At a conference in Oslo (Norwegian Artists Research Forum) I met a woman over breakfast also researching the 1890's in British history – she is writing about Dartington Hall. We spoke about the re-thinking of the body in modernist dance which began to emerge in that period – specifically women's bodies and also the odd relevance of Theosophy of this time. We drifted onto the conditions that allowed fascism to rise in the coming century and the right wing elements in turn of the last century avant-garde.

It is the politics of dance that interests me now – where dance touches politics, where its context and conditions reveal something about a culture and its permissions. Riefenstahl' s dance in Helgoland somehow embodied elements of National Socialism even though the roots of her movements were in a new freedom of expression, in gestures that erred towards something benign towards the human condition. My question is how does the dance differ between Isadora Duncan and LF  – perhaps it doesn't much  – so my answer is probably context  (date,time,place, protagonist, motivation?). We shall see…