The paper presents a combination of historical and sociological research. The authors scrutinize the history of the work of Soviet choreographers, first of all related to the choreographic school of I. Moiseyev in Egypt in 1950-60s. As a result of this work, the Egyptian traditional dances, which probably originated in ancient times, including raks sharki, known worldwide as bellydance, were recorded and brought to the professional stage. The authors rely on the concept of institutionalization of culture, the essence of which is that folklore tradition in an industrial and urban society can no longer be transmitted naturally through the family, but can be preserved through fixation and institutionalization in the system of cultural institutions and supplementary education. This idea was realized in the USSR and in Egypt with the active participation of Soviet specialists.

The authors conclude that the successful experience of Soviet choreographers with Egyptian cultural heritage could be interpreted as empirical evidence of the "cultural openness" (i. e., sensitivity and respect for other cultures).

Finally, the example discussed in the paper shows that the Soviet experience of the institutionalization and professionalization of cultural tradition can be successfully applied in other countries and among peoples belonging to completely` different macrosocial communities. At the same time, it makes possible to preserve important elements of national identity and even local originality in urban milieu of industrial or post-industrial society.

tradition, culture, intercultural communication, sociology, art history, Egypt, choreography, folk dance

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