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New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance._x000B__x000B_Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.

Performances of closeness—showing one's uncovered face, physically touching others, rhythmic chanting combined with hand gestures, and collective singing and dancing—were central to pandemic-skeptical protests in Germany. This article shows that publicly performing such intercorporeal practices can become a political act when governments and health professionals promote physical distancing and mask mandates. Moreover, it analyzes how pandemic skeptics used both visual and auditive symbols of resistance against past dictatorships that are popular in Germany's dominant national narrative to legitimate their protest and stage “the people.” Protesters’ invocation of a new totalitarianism closely connects to fears revolving around the erosion of representative democracy in neoliberal times and the emergence of a digitalized world ruled by mega-corporations that is seen to be threatened by anonymity and isolation.

For many centuries, Germany has enjoyed a reputation as the 'land of music'. But just how was this reputation established and transformed over time, and to what extent was it produced within or outside of Germany? Through case studies that range from Bruckner to the Beatles and from symphonies to dance-club music, this volume looks at how German musicians and their audiences responded to the most significant developments of the twentieth century, including mass media, technological advances, fascism, and war on an unprecedented scale.

In public and popular discourse Berlin is often ascribed a particular atmosphere, sometimes depicted in the idea of “Berliner Luft.” At the same time, people living and working and visiting Berlin are still aware of the city’s recent history. This history is embodied in the city’s architecture as well as in the discourse about the need to remove “the wall in people’s heads.” This article is based on a study that has been conducted at the techno club Berghain, which has become a symbol for ‘the Berlin spirit,’ being embedded in the social and historical tradition of the formerly divided and radical Berlin that is celebrated in popular media. The club stands in a historic tradition of techno music in Berlin that once helped the process of joining two parts of the divided city together, and that today, about 25 years after the fall of the wall, is a reference for a wave of publications on the techno scene. The article examines how this discourse is kept alive by aesthetic practices of interaction in contemporary Berlin techno clubs, which are jointly performed through the intertwining of architecture, DJing, dance, and music. This aesthetic work creates an experience that exists in disembodied form and instantiates “Berliner Luft,” keeping the discourse going, in the media and in the clubs.

In the wide-ranging and innovative essays ofCultures in Motion, a dozen distinguished historians offer new conceptual vocabularies for understanding how cultures have trespassed across geography and social space. From the transformations of the meanings and practices of charity during late antiquity and the transit of medical knowledge between early modern China and Europe, to the fusion of Irish and African dance forms in early nineteenth-century New York, these essays follow a wide array of cultural practices through the lens of motion, translation, itinerancy, and exchange, extending the insights of transnational and translocal history. Cultures in Motionchallenges the premise of fixed, stable cultural systems by showing that cultural practices have always been moving, crossing borders and locations with often surprising effect. The essays offer striking examples from early to modern times of intrusion, translation, resistance, and adaptation. These are histories where nothing--dance rhythms, alchemical formulas, musical practices, feminist aspirations, sewing machines, streamlined metals, or labor networks--remains stationary. In addition to the editors, the contributors are Celia Applegate, Peter Brown, Harold Cook, April Masten, Mae Ngai, Jocelyn Olcott, Mimi Sheller, Pamela Smith, and Nira Wickramasinghe. Some images inside the book are unavailable due to digital copyright restrictions.

Parisian politics was hardly settled in 1 9 1 3 , but the French state was fairly firmly in the hands of a variety of republican and socialist parties, and there was certainly no threat of any conservative triumph. [...] in the French republic by 1910 universal adult male suffrage had been securely in place for thirty years; there was little or none of the kind of fundamental discussion of the rights of the citizen that characterized the struggles over suffrage in the various states of Germany in this period.

Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael H. Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Kater examines the value of music for the Nazi regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music. This work will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture, and ideology.

From a 'provincial' and (hopefully) self-aware European perspective, it is clear that cultural forms or practices that originated among African Americans have, beyond their value to African Americans themselves and people elsewhere, contributed tremendously to life on the European continent. Those contributions include everything from the political imaginaries of the Civil Rights and Black Power movements, through philosophical thought, to literature, film, television, theatre, dance, sports, visual culture and everyday aesthetics. Most prominent, perhaps, have been forms of music - blues and jazz to r'n'b, rap, and hybrid electronic music forms - all of which have 'furnished' European listeners' lives, whatever their so-called race. While deeply embedded racism can run through these processes of cultural flow, transfer, and appropriation, and numerous forms of exploitation are at work, in many cases there is also an ambiguous love for Black diasporic culture, at least according to the appropriating subjects' view of themselves, which manifests itself in admiration, desire, a sense of affinity or connection, and sometimes in fantasies of 'becoming black.' This issue's papers, which present case studies of what we will call Afro-Americanophilia, address the forms, ambiguities and politics involved in these cultural processes in 20th-century Germany.

We're girls who attend International Schule Frankfurt-Rhein-Main ClSFJ, an international school in Germany. We're friends with girls /rom many other countries and learn about the world fom an international perspective. Even though our cultures are different, we still like and want a lot o/ the same things. We have a lot in common-we're all girls and we all have dreams. These are some o/ the things we dream about: I'm from Germany, but I was born in Italy. I've lived in Italy, England, Berlin, and now Frankfurt. My dad works at Delbruck, a banking company, so we move a lot. My hobbies are riding, swimming, sailing, and surfing. What I really want is to have a dog or a cat. I go to an international school because normal German schools are too easy. My dad doesn't live with my mom, so we get by on our own. I'm an only child. Sometimes I behave like a princess-and sometimes I don't. I want a lot of things. I want to be a weather woman in the U.S. and report on tornados. I want to make a lot of money so I can help poor countries. I'd get a companion who'd travel with me to help poor people. I want peace in schools and in countries. I want peace everywhere. I wish wars would never start.