Bio
I created this page to assemble news of my various community/art projects and obscure publication. I have not kept this updated properly.
Here is my third person bio for those wanting to introduce me at invited talks in an unnecessarily formal way:
Mary Fogarty is Associate Professor in the Department of Theatre, Dance and Performance at York University, Toronto, Canada. Her recent choreographic work, “SoundCheck,” debuted in 2024, and featured the York Dance Ensemble and singer-songwriter, La Clem. Fogarty has co-edited various research projects including: “Breaking and the Olympics” in Global Hip Hop Studies (2024, co-edited with Jason Ng), The Oxford Handbook of Hip Hop Dance Studies (2022, co-edited with Imani Kai Johnson) and “Taking Taylor Seriously” in Contemporary Music Review (2021, co-edited with Gina Arnold, featuring scholarly essays about Taylor Swift). (That last publication was concocted on the first night I met Gina at a KISMIF conference in Porto, Portugal, and years later resulted in us giving keynote addresses at the wonderful Swift conference held in a Bloomington movie theatre, organized by Indiana University in 2023.)
Fogarty is a past President of IASPM-Canada, former Editor-in-Chief of IASPM Journal, co-founder of PoP Moves, and a long-time member of the KeepRockinYou arts collective that organized the Toronto B-Girl Movement. She researched Breaking culture and practices for many years before returning to a focus on her own creative endeavours.
Throughout her professional life, Fogarty has collaborated with artists, critics, neuroscientists, and basically anyone with good ideas and worthy projects. Before working at York University, she taught at the University of East London, while finishing up her PhD at Edinburgh University, supervised by Professor Simon Frith, OBE.
Dance on film has never been more relevant or compelling. From Saturday Night Fever, to Black Swan and the Step Up series of street dance movies, mainstream cinema has engaged, entertained and instructed generations of audiences, young and old, in the power of dance to shape bodies and desires. Music and sound are an indelible part of this phenomenon. Music not only motivates dance, it provides the affect that engages issues of sexuality, gender, ethnicity, power and pleasure, present in the dance. Cinematic dance inhabits a particular set of sound worlds, from the intimate to the epic, that place movement and music in a complex frame of engagement for all the senses.
This volume explores the relationships between movement, music and sound as they appear in a variety of screen dance genres. From a historical foundation, Movies, Moves & Music takes a multidisciplinary approach to the consideration of teen dance films, screen dance, pastiches and parodies of historic dance genres, and Bollywood musicals, ending with a phenomenological account of the interaction of the moving body with the world. Films considered include Centre Stage, Flashdance, Across The Universe, 1941, Honey, the Step Up films, and many more. This volume gets to the heart of the impact of screen dance on contemporary culture.