How Do We Protect Living Cultural Heritage? Author: Valeria Lo Iacono
D.o.S: Dr David Brown
Cardiff School of Sport, Cardiff Metropolitan University
Abstract Development of a new model of heritage, in which material, social, perceptual elements and people are integrated.
1. Introduction In 2003, UNESCO defined Intangible Cultural Heritage, to formally protect cultural practices such as performing arts, oral traditions, festivals. Up until then, UNESCO had only focused on monumental Raqs Sharqi — In / tangible assets. Due to its dynamic and Cultural Heritage often intercultural nature though, intangible heritage poses new challenges for its protection and a better understanding is needed to find a way forward. A dance genre, Egyptian raqs sharqi, will be used as a case study.
2. Objectives
To critically examine the suitability of separating cultural heritage into tangible and intangible forms and give an alternative, updated definition as Living Heritage instead.
This project’s starting point are the UNESCO’s heritage definitions from the 19721 and 20032 conventions. To underpin the alternative definition of Living Heritage, the following sociological theories are used:
3
Giddens’ Structuration Theory. 4
Bourdieu’s Theory of Practice. 5
Merleau-Ponty’s Phenomenology.
4. Methods
Development of all encompassing model of Living Heritage Model 1: Tangible vs Intangible Heritage Intangible heritage
Tangible Heritage
Model 2: Tangible/Intangible overlapping but separate Pyramid in Giza — Monumental Heritage
Intangible
Practices Activities
Tangible
Model 3: In / tangible elements are integrated
Intangible
Practices, activities, artefacts, environment, emotions
Tangible
Historical video analysis of raqs sharqi.
Online ethnography using social media.
One to one interviews with raqs sharqi practitioners.
6. Conclusions The theoretical work done so far, has provided a new model of Living Heritage, which is all encompassing, in which people are central and intangible elements integrated with tangible ones. This framework is the basis on which to investigate raqs sharqi, with the aim of finding a comprehensive way to protect heritage, such as dance, in the future. The next step has been analysing historic videos of raqs sharqi, which has led to understanding what the core authentic elements of this dance are as it is transmitted between cultures and across time. To complete the picture with the more discursive elements of the dance, practitioners’ opinions with be sought using:
Find out what is authentic in raqs sharqi, which could potentially be protected.
3. Background
5. Argument
Model 4: Living Cultural Heritage
an online ethnography on social media (because of the international diffusion of raqs sharqi). one to one interviews with practitioners.
References Traditions, feelings, knowledge & skills, perceptions. Socioculturally legitimised & valued conventions & tastes.
Habitual practice of: expressions, knowledge, skills (e.g. festivals, performing arts, craftsmanship)
People (embodying elements on the left). Artefacts. Environment. Monuments, buildings, sites.
1. UNESCO. Convention Concerning the Protection of the World Cultural and Natural Heritage. Paris1972. Available from: http://whc.unesco.org/archive/convention-en.pdf 2. UNESCO. Text of the Convention for the Safeguarding of Intangible Cultural Heritage 2003 [16th November 2013]. Available from: http://www.unesco.org/culture/ich/en/convention. 3. Giddens A. The Constitution of Society: Outline of the Theory of Structuration. Cambridge [Cambridgeshire]: Polity Press; 1984. 4.
Bourdieu P. Outline of a Theory of Practice. Cambridge: Cambridge University Press; 1977.
5.
Merleau-Ponty M. Phenomenology of Perception. 3rd ed. London, (New Jersey): Routledge, Humanities Press; 1992.
Contact Valeria Lo Iacono Email:
[email protected];
[email protected] URL: www.danceperception.com
