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<span>This collection of essays by dancers, scholars of ethnochoreology, dance studies, drama studies, cultural studies, literature, and architecture explores Irish-German connections through dance</span>
<span>in choreographic processes and on stage, in </span>
<span>literary texts, photography, dance documentation, film, and architecture since the 1920s.</span>

<p><span>Chapter One: Modernism, Migration, and Irish-German Connections in the 1930s and 1940s: The Impact of Modern Physics and Dance on Ireland</span><br><br></p>
<p><span>Gisela Holfter</span><br><br></p>
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<p><span>Chapter Two: Erina Brady: Mary Wigman’s Irish Disciple?</span><br><br></p>
<p><span>Deirdre Mulrooney</span><br><br></p>
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<p><span>Chapter Three: Duality of Cultural Influences as a Source of Insight and Inspiration: The Collaboration between Aloys Fleischmann and Joan Moriarty 1947-1992</span><br><br></p>
<p><span>Ruth Fleischmann </span><br><br></p>
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<p><span>Chapter Four: Irish Dance Documentation for the Archive: A Personal Reflection on Irish-German Connections and Intellectual Inheritances</span><br><br></p>
<p><span>Catherine E. Foley</span><br><br></p>
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<p><span>Chapter Five: “Somewhere Between Remembering and Forgetting”: An Examination of the Choreographic Process Inspired by the Poem “The Man Made of Rain” by Brendan Kennelly</span><br><br></p>
<p><span>Marguerite Donlon</span><br><br></p>
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<p><span>Chapter Six: Creating Tanztheater: Finding Ireland with Pina?</span><br><br></p>
<p><span>Finola Cronin</span><br><br></p>
<p><span>Chapter Seven: Irish Modernism and the History and Aesthetics of Dance</span><br><br></p>
<p><span>Susan Jones</span><br><br></p>
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<p><span>Chapter Eight: Rhythm and Colour: The Legacy of Dance in 1930s Joyce and Beckett</span><br><br></p>
<p><span>Siobhán Purcell</span><br><br></p>
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<p><span>Chapter Nine: Yeats’s Transgressive Dancers</span><br><br></p>
<p><span>Margaret Mills Harper</span><br><br></p>
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<p><span>Chapter Ten: “I as a Text,” I as a Dance: On the Relationship of Contemporary Dance and Contemporary Poetry with Reference to Anne Juren, Martina Hefter, Monika Rinck, and Philipp Gehmacher </span><br><br></p>
<p><span>Lucia Ruprecht</span><br><br></p>
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<p><span>Chapter Eleven: Dancing between Transgression and Transformation in German Literature after 1945 and 1989: Johannes Bobrowski and Katja Petrowskaja</span><br><br></p>
<p><span>Sabine Egger</span><br><br></p>
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<p><span>Chapter Twelve: Dance and the Postmodern Subject in “Libidoökonomie” and “Der Kranich auf dem Kiesel in der Pfütze” by Feridun Zaimoglu</span><br><br></p>
<p><span>Joseph Twist</span><br><br></p>
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<p><span>Chapter Thirteen: “Alive. Changing. New”: Impulses of the Jaques-Dalcroze Dance Institute on the Architecture of Ludwig Mies van der Rohe</span><br><br></p>
<p><span>Tanja Poppelreuter and Jan Frohburg</span></p>

<p><span>Sabine Egger</span><span> is lecturer in German studies at Mary Immaculate College, University of Limerick, and joint director of the Irish Centre for Transnational Studies. <br><br></span><span>Catherine E. Foley</span><span> is emeritus senior lecturer in ethnochoreology at the Irish World Academy of Music and Dance at the University of Limerick and founding director of the National Dance Archive of Ireland.</span><br><br><span><br></span><span>Margaret Mills Harper</span><span> is Glucksman Professor in Contemporary Writing in English at the University of Limerick.</span></p>