{"id":873,"date":"2019-04-25T15:27:28","date_gmt":"2019-04-25T14:27:28","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=873"},"modified":"2024-02-16T10:53:30","modified_gmt":"2024-02-16T10:53:30","slug":"researching-egyptian-raqs-sharqi","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/researching-egyptian-raqs-sharqi\/","title":{"rendered":"Egyptian Raqs Sharqi and Me as a Researcher and Belly Dancer"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Teaching Egyptian dance\" class=\"wp-image-889 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance.jpg\" alt=\"Teaching Egyptian dance\" class=\"wp-image-889\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance-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-6ab5bb17a254c\" 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-6ab5bb17a254c\" 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\/researching-egyptian-raqs-sharqi\/#Why_Study_Egyptian_Belly_Dance\" >Why Study Egyptian Belly Dance<\/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\/researching-egyptian-raqs-sharqi\/#UNESCO_and_Intangible_Cultural_Heritage\" >UNESCO and Intangible Cultural 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\/researching-egyptian-raqs-sharqi\/#My_Dance_Experience\" >My Dance Experience<\/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\/researching-egyptian-raqs-sharqi\/#Research_Objectives\" >Research Objectives<\/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\/researching-egyptian-raqs-sharqi\/#Footnotes\" >Footnotes<\/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\/researching-egyptian-raqs-sharqi\/#References_Used\" >References Used<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Why_Study_Egyptian_Belly_Dance\"><\/span>Why Study Egyptian Belly Dance<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">I decided to explore Egyptian <em>raqs sharqi<\/em> (oriental dance <a href=\"#one\">[1]<\/a>  in Arabic), a form of belly dance <a href=\"#two\">[2]<\/a>  from the heritage point of view, for various reasons.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/about-us\/\">My academic background<\/a> is in the preservation of cultural heritage at the undergraduate level [3] and tourism at the Master\u2019s level <a href=\"#four\">[4]<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At university, I studied history and the history of visual art, music and cinema, and restoration of artifacts, but there were no modules on dance, even though dance is part of cultural heritage (as well as other forms of physical cultures, such as sports (Hill, Moore and Wood, 2012), physical games and martial arts).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This absence instilled in me the desire to investigate dance from such a point of view.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"UNESCO_and_Intangible_Cultural_Heritage\"><\/span>UNESCO and Intangible Cultural Heritage <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The 2003 United Nations Educational, Scientific and Cultural Organization (UNESCO) Convention on Intangible Cultural Heritage (henceforth shortened as ICH), which allows activities such as performing arts to be added to the UNESCO world cultural heritage lists, has further encouraged my desire to investigate dance as a form of cultural heritage.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Why this interest in dance? Because I have had a lifelong passion for dance and Egyptian Raqs Sharqi in particular, which I have been practicing since 2003.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Egyptian Raqs sharqi is not in the <a rel=\"noreferrer noopener\" aria-label=\"UNESCO ICH lists (opens in a new tab)\" href=\"https:\/\/ich.unesco.org\/en\/lists\" target=\"_blank\">UNESCO ICH lists<\/a>, but, because of its strong cultural connotations, it is potentially worthy of consideration for inscription.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This genre is still practiced in Egypt, its country of origin, but, over time, it has spread around the world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is a genre that fascinates me as a sociocultural practice, because of its <a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">hybrid and transcultural nature<\/a> (on which I expand in the thesis), which extends not only to the dance but also to the music and the artifacts associated with it.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio-300x156.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio-768x400.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio-600x313.jpg 600w\" decoding=\"async\" width=\"800\" height=\"417\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-1488 lazyload\" style=\"width:800px;height:417px\"  sizes=\"(max-width: 800px) 100vw, 800px\" \/><noscript><img decoding=\"async\" width=\"800\" height=\"417\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio.jpg\" alt=\"\" class=\"wp-image-1488\" style=\"width:800px;height:417px\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio-300x156.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio-768x400.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-studio-600x313.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\"><\/noscript><figcaption class=\"wp-element-caption\">Practising belly dance in Wales, UK in a dance studio.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"My_Dance_Experience\"><\/span>My Dance Experience<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">My experience is an example of learning dance in a transcultural context. I am from Sicily (in Italy), a Mediterranean island, conquered over the centuries by many peoples, including Greeks, Phoenicians, Romans, Normans, Arabs, Spanish, and French.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because of this, I grew up in a place where both t<a href=\"https:\/\/worlddanceheritage.org\/tangible-vs-intangible-critique\/\">angible and intangible elements<\/a> of its culture (such as architecture, culinary traditions, inhabitants\u2019 looks, and dispositions) are permeated by all these different influences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Having been fascinated by Arabic music ever since I can remember, <a href=\"https:\/\/worlddanceheritage.org\/why-belly-dance\/\">I then learned Raqs sharqi for the first time in 2003<\/a>, while I was living in Seoul, South Korea, from an Iraqi-American teacher.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A year later, I performed for the first time in an Egyptian restaurant in Seoul, with my teacher and an Irish friend, for an audience made up of various nationalities including people from Korea, Australia, Canada, the UK, and Ireland.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Previously, in my childhood and teenage years, I had studied Western dance forms such as ballet and jazz.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After I left Korea, I kept learning and performing Raqs sharqi, particularly the Egyptian style as this was the style that my teachers in the UK practiced (and started teaching it from 2009), and training also in other genres such as contemporary dance, ballet, <a href=\"https:\/\/worlddanceheritage.org\/jazz-contemporary-difference\/\">jazz<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This background has led me towards the study of Egyptian Raqs sharqi through the lens of cultural heritage, informed by a transcultural and international perspective. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This was a brief biographical section to explain my interest in this topic on a personal level. <a href=\"https:\/\/worlddanceheritage.org\/dance-research-framework\/\">Chapter 1<\/a> will provide a conceptual introduction to this thesis. Before beginning, I will delineate my aims and objectives. The aim of this thesis is:<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Research_Objectives\"><\/span>Research Objectives<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The objectives,\nin order to achieve the above aim, are:<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>To identify what ICH is, how it is managed, how the ICH recognition is achieved, and who benefits from it. I will do this through <a href=\"https:\/\/worlddanceheritage.org\/case-studies\/\">a review of literature in the field of ICH<\/a>.<\/li>\n\n\n\n<li>To position Egyptian raqs sharqi (as a form of transcultural dance) within culture and society. I will achieve this objective by reviewing literature from the areas of <a href=\"https:\/\/worlddanceheritage.org\/dance-study-approach\/\">dance studies<\/a> and sociology.<\/li>\n\n\n\n<li>To gain a deeper understanding of Egyptian raqs sharqi by analyzing videos of this dance form. This will enable me to trace a history of Egyptian raqs sharqi, identify its movements, and evaluate what consolidated tradition exists, which can be considered a cultural asset.<\/li>\n<\/ol>\n\n\n\n<p class=\"wp-block-paragraph\"> To acquire an insight into how Egyptian Raqs sharqi, as an expression of culture, is understood today by an international community of practitioners other than myself.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In order to do this, I will interview experienced practitioners from across the world and I will analyze texts (including books, documentaries on DVD, blogs, websites, and online discussions from forums and social media). <br><\/p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\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<a name=\"one\"><\/a>\n\n\n\n<p class=\"wp-block-paragraph\">1 &#8211; <em>Raqs<\/em> means \u2018dance\u2019 and <em>sharqi<\/em> \u2018of the east\u2019. According to the American dancer Morocco (Varga Dinicu, 2013, p. 14), Egyptians started calling their dance oriental, in the early 20<sup>th<\/sup> century, to distinguish it from European and American dances.<\/p>\n\n\n\n<a name=\"two\"><\/a>\n\n\n\n<p class=\"wp-block-paragraph\">2 &#8211; In the introduction, I will explain in more detail what genres belly dance includes. These are many and diverse, including Turkish (<em>oryantal dans<\/em>), Lebanese, American tribal.<\/p>\n\n\n\n<a name=\"three\"><\/a>\n\n\n\n<p class=\"wp-block-paragraph\">3 &#8211; I graduated at <em><a href=\"http:\/\/www.unitus.it\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Universit\u00e0 degli Studi della Tuscia (opens in a new tab)\">Universit\u00e0 degli Studi della Tuscia<\/a><\/em> in Viterbo, Italy, in Preservation of Cultural Heritage. Topics of study included art history from the Middle Ages to the 20th century and my dissertation was on industrial archaeology (a historical study of a complex of sulphur refineries in Catania, Sicily, called <em>Le Ciminiere<\/em>, which were restored and transformed into a cultural and exhibition centre).<\/p>\n\n\n\n<a name=\"four\"><\/a>\n\n\n\n<p class=\"wp-block-paragraph\">4 &#8211; Master in Tourism Management and Economics at <em>Universit\u00e0 Ca\u2019 Foscari<\/em>, in Venice, Italy.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"References_Used\"><\/span>References Used<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Hill, J., Moore, K. and Wood, J. (eds) (2012) <em><a href=\"https:\/\/www.amazon.co.uk\/gp\/product\/B07QC2TN9C\/ref=as_li_tl?ie=UTF8&amp;camp=1634&amp;creative=6738&amp;creativeASIN=B07QC2TN9C&amp;linkCode=as2&amp;tag=cadagfr-21&amp;linkId=e63ea6372e50a596e1564f34e57f8015\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Sport, History, and Heritage: Studies in Public Representation (opens in a new tab)\">Sport, History, and Heritage: Studies in Public Representation<\/a><\/em>. Woodbridge, UK\u202f; Rochester, NY: Boydell Press.<\/li>\n<\/ul>\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\/dance-research-framework\/\"><span style=\"text-decoration: underline;\"><strong>The study framework used for researching dance heritage<\/strong><\/span><strong>.<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Researching Egyptian Raqs Sharqi. Reasons to research Egyptian raqs sharqi belly dance as a form of intangible cultural heritage (ICH).<\/p>\n","protected":false},"author":2,"featured_media":889,"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":[16],"tags":[],"class_list":["post-873","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-intro"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Researching Egyptian Raqs Sharqi as a Researcher and Dancer.<\/title>\n<meta name=\"description\" content=\"Researching Egyptian Raqs Sharqi. 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Reasons to research Egyptian raqs sharqi belly dance as a form of intangible cultural heritage (ICH).\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/researching-egyptian-raqs-sharqi\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-25T14:27:28+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-02-16T10:53:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/teaching-egyptian-dance.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"560\" \/>\n\t<meta property=\"og:image:height\" content=\"315\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"Egyptian Raqs Sharqi and Me as a Researcher and Belly Dancer\",\"datePublished\":\"2019-04-25T14:27:28+00:00\",\"dateModified\":\"2024-02-16T10:53:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/\"},\"wordCount\":944,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/teaching-egyptian-dance.jpg\",\"articleSection\":[\"Introduction\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/\",\"name\":\"Researching Egyptian Raqs Sharqi as a Researcher and Dancer.\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/researching-egyptian-raqs-sharqi\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/teaching-egyptian-dance.jpg\",\"datePublished\":\"2019-04-25T14:27:28+00:00\",\"dateModified\":\"2024-02-16T10:53:30+00:00\",\"description\":\"Researching Egyptian Raqs Sharqi. 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