Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic

Funkenstein, Susan

doi:doi:10.3998/mpub.11406286

Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic

Susan Funkenstein 2020

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Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women's magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix's six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde's watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies' mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school's transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus' signature step in which you vigorously hop and stomp late into the night.

Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany's first democracy (1918-1933). Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together. In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists' deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected. Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment.

Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic. Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.

Series

Social History, Popular Culture, and Politics in Germany

ISBN(s)

978-0-472-05461-9 (paper)
978-0-472-07461-7 (hardcover)
978-0-472-12708-5 (ebook)

Subject

Citable Link

Filtering by: Section Chapter 2

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Photograph of Mary Wigman dancing solo in a straw costume, which obscures her body and makes her appear like a spirit with legs in tights. One leg is stepping up with the other lightly on the floor; only one arm is visible within the straw and is positioned away from her body.

Mary Wigman in Idolatry (Götzendienst)

From Chapter 2

Hugo Erfurth, Mary Wigman in Idolatry (Götzendienst), from Ecstatic Dances (Ekstatische Tänze), 1917/19. Photograph. 11.5 × 15.5 cm, 4.53 × 6.10 in. Akademie der Künste, Berlin, Mary-Wigman-Archiv, No. 264.

Abstract watercolor painting in which the Wigman figure stands in a reverse K pose as negative space among a vibrantly painted background in yellows, reds, and other hues. The figure is shown as very faint washes of paint. The right side of the background is more saturated in watercolor than the left, where some light shows through. A small signature lies in the bottom right corner.

Female Dancer (Mary Wigman) (Tänzerin [Mary Wigman])

From Chapter 2

Emil Nolde, Female Dancer (Mary Wigman) (Tänzerin (Mary Wigman)), likely early 1920s. Watercolor. Nolde Stiftung Seebüll © Nolde Stiftung Seebüll

Abstract watercolor painting in which the Wigman figure gestures toward the sky with both arms. The figure has some detail, including defining lines and dark wash to indicate neck, lips, dress, and hair. The defining lines and washes in dark blues and purples allow differentiation from the background, which is made of carefree watercolor strokes.

Female Dancer (with Violet Veil) (Tänzerin [mit violettem Schleier])

From Chapter 2

Emil Nolde, Female Dancer (with Violet Veil) (Tänzerin (mit violettem Schleier)), likely early 1920s. Watercolor. Nolde Stiftung Seebüll © Nolde Stiftung Seebüll

Abstract watercolor painting in which the Wigman figure dances while another figure, Palucca, plays percussive instruments. Wigman dances with arms over her head and faces downward; Palucca’s arms are stretched starkly outward with legs bent in a diamond shape and feet together. Palucca holds instruments in both hands. Both figures are defined by thick lines of watercolor, some washes to indicate shadow, and some white space. Another line shows the floor with background of green washes above and below.

Dance Scene (Two Green Figures) (Tanzszene [Zwei grüne Figuren])

From Chapter 2

Emil Nolde, Dance Scene (Two Green Figures) (Tanzszene (Zwei grüne Figuren)), likely early 1920s. Watercolor. Nolde Stiftung Seebüll © Nolde Stiftung Seebüll

Photograph of “Dance of Death II,” in which the tormenter beast lunges toward Wigman, the tormented martyr, who is supported by six group dancers atop carpet floor and in front of black background. Everyone wears billowing sheer fabric outfits with veils and hard masks. Wigman wears a more narrow dress than the others with dark fabric and lighter color chevron stripes going down the entire garment. She leans back against the group dancers.

Mary Wigman und Gruppe bei der Aufführung von ‘Totentanz II’ ; Mary Wigman and a group at a performance of ‘Totentanz II’

From Chapter 2

August Scherl, Mary Wigman and a group at a performance of “Dance of Death II” (Mary Wigman und Gruppe bei der Aufführung von ‘Totentanz II’), 1926. Photograph. Scherl/Süddeutsche Zeitung Photo.

Abstract graphite and crayon sketch in paper sketchbook of Wigman’s rehearsals, with two pink and purple figures on the right high-kicking toward the tormenter figure, portrayed as a green mass on the left.

Sketchbook 127/DP34

From Chapter 2

Ernst Ludwig Kirchner (1880–1938). Sketchbook 127/DP34, January 1926. Colored chalks, wax cloth booklet. 20.7 × 16.3 cm. Kirchner Museum Davos. Donation of the Estate of Ernst Ludwig Kirchner 1990. © Kirchner Museum Davos.

Abstract graphite and crayon sketch in paper sketchbook of Wigman’s rehearsals, in which four dancers rehearse in a tight group, their forms accentuated by a repeating pattern of triangles over their heads. The dancers are indicated by green, blue, and yellow strokes of crayon; the triangles are in blue and red.

Sketchbook 127/DP43

From Chapter 2

Ernst Ludwig Kirchner (1880–1938). Sketchbook 127/DP43, January 1926. Colored chalks, wax cloth booklet. 20.7 × 16.3cm. Collection: Kirchner Museum Davos. Donation of the Estate of Ernst Ludwig Kirchner 1990. © Kirchner Museum Davos.

Abstract sketch of Wigman’s rehearsals in paper sketchbook, in which the figures are portrayed in lavender crayon. The group of five dancers leans toward the Wigman figure on the left, who is also the largest figure shown.

Sketchbook 133/DP39

From Chapter 2

Ernst Ludwig Kirchner (1880–1938). Sketchbook 133/DP39, 1926. Colored chalks, wax cloth booklet with three metal clips. 20.7 × 16.3 cm. Kirchner Museum Davos. Donation of the Estate of Ernst Ludwig Kirchner 1990. © Kirchner Museum Davos.

Abstract black-and-white woodcut print of Wigman’s Dance of Death II, in which the group in the background leans to the left toward Wigman in the foreground, who gestures with her arms above her head. The group dancers have minimal detail besides shadow and general defining lines, but Wigman’s facial features, fingers, and chevron-striped dress pattern are defined. Between the group dancers and Wigman on the floor, there is a block of black and a few lines to denote strips of wooden flooring.

Dance Group (Tanzgruppe)

From Chapter 2

Ernst Ludwig Kirchner, Dance Group (Tanzgruppe), 1926. Woodcut print. 16.8 × 10.8 cm to 22.5 × 17.7 cm. Photograph: Courtesy Gallery Henze Ketterer, Wichtrach/Bern.

Colorful abstract oil painting of Dance of Death II, in which the Wigman figure in yellow and black dress bends into a deep knee bend with her arms above her head on the left; the tormenter in green lunges toward her from the right; and a row of lavender and red dancers leans in toward the center of the composition behind them. Lines and patterns connect all the figures visually, particularly a blue and red chevron pattern on the floor. Each figure is masked.

Mary Wigman’s Death Dance (Totentanz der Mary Wigman)

From Chapter 2

Ernst Ludwig Kirchner, Mary Wigman’s Death Dance (Totentanz der Mary Wigman), 1926/1928. Oil on canvas. 110 × 149 cm. Photograph: Courtesy Gallery Henze Ketterer, Wichtrach/Bern.

Black-and-white woodcut print inspired by Wigman’s group. Two rows of women dance nude, each row facing an opposite direction. The back row has five women with dark hair while the front has four with light hair. Organic lines define each figure outline and general body detail, while the background and floor (which has a chevron pattern) is in stark straight lines.

Oppositional Dance (Gegentanz)

From Chapter 2

Ernst Ludwig Kirchner, Oppositional Dance (Gegentanz), 1926. Woodcut print. 26 × 42.8 cm to 32 × 47 cm. Photograph: Courtesy Gallery Henze Ketterer, Wichtrach/Bern.

“Miss Lerol”

From Chapter 2

“Miss Lerol,” in Artur Michel, “What They’re Dancing” (“Was sie tanzen”), Uhu 2:8 (May 1926): 45. Kunstbibliothek, Staatliche Museen, Berlin, Germany. bpk Bildagentur / Kunstbibliothek, Staatliche Museen, Berlin, Germany / Dietmar Katz / Art Resource, NY

“Mary Wigman”

From Chapter 2

“Mary Wigman,” in Artur Michel, “What They’re Dancing” (“Was sie tanzen),” Uhu 2:8 (May 1926): 49. Kunstbibliothek, Staatliche Museen, Berlin, Germany. bpk Bildagentur / Kunstbibliothek, Staatliche Museen, Berlin, Germany / Dietmar Katz / Art Resource, NY

A page from a German magazine of dancer Vera Skoronel, looking at herself in a mirror as she checks her pose: arms above her head and holding instrumental objects, legs crossed as she stands next to a bass drum and wears a short dress with a belt. She also is wearing a bowler hat with a ribbon atop short hair and heeled shoes. She leans slightly toward the mirror. Around the photograph is a block of German editorial text.

“Vera in front of the Mirror” (“Vera vor dem Spiegel”)

From Chapter 2

“Vera in Front of the Mirror” (“Vera vor dem Spiegel”), in Berthe Trümpy, “Dancers by Themselves” (“Tänzerinnen unter sich”), Uhu 5:4 (January 1929): 55. Kunstbibliothek, Staatliche Museen, Berlin, Germany. bpk Bildagentur / Kunstbibliothek, Staatliche Museen, Berlin, Germany / Dietmar Katz / Art Resource, NY

A page from a German magazine featuring three women in a closed dressing room, one of whom is standing on a ledge and nude, with her back toward the viewer. One arm reaches for a horizontal tension rod and the other holds a towel to her hip. The other two models are clothed. One sits on the same ledge with one leg bent and the other straight out; the other sits on the floor in front of them and faces away from both the other women and the viewer.

“Dancers by Themselves” (“Tänzerinnen unter sich”)

From Chapter 2

“Dancers by Themselves” (“Tänzerinnen unter sich”), in Berthe Trümpy, “Dancers by Themselves” (“Tänzerinnen unter sich”), Uhu 5:4 (January 1929): 54. Kunstbibliothek, Staatliche Museen, Berlin, Germany. bpk Bildagentur / Kunstbibliothek, Staatliche Museen, Berlin, Germany / Dietmar Katz / Art Resource, NY

A page from a German magazine featuring two sepia photographs of nude dancing and gymnastics outdoors. One photograph takes up the top half of the page and includes five nude dancers in a circle in a field near a small forest, holding hands with one another and raising them like triangles between each person. They each stand on one leg with the other bent behind them. The other photograph is smaller and takes up the lower left quadrant of the page, including two dancers holding hands: one body faces toward us with head looking to the other person, whose back faces us. They stand in an empty field. In the lower-right quadrant of the page is a block of German editorial text.

“Gymnastic Open-Air Dance” and “Open-Air Dances” (“Gymnastischer Freilichttanz” and “Freilichttänze”)48.

From Chapter 2

“Gymnastic Open-Air Dance” and “Open-Air Dances” (“Gymnastischer Freilichttanz” and “Freilichttänze”), in Artur Michel, “What They’re Dancing” (“Was sie tanzen”), Uhu 2:8 (May 1926): 48. Kunstbibliothek, Staatliche Museen, Berlin, Germany. bpk Bildagentur / Kunstbibliothek, Staatliche Museen, Berlin, Germany / Dietmar Katz / Art Resource, NY

Open external resource at https://tanzfonds.de

Wigman, Mary. Dance of Death II (Totentanz II)

From Chapter 2

Open external resource at https://www.youtube.com

Wege zur Kraft und Schönheit, Clip of Mary Wigman and her group, “Last Scene from a Dance Drama ‘The Exodus’” (“Letzte Szene aus dem Tanz-drama ‘Der Exodus”)

From Chapter 2

Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic

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Mary Wigman in Idolatry (Götzendienst)

Female Dancer (Mary Wigman) (Tänzerin [Mary Wigman])

Female Dancer (with Violet Veil) (Tänzerin [mit violettem Schleier])

Dance Scene (Two Green Figures) (Tanzszene [Zwei grüne Figuren])

Mary Wigman und Gruppe bei der Aufführung von ‘Totentanz II’ ; Mary Wigman and a group at a performance of ‘Totentanz II’

Sketchbook 127/DP34

Sketchbook 127/DP43

Sketchbook 133/DP39

Dance Group (Tanzgruppe)

Mary Wigman’s Death Dance (Totentanz der Mary Wigman)

Oppositional Dance (Gegentanz)

“Miss Lerol”

“Mary Wigman”

“Vera in front of the Mirror” (“Vera vor dem Spiegel”)

“Dancers by Themselves” (“Tänzerinnen unter sich”)

“Gymnastic Open-Air Dance” and “Open-Air Dances” (“Gymnastischer Freilichttanz” and “Freilichttänze”)48.

Wigman, Mary. Dance of Death II (Totentanz II)

Wege zur Kraft und Schönheit, Clip of Mary Wigman and her group, “Last Scene from a Dance Drama ‘The Exodus’” (“Letzte Szene aus dem Tanz-drama ‘Der Exodus”)