In 2028, the Louisiana Music Museum is expected to open to the public in downtown Lafayette, Louisiana. According to their vision statement, the museum seeks to stand “as a testament to the rhythms and harmonies that resonate within the history of our state, from Indigenous roots to the globally-connected present.” Towards this vision, the second story will feature a functional dance floor meant to emulate regional dance hall venues, once popular communal sites fundamental to local social life throughout the twentieth century. Importantly, histories and memories of these spaces have been largely transmitted through oral traditions, which have since been collected and mediated through archival institutions. Drawing from contemporary theories in heritage studies, I consider the interconnection of sound, dance, and oral history in heritage construction processes. I am interested in how sound and dance is integral to remembering dance hall experiences and how it facilitates the negotiation of local heritages in relation to senses of (un)belonging. Through archival research in the University of Louisiana at Lafayette’s Center for Louisiana Studies and interviews with local heritage authorities linked to the Louisiana Music Museum, I explore the ways in which archival mediation and museum re-presentation of oral histories contribute to reactivating the sociocultural significance of dance hall life in the public imaginary. My research seeks to weave together theoretical insights from heritage studies with ethnomusicological methods, developing a framework for understanding how individuals, as parts of larger multivocal community networks, engage with sound as a mode of heritage negotiation.