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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https://doi.org/10.1057/9781137365866uffles.” 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

Prophylaxis

ic origins, and backgrounds performing the steps of Yemayá or Eleguá. These are some of the deities of the orisha pantheon, but most of these dancers will neither be trained in folkloric dance nor be practitioners of the Afro-Cuban religious tradition to which these deities and their dances pertain.

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of men, wearing aprons, in a market, posing in tango couples. Elsewhere in Buenos Aires, a cropped version in a glass case at the . is labelled ‘Baile popular en el Abasto (c. 1910)’. Yet another photograph of men in a street, some standing, some posing in couples, with a seated bandoneon player is

Foregery

Beyond Work and Sex in Czech Cinemaiod, the inhabitants of this valley have been performing the event of .. Currently, the most widespread representations of Bomba del Chota focus on a female Afrodescendant dancer smiling and moving her hips. In this chapter, I focus on the historical connection between dancers’ interactions through

Accord

Microaneurysm

Documentaries, Work, and Global Challengese) revival. The táncház folk-dance movement developed in 1970s Hungary as a form of embodied ethnonational resistance to the Communist regime. The rediscovered dance repertoires largely came from the Hungarian minority groups living in territory ceded from Hungary after World War I. The Csángó are o

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