Kirchner rendered the dance motif in all techniques. Beginning with the early years in Dresden, it accompanied him throughout his artistic career. He was interested in both cultic dance forms, as well as in contemporary dances, the free dances of Mary Wigman or dances in taverns, cafes, music halls or at the circus. Incarnating spontaneity and authenticity, the dance is an immediate expression of the moment of expressive motion. In our woodcut, made during Kirchner's time in Dresden and accordingly the days of the "Brücke", Kirchner staged the motif of motion with sharp contours in a relief-like manner. The eccentric motif of motion of the dancer in the right, probing the limits of what is anatomically possible, calls reminiscence of Nolde's dancers from the South Seas, which he captured in a color lithograph from 1913. However, Kirchner's sheet, of which another copy is in possession of the National Gallery in Washington, does not examine the cultic dance but a rather modern style that was an expression of liberty in urban societies at the beginning of the 20\up6 th century.