promise” (174). The analysis of dance as part of a cultural process, able to dismantle the past in the favor of a “very instant” American present, continued in the context of Gopal’s performances (174). Analysis of Gopal’s negotiation of his bodily representation of India, as well as criticism from both Western and Eastern audiences, enriches earlier interrogation of boundaries and challenges of appropriation in ethnic dance. The discussion of complexity of the “in-out” bodily and emotional experience of the performers engaged in bridging different cultures is also salutary. For instance, Ram Gopal simultaneously self-identified with the Indian cultural movement and the “resuscitation” of Indian dance (177), but he believed in interculturalism, and he felt that his appreciation of the Western culture completed for him “the circle of East and West” (178). Political dimensions of Gopal’s performances in America are further considered in relation to his presentation as a cultural diplomat of the Indian government in the context of the anti-colonialist movement and the reconstruction of national identity after 1947. The sagacious choice of discussing last the Midwestern dancer Charles Weidman’s one-night appearance in the International Dance Festival has a symphonic quality of a finale, encompassing the book’s main themes and arguments. The organizers’ invitation to Weidman to represent America at the International Dance Festival and his success (considered by critics the “brightest spot” of the event [189]) were not because he was “primus inter pares” of the vibrant American modern dance scene. Au contraire, Kowal argues, they were due to the “anti-elitist accessibility” (195) of his dances “drawn from the fabric of America” (149) being also perceived as embodiments of the American masculinity despite Weidman’s bisexuality. Positioning Weidman’s reception vis-à-vis his two discursive foils—Lifar, labelled by one critic as the “Queerographer” (173), and Gopal, the exotic foreigner—the author concludes that the International Dance Festival was a microcosm of the ideals, contradictions, and subjective mentality of midcentury American globalism, simultaneously promoting difference, while fearing and opposing “otherness.” Through the research and writing, conceptualizing, theorizing, and demonstrating the conflicting but intermingled midcentury America’s affair with globalism that embraced interculturalism while reinforcing Americancentered white hierarchies, Kowal’s book is illuminating. It advances the dance history field, as well as associated research fields. Kowal also incites readers to reimagine the more diverse, inclusive America we live in, while advancing our understanding of the physical and mental borders and bordering of whiteness, as well as “otherness” in dance practice and performance. I recommend the book with no reservations to researchers and dance practitioners, undergraduate and graduate students, and to anyone who believes that dance, as the book beautifully demonstrates, connects people. Showing that dance can “make the world smaller,” Kowal’s work brings us closer to the hope that our bodies and minds can overcome the complex challenges of our time and make the world better.

中文翻译：

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SERGE LIFAR 舞蹈中的法西斯转身：两次世界大战期间的法国芭蕾舞团和马克·弗兰科的德国占领。2020.纽约：牛津大学出版社。294 页，44 张照片。39.50 美元纸质书，ISBN：9780197503331。125.00 美元精装书，ISBN：9780197503324。doi：10.1093/oso/9780197503324.001.0001

承诺”（174）。将舞蹈作为文化过程的一部分进行分析，能够以“非常瞬间”的美国现在的方式拆除过去，继续在戈帕尔的表演背景下进行（174）。对戈帕尔关于他对印度身体表征的谈判的分析，以及来自西方和东方观众的批评，丰富了早期对民族舞蹈边界的质疑和挪用的挑战。对参与不同文化的表演者的“进出”身体和情感体验的复杂性进行讨论也是有益的。例如，拉姆·戈帕尔同时自我认同印度文化运动和印度舞蹈的“复苏”（177），但他相信跨文化主义，他觉得他对西方文化的欣赏为他完成了“东西方的圈子”（178）。戈帕尔在美国的表演的政治层面被进一步考虑到他在 1947 年后反殖民主义运动和国家认同重建的背景下作为印度政府的文化外交官的表现。最后讨论中西部舞者的明智选择查尔斯·魏德曼 (Charles Weidman) 在国际舞蹈节上的一晚演出具有压轴的交响乐品质，涵盖了本书的主要主题和论点。组织者邀请魏德曼代表美国参加国际舞蹈节，他的成功（被评论家认为是该活动的“亮点”[189]）并不是因为他是充满活力的美国现代舞界的“首要人物” . 相反，科瓦尔认为，这是因为他的舞蹈“取材于美国”（149）的“反精英可及性”（195）也被视为美国男子气概的体现，尽管魏德曼是双性恋。将魏德曼的受欢迎程度与他的两个话语陪衬——利法尔，被一位评论家称为“Queerographer”（173），以及异国情调的外国人戈帕尔——相比，作者得出结论，国际舞蹈节是理想的缩影，世纪中叶美国全球主义的矛盾和主观心态，同时促进差异，同时害怕和反对“他者”。通过研究和写作、概念化、理论化和展示美国世纪中叶与全球主义相互冲突但又相互交织的事件，这些事件包含了跨文化主义，同时加强了以美国为中心的白人等级制度，科瓦尔的书具有启发性。它推进了舞蹈历史领域以及相关的研究领域。Kowal 还鼓励读者重新想象我们所生活的更加多样化、更具包容性的美国，同时促进我们对身体和精神边界、白人边界以及舞蹈练习和表演中的“差异性”的理解。我毫无保留地向研究人员和舞蹈从业者、本科生和研究生以及任何相信舞蹈的人推荐这本书，正如这本书精美地展示的那样，可以将人们联系起来。