In this master’s thesis, the dance artist Adorée Villany's hitherto unexplored performances in Sweden 1914–1920 have been reconstructed and interpreted. Villanys naked dance aroused both interest and a lively debate in the Swedish press. She labelled her art “Reform Dance” and thus formed a part of the emerging modern dance movement. By moving beyond the morality debate surrounding her performances, visual and performative aspects of her dances and photographs are made visible.    In her art, Villany strived to bring dance forms from ancient culture to life. Her embodiment of images from ancient Egypt can be understood employing Warburg's concepts Pathosformula and Nachleben, explaining how art works through artistic imagery and form can resurrect emotions from another time. Villany's dance piece Salome’s dance has been reconstructed and analysed through a joint reading of the source materials film, texts and photographs. Here, Warburg's concept of Denkraum was proven productive as a theory and method.