Lilian Karina, born in Russia, studied ballet in Berlin in the 1920s. She fled from Germany to Hungary and later Sweden, where she opened a ballet studio and still lives in Stockholm. Marion Kant was raised in East Berlin and began dancing at the Comic Opera at the age of 14. She took her PhD at Humboldt University in Musicology and Dance History and has taught at the Free University of Berlin, Kings College London, Cambridge University and the University of Surrey and is now at the University of Pennsylvania. Jonathan Steinberg is Walter H. Annenberg Professor of Modern European History, University of Pennsylvania.

• Translator's ForewordJonathan SteinbergPrefaceMarion KantPART I RECOLLECTIONSLilian KarinaIntroductionHow this work came aboutHave artists an interest in political and social circumstances?The Faces of my PastChapter 1. A Historical Overview of the Labanist PeriodPre Labanism: The Rise of the Culture of the Body (1900-1920)The Era of Labanism at its Peak: the Development of "New Dance," Modern and Stage Dance (1920s-1937)Opposition to Labanism – Realistic Dance TheaterChapter 2. Art and Culture under National SocialismThe New LegislationThe Doctrines of Race and InheritanceThe Invention of the Jewish Race: from Wagner to RosenbergChapter 3. Sectarianism and DanceThe Historical Path of Racial HygieneSects, Cults and Secret SocietiesThe New Magicians of Dance: Steiner, Klamt, Duncan, LabanThe Search for a Dance "True to Type" ["arteigen"]Chapter 4. The Fates of EmigrantsEvgenia Eduardova and Josef LewitanVictor GsovskyKurt JoossSascha LeontieffAurél von MillossLia SchubertChapter 5. The Situation in ScandinaviaThe Association of Swedish Dance PedagoguesGertrude EngelhardtElsa LindenbergEdgar FrankLilian KarinaChapter 6. Laban's Downfall and Post-LabansimPost-LabanismPART II: "DANCE IS A RACE QUESTION." THE DANCE POLITICS OF THE REICH MINISTRY OF POPULAR ENLIGHTENMENT AND PROPAGANDAMarion KantIntroductionThe State of Dance ResearchDance in Germany in 1930Chapter 7. The Reich Ministry for Popular Enlightenment and PropagandaThe Foundation of the Reich Chamber of CultureRivalries about Culture and ArtThe Propaganda Ministry and the Reich Theater ChamberChapter 8. The Nazi Redirection of DanceThe Plan for a Nazi Dance PolicyChapter 9. Ministerial Dance Politicos – Rudolf von Laban and Otto von KeudellThe Dance Festivals of 1934 and 1935Chapter 10. The German Dance Theater and The German Master WorkshopsRegulations for the Conduct of the Dance ExaminationsThe Olympic GamesThe Temporary FinaleChapter 11. The Next StageThe Laban CaseThe Wigman CaseChapter 12. After Laban's FallFrom German Dance to German BalletA Ban on DanceTotal DancePost ScriptPART III: THE NAZI ATTEMPT TO SUPPRESS JAZZ AND SWING: A CASE STUDYMarion KantPART IV: DANCE UNDER THE NAZIS: DOCUMENTARY APPENDIXSelected and Edited by Marion KantAppendix: The Administrative Structure of the Reich Ministry of Popular Enlightenment and Propaganda and the Reich Culture ChambersChronologyReferencesAbbreviations and GlossarySourcesArchives and CollectionsBibliographyIndexName entriesSubject entries

"This book points the way for the next steps of further research ... [It] will be a seminal work in facilitating the analysis of understanding the roles of dance and body under fascism." · H-Net Reviews "... a bristling book ... Rarely have we been invited to read polemical history charged with both emotional intensity and – thankfully – voluminous documentation ... Reading along with rapt attention, I can't decide which is more surprising: the blistering clarity and conviction of Kant's claims and their documantation, or the fuzzy preoccupation with self that Hitler's dancers seemed to embody during this period." · Dance Critics Association Newsletter"This is a welcome publication ... [It] provides a valuable insight into the period for English-speaking readers ... The authors provide much new information and pose some serious questions ... essential read." · Dance Theatre JournalFrom the reviews of the German edition:"This book will change a lot in dance history. And it will indeed be a painful awakening for the idol worshippers who forgive artists all sins and place them above all moral responsibility." · Judisk Kroenika"This books is indispensable because of its many important documents." · Ballettanz"Highly recommended ... The most important publication on dance in the Third Reich." · Tanzwissenschaft"An important contribution to the discussion [on Nazism and dance] - obligatory reading on the history of dance - that makes parts of this book as gripping as a thriller." · Der Tanz der Dinge

Lilian Karina, born in Russia, studied ballet in Berlin in the 1920s. She fled from Germany to Hungary and later Sweden, where she opened a ballet studio and still lives in Stockholm. Marion Kant was raised in East Berlin and began dancing at the Comic Opera at the age of 14. She took her PhD at Humboldt University in Musicology and Dance History and has taught at the Free University of Berlin, Kings College London, Cambridge University and the University of Surrey and is now at the University of Pennsylvania. Jonathan Steinberg is Walter H. Annenberg Professor of Modern European History, University of Pennsylvania.

• Translator's ForewordJonathan SteinbergPrefaceMarion KantPART I RECOLLECTIONSLilian KarinaIntroductionHow this work came aboutHave artists an interest in political and social circumstances?The Faces of my PastChapter 1. A Historical Overview of the Labanist PeriodPre Labanism: The Rise of the Culture of the Body (1900-1920)The Era of Labanism at its Peak: the Development of "New Dance," Modern and Stage Dance (1920s-1937)Opposition to Labanism – Realistic Dance TheaterChapter 2. Art and Culture under National SocialismThe New LegislationThe Doctrines of Race and InheritanceThe Invention of the Jewish Race: from Wagner to RosenbergChapter 3. Sectarianism and DanceThe Historical Path of Racial HygieneSects, Cults and Secret SocietiesThe New Magicians of Dance: Steiner, Klamt, Duncan, LabanThe Search for a Dance "True to Type" ["arteigen"]Chapter 4. The Fates of EmigrantsEvgenia Eduardova and Josef LewitanVictor GsovskyKurt JoossSascha LeontieffAurél von MillossLia SchubertChapter 5. The Situation in ScandinaviaThe Association of Swedish Dance PedagoguesGertrude EngelhardtElsa LindenbergEdgar FrankLilian KarinaChapter 6. Laban's Downfall and Post-LabansimPost-LabanismPART II: "DANCE IS A RACE QUESTION." THE DANCE POLITICS OF THE REICH MINISTRY OF POPULAR ENLIGHTENMENT AND PROPAGANDAMarion KantIntroductionThe State of Dance ResearchDance in Germany in 1930Chapter 7. The Reich Ministry for Popular Enlightenment and PropagandaThe Foundation of the Reich Chamber of CultureRivalries about Culture and ArtThe Propaganda Ministry and the Reich Theater ChamberChapter 8. The Nazi Redirection of DanceThe Plan for a Nazi Dance PolicyChapter 9. Ministerial Dance Politicos – Rudolf von Laban and Otto von KeudellThe Dance Festivals of 1934 and 1935Chapter 10. The German Dance Theater and The German Master WorkshopsRegulations for the Conduct of the Dance ExaminationsThe Olympic GamesThe Temporary FinaleChapter 11. The Next StageThe Laban CaseThe Wigman CaseChapter 12. After Laban's FallFrom German Dance to German BalletA Ban on DanceTotal DancePost ScriptPART III: THE NAZI ATTEMPT TO SUPPRESS JAZZ AND SWING: A CASE STUDYMarion KantPART IV: DANCE UNDER THE NAZIS: DOCUMENTARY APPENDIXSelected and Edited by Marion KantAppendix: The Administrative Structure of the Reich Ministry of Popular Enlightenment and Propaganda and the Reich Culture ChambersChronologyReferencesAbbreviations and GlossarySourcesArchives and CollectionsBibliographyIndexName entriesSubject entries

"This book points the way for the next steps of further research ... [It] will be a seminal work in facilitating the analysis of understanding the roles of dance and body under fascism." · H-Net Reviews "... a bristling book ... Rarely have we been invited to read polemical history charged with both emotional intensity and – thankfully – voluminous documentation ... Reading along with rapt attention, I can't decide which is more surprising: the blistering clarity and conviction of Kant's claims and their documantation, or the fuzzy preoccupation with self that Hitler's dancers seemed to embody during this period." · Dance Critics Association Newsletter"This is a welcome publication ... [It] provides a valuable insight into the period for English-speaking readers ... The authors provide much new information and pose some serious questions ... essential read." · Dance Theatre JournalFrom the reviews of the German edition:"This book will change a lot in dance history. And it will indeed be a painful awakening for the idol worshippers who forgive artists all sins and place them above all moral responsibility." · Judisk Kroenika"This books is indispensable because of its many important documents." · Ballettanz"Highly recommended ... The most important publication on dance in the Third Reich." · Tanzwissenschaft"An important contribution to the discussion [on Nazism and dance] - obligatory reading on the history of dance - that makes parts of this book as gripping as a thriller." · Der Tanz der Dinge

Lilian Karina, born in Russia, studied ballet in Berlin in the 1920s. She fled from Germany to Hungary and later Sweden, where she opened a ballet studio and still lives in Stockholm. Marion Kant was raised in East Berlin and began dancing at the Comic Opera at the age of 14. She took her PhD at Humboldt University in Musicology and Dance History and has taught at the Free University of Berlin, Kings College London, Cambridge University and the University of Surrey and is now at the University of Pennsylvania. Jonathan Steinberg is Walter H. Annenberg Professor of Modern European History, University of Pennsylvania.

• Translator's ForewordJonathan SteinbergPrefaceMarion KantPART I RECOLLECTIONSLilian KarinaIntroductionHow this work came aboutHave artists an interest in political and social circumstances?The Faces of my PastChapter 1. A Historical Overview of the Labanist PeriodPre Labanism: The Rise of the Culture of the Body (1900-1920)The Era of Labanism at its Peak: the Development of "New Dance," Modern and Stage Dance (1920s-1937)Opposition to Labanism – Realistic Dance TheaterChapter 2. Art and Culture under National SocialismThe New LegislationThe Doctrines of Race and InheritanceThe Invention of the Jewish Race: from Wagner to RosenbergChapter 3. Sectarianism and DanceThe Historical Path of Racial HygieneSects, Cults and Secret SocietiesThe New Magicians of Dance: Steiner, Klamt, Duncan, LabanThe Search for a Dance "True to Type" ["arteigen"]Chapter 4. The Fates of EmigrantsEvgenia Eduardova and Josef LewitanVictor GsovskyKurt JoossSascha LeontieffAurél von MillossLia SchubertChapter 5. The Situation in ScandinaviaThe Association of Swedish Dance PedagoguesGertrude EngelhardtElsa LindenbergEdgar FrankLilian KarinaChapter 6. Laban's Downfall and Post-LabansimPost-LabanismPART II: "DANCE IS A RACE QUESTION." THE DANCE POLITICS OF THE REICH MINISTRY OF POPULAR ENLIGHTENMENT AND PROPAGANDAMarion KantIntroductionThe State of Dance ResearchDance in Germany in 1930Chapter 7. The Reich Ministry for Popular Enlightenment and PropagandaThe Foundation of the Reich Chamber of CultureRivalries about Culture and ArtThe Propaganda Ministry and the Reich Theater ChamberChapter 8. The Nazi Redirection of DanceThe Plan for a Nazi Dance PolicyChapter 9. Ministerial Dance Politicos – Rudolf von Laban and Otto von KeudellThe Dance Festivals of 1934 and 1935Chapter 10. The German Dance Theater and The German Master WorkshopsRegulations for the Conduct of the Dance ExaminationsThe Olympic GamesThe Temporary FinaleChapter 11. The Next StageThe Laban CaseThe Wigman CaseChapter 12. After Laban's FallFrom German Dance to German BalletA Ban on DanceTotal DancePost ScriptPART III: THE NAZI ATTEMPT TO SUPPRESS JAZZ AND SWING: A CASE STUDYMarion KantPART IV: DANCE UNDER THE NAZIS: DOCUMENTARY APPENDIXSelected and Edited by Marion KantAppendix: The Administrative Structure of the Reich Ministry of Popular Enlightenment and Propaganda and the Reich Culture ChambersChronologyReferencesAbbreviations and GlossarySourcesArchives and CollectionsBibliographyIndexName entriesSubject entries

"This book points the way for the next steps of further research ... [It] will be a seminal work in facilitating the analysis of understanding the roles of dance and body under fascism." · H-Net Reviews "... a bristling book ... Rarely have we been invited to read polemical history charged with both emotional intensity and – thankfully – voluminous documentation ... Reading along with rapt attention, I can't decide which is more surprising: the blistering clarity and conviction of Kant's claims and their documantation, or the fuzzy preoccupation with self that Hitler's dancers seemed to embody during this period." · Dance Critics Association Newsletter"This is a welcome publication ... [It] provides a valuable insight into the period for English-speaking readers ... The authors provide much new information and pose some serious questions ... essential read." · Dance Theatre JournalFrom the reviews of the German edition:"This book will change a lot in dance history. And it will indeed be a painful awakening for the idol worshippers who forgive artists all sins and place them above all moral responsibility." · Judisk Kroenika"This books is indispensable because of its many important documents." · Ballettanz"Highly recommended ... The most important publication on dance in the Third Reich." · Tanzwissenschaft"An important contribution to the discussion [on Nazism and dance] - obligatory reading on the history of dance - that makes parts of this book as gripping as a thriller." · Der Tanz der Dinge