{"id":3091,"date":"2019-05-14T11:34:06","date_gmt":"2019-05-14T10:34:06","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=3091"},"modified":"2023-08-07T10:24:16","modified_gmt":"2023-08-07T09:24:16","slug":"help-safeguard-threaten","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/help-safeguard-threaten\/","title":{"rendered":"Influences on Heritage that Can Encourage, Help Safeguard or Threaten it (6.7)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Preserving heritage\" class=\"wp-image-3101 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage.jpg\" alt=\"Preserving heritage\" class=\"wp-image-3101\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/preserving-heritage-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-6ab5bc6c09ac1\" 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-6ab5bc6c09ac1\" 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\/help-safeguard-threaten\/#Elements_that_Influence_Heritage\" >Elements that Influence Heritage<\/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\/help-safeguard-threaten\/#Habitus_and_Raqs_sharqi\" >Habitus and Raqs sharqi<\/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\/help-safeguard-threaten\/#Religious_Impact_on_Heritage\" >Religious Impact on 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\/help-safeguard-threaten\/#Morals\" >Morals<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/help-safeguard-threaten\/#Taste\" >Taste<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/help-safeguard-threaten\/#Capital_and_Impact\" >Capital and Impact<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/help-safeguard-threaten\/#Competition_and_Forces_in_the_Management_and_Control_of_Heritage\" >Competition and Forces in the Management and Control of Heritage<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/help-safeguard-threaten\/#Social_Agency_and_Shaping_Heritage\" >Social Agency and Shaping Heritage<\/a><\/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\/help-safeguard-threaten\/#Survival_of_Living_Heritage\" >Survival of Living Heritage<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Elements_that_Influence_Heritage\"><\/span>Elements that Influence Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In the dance analysis, a series of elements have emerged that can influence heritage and encourage its safeguarding, preservation or threaten it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For living heritage, these elements are socio-cultural since, as Ashworth (2011, p. 2) argues, heritage is \u2018a condition deliberately created in response to current political, social or economic needs\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, heritage can be understood through the lens of Bourdieu\u2019s theory of practice, which is summarised by Bourdieu with the equation (1984, p. 101) \u2018[(habitus)(capital)] + field = practice\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Practice, in this case, can be identified as the transmission\/safeguarding of raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The field is raqs sharqi as a field of cultural production, which is also enclosed within the bigger field of society as a whole, since the work of art is, as Bourdieu and Johnson (1993, p. 37) state, \u2018a manifestation of the field as a whole\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, the field of raqs sharqi is influenced by the bigger field of society (or transcultural societies) through its agents, practice, capital and habitus.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Habitus_and_Raqs_sharqi\"><\/span>Habitus and Raqs sharqi<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Habitus\nis produced by the structures of a particular environment and is a system of (Bourdieu, 1977, p.\n72)\n\u2018structured structures predisposed to function\nas structuring structures, that is, as principles of the generation and\nstructuring of practices\u2019. I have identified the following forms of habitus\naffecting raqs sharqi:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Religion, morals, social values;<\/li>\n\n\n\n<li>Lifestyles and taste;<\/li>\n\n\n\n<li>Transculturality.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Religious_Impact_on_Heritage\"><\/span>Religious Impact on Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Religion, for instance, is reflected in increasing conservativism in Egypt (which also threatened Ghawazee dance in Upper Egypt).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Luna (Esposito, 2012b, para. 10) reports that \u2018since the fall of Mubarak, religious forces have attacked culture in ways that Egypt has never seen before\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dina (Talaat and Guibal, 2011, p. 178) and Raqia Hassan (El Safy, 1995) both stated that it is not possible to open a raqs sharqi school in Egypt and that dancers, if they want to teach raqs sharqi in a school, have to pretend that their dance school is a health club.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, at the same time, rituals support raqs sharqi as this genre has been associated with weddings throughout its history.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Dina (Talaat and Guibal, 2011, pp. 58\u201359) comments, \u2018our dances are the echo of our civilization, where their sensuality accompanies the important moments of our lives\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Morals\"><\/span>Morals<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">More generally, morals have always influenced the attitude towards Raqs sharqi:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>from Mahmoud Reda trying to (Shay, 1999, p. 39) \u2018mask the very overt sensuality for which Egyptian dance is famous\u2019.<\/li>\n\n\n\n<li>to families trying to stop their daughters from becoming professional dancers (for example Mona el Said\u2019s father who wanted to kill her).<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Joana expressed this duplicity of Egyptian people\u2019s attitude towards Raqs sharqi by stating 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\"> &#8230;this is Egyptian language . . . instinctively they know. They don\u2019t know mentally about dance . . . It\u2019s forbidden by God it\u2019s haram . . . But instinctively . . . it\u2019s part of the way they live life\u2019.<\/p>\n<cite>Joanna (Research participant for this PhD)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">In the West, for example in the USA, there is the same ambivalence towards Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For some people, it is still controversial (or at least it was until recently). Gamal (1999, para. 12) recalls how \u2018the first time Dahlena tried to put an ad in an American newspaper for dance classes, the <em>Chicago Tribune<\/em> refused because they felt that it was indecent\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, it was in the USA that the social change brought by feminism and sexual liberation encouraged the diffusion of belly dance from the 1960s.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Taste\"><\/span>Taste<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Taste can influence the support or lack of it for a certain type of heritage, as it happened in Egypt from the mid-1990s when the taste of the Egyptians upper classes changed and they became more interested in going to restaurants or clubbing than going to watch Raqs sharqi shows.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, transculturality can also be considered a type of habitus, since, as Welsch (1999, p. 198) posits, \u2018lifestyles no longer end at the borders of national cultures, but go beyond these\u2019, thus today \u2018we are cultural hybrids\u2019 (ibid).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The transcultural habitus can have a positive influence on Raqs sharqi, as it encourages its transmission across the world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time though, there is the risk of diluting the heritage by cutting ties with its place of origin, thus losing sight of Raq&#8217;s sharqi identity and what it makes it different from other dance genres.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Capital_and_Impact\"><\/span>Capital and Impact<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">With regards to capital, the most influential form impacting on heritage has emerged as being economic, of which there are numerous examples in the dance analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, the objectification and commercialization of heritage through selling artifacts and promoting festivals and trips limits the availability of heritage only to those who have economic capital to invest.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, economic capital also helps heritage to survive as it gives artists the means to make a living, and thus dedicate themselves completely to the promotion and continuation of Raqs sharqi heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another example is the economic recession in Egypt and the lack of tourists from the Gulf in the mid-90s, which led to a decline of investments in Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Within the wider field of society, there are rules and players who can impact on the field of Raqs sharqi heritage. Politics, with its rules and players, can have a huge impact on heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, in 1952, the Egyptian Revolution led to renewed pride in Egyptian arts, including dance, which the government-supported. Society impacts on heritage through processes of structuration (based on Giddens\u2019 Structuration Theory [3.6]), which generate authoritative rules that agents tend to follow.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It seems though that, in a wealthy economic environment, there is more space for the use and development of resources and for social agents to have the opportunities to create and innovate.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A number of dancers would have drawn on experiences of dance from other traditions, cultures, and locations and\/or from the influences of affluent middle-class Cairo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These elements provide some dancers with different sets of dispositions and resources with which to innovate.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Competition_and_Forces_in_the_Management_and_Control_of_Heritage\"><\/span>Competition and Forces in the Management and Control of Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Competition is the struggle between players in the field of cultural production, in order to acquire capital.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Bourdieu (1993, p. 30) posits, \u2018the literary or artistic field is a <em>field of forces<\/em>, but it is also a <em>field of struggles<\/em> tending to transform or conserve this field of forces\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These struggles can impact on heritage. The case of the Ghawazee dancers in Upper Egypt is a clear illustration of struggles in the field, impacting on heritage, when the Ghawazee had to increasingly compete with dancers from Cairo, to perform for tourists in locations such as Luxor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This competition reduced work opportunities for the Ghawazee and it endangered the survival of their dance. Similarly, foreign dancers compete with Egyptian dancers in Cairo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This, especially at a time when there is less paid work available, can be a threat for local performers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, competition can also increase the quality of the dance, by encouraging dancers to train harder. Lorna commented, for example, that foreign dancers in Cairo:<\/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\">Have pushed the bar . . . when the foreign dancers came back [after a time when they were banned from performing in Egypt] it wasn\u2019t enough to be pretty and shapely, you had to have the steps and be prepared to sweat and work, as well . . . I think that the foreign dancers pushed that, which is good in some ways but it has changed the dance.<\/p>\n<cite>Lorna (Research participant in this PhD)<\/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=\"Social_Agency_and_Shaping_Heritage\"><\/span>Social Agency and Shaping Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, social actors\u2019 agency can shape the way in which heritage develops. Bourdieu (1993, p. 32) argued that \u2018change in the space of literary or artistic possibles is the result of change in the power relation which constitutes the space of positions\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I agree that this partly explains change, as new generations of dancers want to distinguish themselves from previous generations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, I propose that change is also driven by creativity and the will to innovate for merely aesthetic reasons, as Sheets-Johnstone suggests (2015, p. XXIX), creativity \u2018lies at the heart of dance\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This creative impulse generates what Giddens (1984) would call a \u2018duality\u2019 between the structures (made up of rules and resources, such as the dance traditions) and the agents (i.e. the artists), so that the two can never be completely separated as they are bridged by practice (i.e. the act of performing).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Survival_of_Living_Heritage\"><\/span>Survival of Living Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The survival of living heritage is also dependant on its flexibility and ability to adapt to changes in society and the environment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Giurchescu (2001, p. 112), dance has a series of semiotic levels, which include a:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>transcultural level (feelings, moods, intentions)<\/li>\n\n\n\n<li>conceptual level (acquired knowledge about dance)<\/li>\n\n\n\n<li>ritual level (with symbolic significance)<\/li>\n\n\n\n<li>social interaction level and an artistic level.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">From the example that Giurchescu (ibid) gives of c\u0103lu\u015f, an old ritual from Romania (inscribed in the Representative List of the Intangible Cultural Heritage of Humanity in 2008 (UNESCO, no date a)), it emerges that the more levels living heritage has, the more likely it is to survive.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Giurchescu (ibid) states that, in the areas in which c\u0103lu\u015f had only a ritual level, connected to its healing function, the practice disintegrated once there was no longer an interest in its ritual meaning.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, in other areas, c\u0103lu\u015f presented a more complex structure involving music and dance, thus it had an artistic level, which attracted people even after the healing ritual had become obsolete.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, Giurchescu (ibid) observes, \u2018the capacity of c\u0103lu\u015f for symbolic transformation lies in its polysemic character which ensures the c\u0103lu\u015f existence in a constantly changing society\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, the Ghawazee dance is under threat in upper Egypt as it has not adapted to changes in society whereas Raqs sharqi, as Nearing posits (2012b, para. 36), \u2018is an eclectic, ever-evolving form, and as such can absorb interruptions\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the reasons for the success of Raqs sharqi is its polysemic value, as a dance that is associated with celebrations but also pure entertainment, and which is culturally and socially hybrid.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Based on the observations made in the course of this thesis, it can be argued that Raqs sharqi includes all the semiotic levels identified by Giurchescu (2001): transcultural (feelings and emotions); conceptual; ritual; social, and artistic.<\/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><a href=\"https:\/\/worlddanceheritage.org\/tangible-intangible-framework\/\"><span style=\"text-decoration: underline;\"><strong>Holistic Tangible and Intangible Framework of Embodied Practice Summary<\/strong><\/span><\/a><strong><span style=\"text-decoration: underline;\">.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Safeguarding heritage and the threats, what can help and encourage the preservation of heritage, habitus, moral, religious, and management.<\/p>\n","protected":false},"author":2,"featured_media":3101,"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-3091","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>Influences on Heritage that can encourage, help safeguard or threaten it<\/title>\n<meta name=\"description\" content=\"Safeguarding heritage and the threats, what can help and encourage the preservation of heritage, habitus, moral, religious, and management.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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