Hitler S Dancers

The Nazis burned books and banned much modern art. However, few people know the fascinating story of German modern dance, which was the great exception. Modern expressive dance found favor with the regime and especially with the infamous Dr. Joseph Goebbels, the Minister of Propaganda. How modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later. The book offers three perspectives: the dancer Lilian Karina writes her very vivid personal story of dancing in interwar Germany; the dance historian Marion Kant gives a systematic account of the interaction of modern dance and the totalitarian state, and a documentary appendix provides a glimpse into the twisted reality created by Nazi racism, pedantic bureaucrats and artistic ambition.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

Hitler Dances is striking not so much for the formal experimentation of its dramatic design as for its use of innovative theatrical procedures. Conceived as a workshop by the Traverse Theatre of Edinburgh, Hitler Dances originated as a series of exercises in which the actors confronted their experience and recollection of wartime England.

Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the ‘cultural flow’ of the dances is ‘punctuated’ by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar’s transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.

Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of methodological approaches and how they can be applied to the study of ballet and modern dance.

On May 6, 1939, Ilse Weber, in writing to her sister-in-law, Zofiah Mareni, noted "You will probably be happy to know how do we live here now? Well, at least we're not pestered by boredom. It's like dancing on a powder keg. The air is impregnated with insane rumors, which we no longer believe." Starting in 1933, Ilse's letters recorded the lives of her small family during a time of increasing danger, when Europe descended from peace to the chaos of war and genocide. In 1933, Ilse Weber lived in her ancestral town, Vítkovice, near the industrial area of Moravia-Ostrava in northern Czechoslovakia. She was thirty, married to Willi Weber, and had a son Hanus, aged two. As author of children's books and radio scripts, she used her maiden name, Ilse Herlinger. She wrote in German, the language of that border region, thinking of herself as a Czech. Lilian von Löwenadler, to whom the letters were mostly addressed, was the daughter of a Swedish diplomat, with whom Ilse had maintained an epistolary relationship since childhood, enhanced by personal visits. At that time Lilian was living in England. In 1934, Ilse gave birth to a second son, Thomas. In 1938, Hitler's Third Reich annexed Vítkovice and the rest of what it called Sudetenland. Soon after, it occupied all of Czechoslovakia. In the spring of 1939, the Webers, now living in Prague, sent Hanus on a Kindertransport to London, to Lilian, who took him to Sweden to live with her mother. In 1942, Ilse, Willi and Tommy were sent to the Thersienstadt Ghetto. Working there in the children's infirmary, Ilse entertained the patients with songs, accompanying herself on her contraband guitar. It is these songs and poems, mail correspondence having become near impossible, in which we can trace Ilse's last years. As inmates disappeared on trains to 'the East,' Willi hid his wife's music and poems in a work shed with his gardening tools. He went 'east,' followed, later in 1944, by Ilse and Tommy. In the autumn of 1945, Willi, having survived in a labor camp, was joined by fourteen year-old Hanus and they recovered Ilse's songs and poems. After a year of anxious inquiry, they relinquished hope that Tommy and Ilse were alive. We would not have the letters had not someone, decades later, while cleaning out a London attic, found them in a box.