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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Introduction: Dancing with Memory,collection’s essays into dialogue with the history of theories of embodied cultural memory. Whereas Pierre Nora (.. Translated by Arthur Goldhammer. New York: Columbia University Press, 1996) argued that embodied memory is depleted in modernity, the contributors to this collection make a strong case

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Queer Tango—Bent History? The Late-Modern Uses and Abuses of Historical Imagery Showing Men Dancing of tango’s . history, their meanings remain contested. Drawing on a methodology of visual ethnography, this chapter examines how historical photographic and non-photographic representations of male, same-sex tango dancing are deployed in contemporary, late-modern contexts. Specifically, it will exam

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Bomba Cimarrona: Hip Interactions in the Afro-Ecuadorian Bomba del Chota as a Decolonial Means to Reations and a “relación de escucha” (relationship of listening; Rivera Cusicanqui, El Potencial Epistemológico y Teórico de La Historia Oral: De La Lógica Instrumental a La Descolonización de La Historia. ., ., p. 286), I want to suggest that Afro-Ecuadorian dancers have strategically maintained, and

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Youthful Bodies as Mnemonic Artifacts: Traversing the Cultural Terrain from Traditional to Popular D popular dance and music terrain, characterized by the global-local problematic, has often produced hodgepodge artistic encounters, resulting in the creation of some popular music and dance types. In post-millennial Ghana, therefore, popular dances such as . included movements that were transmuted f

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Csángó Space and Time in the Hungarian , Revivalgether majority and minority Hungarian cultures, but one that is based on highly politicised discourses around ethnonational protest and memory politics. To the folk dancers, Csángó culture provides an outlet to the overt politicisation of national space and time: both outwardly to a mythic, pre-nat