{"id":926,"date":"2019-04-26T15:08:52","date_gmt":"2019-04-26T14:08:52","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=926"},"modified":"2023-08-13T12:41:44","modified_gmt":"2023-08-13T11:41:44","slug":"investigating-egyptian-raqs-sharqi","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/investigating-egyptian-raqs-sharqi\/","title":{"rendered":"Rationale for Investigating Egyptian Raqs Sharqi (1.2)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"The global dimension of dance\" class=\"wp-image-939 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension.jpg\" alt=\"The global dimension of dance\" class=\"wp-image-939\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-global-dimension-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">ICH and Its Transcultural and Global Nature<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The first reason for the need to investigate Egyptian Raqs sharqi as a form of ICH is its <a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">transcultural and global nature<\/a>. <\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">The majority of practices listed as ICH are traditions that are practised in limited geographical locations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, the process for UNESCO\u2019s inscription (as it will be highlighted <a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">further in the literature review<\/a>) needs to be initiated by nation-states, even if the practices are considered heritage of humanity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, there are instances of globally practised traditions that are now listed by UNESCO, such as flamenco and tango.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">This raises the question of whether such practices benefit from being listed by UNESCO and what the feasibility is of giving \u2018ownership\u2019 of such practices to a specific nation-state.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In an article about tango, Stepputat (2015, p. 337) states that \u2018if the element is practised internationally . . . and people of various origins and backgrounds identify with it, in a strict sense, it would not fulfil the ICH requirements\u2019. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She acknowledges the fact, however, that the (ibid.) \u2018ICH agenda is changing towards the acceptance of genres with a clearly defined regional history and an international current practice\u2019. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Global Dimension of Dance and the Transmission of a Practice <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The global dimension of Egyptian Raqs sharqi is not the only rationale for the need to investigate such dance genre from the ICH angle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another aspect worth investigating is the impact of technology on ICH and its <a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">transmission<\/a> and Egyptian raqs sharqi is an apt case study, as its transmission owes much, as it will be highlighted in this thesis, to technology including cinema, TV, and the Internet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In particular, <a href=\"https:\/\/worlddanceheritage.org\/videos-research\/\">sharing videos<\/a> of cultural practices and ICH online, raises a variety of issues such as those pointed out by Pietrobruno (2013, 2014, 2016).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, videos can be deleted at any time; there can be a conflict between the official narrative of a practice promoted by a nation-state and the one that practitioners identify with; the search engine\u2019s algorithms and the way in which users interact with the site influence the results that can be found and, therefore, the transmission of a practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, it is worth exploring the transmission of a practice, such as Egyptian Raqs Sharqi, that relies so much on technology.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music-300x169.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music-768x432.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music-600x338.jpg 600w\" decoding=\"async\" width=\"800\" height=\"450\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Buying Egyptian music in Luxor, Egypt.\" class=\"wp-image-1493 lazyload\"  sizes=\"(max-width: 800px) 100vw, 800px\" \/><noscript><img decoding=\"async\" width=\"800\" height=\"450\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music.jpg\" alt=\"Buying Egyptian music in Luxor, Egypt.\" class=\"wp-image-1493\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music-300x169.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music-768x432.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/egyptian-music-600x338.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\"><\/noscript><figcaption class=\"wp-element-caption\">In search of Egyptian music in the markets of Cairo, Egypt.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Stigma, Dance and Heritage<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, I found it interesting to explore the power relations involved in the transmission of a practice that is controversial as Egyptians have a love-hate relationship with Raqs Sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Many of them appreciate it as part of their heritage, but this dance also attracts stigma particularly towards those who dance it professionally (Fahmy, 1987; Van Nieuwkerk, 1995; Lorius, 1996; Shay and Sellers-Young, 2003; Dougherty, 2005; Dox, 2006; McDonald, 2010; Talaat and Guibal, 2011; Cooper, 2013; Roushdy, 2013; Fraser, 2014).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, it is worth exploring what it is that has allowed Egyptian Raqs sharqi to survive and, at times thrive, regardless of the stigma attached to it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, <a href=\"http:\/\/www.dancefacts.net\/tango\/history-of-tango\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"unlike tango (opens in a new tab)\">unlike tango<\/a>, which is practised internationally but is claimed as heritage by two nations (Argentina and Uruguay), Egyptian raqs sharqi is not officially claimed by Egypt as its heritage because of the above-mentioned stigma.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, Egyptian raqs sharqi is transculturally significant and important because it is practised and valued worldwide.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, this dance form is worth investigating as a form of ICH because it raises the question of whether only practices that are officially claimed by nation-states have heritage characteristics that make them worth safeguarding, or whether other unclaimed transcultural practices could or should be safeguarded too.<\/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\/thesis-structure-planning\/\"><span style=\"text-decoration: underline;\"><strong>The structure and planning of this PhD explained<\/strong><\/span><strong>.<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rationale for investigating Egyptian Raqs Sharqi. ICH, transculturality, global dance and stigma. Global Dimension of Dance and its transmission practice.<\/p>\n","protected":false},"author":2,"featured_media":939,"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-926","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>Rationale for Investigating Egyptian Raqs Sharqi Cultural Heritage.<\/title>\n<meta name=\"description\" content=\"Rationale for investigating Egyptian Raqs Sharqi. ICH, transculturality, global dance and stigma. 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I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.","sameAs":["https:\/\/worlddanceheritage.org\/about-us\/","https:\/\/www.pinterest.co.uk\/danceheritageuk\/"]}]}},"_links":{"self":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/926","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/comments?post=926"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/926\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/939"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=926"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=926"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=926"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}