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Disco!: Music, Image, Dance

by Mimi Haddon

Disco beyond the dance floor

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AlbakiReads Editorial

Disco beyond the dance floor

Edited by Mimi Haddon, this interdisciplinary collection examines disco from its 1970s heyday through its cultural afterlives in the 2020s. Its chapters consider how the genre moves across music and nightlife as well as fashion, film, literature, performance, digital media, museums, exercise, activism, and community. The book presents disco as a phenomenon with a complex social record: its histories connect both liberation and oppression, and progressive as well as reactionary tendencies. By bringing sound, image, and dance into the same frame, the collection treats disco as a broad cultural field that shifts across places, practices, and memories.

Good fit for readers who enjoy

  • Readers interested in disco's cultural history beyond music and nightlife.
  • Those exploring connections among popular music, dance, fashion, film, and visual culture.
  • Readers interested in the social and political dimensions of music and cultural practice.

Themes

Disco across music, image, and danceCultural history and afterlivesCommunity, activism, and social politicsDisco's ambivalent cultural meanings

Based on publisher information and book metadata.

Book overview

DISCO! Music, Image, Dance takes an interdisciplinary approach to exploring disco's untold stories--sonic, visual, and kinetic--from its popular heyday to its many afterlives. The book attests to disco's irrepressibility in cultural practices from the 1970s to the 2020s, tracing its histories and instantiations as these traverse geographies, affects, and memories, and exploring the reaches of disco as an expansive field of music, image, and dance.

Illustrating how disco shows up in multiple and surprising ways across its times and spaces, chapters track the ubiquity of disco not only in relation to music and nightlife but also fashion, film, literature, poetry, dance, performance art, digital media, museums, exercise, activism, and community. DISCO! offers an expanded and necessarily ambivalent view of the value of disco-its embrace of both the ridiculous and the sublime, and its involvement in both progressive and reactionary social tendencies.

Stretching disco studies towards a more capacious logic of valuation, contributors reveal disco to be as frivolous as it is urgent, as fanciful as it is (under)grounded, as much to do with oppression as liberation. DISCO! attests to the undisciplined and inclusive attention which disco, as a tentacular global cultural phenomenon, duly deserves and requires.
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