When investigating the relationship between dance and political movements in the twentieth century a paradox emerges: How could modernist art coexist and indeed diri ve in companionship with totalitarian ideologies? Emphatic individualism has come to define the modern American age and the modern artist. Yet such autonomy stands in direct conflict witii the Fascist and Communist waves mat crashed over Europe and rolled tfirough Depression-era New York in the first half of the twentieth century. This paper traces a lineage of movement ideas that traveled to the United States from Germany during that time. I will briefly consider the chorie principle of the German dance pioneers and how ideas of monumental mass movement emigrated to and were assimilated into the dance world of 1930s New York. The coexistence of two trends, the mass dance and modern concert dance, offer a way to trace the dissemination of movement ideas that organized in tandem with emerging political movements on bom sides of me Atlantic. I will examine how die leftist New Dance Group grew out of me New York Wigman School under die direction of Hanya Holm. The Group used Holm's methods of movement improvisation to encourage amateur dance within the labor union revolution, while simultaneously supporting the development of professionals in die field. Over time, the Group had a lasting impact on American modern dance, encouraging collaboration among artists and racial equality for dancers.