First Published in 1995. In Modern Dance in Germany and the United States: Crosscurrents and Influences Isa Partsch­Bergsohn discusses the phenomenon of the modem dance movement between 1902 and 1986 in an international context, focussing on its beginnings in Europe and its philosophy as formulated by the pioneers Dalcroze, Laban, Wigman and Jooss. The author traces the effects the Third Reich had on these artists, and shows the influence these key choreographers had on the developing American modem dance movement through the postwar years, concentrating in particular on Kurt Jooss and his Tanztheater. When America took the lead in modem dance innovation during the sixties, artists such as Martha Graham, Jose Limon, Paul Taylor, Alvin Ailey and Alwin Nikolais overwhelmed European audiences. Subsequently, the artists of the New German Tanztheater revitalized German theatre traditions by blending new content with some of the American contemporary dance techniques. Although the history of modem dance in these two countries is closely linked, the author describes how each country has kept its own unique and distinctive style.

First Published in 1995. In Modern Dance in Germany and the United States: Crosscurrents and Influences Isa Partsch­Bergsohn discusses the phenomenon of the modem dance movement between 1902 and 1986 in an international context, focussing on its beginnings in Europe and its philosophy as formulated by the pioneers Dalcroze, Laban, Wigman and Jooss. The author traces the effects the Third Reich had on these artists, and shows the influence these key choreographers had on the developing American modem dance movement through the postwar years, concentrating in particular on Kurt Jooss and his Tanztheater. When America took the lead in modem dance innovation during the sixties, artists such as Martha Graham, Jose Limon, Paul Taylor, Alvin Ailey and Alwin Nikolais overwhelmed European audiences. Subsequently, the artists of the New German Tanztheater revitalized German theatre traditions by blending new content with some of the American contemporary dance techniques. Although the history of modem dance in these two countries is closely linked, the author describes how each country has kept its own unique and distinctive style.

This is the story of three passionate choreographers and their colleagues who created European modern dance in the twentieth century despite the storms of war and oppression. It begins with Rudolf Laban, innovator and guiding force, and continues with the careers of his two most gifted and influential students, Mary Wigman and Kurt Jooss. Included are others who made significant contributions: Hanya Holm, Sigurd Leeder, Gret Palucca, Berthe Trumpy, Vera Skoronel, Yvonne Georgi and Harold Kreutzberg. The first book to weave together the connections among these extraordinary artists, The Makers of Modern Dance in Germany contains interviews, personal recollections and translations from German publications - all of which have never appeared before. Illustrated with archival photographs.

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.

Kurt Jooss discusses modern dance and its development.

Susan Manning is a professor of English, theater, and performance studies at Northwestern University and the author of Ecstasy and the Demon: The Dances of Mary Wigman. Book jacket.

Dancers as Diplomats chronicles the role of dance and dancers in American cultural diplomacy. In the early decades of the Cold War and the twenty-first century, American dancers toured the globe on tours sponsored by the US State Department. Dancers as Diplomats tells the story of how these tours shaped and some times re-imagined ideas of the United States in unexpected, often sensational circumstances-pirouetting in Moscow as the Cuban Missile Crisis unfolded and dancing in Burma shortly before the country held its first democratic elections. Based on more than seventy interviews with dancers who traveled on the tours, the book looks at a wide range of American dance companies, among them New York City Ballet, Alvin Ailey American Dance Theater, the Martha Graham Dance Company, Urban Bush Women, ODC/Dance, Ronald K. Brown/Evidence, and the Trey McIntyre Project, among others. During the Cold War, companies danced everywhere from the Soviet Union to Vietnam, just months before the US abandoned Saigon. In the post 9/11 era, dance companies traveled to Asia and Latin America, sub-Saharan Africa and the Middle East.

This two-volume set LNCS 12192 and 12193 constitutes the refereed proceedings of the 12th International Conference on Cross-Cultural Design, CCD 2020, held as part of HCI International 2020 in Copenhagen, Denmark in July 2020.The conference was held virtually due to the corona pandemic. The total of 1439 papers and 238 posters included in the 40 HCII 2020 proceedings volumes was carefully reviewed and selected from 6326 submissions. The regular papers of Cross-Cultural Design CCD 2020 presented in this volume were organized in topical sections named: Health, Well-being and Social Design Across Cultures, Culture, Learning and Communication, and Culture and Creativity.