DANCING WITH THE REVOLUTION: POWER, POLITICS, AND PRIVILEGE IN CUBA By Elizabeth B. Schwall. 2021. Chapel Hill: University of North Carolina Press. 320pp., 21 halftones. $34.95 paper. ISBN: 978-1-4696-6297-8. $95.00 hardcover. ISBN: 978-1-4696-6296-1. $27.99 e-book. ISBN: 978-1-4696-6298-5.

in Mandate Palestine in the 1920s and 1930s (27–29, 39), because so many Jewish choreographers were influenced by German body culture, I desired amore critical engagement with the implications of understanding this corporeality, especially because Eshel discusses the Holocaust and the turning-inward of Jewish dance in Mandate Palestine during World War II (36–45). Another conversation that deserves more space is about Palestinian and non-Jewish Arab dancers (324– 332). The majority of the Arab dancers Eshel discusses are based in Israel, not the West Bank or Gaza; readers would benefit from contextualization of the social conditions for Christian and Muslim Arab choreographers who are citizens of Israel. Lastly,Esheleffectivelyaddressesqueerpresences in Israeli dance fromthe1990s to thepresent. Her study would be well-served by a companion conversation about queerness, however closeted, among the dance figures she discusses in the early and mid-twentieth century. Dance Spreads Its Wings significantly documents established and emerging histories of Israeli concert dance from a local perspective. Its compendium focus expands the scope of established narratives available in English and brings lesser-known dancers into the discourse. The book provides important reference material for students and researchers seeking to understand the scope of Israeli concert dance history and scholarship. Within field-level approaches to localize dance studies, having Eshel’s work translated into English importantly enables conversations about Israeli concert dance in both local and global contexts.