Abstract
In this article I discuss the process of choreographing “traditional” and “folk” dances in the former Yugoslavia, aligned with Yugoslav socialist ideologies that glorified the collective cultural authorship of the people, which allowed for these dances to adopt a new dimension as they took the form of a choreographed spectacle. I explain how Yugoslav choreographers utilized archival research to create a repertoire of choreographic representations of Yugoslav identity in constructing what I theorize as heritage choreography. Reflecting on how ideology moved the collective body of the Yugoslav people through choreographed works deemed as heritage, I broaden the understanding of choreographing that differs from Western concert dance practices. Furthermore, I provide alternative examples of dance making that are rooted in local understandings of spectacle, thereby enriching the conversation about what the act of choreographing entails.
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