ABSTRACT
Dance has had an ongoing, but somewhat uneasy, relationship with cultural studies. Already in early 1990s, Angela McRobbie critiqued the work of the Birmingham Centre of Contemporary Cultural Studies (CCCS) for ignoring women and girls’ experiences in subcultures. ‘Dance’, she continued, ‘is where girls were always found in subcultures. It was their only entitlement’ (McRobbie, 1993: 419). In a series of studies, McRobbie then constructed girls’ dance as the ‘motivating force’ for the entire subculture of the ‘rave’.
