Abstract

1930s. Concurrently, left-wing organizations such as the Workers' Dance League and the New Dance Group used revolutionary dance as a tool for socialist propaganda, providing a forum for a new generation of choreographers including Anna Sokolow, Sophie Maslow, and Josd Limon. The 1950s in New York produced innovators Alwin Nikolais and Merce Cunningham, who renounced dramatic dance in favor of more abstract work, focusing on bodies in their environment and the relation-

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