The way people live, is so much slower than the way people live in the West . . . in terms of dance, there is a tranquillity, a <em>slowness<\/em> and a kind of stillness. And time to enjoy each moment that foreign dancers don\u2019t have. They have to train themselves to do that. Because . . . we are raised to run and achieve as much as possible in the shortest possible time.<\/p>\n<cite>Joana (Research volunteer for the PhD of Dr Valeria Lo Iacono)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This relation of time with movement is a good example of phenomenological habit, in the sense that the body, as Merleau-Ponty ([1945] 1992, p. 158) would say, \u2018projects itself into a cultural world and has its habits\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, the body \u2018inhabits space\u2019 and time and \u2018actively assumes them\u2019 (ibid, p. 117). The slowness of the dance, indeed, is the languor which, Farida Fahmy (1987, p. 13) explains, \u2018is in fact, the culturally specific body language of the Egyptian people\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another culturally coded feeling in Raqs sharqi is elegance and this reflects the baladi\/afrangi dichotomy present in this dance. Ann, for example, stated that Egyptian Raqs sharqi, compared to Turkish oriental, is \u2018more elegant, more linear, more upright\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As observed during the dance analysis, the roots of Raqs sharqi are in Baladi dance, but it was performed for an afrangi audience, which was influenced by transcultural elements and which sought an \u2018elegant\u2019 uplifted feeling in the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, Raqs sharqi reflects the dispositions of two different segments of Egyptian society, \u2018embedded in the agents\u2019 very bodies in the form of mental disposition\u2019 (Bourdieu, 1977, p. 15), resulting in a \u2018class hybridism\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to these culturally encoded feelings, in the Raqs sharqi discourse, there is an appreciation for the agency of the performer, being authentic to yourself, rather than just to the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is expressed through the dancer\u2019s individualism and qualities such as: spontaneity; honesty; humour; charisma; dancing \u2018from the heart\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dancers are encouraged to develop their own style rather than blindly copying other dancers. In this respect, if dance traditions are compared to social structures, \u2018structure is not to be equated with constraint but is always both constraining and enabling\u2019 (Giddens, 1984, p. 25).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, for Raqs sharqi dancers, traditions are both constraining and enabling in the sense that Raqs sharqi traditions (movement vocabulary, music, artifacts) enable dancers to express themselves.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because of this focus on spontaneity, improvisation is preferred to choreography<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"> Choreography is used in Raqs sharqi, but improvisation is the ultimate goal. Randa Kamel, for instance, said \u2018when I am dancing I never do choreography\u2019 (Beltran, 2010).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Live_Music_Influence\"><\/span>Live Music Influence<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In connection to how being performed to live music influences the preference for improvisation over choreography, Lorna said in her interview:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I only ever improvise, I never choreograph and I think that\u2019s the case with quite a lot of Egyptian dancers as well . . . you can\u2019t really 100% choreograph everything because you are working with a live band.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, you get there and you\u2019ve choreographed something to go with the violin and the violinist is sick, so they\u2019ve sent a nay<a href=\"#_ftn1\">[1]<\/a> player instead. So, you have to adapt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the Raqs sharqi discourse, moreover, copying other dancers is discouraged; you can learn and be inspired but not copy blindly.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Francesca, for example, said that \u2018imitating is not really the best way to grow up when it comes to dancing for me what is beautiful in dance is that everyone can put inside something of themselves\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, Diana (Esposito, 2014, para. 7) states:<\/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\">Just because we dance exactly like someone we all know and love says nothing about our own abilities. If anything, it stunts our growth as artists, as we never give ourselves a chance to explore our own ways of moving.<\/p>\n<cite>Diana (Esposito, 2014)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Joana,\nalso gives a similar view as a teacher, \u2018oriental dance is about bringing up\nthe best in you. . . . It\u2019s the most beautiful thing when I see a student,\nbecoming her own person\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As being able to express the feeling of the music is central, musicality is considered essential.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the video analysis, I noticed that musicians are often present in dance scenes from the movies, with the instruments highlighted, by zooming in on them.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, musicians sometimes composed music especially for dancers (5.5.1, 5.5.2), so music and dance were and still are strictly connected. Indeed, for Helen, \u2018Arabic music and Arabic dances . . . are tied together\u2019 and Abila was drawn to Egyptian music because \u2018the music had a lot more changes and . . . it had a lot of stuff going on\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.7.7 I highlighted the importance, for foreign dancers who work in Cairo, of dancing to live music and also of dancing for Egyptian, rather than non-Egyptian, audiences, because they understand the dance much more deeply.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is because the dance and the audiences share the same social \u2018field\u2019, of which they know the rules, and possess the correct \u2018cultural capital\u2019 that allows them to understand Raqs sharqi to the full.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As previously observed (5.7.9), musicians who can play Egyptian Raqs sharqi music are rare outside of Egypt. Similarly, dancers outside of Egypt can rarely perform for Egyptian audiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This means that, although it is possible to dance as authentically as possible outside of Egypt, part of its essence is lost and cannot be reproduced, as performers have to dance to recorded music and adapt their performance to satisfy audiences that have different expectations and taste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The implications of this, are that, as living heritage becomes transcultural, inevitably it loses some of its authenticity and it risks becoming \u2018grobalized\u2019, to borrow a term from Ritzer (2008), according to whom grobalization leads to centralization in control and simplification and standardization of things.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, although Raqs sharqi is now performed worldwide, many practitioners travel to Egypt to perceive the culture of origin of this dance in its entirety, as a full sensory experience, phenomenologically. As Leena explained to me, if you travel to Egypt, you can learn better because:<\/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\">That way you can meet the people in their own environment and see how they live in their country. Listen to how they speak, taste what they eat, smell what they smell and hear what they hear.<\/p>\n<cite>Leena (Research volunteer for the PhD of Dr Valeria Lo Iacono)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Not every practitioner agrees on the importance of going to Egypt to fully understand the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For those who have never been there, it is enough to learn from Egyptians who travel abroad to teach, or from DVDs or by watching videos online.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, most practitioners agree that, if you only want to learn Raqs sharqi for fun, you do not need to go to Egypt as there are already many good teachers abroad.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, those who have been there to study, agree that you have to go if you want a deeper understanding of the dance. Ann enthusiastically makes this point by saying, \u2018it still comes back to that feeling.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Of you are there, wow! You know, I\u2019m here in Egypt, and it\u2019s kind of invading me! And it\u2019s taking me over\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Not all the elements listed here need to be present for a performance to be considered Raqs sharqi, as authenticity is a complex and multi-layered phenomenon.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, a dancer like Randa does not move softly, nor slowly or with languor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, she is considered authentic because she has a feeling for the music, is very expressive, uses Egyptian music and, being Egyptian, she has a great understanding of the lyrics of the songs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, her training is rooted in traditional Egyptian dances and she has observed and studied thoroughly Raqs sharqi dancers from the past.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Footnotes\"><\/span>Footnotes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">1 &#8211; The nay is a type of flute, used in Middle Eastern music (Farraj <em>et al.<\/em>, 2007).<\/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\/heritage-qualities\/\">In the findings section I next cover what I found regards Heritage Qualities and Value Findings<\/a>.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Introduction In the previous chapter, I focused on the history of Raqs sharqi and analyzed six timeframes separately. In this chapter, I will bring these timeframes together focusing instead on the six analytical areas of: While the dance analysis was diachronic, in the sense that it built a story through time, this chapter is synchronic, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2987,"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":[22],"tags":[],"class_list":["post-2977","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-discussion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Authenticity, dance heritage findings, UNESCO and the Nara document.<\/title>\n<meta name=\"description\" content=\"Authenticity, UNESCO and the Nara document. 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