This paper discusses the embodied cultural memory practices of the post-genocide Circassian community in Türkiye. Circassians, the indigenous people of the North Caucasus, faced a large-scale massacre in 1864 when they lost 101 years of war against the tsarist Russia. The majority of the survivors was expelled to the Ottoman lands, later on, to find themselves in nation-states such as Türkiye, Jordan, and Syria. Upon the collapse of the Soviet Union, which facilitated not only access to historical archives but also contacts between homeland and diaspora, Circassians have increasingly engaged in memory practices through multi-sensual and bodily representations of their historical plight. This paper focuses on the cultural memory of Circassians in Türkiye and offers an analysis of the Circassian folk dances which operate to reproduce the lost homeland --problematizing the notions of time and space-- and speak to the contemporary conditions perpetuating the sense of being ‘uprooted’. Drawing on Rafael F. Narvaez’s concept of ‘embodied memory’ that emphasizes the role of bodies in addressing the impacts of colonial regimes and mass violence, the paper delves into Circassian dance performances that ‘resist’ the lingering impacts of historical atrocities and ‘re-enact’ their cultural existence. This paper particularly focuses on dance as a form of corporeal representation of cultural memory since Circassian dance is replete with ritualistic, social and historical meanings referring to, among others, wars, ancient beliefs, and gender roles. In addition, dance and music have constituted the primary ‘alternative space’ for Circassians in Türkiye where folklore is welcomed as richness among the diverse cultures of the country whereas pronouncement of rights, difference and ethnicity are blocked with the underlying assumption of treason and rebellion. Therefore, folk dances including their choreographed versions offer a window into the embodiment of historical remembrance in post-conflict societies as well as into minorities’ cultural memories reclaiming their ethnic identities in the face of rising nationalism that problematizes the actual diversity of cultural map prevailing across the nation. In unfolding the construction and transmission of collective memory through folk dance, the paper utilizes historical inquiry, textual and visual data about performances, and dance-based methodologies. Ultimately, the paper provides insights into the daily and staged forms of embodiment as a form of memory; the role of embodied memory practices in dealing with historical traumas; and the afterlives and aftereffects of genocidal violence and forced displacement across generations.