1. Jackson, George, “European Modem Dance,” Dance Magazine (November 1985): 49.Google Scholar

2. Meileander, Peter C., Toward a Theory of Immigration (New York: Palgrave, 2001), 7.CrossRefGoogle Scholar

3. Social scientists often disparage historians for taking a case study rather than theoretical approach to migration. See Bretell, Caroline B. and Hollifield, James F., eds., Migration Theory: Talking Across Disciplines (New York: Routledge, 2000).Google Scholar

4. Theories of the French orator François Delsarte, modified and applied by Americans, not only vitally influenced dancers such as Isadora Duncan, Ruth St. Denis, and Ted Shawn but also allowed middle-class women to experience a novel use of the body and ultimately to appreciate a new performance art. The movement system of the Swiss musician Emile Jacque-Dalcroze was taught in Chicago and at Bryn Mawr College from 1913; a Dalcroze Institute was established in New York City in 1915 with a European faculty. The German-Russian couple Clothilde and Alexander Sacharoff made their New York debut in 1920. Eugene Van Grona appeared in 1925. Headliners Harald Kreutzberg and Yvonne Georgi concertized in 1928, 1929, and 1930 and did some teaching before returning to Europe. Hans Wiener and the Russian Benjamin Zemach both arrived in 1927, and Wiener eventually became a permanent resident. By 1931 the Scandinavian Ronny Johannson and the Austrian-born Margarete Wallmann had taught at Denishawn, and Wigman-educated Lore Deja was teaching at the Cornish School. Tina Flade, Fe Alf, and Erika Thimey arrived about the same time Holm did and remained in the United States. In addition to these few examples of European influences in the United States, many Americans who had studied abroad were applying European methods in their teaching. Half of the students in Wigman's 1931 summer course were American.

5. Hanya Holm Papers, Jerome Robbins Dance Division (JRDD), New York Public Library, Series II, box 8, folder 297. At the time of this writing, the material is off-site and must be requested a few days ahead of use.

6. Müller, Hedwig, “A Matter of Loyalty—Hanya Holm and Mary Wigman,” translated by Frisch, Shelly, in Liebe Hanya: Mary Wigman's Letters to Hanya Holm, compiled and edited by Gitelman, Claudia (Madison: University of Wisconsin Press, 2003), xxvi–xxvii.Google Scholar

7. Hanns Benkert's letters to Hanya Holm, which were discovered after her death, were translated by Joanna Ratych and summarized by me in Appendix 1 of Liebe Hanya. Originals are in Hanya Holm Papers, series I, box 7, folders 274–283, JRDD.

8. Some photographs of the Eckert (Holm's birth name) family are in the Hanya Holm Papers, JRDD. There is anecdotal evidence that she occasionally visited her family near Pittsburgh. The family's interest in Holm's Broadway choreography for Kiss Me, Kate is featured in articles in the News Dispatch of Jeannette, Pennsylvania, from December 21, 1948, and January 5, 1949.

9. See Luebke, Frederick C., Germans in the New World: Essays in the History of Immigration (Urbana: University of Illinois Press, 1990)Google Scholar, for a study of how German immigrants responded to social changes in the nineteenth and twentieth centuries.

10. Hanya Holm Papers, JRDD.

11. Smiley, Gene gives a timeline and description of the Great Depression and offers an interpretation of its causes in Rethinking the Great Depression (Chicago: Ivan R. Dee, 2002).Google Scholar

12. Hanya Holm Papers, JRDD.

13. Told to me by Louise Kloepper, Holm's assistant, in an interview on June 18, 1996.

14. Published in a translation by Marianne Forster in Liebe Hanya. Originals are in JRDD.

15. Kobeleff, Constantin, Dance Magazine (June 1931): 15.Google Scholar

16. Dance Magazine (May 1931): 52, 64.

17. Ibid., 15.

18. See Manning, Susan, Ecstasy and the Demon: Feminism and Nationalisn in the Dances of Mary Wigman (Berkeley: University of California Press, 1993), 257–65.Google Scholar

19. See chapter 6, “Dancing Across the Atlantic,” in Burt, RamsayAlien Bodies: Representations of Modernity, “Race” and Nation in Early Modern Dance (London: Routledge, 1998).Google Scholar

20. Karl Toepfer, Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910–1935 (Berkeley: University of California Press, 1997).

21. Randall, Tresa M., “Hanya Holm, Community, and Dance as ‘Genuine Folk Culture,’” in Proceedings of Congress on Research in Dance, Spring 2005 (Tallahassee: Florida State University).Google Scholar

22. See Ross, Janice, Moving Lessons: Margaret H'Doubler and the Beginning of Dance in American Education (Madison: University of Wisconsin Press, 2000).Google Scholar For additional information about H'Doubler, see the anthology Margaret H'Doubler: The Legacy of America's Dance Education Pioneer, edited by Wilson, John M., Hagood, Thomas K., and Brennan, Mary A. (Youngstown, NY: Cambria Press, 2006).Google Scholar

23. Gerald Goode to Hans Hastings, January 26, 1932, Hanya Holm Papers, JRDD.

24. Holm, Hanya, “The Educational Principles of Mary Wigman: Their Application to the Role of the Dance in Modern Education,” Journal of Health and Physical Education 3, no. 7 (September 1932): 7, 10, 60–61.Google Scholar

25. Morgan, Jay Elmer, “Physical Education and the Machine Age,” Journal of Health and Physical Education 3, no. 6 (August 1932): 3–6, 37.Google Scholar

26. H'Doubler, Margaret, “An Interpretation of Rhythm,” Journal of Health and Physical Education 3, no. 7 (September 1932): 16, 17, 26, 54–55.Google Scholar

27. Dudley, Jane, Louise Kloepper: A Festschrift, edited by Gitelman, Claudia and Nassif, Anna (n.p., 1997).Google Scholar