Heritage in Movement: Rethinking Cultural Borrowings in the Mediterranean

Naguib, Saphinaz-Amal

doi:10.1080/13527250802284891

“…

UNESCO's effort to include many different types of human expression on its lists is commendable and an important attempt to safeguard aspects of the world's cultural heritage.However, we agree with Naguib (2008) that the use and interpretation of the term intangible is problematic to describe the complexity of human practices, because of the polarities implied by the notions of tangible/intangible, which insert a false distinction, in the form of a binary opposition, between the material and immaterial elements of culture. Instead, building on insights from Kirshenblatt-Gimblett (2004) and Ruggles and Silverman (2009), we argue that practices and the artefacts that surround them are embodied heritage, internal to all human beings and affecting us at physical and emotional levels.

…”

mentioning

confidence: 70%

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Iacono

¹

,

Brown

²

2016

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UNESCO's effort to include many different types of human expression on its lists is commendable and an important attempt to safeguard aspects of the world's cultural heritage.However, we agree with Naguib (2008) that the use and interpretation of the term intangible is problematic to describe the complexity of human practices, because of the polarities implied by the notions of tangible/intangible, which insert a false distinction, in the form of a binary opposition, between the material and immaterial elements of culture. Instead, building on insights from Kirshenblatt-Gimblett (2004) and Ruggles and Silverman (2009), we argue that practices and the artefacts that surround them are embodied heritage, internal to all human beings and affecting us at physical and emotional levels. Therefore, the intangible and 3 tangible are indissolubly linked and a preferred definition might be developed around the idea of "living cultural heritage."The label of intangible is particularly problematic when considering dance as heritage, given the central role that the human body has in the practice of dance, and because the phenomenon of dance is simultaneously emergent from, and constitutive of culture and society. Buckland (2001, 1) confirms the increased social science interest in the body and performance has 'helped to raise the profile of dance as a significant academic site for cultural investigation'. This development has opened up channels for dialogue with other disciplines in the humanities and social sciences. In recent years, embodiment has been explored sociologically through dance in a range of ways including: cultural theory and everyday life (Thomas 2003(Thomas , 2013 bodylore and bodily knowledge (Sklar, 1994(Sklar, , 2001, bodywork (BraceGovan, 2002), embodied identity (Dyck & Archetti, 2003) and ageing, injury and identity (Wainwright & Turner, 2006). There are some notable early exceptions, Novak (1988) for example, incorporated dance as a key exemplar in her work on culture. One reason for this, Buckland argues, drawing on Connerton's (1989) distinction between incorporated and inscribed practices, is that dance 'has a particular propensity to foreground cultural memory as embodied practice by virtue of its predominantly somatic modes of transmission', thus making dance strongly relevant to discussions of cultural heritage through the incorporation of specific cultural elements (such as artefacts and movement vocabularies) into its practice.Dance is also an inscribed practice as Blacking (1983, 97) illustrates, 'the bodily experience of performance can also stimulate the imagination and help to bring new coherence to the sensuous life, which in turn could affect motivation, commitment and decision-making in other spheres of social life.' Therefore, while culture is incorporated within dance, such dances are also inscribed with layers of shared meanings (which may be symbolic, narrative, 4 emotional, aesthetic depending on the genre) making it not only a site of cultural reception but also a site of cultura...

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“…it has the characteristics of utilitarianism (textiles), and it is treated with dyes from which certain types have been chosen that suit the functional purpose of the pendant, especially in the case of using it for a dual purpose as a pendant and a curtain at the same time. This type of textile printing designs contains a high degree of aesthetic and artistic content that may come close to plastic art [39,40].…”

Section: The End Product Of the Innovated Designsmentioning

confidence: 99%

Innovation of anti-viral, anti-bacterial and water-repellent textile wall hanging, depending on nanotechnology and modern printing technologies

Alashkar,

Mahmoud,

Mohamed

et al. 2023

Egypt. J. Chem.

0

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“…It discusses the differences and connections between different types and periods of cultural heritage, with time as a potential driving force, forming a formative analytical framework to examine the diversity of historical and cultural heritage. By observing the changes in the diversity of historical and cultural heritage, the phenomenon of cultural exchange, dissemination, and integration that occurred in different historical periods within a region can be discussed [73,74]. Most historical and cultural heritage consists of inherited ancient buildings and structures.…”

Section: Introductionmentioning

confidence: 99%

Entropy Change of Historical and Cultural Heritage in Traditional Tibetan Area of China Based on Spatial-Temporal Distribution Pattern

Xu,

Zhang,

Liu

et al. 2023

Buildings

1

0

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The traditional Tibetan area of China is an ethnically and culturally significant region with a historical geographical connection. This study investigates the spatial-temporal distribution patterns and entropy changes of historical and cultural heritage by examining the association between cultural heritage and socio-historical factors. It utilizes analytical methods such as information entropy and incorporates temporal, spatial, and typological information from the data obtained in the Third National Cultural Relics Census. The findings are as follows: (1) The three major regions in the Tibetan area of China alternately serve as development cores for the traditional Tibetan area, exhibiting a fluctuating “dispersion-aggregation” trend of historical and cultural heritage, which also displays notable regional variations. (2) The quantity and entropy change of historical and cultural heritage exhibit correlations between different periods, but there are also some intergenerational differences. (3) The spatial-temporal distribution pattern of historical and cultural heritage demonstrates an inter-era correlation, indicating that socio-historical development is a nonlinear process characterized by both “transition” and “accumulation”. These findings are of significant importance for further understanding the social evolutionary process of human settlements in high-altitude areas and for the comprehensive protection of cultural heritage in ethnic regions.

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Heritage in Movement: Rethinking Cultural Borrowings in the Mediterranean

Cited by 9 publications

References 11 publications

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Innovation of anti-viral, anti-bacterial and water-repellent textile wall hanging, depending on nanotechnology and modern printing technologies

Entropy Change of Historical and Cultural Heritage in Traditional Tibetan Area of China Based on Spatial-Temporal Distribution Pattern

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