{"id":956,"date":"2019-04-26T15:49:49","date_gmt":"2019-04-26T14:49:49","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=956"},"modified":"2024-02-02T17:30:44","modified_gmt":"2024-02-02T17:30:44","slug":"thesis-structure-planning","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/","title":{"rendered":"Dance PhD Thesis Structure and Planning (1.3)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-large is-style-default\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dance theories\" class=\"wp-image-966 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-theories.jpg\" alt=\"Dance theories\" class=\"wp-image-966\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/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-6ab5bb25cfa41\" 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-6ab5bb25cfa41\" 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\/thesis-structure-planning\/#Literature_Review\" >Literature Review<\/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\/thesis-structure-planning\/#Conceptual_Framework\" >Conceptual Framework<\/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\/thesis-structure-planning\/#Methodological_Strategy\" >Methodological Strategy<\/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\/thesis-structure-planning\/#Results_and_Conclusions\" >Results and Conclusions<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Literature_Review\"><\/span>Literature Review<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/research\/literature-review\/\">Chapter 2<\/a> reviews literature in the fields of heritage and dance, which generates the sensitizing concepts and the questions by which the conceptual framework is informed, as well as highlighting gaps in the knowledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The chapter starts with a <a href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\">section on heritage (2.2),<\/a> its current definitions, the most current paradigms and a review of some practices that have been awarded ICH status.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A section on <a href=\"https:\/\/worlddanceheritage.org\/dance-study-approach\/\">dance studies (2.3)<\/a> follows, which includes a review of the literature on dance anthropology and ethnology, ethnochoreology and Egyptian raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The subsequent five sections (<a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">2.4 to 2.8<\/a>), combine literature in the fields of heritage and dance, to analyse a series of themes recurrent in both these fields: transmission; authenticity; internationalisation; identity and uses of (dance) heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the end of this chapter, emerging sensitising concepts will be summarised and a series of questions emerge:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Are\nindividuals\u2019 creativity\/agency and changes in heritage due to various factors,\nand traditions compatible?<\/li>\n\n\n\n<li>Is\nthe separation of tangible\/intangible elements of dance\/heritage feasible?<\/li>\n\n\n\n<li>How\nwould a holistic model of dance\/heritage, which includes people (with bodies,\nthoughts and emotions), artefacts, space, society and cultures work?<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The above\nquestions have informed my conceptual framework, by stimulating me to turn\ntowards theories to help start making sense of these complex issues.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Conceptual_Framework\"><\/span>Conceptual Framework<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/research\/framwork\/\">Chapter 3 <\/a>starts with a critique of the feasibility to separate between tangible\/intangible elements in heritage (<a href=\"https:\/\/worlddanceheritage.org\/tangible-vs-intangible-critique\/\">3.2<\/a>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The second part (<a href=\"https:\/\/worlddanceheritage.org\/missing-body-heritage-studies\/\">3.3<\/a>) highlights how the body, which is central for dance, is missing in the heritage literature.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The rest of the chapter leads up to the delineation of a holistic model of living heritage for dance, underpinned by the post-dualist theories of <a rel=\"noreferrer noopener\" aria-label=\"Merleau-Ponty\u2019s phenomenology (opens in a new tab)\" href=\"https:\/\/plato.stanford.edu\/entries\/merleau-ponty\/\" target=\"_blank\">Merleau-Ponty\u2019s phenomenology<\/a> (<a href=\"https:\/\/worlddanceheritage.org\/phenomenology\/\">3.4<\/a>), Bourdieu\u2019s theory of practice (<a href=\"https:\/\/worlddanceheritage.org\/theory-practice\/\">3.5<\/a>) and Giddens\u2019 Structuration Theory (<a href=\"https:\/\/worlddanceheritage.org\/structuration\/\">3.6<\/a>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, a definition of living heritage will be given (<a href=\"https:\/\/worlddanceheritage.org\/living-cultural-heritage\/\">3.7<\/a>), before focusing on the research questions (<a href=\"https:\/\/worlddanceheritage.org\/research-questions\/\">3.8<\/a>) generated by the literature review and the conceptual framework.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Methodological_Strategy\"><\/span>Methodological Strategy<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/worlddanceheritage.org\/research\/methods\/\">Chapter 4<\/a> starts with considerations on the paradigm, ontology, epistemology and methodology adopted (<a href=\"https:\/\/worlddanceheritage.org\/methods-framework\/\">4.2<\/a>), before detailing the data collection techniques used (<a href=\"https:\/\/worlddanceheritage.org\/data-collection-summary\/\">4.3<\/a>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For each of these methods (online dance videos analysis, other sources of data and interviews), the rationale for using them, the sampling process and other considerations will be discussed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The research methods will be followed by ethics (4.5) and data analysis (4.6), reflexivity of the researcher (4.7), validity and reliability (4.8) and judgment criteria (4.8.1).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This study approaches its topic from an interpretivist paradigm (which will be reflected in the data representation and judgement criteria) and an ethnochoreological position.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This position requires three different pieces of information about the dance: its form, the culture and the experience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, data collection was divided into three overlapping phases, using a qualitative methodology. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first phase (form) gathered data from videos of dance available online, on YouTube and Vimeo.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><a href=\"https:\/\/bit.ly\/31eCTrO\" target=\"_blank\" rel=\"NoFollow noopener noreferrer\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper-480x270.jpg 480w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-13011 lazyload\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg\" alt=\"\" class=\"wp-image-13011\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/10\/dance-research-paper-480x270.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\"><\/noscript><\/a><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The dance in these videos was analyzed, based on Adshead\u2019s (1988) principles of dance analysis, which take into account movements, dancers, visual and aural elements; Laban analysis of movement, in particular the effort system, to understand the feelings and emotions in the dance; and Kaeppler\u2019s (1972, 2001) concepts of <a href=\"https:\/\/worlddanceheritage.org\/terminology\/\">kinemes<\/a>, which helped me isolate the individual meaningful movements for the dance, constituting the core movements of Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first phase allowed me to understand how movements can change across time, cultures, and between individuals.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The second phase (culture) gathered data from various sources, which generated important information on the common views of Raqs sharqi and its history.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sources included practitioner-focused books, DVDs, blogs, websites, open forums, and online videos with interviews of famous Raqs sharqi dancers. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This phase, although it included some offline material, was mainly based on online sources, hence it included elements of an internet ethnography, or as Kozinets defined it, a \u2018netnography\u2019 (Kozinets, 2010).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Internet has been so prominent in the methodology because Raqs sharqi is practiced worldwide. Hence, practitioners use social media sites, websites and blogs extensively.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These were explored to make sense of what is communicated and how. The presence of Raqs sharqi on the Internet is both an indication of and a driver for increasing levels of internationalization and transculturalisation of the dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The third phase (experience) of the ethnochoreological analysis used semi-structured interviews with selected participants.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The interviews brought a more personal and deeper account of Raqs sharqi practitioners\u2019 experience of this dance form. Interviews took place in person for participants based in Cardiff or nearby.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For those located further afield, Skype\u00ae was used for interviews with the voice and video recorded by EVAER\u00ae software.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Skype was an invaluable tool to reach participants in distant locations in an affordable and time-efficient manner and the data it generated were as rich as those provided by in-person interviews (Lo Iacono, Symonds and Brown, 2016) (<a aria-label=\"read the paper on Skype as a research tool here (opens in a new tab)\" href=\"https:\/\/warwick.ac.uk\/fac\/soc\/al\/people\/mann\/interviews\/paul_symonds_-_skype-research-method.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">read the paper on Skype as a research tool here<\/a>).<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory-300x170.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory-768x435.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory-600x340.jpg 600w\" decoding=\"async\" width=\"800\" height=\"453\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Teaching dance theory in Wales, UK.\" class=\"wp-image-1495 lazyload\"  sizes=\"(max-width: 800px) 100vw, 800px\" \/><noscript><img decoding=\"async\" width=\"800\" height=\"453\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory.jpg\" alt=\"Teaching dance theory in Wales, UK.\" class=\"wp-image-1495\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory-300x170.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory-768x435.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/teaching-dance-theory-600x340.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\"><\/noscript><figcaption class=\"wp-element-caption\">Teaching a workshop in dance research methods.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Results_and_Conclusions\"><\/span>Results and Conclusions<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 5 is a chronological analysis of Raqs sharqi, deriving from dance videos analysis and complemented by other various data sources and interviews.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The chapter is divided into six timeframes, ranging from the birth of Raqs Sharqi in the 1920s (5.2) to its worldwide diffusion up to the second decade of the 21<sup>st<\/sup> century (5.7).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To stress the importance of individual agency (alongside structures) in Raqs sharqi heritage, most sections revolve around the figures of some famous Raqs sharqi dancers, who influenced the development of this dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Chapter 6, the timeframes are brought together, revolving around six main themes that emerged from the literature review and the data.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The conclusions (Chapter 7) focus on recommendations for the future safeguarding of living heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This chapter also includes other considerations, such as the limitations of this study, the problems arising during the research, and a summary of the findings. <\/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 <span style=\"text-decoration: underline;\">&gt;&gt; <\/span><\/strong><a href=\"https:\/\/worlddanceheritage.org\/identifying-cultural-heritage-egyptian-dance\/\"><span style=\"text-decoration: underline;\"><strong>We move on to Chapter 2 and how to identify the cultural heritage characteristics of Egyptian Raqs Sharqi<\/strong><\/span><\/a><strong><span style=\"text-decoration: underline;\">.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dance PhD structure and planning using sociology, ethnochoreology &#038; dance studies. Literature review, methodology, results, discussion and conclusions.<\/p>\n","protected":false},"author":2,"featured_media":966,"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-956","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>Dance PhD Structure and Planning. Literature Review, Methodology.<\/title>\n<meta name=\"description\" content=\"Dance PhD structure and planning using sociology, ethnochoreology &amp; dance studies. Literature review, methodology, results, and conclusions.\" \/>\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\/thesis-structure-planning\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dance PhD Structure and Planning. Literature Review, Methodology.\" \/>\n<meta property=\"og:description\" content=\"Dance PhD structure and planning using sociology, ethnochoreology &amp; dance studies. Literature review, methodology, results, and conclusions.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-26T14:49:49+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-02-02T17:30:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.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=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"Dance PhD Thesis Structure and Planning (1.3)\",\"datePublished\":\"2019-04-26T14:49:49+00:00\",\"dateModified\":\"2024-02-02T17:30:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/\"},\"wordCount\":956,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/dance-theories.jpg\",\"articleSection\":[\"Introduction\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/\",\"name\":\"Dance PhD Structure and Planning. Literature Review, Methodology.\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/dance-theories.jpg\",\"datePublished\":\"2019-04-26T14:49:49+00:00\",\"dateModified\":\"2024-02-02T17:30:44+00:00\",\"description\":\"Dance PhD structure and planning using sociology, ethnochoreology & dance studies. Literature review, methodology, results, and conclusions.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#primaryimage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/dance-theories.jpg\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/dance-theories.jpg\",\"width\":560,\"height\":315,\"caption\":\"Dance theories\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/thesis-structure-planning\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dance Research\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Introduction\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/intro\\\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"Dance PhD Thesis Structure and Planning (1.3)\"}]},{\"@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\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\",\"name\":\"Valeria\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"caption\":\"Valeria\"},\"description\":\"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. 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\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dance PhD Structure and Planning. Literature Review, Methodology.","description":"Dance PhD structure and planning using sociology, ethnochoreology & dance studies. Literature review, methodology, results, and conclusions.","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\/thesis-structure-planning\/","og_locale":"en_GB","og_type":"article","og_title":"Dance PhD Structure and Planning. Literature Review, Methodology.","og_description":"Dance PhD structure and planning using sociology, ethnochoreology & dance studies. Literature review, methodology, results, and conclusions.","og_url":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/","og_site_name":"World Dance Heritage Research Centre","article_published_time":"2019-04-26T14:49:49+00:00","article_modified_time":"2024-02-02T17:30:44+00:00","og_image":[{"width":560,"height":315,"url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg","type":"image\/jpeg"}],"author":"Valeria","twitter_card":"summary_large_image","twitter_creator":"@danceperception","twitter_site":"@danceperception","twitter_misc":{"Written by":"Valeria","Estimated reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#article","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/"},"author":{"name":"Valeria","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42"},"headline":"Dance PhD Thesis Structure and Planning (1.3)","datePublished":"2019-04-26T14:49:49+00:00","dateModified":"2024-02-02T17:30:44+00:00","mainEntityOfPage":{"@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/"},"wordCount":956,"publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"image":{"@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg","articleSection":["Introduction"],"inLanguage":"en-GB"},{"@type":"WebPage","@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/","url":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/","name":"Dance PhD Structure and Planning. Literature Review, Methodology.","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#primaryimage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg","datePublished":"2019-04-26T14:49:49+00:00","dateModified":"2024-02-02T17:30:44+00:00","description":"Dance PhD structure and planning using sociology, ethnochoreology & dance studies. Literature review, methodology, results, and conclusions.","breadcrumb":{"@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worlddanceheritage.org\/thesis-structure-planning\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#primaryimage","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/dance-theories.jpg","width":560,"height":315,"caption":"Dance theories"},{"@type":"BreadcrumbList","@id":"https:\/\/worlddanceheritage.org\/thesis-structure-planning\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worlddanceheritage.org\/"},{"@type":"ListItem","position":2,"name":"Dance Research","item":"https:\/\/worlddanceheritage.org\/research\/"},{"@type":"ListItem","position":3,"name":"Introduction","item":"https:\/\/worlddanceheritage.org\/research\/intro\/"},{"@type":"ListItem","position":4,"name":"Dance PhD Thesis Structure and Planning (1.3)"}]},{"@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"]},{"@type":"Person","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42","name":"Valeria","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","caption":"Valeria"},"description":"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. 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\/956","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=956"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/956\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/966"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=956"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=956"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=956"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}