رقصندگان هیتلر: رقص مدرن آلمان و رایش سوم

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. "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
"... 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 Journal 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.
Lilian Karina, born in Russia, studied ballet with Eduardova and Gsovsky in Berlin in the 1920s and danced with Sascha Leontieff, Aurél von Milloss and many others. 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, the University of Surrey and now at the University of Pennsylvania. Jonathan Steinberg is Walter H. Annenberg Professor of Modern European History, University of Pennsylvania. Frontmatter Translater's Foreword (Jonathan Steinberg, page viii) Preface (Marion Kant, page x) PART I: RECOLLECTIONS (Lilian Karina) Introduction (page 3) CHAPTER 1: A Historical Overview of the Labanist Period (page 11) CHAPTER 2: Art and Culture under National Socialism (page 22) CHAPTER 3: Sectarianism and Dance: The Historical Path of Racial Hygiene (page 30) CHAPTER 4: The Fates of Emigrants (page 39) CHAPTER 5: The Situation in Scandinavia (page 51) CHAPTER 6: Laban's Downfall and Post-Labansim (page 57) PART II: "DANCE IS A RACE QUESTION." THE DANCE POLITICS OF THE REICH MINISTRY OF POPULAR ENLIGHTENMENT AND PROPAGANDA (Marion Kant) Introduction: The State of Dance Research (page 71) CHAPTER 7: The Reich Ministry for Popular Enlightenment and Propaganda (page 78) CHAPTER 8: The Nazi Redirection of Dance (page 85) CHAPTER 9: Ministerial Dance Politicos - Rudolf von Laban and Otto von Keudell (page 97) CHAPTER 10: The German Dance Theater and The German Master Workshops (page 109) CHAPTER 11: The Next Stage: The Laban Case, The Wigman Case (page 124) CHAPTER 12: After Laban's Fall (page 136) Post Script (page 147) PART III: THE NAZI ATTEMPT TO SUPPRESS JAZZ AND SWING: A CASE STUDY (Marion Kant, page 167) PART IV: DANCE UNDER THE NAZIS: DOCUMENTARY APPENDIX (Selected and Edited by Marion Kant, page 193) Appendix: The Administrative Structure of the Reich Ministry of Popular Enlightenment and Propaganda and the Reich Culture Chambers (page 312) Chronology (page 317) References Abbreviations and Glossary (page 331) Sources. Archives and Collections (page 335) Bibliography (page 337) Index Name entries (page 352) Subject entries (page 360) "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 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."--BOOK JACKET