{"id":857,"date":"2019-04-25T13:55:54","date_gmt":"2019-04-25T12:55:54","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?page_id=857"},"modified":"2023-08-22T12:03:47","modified_gmt":"2023-08-22T11:03:47","slug":"phd-research","status":"publish","type":"page","link":"https:\/\/worlddanceheritage.org\/phd-research\/","title":{"rendered":"Dance as Living Cultural Heritage:  A Transcultural Ethnochoreological Analysis of Egyptian Raqs Sharqi"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full is-resized is-style-rounded\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg 810w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min-480x267.jpg 480w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"African drums\" class=\"wp-image-15465 lazyload\" style=\"width:650px\" width=\"650\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 810px, 100vw\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg\" alt=\"African drums\" class=\"wp-image-15465\" style=\"width:650px\" width=\"650\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg 810w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min-480x267.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 810px, 100vw\"><\/noscript><\/a><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Structure of PhD Thesis<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">This thesis on dance as a form of living cultural heritage is articulated in two main sections.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The <strong>first section<\/strong> contains the preparatory work carried out before gathering the data, which includes the:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/intro\/\">Introduction<\/a> (Chapter 1)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/literature-review\/\">Literature review<\/a> (Chapter 2)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/framwork\/\">Creation of a conceptual framework<\/a> (Chapter 3)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/methods\/\">Methodological strategy<\/a> (Chapter 4).<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The<strong> second section<\/strong> consists of the findings which include the:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/raqs-sharqi\/\">Analysis of Raqs Sharqi as living dance heritage<\/a> (Chapter 5)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/discussion\/\">Discussion of the data and conclusions<\/a> (Chapter 6 and 7)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research\/appendices\/\">Appendices<\/a> &#8211; including a glossary of Arabic terms and Raqs sharqi movements, references used in the research and concept maps.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"mce_0\">Table of Contents<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Abstract and Introduction Section<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/preserving-dance-heritage\/\">Abstract &#8211; Introduction to the PhD<\/a> &#8211; explanation of the research project.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/researching-egyptian-raqs-sharqi\/\">Belly Dance and Me<\/a> as a Researcher and Dancer &#8211; why I studied dance and transculturality.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/dance-research-framework\/\">Study framework for the dance theory and research (Section 1.1)<\/a> &#8211; an explanation of the concepts map and a look at the 1800s and 1900s and belly dance and its emergence through cinema.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/investigating-egyptian-raqs-sharqi\/\">Rationale for Investigating Egyptian Raqs Sharqi<\/a> (1.2) &#8211; including understanding the transcultural and global nature of dance.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/\">Structure and Planning<\/a> (1.3) &#8211; A look at how the various sections are structured in the body of the thesis on dance transmission and heritage.<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Chapter 2 &#8211; Literature Review of Egyptian Raqs Sharqi<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introduction and <a href=\"https:\/\/worlddanceheritage.org\/identifying-cultural-heritage-egyptian-dance\/\">identifying the cultural heritage characteristics of Egyptian Raqs Sharqi<\/a>.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">History of UNESCO Definitions on Cultural Heritage<\/a> (ICH) from 1899 to the present day (2.2).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/case-studies\/\">ICH (Intangible Cultural Heritage) Case Studies<\/a> &#8211; a look at examples from around the world that highlight issues of documenting heritage (2.2.1)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/dance-studies-research\/\">Dance studies and my research<\/a> &#8211; a look at how I start with a brief history of dance studies in relation to culture (2.3).<\/li>\n\n\n\n<li> <a href=\"https:\/\/worlddanceheritage.org\/ethnochoreology-literature\/ \">Ethnochoreology Literature<\/a> &#8211; with an analysis of the existing ethnochoreology literature and how it relates to dance heritage (2.3.1).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/wp-admin\/post.php?post=1104&amp;action=edit\">Egyptian Raqs Sharqi literature review<\/a> with a look at recent publications on this dance form (2.3.2)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">The transmission of cultural heritage<\/a> is central to this thesis research in relation to dance, thus I look at the literature on heritage transmission (2.4).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/authenticity-intangible-heritage\/\">Authenticity in Intangible Heritage<\/a> is then discussed with a look at authenticity is positioned in ICH (2.5)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">The internationalization of heritage, its transculturality and hybridism<\/a> &#8211; are discussed and the phenomenon of internationalization (2.6).<\/li>\n\n\n\n<li>Next, I discuss<a href=\"https:\/\/worlddanceheritage.org\/identity-cultural-heritage\/\"> identity and its relationship with cultural heritage<\/a>.<\/li>\n\n\n\n<li>The various <a href=\"https:\/\/worlddanceheritage.org\/uses-of-dance-heritage\/\">uses of dance heritage<\/a> are then looked at with examples from various literature.<a href=\"https:\/\/worlddanceheritage.org\/ethnochoreology-literature\/\"><\/a><\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Chapter 3 &#8211; Conceptual Framework<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/framework-intro\/\">Framework introduction<\/a> &#8211; a brief intro to what&#8217;s coming up in the following pages (3.1).<\/li>\n\n\n\n<li> Discussion on the <a href=\"https:\/\/worlddanceheritage.org\/tangible-vs-intangible-critique\/\">Tangible versus intangible divide<\/a> (3.2)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/missing-body-heritage-studies\/\">The missing body in heritage studies<\/a> and dance (3.3).<\/li>\n\n\n\n<li>Using <a href=\"https:\/\/worlddanceheritage.org\/phenomenology\/\">Merleau-Ponty and Phenomenology for dance heritage<\/a> (3.4).<\/li>\n\n\n\n<li>Bourdieu and <a href=\"https:\/\/worlddanceheritage.org\/theory-practice\/\">the benefits of using the Theory of Practice<\/a> (3.5).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/structuration\/\">Giddens Structuration theory and dance<\/a> (3.6).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">A model of living heritage<\/a> by Lo Iacono &amp; Brown (3.7).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research-questions\/\">Research questions<\/a> that emerged.<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Chapter 4 &#8211; Methodological Strategy<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li> A look at the <a href=\"https:\/\/worlddanceheritage.org\/methods-framework\/\">methodological strategy and framework used.<\/a> (4.1 and 4.2)<\/li>\n\n\n\n<li> The <a href=\"https:\/\/worlddanceheritage.org\/data-collection-summary\/\">data collection and analysis process summary<\/a> <\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/collection-methods\/\">Data collection methods used<\/a>.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/videos-research\/\">Using online dance videos for heritage research<\/a> on sites such as Vimeo and YouTube.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/documents-and-media-4-4-2\/\">Using Documents and Media for Dance Research<\/a> (4.4.2)<\/li>\n\n\n\n<li>The inclusion and <a href=\"https:\/\/worlddanceheritage.org\/semi-structured-interviews\/\">use of semi-structured interviews is explored<\/a> (4.4.3)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/ethics\/\">Research ethics outline for this dance Ph.D.<\/a> and all considerations made (4.5).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/data-analysis-dance-heritage-research\/\">Data analysis introduction<\/a> &#8211; what&#8217;s ahead in the data analysis section that follows (4.6).<\/li>\n\n\n\n<li>Next follows a detailed <a href=\"https:\/\/worlddanceheritage.org\/dance-research-analysis-4-6-1\/\">explanation of the dance analysis<\/a> methods used (4.6.1).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/texts-analysis\/\">Texts and interviews analysis<\/a> within the methodological strategy (4.6.2).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/coding\/\">How the data was themed were coded<\/a> for the research findings (4.6.3).<\/li>\n\n\n\n<li> The <a href=\"https:\/\/worlddanceheritage.org\/dance-research-data-model\/\">presentation of the dance research data<\/a> and findings (4.6.4).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research-reflexivity\/\">Dance research reflexivity<\/a> for the methodological strategy (4.7)<\/li>\n\n\n\n<li>And finally in this chapter, <a href=\"https:\/\/worlddanceheritage.org\/judgment-criteria\/\">the judgment criteria and section summary<\/a> (4.8.1).<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Chapter 5 &#8211; Analysis of Egyptian Raqs Sharqi as Living Dance\/Heritage<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/intro-raqs-sharqi\/\">Introduction to Raqs Sharqi<\/a> as living dance heritage (5.1).<\/li>\n\n\n\n<li>The <a href=\"https:\/\/worlddanceheritage.org\/birth-raqs-sharqi\/\">birth of Raqs sharqi in the late 1800s<\/a> to 1930s. (5.2)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/belly-dance-cinema\/\">Introduction to Raqs sharqi in Egyptian cinema (the 1930s to 1950s)<\/a>. (5.3)<\/li>\n\n\n\n<li>First dance profile from this period with analysis of <a href=\"https:\/\/worlddanceheritage.org\/tahia-carioca\/\">Tahia Carioca, the Traditionalist Bint al Balad<\/a> (5.3.1).<\/li>\n\n\n\n<li>The next featured <a href=\"https:\/\/worlddanceheritage.org\/samia-gamal\/\">dancer is Samia Gamal<\/a> (5.3.2).<\/li>\n\n\n\n<li>The 3rd key <a href=\"https:\/\/worlddanceheritage.org\/naima-akef\/\">Egyptian dancer from this period is Naima Akef<\/a> (5.3.3)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/reda-troupe\/\">Egyptian Folklore and the Reda Troupe<\/a> were also influential in the 1930s to 1950s. (5.3.4)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/movements-analysis\/\">Movements analysis of dancers in the 1930s to 1950s in Egypt<\/a>. (5.3.5)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/egypt-raqs-sharqi-1960s\/\">Egypt and Internationalisation of Raqs Sharqi (the 1960&#8217;s and early 1970&#8217;s)<\/a> (5.4.1)<\/li>\n\n\n\n<li>The <a href=\"https:\/\/worlddanceheritage.org\/usa-belly-dance-history\/\">USA and the History of Raqs Sharqi Belly Dance from the 1960s<\/a> as this dance form beings to go global (5.4.1 continued)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/analysis-1960s-70s\/\">Analysis and summary of Raqs sharqi and the 1930s to 1950s period<\/a>.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/\">Nagwa Fouad and Raqs Sharqi in Egyptian Cinema and TV<\/a> (the 1970s and early 1980s).<\/li>\n\n\n\n<li>Continuing this section on Raqs Sharqi in Egyptian Cinema and TV (1970s1980s) <a href=\"https:\/\/worlddanceheritage.org\/soheir-zaki\/\">we look at Soheir Zaki \u2013 The \u2018Truly Oriental\u2019 Performer<\/a> (5.5.2).<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/nelly-fouad\/\">Nelly Fouad who provided innovation in movements<\/a>, continuing the section on Egyptian Cinema and TV (the 1970s and 1980s). <\/li>\n\n\n\n<li>And finally in this section, the <a href=\"https:\/\/worlddanceheritage.org\/choreological-analysis\/\">Sociological and Choreological Analysis of Egyptian Cinema and TV<\/a> (the 1970s and 1980s) &#8211; 5.5<\/li>\n\n\n\n<li>Next, we move onto the next period: <a href=\"https:\/\/worlddanceheritage.org\/raqs-sharqi-1980s\/\">The Last Big Raqs Sharqi Stars in Egypt (the 1980s and 1990s)<\/a> &#8211; 5.6<\/li>\n\n\n\n<li> From the 1980s and 1990s. I begin to analyze the 3 famous dancers Fifi Abdou, Lucy, and Mona al Said. <a href=\"https:\/\/worlddanceheritage.org\/fifi-abdou\/\">Starting with Fifi Abdou (5.6.1)<\/a><\/li>\n\n\n\n<li>The 2nd of these stars from the 1980s\/1990s I look at is <a href=\"https:\/\/worlddanceheritage.org\/lucy-classical-raqs-sharqi\/\">Lucy, the last classical Raqs sharqi artist (5.6.2)<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/mona-al-said\/\">Mona al Said who was a strong international influencer (5.6.3)<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/1980s-raqs-sharqi\/\">Sociological Analysis of Raqs Sharqi Stars<\/a> in Egypt 1980s &amp; 1990s (5.6.4))<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/transcultural-heritage\/\">Moving on to Raqs sharqi and belly dance in the 2000s<\/a>, a look at the Era of Raqs Sharqi as Global Trans\/Cultural Heritage. (5.7)<\/li>\n\n\n\n<li>The 1st of the dancers I look at from the 2000s is <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/raqia-hassan\/\">Raqia Hassan<\/a><\/span> (5.7.1).<\/li>\n\n\n\n<li>The 2nd dancer from the 2000s is <a href=\"https:\/\/worlddanceheritage.org\/dina\/\">Dina, who I term the Daring and Modern Belly Dancer<\/a> (5.7.2).<\/li>\n\n\n\n<li> The 3rd big Raqs sharqi star from the 2000s <a href=\"https:\/\/worlddanceheritage.org\/randa-kamel\/\">I present is Randa Kamel (5.7.3)<\/a><\/li>\n\n\n\n<li>The 4th chosen key dancer from the 2000s period is Camelia, an <a href=\"https:\/\/worlddanceheritage.org\/camelia\/\">extremely assertive dancer<\/a> (5.7.4)<\/li>\n\n\n\n<li>The 5th dance analyzed is <a href=\"https:\/\/worlddanceheritage.org\/sahar-samara-modern-but-mellow\/\">Sahar Samara, a modern but mellow Raqs sharqi dancer<\/a>. <\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/belly-dancers-egyptian-media\/\">Belly Dancers in Contemporary Egyptian Media<\/a>. <\/li>\n\n\n\n<li>and let&#8217;s not forget <a href=\"https:\/\/worlddanceheritage.org\/male-belly-dancers\/\">male belly dancers<\/a> in the discourse.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/laban-analysis-2000s\/\">Laban Movements Analysis of Belly Dancers from the 2000s<\/a> (5.7.9)<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Chapter 6 and 7<\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/authenticity-findings\/\">Authenticity of dance\/heritage findings<\/a> and discussion (6.1 and 6.2).<\/li>\n\n\n\n<li>The next part of the discussion chapter covers the <a href=\"https:\/\/worlddanceheritage.org\/heritage-qualities\/\">heritage Qualities and value findings<\/a> (6.3)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/transculturality\/\">Transculturality and Heritage Discussion<\/a> and Findings<\/li>\n\n\n\n<li>This is followed by a discussion on <a href=\"https:\/\/worlddanceheritage.org\/change-traditions\/\">dance and heritage change and traditions<\/a> (6.5)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/transmission\/\">Transmission of Dance and Heritage (6.6)<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/help-safeguard-threaten\/\">Influences on Heritage: Safeguarding it and the threats (6.7)<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/tangible-intangible-framework\/\">Holistic Tangible and Intangible Framework of Embodied Practice<\/a> Summary (6.8)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/research-conclusions\/\">Conclusions on the research questions<\/a> (7.1)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/limitations-study\/\">Limitations of the Dance Study<\/a> (7.2)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/problems-during-research\/\">Problems Arising During the Dance Research<\/a> (7.3)<\/li>\n\n\n\n<li>Dance Heritage <a href=\"https:\/\/worlddanceheritage.org\/recommendations\/\">Research Implications and Recommendations<\/a> (7.4)<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/contribution\/\">Contribution to Research<\/a> (7.5)<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Appendices<\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/worlddanceheritage.org\/references-cited\/\">References used in the PhD research<\/a>.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/arabic-terms-bellydance\/\">Arabic terms that are connected to belly dance<\/a>.<\/li>\n\n\n\n<li><a href=\"https:\/\/worlddanceheritage.org\/glossary-raqs-sharqi-movements\/\">Raqs sharqi dance movements glossary<\/a> and terminology.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.<\/p>\n","protected":false},"author":1,"featured_media":15465,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-857","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Dance as Living Cultural Heritage and Ethnochoreological Analysis,<\/title>\n<meta name=\"description\" content=\"Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worlddanceheritage.org\/phd-research\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dance as Living Cultural Heritage and Ethnochoreological Analysis,\" \/>\n<meta property=\"og:description\" content=\"Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/phd-research\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:modified_time\" content=\"2023-08-22T11:03:47+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"810\" \/>\n\t<meta property=\"og:image:height\" content=\"450\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/\",\"name\":\"Dance as Living Cultural Heritage and Ethnochoreological Analysis,\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/living-cultural-heritage-min.jpg\",\"datePublished\":\"2019-04-25T12:55:54+00:00\",\"dateModified\":\"2023-08-22T11:03:47+00:00\",\"description\":\"Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/#primaryimage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/living-cultural-heritage-min.jpg\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/living-cultural-heritage-min.jpg\",\"width\":810,\"height\":450,\"caption\":\"African drums\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/phd-research\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dance as Living Cultural Heritage: A Transcultural Ethnochoreological Analysis of Egyptian Raqs Sharqi\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"name\":\"World Dance Heritage Research Centre\",\"description\":\"World Dance Heritage. Traditional dance, tourism and preservation.\",\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/worlddanceheritage.org\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\",\"name\":\"World Dance Heritage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2020\\\/05\\\/heritage-logo.png\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2020\\\/05\\\/heritage-logo.png\",\"width\":1276,\"height\":294,\"caption\":\"World Dance Heritage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/x.com\\\/danceperception\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dance as Living Cultural Heritage and Ethnochoreological Analysis,","description":"Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worlddanceheritage.org\/phd-research\/","og_locale":"en_GB","og_type":"article","og_title":"Dance as Living Cultural Heritage and Ethnochoreological Analysis,","og_description":"Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.","og_url":"https:\/\/worlddanceheritage.org\/phd-research\/","og_site_name":"World Dance Heritage Research Centre","article_modified_time":"2023-08-22T11:03:47+00:00","og_image":[{"width":810,"height":450,"url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@danceperception","twitter_misc":{"Estimated reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/worlddanceheritage.org\/phd-research\/","url":"https:\/\/worlddanceheritage.org\/phd-research\/","name":"Dance as Living Cultural Heritage and Ethnochoreological Analysis,","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/worlddanceheritage.org\/phd-research\/#primaryimage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/phd-research\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg","datePublished":"2019-04-25T12:55:54+00:00","dateModified":"2023-08-22T11:03:47+00:00","description":"Dance as Living Cultural Heritage: Transcultural ethnochoreological analysis of Egyptian Raqs Sharqi. PhD research and dance theory studies.","breadcrumb":{"@id":"https:\/\/worlddanceheritage.org\/phd-research\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worlddanceheritage.org\/phd-research\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/phd-research\/#primaryimage","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/living-cultural-heritage-min.jpg","width":810,"height":450,"caption":"African drums"},{"@type":"BreadcrumbList","@id":"https:\/\/worlddanceheritage.org\/phd-research\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worlddanceheritage.org\/"},{"@type":"ListItem","position":2,"name":"Dance as Living Cultural Heritage: A Transcultural Ethnochoreological Analysis of Egyptian Raqs Sharqi"}]},{"@type":"WebSite","@id":"https:\/\/worlddanceheritage.org\/#website","url":"https:\/\/worlddanceheritage.org\/","name":"World Dance Heritage Research Centre","description":"World Dance Heritage. Traditional dance, tourism and preservation.","publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worlddanceheritage.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/worlddanceheritage.org\/#organization","name":"World Dance Heritage","url":"https:\/\/worlddanceheritage.org\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","width":1276,"height":294,"caption":"World Dance Heritage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/danceperception"]}]}},"_links":{"self":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/pages\/857","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/comments?post=857"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/pages\/857\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/15465"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}