In Remembering a Line Dance, four girls attempt to recall the steps from dances of recent years, as they have been recorded in video clips, in TikTok, in their memories from concerts and parties, or even from their personal attempt to create a line dance. Social dances of religious nature in America; Macarena; Cha-Cha Slide; Harlem Shake; Gangnam Style; the dances of urban ballrooms — all offer kinetic and conceptual raw material which, enriched with elements from French philosopher and sociologist Maurice Halbwachs’s theory on collective memory, has shaped the work of Sakellari.
As individual memories are intertwined with collective ones and the experiences of the dominant Western pop culture, they give rise to the condition of a peculiar social construct and the movements that symbolically represent it. An unfolding of a line of movements, relationships and moments of co-existence, filtered through memory, becomes a language of dance. This language, in turn, evolves, recalls, recounts, and commits to memory, transferring us from the individual to the collective and back again. The bodily-kinetic patterns thus emerging are transformed into social bonds, parts of a ritual "belonging," albeit a temporary one.