After the war, the Dutch began to look outward as postwar globalization began to influence all aspects of daily life. This new world view was reflected in dance as well, and more specifically, in the advancement of ballet. Before the war, ballet in the Netherlands could best be described as anecdotal. There was no history of ballet training as in France or Denmark, and the influence of German expressionism meant that much of pre-war ballet relied on the extensive use of mime. This was all challenged by Sonia Gaskell, who emigrated to the Netherlands, bringing with her the influence of her strict Russian training. Her methods, though controversial at the time, placed emphasis on ‘ballet as art’ and laid the foundation for a new Netherlands ballet culture based upon technical proficiency. In 1948 she organized the performance ‘Drie Eeuwen Danskunst’, which included a collection of short ballets from the classical repertoire that not only emphasized the primacy of ballet’s technical foundation, but also introduced a new view of dance that would forever change the course of Dutch ballet.