Topics covered range across the political spectrum: from dance tendencies under fascism to the use of choreography for revolutionary socialist ends; from the capacity of dance to reflect the modern market economy to its function in campaigns for peace and justice. The book also contains a comprehensive introduction to the relations between dance and politics.
I should foremost like to express my thanks to the contributors to this book. The invaluable expertise, enthusiasm and patience they brought to this project have been instrumental in shaping this, in my view, much-needed collection on the relationship between dance and politics. For financial support I of fer thanks to the University of Otago whose research grant made this project possible in the first place. The School of Physical Education, the Dean Douglas Booth and my colleagues in the Dance Studies Programme have been very supportive. For his advice and unwavering support at all stages of the work I thank Luke Purshouse. My appreciation also goes to Shanon O’Sullivan who has been my research assistant; her ef forts to research, administer and facili- tate parts of the project were marvellous. Thanks must also go to August Obermayer who provided the translations of the German texts and whose expert advice on matters German has been much appreciated. I should not forget to mention my colleague Glenn Braid’s gracious general and editorial assistance. I would also like to express gratitude to the artists who have allowed me to interview them: notably David Dorfman, Johann Kresnik and Steve Paxton. Thanks also to the various scholars who have of fered comments or advice on earlier drafts of contributions and who are named in individual chapters. I am grateful to Graham Speake from Peter Lang for his very professional help in bringing the book together. Finally, I thank those who have not been directly...
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