This study begins by problematizing the necessary conditions for the establishment and development of the discipline of ethnochoreology in Portugal. To this end, we intend first to contextualize this discipline internationally in its relationship with the foundational field of ethnomusicology. At the same time, our intention is to conduct a critical analysis of the trajectory of folklorist studies in Portugal, clarifying the paths that, since the 19th century, have shaped the territory where the concepts of popular, tradition, and authenticity have become politically intertwined. We will then hypothesize that the social and cultural changes introduced by the Carnation Revolution would belatedly impact that interlacing, not so much through theoretical practice, but especially thanks to an embodied theory that contemporary dance brought. Indeed, we argue that in the realm of contemporary dance, the necessary disentanglement for the recovery of new modes of interlacing in the heart of expressive culture would occur, breaking the boundaries between high culture and low culture. Thus, choreographers such as Filipa Francisco and Clara Andermatt brought modes of disentangling traditional choreographic forms, making them participate through collaborative works with practitioner communities, in new interlacings that find, within the framework of theatrical dance, hybrid solutions for refreshing the so-called national traditions.