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Holistic, or so-called traditional worldviews are characterized in particular by how the material, everyday realm and the immaterial, spiritual realm are experienced as inseparably intertwined, as two dimensions of one reality. In this sense, a dance performance – since it has its roots in both worlds – embodies a special type of medium, which allows these two dimensions to communicate (cf. Rein 2010). The task of collecting, exhibiting and communicating tangible and intangible world heritage – in this case, dance events – presents museums with a special challenge – one that I will further elucidate below. A museum collection mainly consists of tangible things. If we look at the history of ethnographical museums, we must ask ourselves: to what extent have traditional dances, as largely intangible forms of cultural knowledge, been collected despite their ephemerality and been given equal status to tangible objects? To what extent are and have they been archived and used in museums to represent cultures?

Flee(t)ing Dances! Initiatives for the Preservation and Communication of Intangible World Heritage in Museums