Loie Fuller was the most famous American in Europe throughout the late nineteenth and early twentieth centuries. Rising from a small-time vaudeville career in the States, she attained international celebrity as a dancer, inventor, impresario, and one of the first women filmmakers in the world. Fuller befriended royalty and inspired artists such as Mallarmé, Toulouse-Lautrec, Rodin, Sarah Bernhardt, and Isadora Duncan. Today, though, she is remembered mainly as an untutored "pioneer" of modern dance and stage technology, the "electricity fairy" who created a sensation onstage whirling under colored spotlights. But in Rhonda Garelick's Electric Salome, Fuller finally receives her due as a major artist whose work helped lay a foundation for all modernist performance to come. The book demonstrates that Fuller was not a mere entertainer or precursor, but an artist of great psychological, emotional, and sexual expressiveness whose work illuminates the centrality of dance to modernism. Electric Salome places Fuller in the context of classical and modern ballet, Art Nouveau, Orientalism, surrealism, the birth of cinema, American modern dance, and European drama. It offers detailed close readings of texts and performances, situated within broader historical, cultural, and theoretical frameworks. Accessibly written, the book also recounts the human story of how an obscure, uneducated woman from the dustbowl of the American Midwest moved to Paris, became a star, and lived openly for decades as a lesbian.

We are not even sure of her name: it might have been Salome; it might have been Herodias, like that of her mother. She appears very briefly in only two Gospels of the New Testament, to dance at the birthday party of her mother’s husband, Herod, the ruler of Galilee. We do not even know what kind of dance it was, but we are told that it pleased him so much he promised to give her anything she asked for. What she asked for was the head of the prophet John the Baptist on a platter. Although she disappeared from the pages of the New Testament, Salome and her dance have puzzled, intrigued, and dominated the imaginations of artists and writers for two millennia. Was she just a little girl doing a dance performance to please her stepfather and his guests? Was she a nubile teenager bent on seduction? Was she a femme fatale who aimed at the death of a man she could not possess? The Salome Project is the result of a quest to answer these questions and find the real Salome.

Oscar Wilde's 1891 symbolist tragedy Salom has had a rich afterlife in literature, opera, dance, film, and popular culture. Salome's Modernity: Oscar Wilde and the Aesthetics of Transgression is the first comprehensive scholarly exploration of that extraordinary resonance that persists to the present. Petra Dierkes-Thrun positions Wilde as a founding figure of modernism and Salom as a key text in modern culture's preoccupation with erotic and aesthetic transgression, arguing that Wilde's Salom marks a major turning point from a dominant traditional cultural, moral, and religious outlook to a utopian aesthetic of erotic and artistic transgression. Wilde and Salom are seen to represent a bridge linking the philosophical and artistic projects of writers such as Mallarm , Pater, and Nietzsche to modernist and postmodernist literature and philosophy and our contemporary culture. Dierkes-Thrun addresses subsequent representations of Salome in a wide range of artistic productions of both high and popular culture through the works of Richard Strauss, Maud Allan, Alla Nazimova, Ken Russell, Suri Krishnamma, Robert Altman, Tom Robbins, and Nick Cave, among others.

What happens to the writing of dance history when issues of sexuality and sexual identity are made central? What happens to queer theory, and to other theoretical constructs of gender and sexuality, when a dancing body takes center stage? Dancing Desires asks these questions, exploring the relationship between dancing bodies and sexual identity on the concert stage, in nightclubs, in film, in the courts, and on the streets. From Nijinsky's balletic prowess to Charlie Chaplin's lightfooted "Little Tramp," from lesbian go-go dancers to the swans of Swan Lake, from the postmodern works of Bill T. Jones to the dangers of same-sex social dancing at Disneyland and the ecstatic Mardi Gras dance parties of Sydney, Australia, this book tracks the intersections of dance and human sexuality in the twentieth century as the definition of each has shifted and expanded. The contributors come from a number of fields (literature, history, theater, dance, film studies, legal studies, critical race studies) and employ methodologies ranging from textual analysis and film theory to ethnography. By embracing dance, and bodily movement more generally, as a crucial focus for investigation, together they initiate a new agenda for tracking the historical kinesthetics of sexuality.