In 1941, the Nazi regime established the now infamous Nederlandsche Kultuurkamer, which involved a government register and Aryan declaration that all Dutch artists were required to sign. Those who refused to sign were forbidden to practice. Shortly after liberation, a group of dance artists who had been suppressed for rejecting Nazi ideology, staged the performance manifestation Op Vrije Voeten. The performance, which included both political and nonpolitical dances, celebrated liberation and seemed to reconcile the divisions of the pre-war dance community. According to a review in the Vrije Kunstenaar, one of the most successful performances on the program was De Duivel in het Gemeentehuis, a collaboration between choreographers Hans Snoek, Maja Morova, Ulco Kooistra and Florrie Rodrigo. The choreography, which explored deception within the government, exemplified the potential of the postwar dance community; a collaborative, unified force coming together to celebrate liberation as well as to challenge socio-political actualities through dance. Because of this, De Duivel in het Gemeentehuis can be seen as an important starting point in the development of postwar Dutch dance.