Titlebook: Cultural Memory and Popular Dance; Dancing to Remember, Clare Parfitt Book 2021 The Editor(s) (if applicable) and The Author(s), under excl

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Beyond Work and Sex in Czech Cineman a half century. Few of these studies investigate the centrality of dance in its narrative, or the unusual placement of a Hollywood reconstruction of a forgotten eighteenth-century Hapsburg l?ndler, in its principal courtship scene. Yet, when analyzed with recourse to choreographic history/theory,

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Beyond Work and Sex in Czech Cinemaademy, is long overdue for reconceptualization and revitalization. Drawing upon innovative ideas within New Materialism and Performance Studies, I suggest that we inhabit and “feel with” our historical source materials, imagining embedded relationships and interactions while allowing ourselves to be

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icate narratives of transmission and cultural memory, as these are reshaped by technological developments. It addresses, more specifically, the sensory and affective experience procured by filmed dance/music circulating within transnational music and dance circuits connecting artists and fans from f

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Tap Dance and Cultural Memory: Shuffling with My Dancestorsuffles.” Bufalino’s comment characterises a concept I call dancestry. Similar to following bloodlines through ancestry, dancestry traces movement legacies through dancers’ bodies. Drawing together social-habit memory (Connerton, .. New York, NY: Cambridge University Press, 1989), the repertoire (Tay

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Parading the Past, Taming the New: From Ragtime to Rock and RollPaul Ricoeur’s terms) to make seemingly transgressive social dance styles socially acceptable to a broad, commercial audience. Ricoeur’s concerns, described in . (2004), led me to consider the process by which popular dances, cast as risqué or immoral, are tempered by calls to past styles of dance t

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