Jutta Klamt

from Wikipedia, the free encyclopedia
Jutta Klamt, 1931

Jutta Klamt (born February 23, 1890 in Striegau , Lower Silesia ; † May 26, 1970 in Aarau , Canton Aargau , Switzerland ), also Jutta Vischer-Klamt , was a German dancer , choreographer and dance teacher . She came from the modern German dance movement, led the Berlin-based Jutta Klamt School and headed the Jutta Klamt dance group . She was one of the most important protagonists of modern dance in Germany. Her devotion to the National Socialist ideology gives rise to a critical consideration of her artistic and educational work.

Fragmentary traditions

Klamt was a student of Hedwig "Hede" Kallmeyer (1881-1976), with whom she studied "Harmonious Gymnastics". However, she was also self-taught . Klamt saw dance as a way to break free from oppressive experiences. In doing so, she gave this physical form of expression a therapeutic value. She combined a modernity of expression with an absolute or abstract conception of dance that was free of any pantomime meaning.

In 1919 she made her first appearance in Berlin. The following year she opened the Jutta Klamt School in Berlin-Charlottenburg . Their regular répétiteur was initially Erich Klamt, then the composer and pianist Walter Schönberg . In 1925 Jutta Klamt married the dancer Gustav Joachim "Jo" Vischer (1900–1946), a student of Rudolf von Laban . After the marriage, the double name Vischer-Klamt was formed. In archives and publications this also occurs in the spelling Fischer-Klamt.

Together with her husband, she advocated the Mazdaznan physical theory . This influenced both the art scene in Berlin and the Bauhaus in the 1920s , and thus the artist scenes in Weimar and Dessau . She and her school developed an avant-garde dance style, which was also represented by the dance and gymnastics schools run by Dorothee Günther and Berthe Trümpy (1895–1983), Rudolf von Laban and Mary Wigman .

From 1921 to 1923 Leni Riefenstahl was one of Klamt's Tanz-Élèven . At that time, Riefenstahl was taking classes in classical dance (ballet) in the mornings at the school of the Russian ballet master Eugenie Eduardowa in Berlin's Regensburger Strasse and in the afternoons came to the Jutta-Klamt-Schule in Fasanenstrasse ( Pariser Strasse is also mentioned in secondary literature) to work there modern expressive stage dance, the expressive dance to learn. Mary Wigman made this popular in Hellerau near Dresden. Riefenstahl also registered with Wigman in 1923, danced there alongside Yvonne Georgi , Gret Palucca and Vera Skoronel , but returned to Eduardowa and Klamt after a few months because their Wigman's style seemed too abstract, ascetic and strict.

A group of men from the Jutta Klamt School , 1926
Two women from the Jutta Klamt School on the beach of the Baltic Sea , 1928

In Riefenstahl's later cinematic work there are various references to the avant-garde dance style that Klamt also represented, for example in the prologue of the Olympic films , Festival of the Nations and Festival of Beauty , which were made in 1936/37 and premiered in 1938. In it, the Hiller Girls, popular at the time, show a naturist performance. Similar to Riefenstahl, the Hiller Girls were also influenced by dancers like Klamt.

In July 1925, the Jutta Klamt School took part in performances at the 1st International Workers' Olympiad in Frankfurt am Main and was featured in the festival newspaper published for this purpose. Since the summer of 1926, the former Bauhaus master Johannes Itten taught the Klamt students in the subject of art, both in the Klamt school and in his own, where they were held as interns. Itten was also a member of the examination board of the Klamt school, as evidenced by the diploma of perhaps the most famous Klamt student and later assistant Ellinor Bahrdt.

At the end of the 1920s, Fritz Giese investigated procedures for graded physical training, including the dance notation developed by Gustav Vischer-Klamt . He worked with dance schools in Berlin, Munich and Vienna, including the Federal School for Applied and Free Movement. V. by Dorothee Günther and probably also the school of Jutta Klamt and Gustav Vischer-Klamt.

The German dancers were organized in the body education and dance department of the Kampfbund für deutsche Kultur (KfdK), which was founded in 1928 by the Nazi chief ideologist Alfred Rosenberg . This specialist group, led by the Dalcroze opponent Rudolf Bode , included the dance schools of Mary Wigman and Gret Palucca. The Kampfbund existed until 1934 and then became part of the National Socialist cultural community .

In July and August 1931, Klamt organized educational training courses for gymnasts, dancers and dance teachers at the Central Institute for Education and Teaching in Grunewald . At the same time, gymnastics and dance performances were held at the German Building Exhibition in Berlin in 1931 ( women's ring ). In July 1934, Klamt conducted a four-week advanced training course on the Baltic Sea island of Hiddensee , musically accompanied by Walter Schönberg.

In the early 1930s, Klamt and her husband were enthusiastic about National Socialism. In 1933 Jutta Klamt joined the NSDAP . The couple adapted their style to the specific aesthetics of Nazi propaganda . In January 1933, Klamt gave the physical culture quarterly contact. Body - work - performance . In this example, pointed Fritz Böhme the ecstasy back as the goal of modern dance. An internationalist, individual pursuit of ecstasy leads to an exaggerated and restrictive formalism that alienates dance from its national and racial origins of identity and the cultural bond between blood and movement . The task is therefore to develop a unique German language for the movement.

After the transfer of power to the National Socialists, anyone who wanted to dance professionally was only allowed to do so as a member of the Reichstheaterkammer (RTK). From 1935 onwards the “ Aryan certificate ” had to be provided. Those who could not meet these requirements became unemployed.

The first two German dance schools to be officially recognized by the National Socialists were the Jutta Klamt School and Dorothee Günther's Berlin dance school, which they ran together with Berthe Trümpy. Günther also founded the Association for Applied and Free Movement in Munich together with Carl Orff . V. founded, later renamed Günther School , which existed from 1924 to 1944. The Günther School and the Jutta Klamt School were closely linked after 1933.

Ministerialrat Otto von Keudell , appointed by Joseph Goebbels for theater and dance to the Reich Ministry for Public Enlightenment and Propaganda on April 1, 1933, was an important promoter of expressive dance, which at the time was also known as "German dance". Keudell significantly upgraded modern stage dance during his tenure. In June 1936 he was replaced by Rolf Cunz , who in the following year edited the German Dance Yearbook together with Gustav Vischer-Klamt .

On the occasion of a dance matinee in honor of the late John Schikowski on May 13, 1934 in Berlin, the dance group Jutta Klamt took part alongside Afrika Doering (1910–1985), Yvonne Georgi , Rudolf von Laban , Erika Lindner (solo dancer at the Berlin State Opera ), Lisa Ney , Gret Palucca, Mary Wigman and others.

From 1935, Klamt headed the “German Dance” specialist group within the Reich Theater Chamber.

Klamt's husband Gustav Vischer-Klamt introduced Nazi racial studies into the 400 or so dance schools of the Association for Physical Education which he ran and which joined the National Socialist Teachers' Association (NSLB). Within his association, the Jutta-Klamt-Schule ranked as the so-called central school . Their goal was to develop an idealized Germanic aesthetic model that included some form of racial hygiene .

In 1934, for example, Klamt worked with Hertha Feist for the performance message , which was formed by eight women and for which the Croatian composer Josip Štolcer-Slavenski wrote the music. With her piece people to arms was one of the first choreographers who put their loyalty to the Nazi regime and its militaristic orientation to the test and Propaganda Minister Goebbels liked. Mary Wigman did the same.

In the journal , the German professional education wrote Walter Pipke (* 1899, 1935 Reich student council leader in the National Socialist Teachers' Association) a detailed article on "The leading ideas of National Socialism." This was intended to bring the principles of the new spiritual stream closer to the teaching body. These principles were differentiated according to national, ethnic, socialist, religious and masculine aspects as well as according to the principle of power and leadership. The dance or the "dance-like body formation" were declared to be a public educational task, "with the solution of which only sufficient design work in community dance is made possible". Due to its "inner connection with the German dance form", the dance-like physical formation is "an originally German movement theory that gives German people an upbringing and education based on the body's soul".

From experience to design. The development of creative powers in German people , 1936

The work From experience to design. The development of creative forces in German people in 1936 and other press publications characterize Klamt and her husband as enthusiastic masters of National Socialist physical education who offered their choreographic-gymnastic method as a training tool for the purposes of the regime and its ideology, entirely “in the spirit of the new state “, As Jutta Klamt was quoted in 1934.

At the end of the 1930s, Klamt and her husband belonged to the inner circle of employees of the German Masters' Centers for Dance , which were directed by Hanns Niedecken-Gebhard . Fritz Böhme , Tatjana Gsovsky , Tamara Rauser (1903–1976) and Max Terpis and others also taught there .

As a result, the children of Magda and Reich Minister Joseph Goebbels, who were well-known throughout the Reich through numerous newsreel films , took part in gymnastics courses at the Jutta Klamt School .

From March 1943 the dance teachers had to join the Wehrmacht , the last remaining elite dancers were drafted in the summer of 1944. The German dance scene and the revues then had to do without male actors. From August 8, 1944, all artistic events were suspended.

During the last months of the Second World War , Klamt lived in Plauen, evacuated from Berlin because of the bombing raids . Gustav Vischer-Klamt returned to Berlin after the end of the war to look for work. He is said to have been arrested on the street , possibly because of a denunciation . It is said that he perished in a Soviet prison camp in 1946; Elsewhere, the former Sachsenhausen concentration camp is specifically mentioned , which the Soviets rededicated for their own purposes after it was liberated.

In 1947, Klamt submitted an application to exercise freely, which was rejected. The reasoning stated that she continued to represent Nazi views as well as her students whom she had named as witnesses of repute . She had already joined the party in 1933 and had been able to call on Nazi party offices for assistance in her professional activity. According to contemporary advertisements, Klamt was able to reopen her school around 1950. Their premises were at Podbielskiallee 34 in Berlin-Dahlem . She also worked at the neighboring Free University of Berlin until 1969 .

Jutta Klamt died in Switzerland at the age of 80. Your estate is kept in the German Dance Archive in Cologne.

Publications

  • Jutta Klamt School, Berlin (ed.): Lehrweise Jutta Klamt , 8 p., Raumer, Garmisch [approx. 1930]. OCLC 918368119
  • ders .: Writings of the Jutta Klamt School . undated , Berlin, undated OCLC 724692450
  • ders .: gymnastics, dance, vocational training in German gymnastics, in gymnastics and dance as a dancer , 8 S. o. V., o. O. 1936.
  • Jutta Klamt: physical education. Life shaping - art shaping . In: Die Musik , vol. XXIII / 10, July 1931, Schuster & Loeffler, Berlin / Leipzig 1931, p. 749.
  • Jutta Klamt: From experience to design. The development of creative forces in German people , 124 pp., 24 sh. Ill., Verlag Dr. Karl Höhn, Ulm [1936]. OCLC 916948419

literature

  • John Schikowski : The new dance (= art and people, volume 5). Volksbühnenverlag, Berlin, 1924. OCLC 8897963
  • ders .: history of dance . Gutenberg Book Guild , Berlin 1926. OCLC 257275648
  • Gustav Joachim Vischer-Klamt: Choreography and its importance for universal body training n.v., n.d.
  • ders .: Movement script (choreography) after GJ Vischer-Klamt . In: Der Sturm , Issue 18, No. 3, June 1927.
  • ders .: Choreography as a form of work. Contribution to the design of the dance school . In: Liesel Freund (Hrsg.): Monographs of the training schools for dance and dance body formation , Volume 1. Leo Alterthum Verlag, Berlin 1929, pp. 75–77.
  • ders .: written movement (= writings of the Jutta Klamt-Schule, Berlin , volume 1). Limpert, Dresden 1935. OCLC 643114730
  • ders .: Racial education and German gymnastics . In: Körperrhythmus und Tanz , March 1936.
  • ders. (Ed.): Body rhythm and dance (= quarterly papers of the Jutta-Klamt-Gemeinschaft e.V.), January / March 1936. Wilhelm Möller, Oranienburg 1936.
  • Rolf Cunz, Gustav Vischer-Klamt: Yearbook of German Dance . Dorn-Verlag, Berlin 1937. OCLC 249802105
  • ders .: The large German dance idea . In: Die Musik , July 1939, p. 42.
  • Patricia Stöckemann, Hedwig Müller: Berlin, 1945–1949. A documentation . In: Tanzdrama Magazin , No. 29 (June 1995), pp. 9-23.
  • Gustav Vischer-Klamt: New ways of choreography . In: The dance . 2nd year, issue 8, June 1929, pp. 6-7. OCLC 81025029

Individual evidence

  1. ↑ a b c d Debra Craine, Judith Mackrell: The Oxford Dictionary of Dance (2 ed.). Oxford University Press, Oxford et al. 2010, ISBN 978-0-1995-6344-9 .
  2. ↑ Jutta Klamt (1890-1970) , on: oxfordreference.com
  3. ↑ Thomas Müller (Ed.): Psychotherapy and body work in Berlin. History and practices of establishment (= treatises on the history of medicine and natural sciences ), edition 86. Matthiesen Verlag, Husum 2004, ISBN 978-3-7868-4086-2 , p. 194.
  4. ^ A b Claudia Fleischle-Braun, Krystyna Obermaier, Denise Temme: On the intangible cultural heritage of modern dance. Concepts - concretizations - perspectives . transcript-Verlag, Bielefeld 2017, ISBN 978-3-8394-3802-2 , p. 87.
  5. ↑ a b c d Jutta Klamt (1890–1970) . In: Larousse Dictionnaire de la danse , pp. 234–235, on: larousse.fr
  6. ↑ a b c d Karl Eric Toepfer: Empire of Ecstasy. Nudity and Movement in German Body Culture, 1910-1935 . University of California Press, Oakland, CA, 1997, ISBN 978-0-5202-0663-2 , pp. 254ff.
  7. ^ A b c Lilian Karina, Marion Kant: Hitler's Dancers: German Modern Dance and the Third Reich . Pp. 92-93.
  8. ^ Geertje Andresen: The dancer, sculptor and anti-Nazi Oda Schottmüller (1905-1943) . Lukas Verlag, Berlin 2005. ISBN 978-3-9368-7258-3 , p. 117.
  9. ^ Lilian Karina, Marion Kant: Dance under the swastika. A documentation . Henschel-Verlag, Berlin 1996, ISBN 3-8948-7244-6 , pp. 46, 131, 150.
  10. ↑ Bernd Wedemeyer-Kolwe: "The new person". Physical culture in the German Empire and in the Weimar Republic . Königshausen & Neumann, Würzburg 2004, ISBN 978-3-8260-2772-7 , pp. 160-161.
  11. ↑ Terri J. Gordon: Fascism and the Female Form: Performance Art in the Third Reich . In: Dagmar Herzog (Ed.): Sexuality and German Fascism . Berghahn Books, New York City / Oxford 2005, ISBN 978-1-57181-652-8 , pp. 164-200 (citation: p. 165).
  12. ↑ Birgit Haustedt: The Wild Years in Berlin . edition ebersbach, Dortmund 1999, ISBN 3-931782-59-X , p. 159.
  13. ↑ Terri J. Gordon: Fascism and the Female Form: Performance Art in the Third Reich . In: Dagmar Herzog (Ed.): Sexuality and German Fascism . Berghahn Books, New York City / Oxford 2005, ISBN 978-1-57181-652-8 , pp. 164-200 (citation: p. 193).
  14. ^ Jürgen Trimborn: Riefenstahl: A German career. Biography . Structure Digital, Berlin 2018, ISBN 978-3-8412-1507-9 , p. 41.
  15. ↑ Olympia - Festival of the Nations . In: YouTube, on: youtube.com
  16. ↑ Terri J. Gordon: Fascism and the Female Form: Performance Art in the Third Reich . In: Dagmar Herzog (Ed.): Sexuality and German Fascism . Berghahn Books, New York City / Oxford 2005, ISBN 978-1-57181-652-8 , pp. 164-200 (citation: p. 195).
  17. ↑ Central Commission for Workers' Sport and Body Care (Ed.): 1. Internationales Arbeiter-Olympia Frankfurt am Main . Ms. Wildung Verlag, Berlin 1925.
  18. ^ Eva Streit: The Itten School in Berlin. History and documents of a private art school next to the Bauhaus. Gebr. Mann, Berlin 2015, p. 71.
  19. ↑ Websites on Ellinor Bahrdt at the German Dance Archive Cologne, download April 27, 2020.
  20. ^ Gabriele Brandstetter : Dance as a culture of knowledge. Body memory and knowledge-theoretical challenge . In: Sabine Gehm, Pirkko Husemann, Katharina von Wilcke: Knowledge in motion. Perspectives on artistic and scientific research in dance . transcript Verlag, Bielefeld 2015, ISBN 978-3-89942-808-7 , pp. 38-48.
  21. ^ Wolf-Dieter Ernst, Anja Klöck, Meike Wagner (eds.): Psyche - Technology - Presentation: Contributions to acting theory as a history of knowledge . epodium, Munich 2016, ISBN 978-3-9403-8847-6 , pp. 72–75.
  22. ↑ a b c Karl Hörmann: “Faith and Beauty” - On the ideologization of dance and physical culture (PDF file; 52.5 kB), on: tanzwissenschaft.de
  23. ^ German Building Exhibition Berlin 1931 . In: Secret State Archive of Prussian Cultural Heritage , I. HA Rep. 191 VWM, No. 134/2, on: deutsche-digitale-bibliothek.de
  24. ^ Jutta Klamt: Pedagogical summer courses in Berlin . In: Die Musik , vol. XXIII / 10, July 1931, Schuster & Loeffler, Berlin / Leipzig 1931, p. 796.
  25. ↑ Die Musik , Volume 27 (1934), p. 719.
  26. ↑ a b c Jutta Klamt . In: Der Spiegel , No. 21 (1947), May 24, 1947, on: spiegel.de
  27. ^ Laure Guilbert: Danser avec le IIIe Reich: les danseurs modern sous le nazisme . Éditions Complexe, Bruxelles 2000, ISBN 978-2-8702-7697-6 , p. 155.
  28. ^ Claudia Fleischle-Braun, Krystyna Obermaier, Denise Temme: To the intangible cultural heritage of modern dance. Concepts - concretizations - perspectives . transcript Verlag, Bielefeld 2017, ISBN 978-3-8394-3802-2 , pp. 97-99.
  29. ^ Geertje Andresen: The dancer, sculptor and anti-Nazi Oda Schottmüller (1905-1943) . Lukas Verlag, Berlin 2005. ISBN 978-3-9368-7258-3 , p. 136.
  30. ^ Geertje Andresen: The dancer, sculptor and anti-Nazi Oda Schottmüller (1905-1943) . Lukas Verlag, Berlin 2005. ISBN 978-3-9368-7258-3 , p. 126.
  31. ^ Rolf Cunz, Gustav Fischer-Klamt: Yearbook of German Dance . Dorn-Verlag, Berlin 1937. OCLC 249802105
  32. ^ Estate of Africa Doering . In: Deutsches Tanzarchiv, Cologne, on: deutsches-tanzarchiv.de
  33. ^ Eberhard Schauer: Gymnastics and folk dance . In: Volker Klotzsche: The dance in the first half of the 20th century. Folk dance - youth dance (= dance history studies, volume 9). Deutscher Bundesverband Tanz, Remscheid 1994. ISBN 978-3-9253-1824-5 , p. 119.
  34. ↑ a b Evelyn Dörr : Rudolf Laban: The Dancer of the Crystal . Scarecrow Press, 2007, ISBN 978-0-8108-6007-0 , pp. 155-164.
  35. ^ Matthias Busch: Citizenship in the Weimar Republic: Genesis of a democratic subject didactics . Julius Klinkhardt, Bad Heilbrunn 2015, ISBN 978-3-7815-2069-1 , pp. 112-113.
  36. ↑ Friedrich Meier-Homberg: Dance body training as a people's educational task . In: Deutsche Tanz-Zeitschrift , issue 8 (1936), pp. 185f. Quoted from: Hanna Walsdorf: Moving Propaganda: political instrumentalization of folk dance in the German dictatorships . Königshausen & Neumann, Würzburg 2010, ISBN 978-3-8260-4259-1 , p. 115.
  37. ^ Hermann Altrock : The new task of dance . In: Der Tanz / Die neue Tanz-Zeitschrift , issue 9 (1939), p. 9f. Quoted from: Hanna Walsdorf: Moving Propaganda: political instrumentalization of folk dance in the German dictatorships . Königshausen & Neumann, Würzburg 2010, ISBN 978-3-8260-4259-1 , p. 115.
  38. ^ M. Waker: Gymnastics and Dance . In: Der Tanz , 7th year, issue 3 (March 1934), p. 12.
  39. ^ Laure Guilbert: Danser avec le IIIe Reich: les danseurs modern sous le nazisme . Éditions Complexe, Bruxelles 2000, ISBN 978-2-8702-7697-6 , p. 263.
  40. ↑ Michael Heuermann: Tatjana Gsovsky and the "Dramatic Ballet". The “Berlin Style” between Der Idiot and Tristan (PDF file; 3.7 MB). Phil. Diss. University of Bremen, 2001, p. 85.
  41. ^ Lilian Karina, Marion Kant: Hitler's Dancers: German Modern Dance and the Third Reich . P. 62.
  42. ↑ Jutta Klamt's estate . In: German Dance Archive Cologne, signature: DTK-TIS-52.
  43. ↑ Klamt, Jutta (1890–1979) . In: Federal Archives, Central Database of Legacies, on: nachlassdatenbank.de
  44. ↑ Jutta Klamt . In: Deutsches Tanzarchiv , on: deutsches-tanzarchiv.de
  45. ↑ Jutta Klamt . In: Bavarian State Library, on: bib-bvb.de
  46. ↑ Gustav Vischer-Klamt: Choreography and its importance for universal body training . In: Deutsches Tanzarchiv, Cologne, signature DTK-TIS-16737
  47. ^ Kristina Köhler: The dance film: Early film culture and modern dance . Schüren Verlag, Marburg 2018, ISBN 978-3-7410-0066-9 , p. 286.
personal data
SURNAME Klamt, Jutta
ALTERNATIVE NAMES Vischer-Klamt, Jutta
BRIEF DESCRIPTION German dancer, choreographer and dance teacher
DATE OF BIRTH February 23, 1890
PLACE OF BIRTH Striegau , Lower Silesia
DATE OF DEATH May 26, 1970
Place of death Aarau , Canton of Aargau