Amongst her friends with whom she collaborated with were the Indian dancers Rukmini Devi Arundale, Ram Gopal,[2] Madame Menaka and Uday Shankar.

In 1972, she performed a piece titled "Man against flood", it was based on the book of the same name written by Chinese Communist Party member Rewi Alley.

It was performed at the Commonwealth Institute with music by Chinese composer Yin Chengzong, and included dancers forming a human wall against a flood of water.

[9] In 1992, Holger revived four dances from her early repertoire for her student Liz Aggiss, who first performed them, as Vier Tanze, at the Manchester Festival of Expressionism.

In the Guardian review, Sophie Constanti wrote that 'Hilde Holger's choreography reaches the British stage at last and triumphs....Together all four pieces danced with great sensitivity and aplomb by Aggiss accompanied by (Billy) Cowie on piano provided a fascinating insight into the lost Ausdruckstanz of central Europe.

'[11] In June 1993 the same four solo reconstructions (Golem, Le Martyr de Saint Sebastian, Mechanical Ballet, Die Forelle) were performed at London's Institute of Contemporary Arts (ICA) by Liz Aggiss accompanied by Cowie with Holger in the audience.

In her last few weeks Holger still held dance lessons in her basement studio in Camden, London, where she lived for more than fifty years.

Her students included Liz Aggiss, Jane Asher, Primavera Boman, Carol Brown, Carl Campbell, Sophie Constanti, Jeff Henry, Ivan Illich, Luke Jennings, Thomas Kampe, Claudia Kappenberg, Cecilia Keen Abdeen, Lindsay Kemp,[13][14] Anneliese Monika Koch, Royston Maldoom OBE, Juliet Miangay-Cooper, Anna Niman, David Niman, Litz Pisk, Kristina Rihanoff, Kelvin Rotardier, Feroza Seervai, Rebecca Skelton, Marion Stein, Sheila Styles, Jacqueline Waltz and Vally Wieselthier.

After Holger's death in 2001, her daughter Primavera began a journey of discovering the truth about her own mother's life as a famous dancer.

Them both documenting the such progression of Prim's mother's life and flourishing career, out of any of the remaining fragments of any piece of a physical legacy.

In 2010, six of Holger's students, Boman, Campbell, Kampe, Maldoom, Stange, and Waltz, reunited together to put on a series of talks and dance workshops at The InterChange Studios in Hampstead Town Hall Centre in north London to commemorate Holger's pioneering work in Inclusive Dance, entitled MoveABOUT: Transformation through movement.

These workshops introduced her work to yet another generation of dancers and interested individuals to her pioneering methods and beliefs in the power of dance, which in her own life crossed many boundaries, cultures, and religions.

[20] Afterwards, she became exiled to India in 1939 but it was not until she had relocated again to settle in London a decade later that she started to be mentioned in many books which included her work and photos of herself as a young dancer.

This volume's scope ranges from Vienna to Berlin between the world wars, from Japanese to American Modern Dance, to New York's Judson minimalist group.

George gives a supplemental and alternative genealogy of Viennese Modernism in The Naked Truth – Viennese Modernism and the Body as demonstrated by Egon Schiele, Arthur Schnitzler, Joseph Roth, Hugo Von Hofmannsthal, and to long overlooked ones like dancers, Grete Wiesenthal, Gertrude Bodenwieser, and Holger herself.