Level design connects the player to the game through challenges, experiences, and emotions. Rather than read the dance through a received understanding of Cold War culture, Don’t Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period. Through close, theoretically informed readings of selected important works-Marianne Moore’s “Combat Cultural,” dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrick’s Spartacus, and John Adams’s Nixon in China-Kodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War. Catherine Gunther Kodat takes Balanchine’s catch phrase as an invitation to explore the politics of Cold War culture-in particular, to examine the assumptions underlying the role of “apolitical” modernism in U.S. Drawing on fresh archival material, Don’t Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Bringing together a broad range of topics and authors, this volume will be of great interest to scholars of environmental communication and environmental humanities.Īt some point in their career, nearly all the dancers who worked with George Balanchine were told “don’t act, dear just dance.” The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the steps-but its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio. The volume is divided into three sections- Doc- Collapse, Pop Collapse and Craft Collapse -that independently explore distinct modes of representing, and implicit attitudes toward, environmental collapse from the lenses of diverse fields of study including climate science and policy, cinema and photo journalism. Building upon contemporary conversations in the fields of archaeology and the natural sciences, this volume coalesces, explores and critically evaluates the diverse array of literatures and imaginaries that constitute environmental collapse. Given its pervasiveness across disciplines and spheres, this edited volume articulates environmental collapse as a discursive phenomenon worthy of sustained critical attention. In recent years, ‘environmental collapse’ has become an important way of framing and imagining environmental change and destruction, referencing issues such as climate change, species extinction and deteriorating ecosystems.

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