About the Exhibition Everybody Dances. the Cosmos of Viennese

Total Page:16

File Type:pdf, Size:1020Kb

About the Exhibition Everybody Dances. the Cosmos of Viennese Everybody Dances. The Cosmos of Viennese Dance Modernism 21 March 2019 – 10 February 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the Exhibition During the first third of the 20th century Vienna ranked amongst the most important international centres of Modern Dance. The exhibition, organised in cooperation with the Musik und Kunst Privatuniversität der Stadt Wien (MUK), attempts to inscribe significant female dancers into Vienna’s great historical narrative. It focuses on dancers, choreographers and teachers such as Isadora Duncan, Grete Wiesenthal, Gertrud Bodenwieser and Rosalia Chladek as well as Valeria Kratina, Gertrud Kraus, Hilde Holger and others who were the pioneers for the European Modernism. The show illustrates the variety and concentration of a female-dominated dance scene which was destroyed by Nazi dictatorship and further developed in exile. Threads are spun between the productive and socio-critical spirit of that time and today through enduring movement techniques of Modernism and related topics. Hence, the exhibition, curated by Andrea Amort and designed by Thomas Hamann, concludes with film contributions by Amanda Piña, Doris Uhlich, Thomas Kampe and Simon Wachsmuth. The starting point for the exhibition was the donation of the extensive legacy of texts by the dancer, choreographer and pedagogue Rosalia Chladek (Brno 1905–1995 Vienna) to the newly established dance archive at the Musik und Kunst Privatuniversität der Stadt Wien (MUK) in 2015. The Internationale Gesellschaft Rosalia Chladek (IGRC) entrusted the task of making it accessible to Andrea Amort. The Theatermuseum will take over this valuable material comprising more than a hundred boxes after this has been achieved. Nonetheless both the curator and the director of the museum, when planning the exhibition, decided against a solo exhibition as both life and work of this personality who for over 70 years, from 1925 until her death, helped shape dance in Vienna, are well known. Rather the aim here is to construct and illustrate the emergence of modern dance in Vienna since 1900, and the dance scene up to 1938 which was extraordinarily crowded and dominated by women. Within it Rosalia Chladek’s work lights up again and again. The fact that Austrofascism and the NS regime exploited democratic, free spirited and “subversive” (Alfred Schlee, 1930) modern dance is the topic of not yet completed research, both historic and dance related, into this period. Due to the forced migration and murder of the majority of its protagonists the NS regime between 1938 and 1945 largely destroyed Viennese Dance Modernism. “Not everybody could leave the country”, Rosalia Chladek, in 1990, expressed her attitude at the time. Like Grete Wiesenthal, who had also remained in Vienna, she helped Jewish colleagues escape. Hanna Berger from Vienna was active in the resistance. Many of the refugees became key figures in the newly emerging Dance Modernism of their new “homeland”, among them Gertrud Bodenwieser, Hilde Holger, Gertrud Kraus. Everybody Dances. The Cosmos of Viennese Dance Modernism 21 March 2019 – 10 February 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the Exhibition - continued The exhibition has three parts: The entrance hall is dedicated to Rosalia Chladek. The DOKU-Space presents historic material: text, photography, film. The ART-space offers a more recent and contemporary view of the subject. Here the space is opened for performative programmes and also offers the visitor instructions for movement. The exhibition therefore attempts to build a bridge into the present. Teaching methods and dance techniques as well as some works have survived in Central Europe and the countries of exile and become accessible to all. Descendants of the protagonists and researchers as well as contemporary artists, feeling related to the traditions or the themes, will have their say in interviews or with their own artistic creations. Rosalia Chladek Reenacted is a series of performances especially created for the exhibition, presented by female dancers of Vienna‘s independent scene in the Eroica-Hall at the Theatermuseum. Point of departure are historic solo-pieces passed on from Chladek‘s œuvre. Bits and Pieces are short dance works and lectures, created by artists of the Vienna Scene and students of the Musik und Kunst Privatuniversität der Stadt Wien (MUK) as part of the exhibition on special afternoons. Guided tours with experts and an educational programme for schools complement the project. The comprehensive and richly illustrated publication Alles tanzt. Kosmos Wiener Tanzmoderne (ed. Andrea Amort, published by Hatzje Cantz, Berlin) accompanies the exhibition. From the point of view of dance historians, artists and experts from adjacent artistic fields it broadens Austria‘s cultural memory by this mainly female-dominated Dance Modernism until 1938 and its influence to date. The publication is the first extensive presentation of Vienna Dance Modernism together with a network-lexicon. The list of authors includes Thomas Aichhorn, Gaby Aldor, Arno Böhler, Carol Brown, Gerhard Brunner, Brigitte Dalinger, Paul M. Delavos, Monika Faber, Inge Gappmaier, Deborah Holmes, Thomas Kampe, Elke Krasny, Johanna Laakkonen, Barbara Lesák, Alfred Oberzaucher, Gunhild Oberzaucher-Schüller, Amanda Piña, Stefan Schmidl, Vera-Viktoria Szirmay, Doris Uhlich, Edwin Vanecek, Patrick Werkner and Andrea Amort. The exhibition has been organised in cooperation with the Musik und Kunst Privatuniversität der Stadt Wien (MUK). Everybody Dances. The Cosmos of Viennese Dance Modernism 21 March 2019 – 10 February 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the Exhibition - continued Andrea Amort, dance historian, dramaturge, author. Professor and scientific head of the Dance Archive at the Musik und Kunst Privatuniversität der Stadt Wien (MUK). Curatorial activities: amongst others Tanz im Exil, Hanna Berger: Retouchings, Grete Wiesenthal research project, Festival Berührungen. Tanz vor 1938 – Tanz von heute. Numerous publications. Books: österreich tanzt. Geschichte und Gegenwart; Nurejew und Wien. Ein leidenschaftliches Verhältnis; Hanna Berger. Spuren einer Tänzerin im Widerstand. Thomas Hamann, studied stage design at the University of Applied Arts Vienna with stage director and designer Axel Manthey as well as with dramaturge and artistic director Klaus Zehelein. He works as scenographer and illustrator. In 2003 he designed the exhibition Von der Pose zum Ausdruck – Theaterfotografie 1900 – 1930 for the Theatermuseum. Everybody Dances. The Cosmos of Viennese Dance Modernism 21 March 2019 – 10 February 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 Events Curator: Andrea Amort Project Assistance: Inge Gappmaier and Paul M. Delavos Please refer to the calendar section at www.theatermuseum.at (German only) ROSALIA CHLADEK REENACTED Dancers from Vienna‘s independent scene and students of the Musik und Kunst Privatuniversität der Stadt Wien (MUK) present Rosalia Chladek’s historic solo works in a new look. The first room of the exhibition Everybody dances. The Cosmos of Viennese Dance Modernism as well as the first event in the Eroica Hall at the Theatermuseum is dedicated to Rosalia Chladek (1905 Brünn – Wien 1995). In the 1980es the choreographer conveyed some of her works to young dancers. It is their know-how that enables a new generation to examine the potential of this heirloom in 2019. Historic solo pieces, amongst them „Luzifer“ (1938), as well as reconstructions and new versions will be presented. With Mit Farah Deen, Cäcilia Färber, Eva-Maria Kraft, Katharina Illnar, Eva-Maria Schaller, Katharina Senk as well as Martina Haager and others. Friday, 29 and Saturday, 30 March 2019, 7.30 p.m. Sunday, 31 March 2019, 11 a.m. Eroica-Hall, Theatermuseum Tickets € 22, standing and cushion places € 12 Available online and at the Theatermuseum ticket office Further performances of ROSALIA CHLADEK REENACTED (PART 2) are planned for October 2019. BITS AND PIECES Live short dance pieces and lectures as part of the exhibition. With artists and in cooperation with dance students of the Musik und Kunst Privatuniversität der Stadt Wien (MUK). The programme changes weekly. From May 2019, Wednesday and Thursday, 4 p.m. Everybody Dances. The Cosmos of Viennese Dance Modernism 21 March 2019 – 10 February 2020 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 Events GUIDED TOURS WITH EXPERTISE Key topics presented by dance experts and researchers from adjacent artistic fields Every first Saturday of the month, 2 p.m. Admission plus € 3 tour fee 6 Apr 2019 Arno Böhler: Nietzsche’s Dancer or I would only believe in a god who knows how to dance. 4 May 2019 Brigitte Dalinger: Dance as a means of expressing Jewish identity 1 Jun 2019 Arno Böhler: Nietzsche’s Dancer or I would only believe in a god who knows how to dance. 6 Jul 2019 Gunhild Oberzaucher-Schüller: Vienna‘s spaces for expressive dance 3 Aug 2019 Paul M. Delavos: Films documenting Viennese Dance Modernism 7 Sep 2019 Gunhild Oberzaucher-Schüller: Vienna‘s spaces for expressive dance 5 Oct 2019 Nikolaus Selimov: On the Trail of Dance Modernism – its influence on the present 2 Nov 2019 Brigitte Dalinger: Dance as a means of expressing Jewish identity 7 Dec 2019 Andrea Amort: Treasures 4 Jan 2020 Paul M. Delavos: Films documenting Viennese Dance Modernism 1 Feb 2020 Andrea Amort: Treasures BITS AND PIECES AND MORE The tour leads the way to the cosmos of Viennese Dance Modernism and offers intriguing insight into the development of the artistic dance since the turn of the century. Furthermore, it surprises with a performance and encourages stimulating discussions accompanied by a glass of sparkling wine. Thursdays, 2 May, 6 Jun, 4 Jul, 12 Sep, 17 Oct, 14 Nov, 19 Dec 2019; 9 Jan and 6 Feb 2020, 3 p.m. Admission plus € 3 tour fee Reservation recommended! Tel +43 1 52524 5310 GUIDED TOURS ON DEMAND T +43 1 525 24 5310 or [email protected] Everybody Dances.
Recommended publications
  • Kretanja 13-14 Engl KB.Indd
    Kretanja ČASOPIS ZA PLESNU UMJETNOST Kretanja 13/14 _ 1 from Croatian stages: 09 Iva nerina Sibila Which .... ? Jelena Mihelčić Humman Error ... contents editorial: dance/ 04 art: Katja Šimunić ??? ? Maja Marjančić Anka krizmanić .... ? Maja Đurinović The Exhibition... theory: ? Katja Šimunić Three... 2 _ Kretanja 13/14 MilkoSparemblek Intro- duction ?? Maja Đurinović ?? ?? ?? Vjeran Zuppa Svjetlana Hribar Ludio doctus 2+2: Pokret je zbir svega što jesmo ?? Andreja Jeličić 77 Plesno kazalište Milka Bosiljka Perić Kempf Šparembleka u svjetlu teorije Plesati možete na glazbu, umjetnosti kao ekspresije ali i na šum, ritam, tišinu... ?? Darko Gašparović O dramaturgiji Milka Šparembleka ?? Tuga Tarle Oda ljubavi pod čizmom ideologije Kretanja 13/14 _ 3 editorial: n anticipation of the establishment of dance education at the university le- vel in Croatia, which will, according to the founders’ announcements, bring Itogether practical (i. e. classical and contemporary dance techniques) and theoretical dance studies in one institution, Kretanja (Movements), as the only Croatian journal exclusively dedicated to dance art, has from its very fi rst issue (in 2002) published a corpus of texts that can be used as a kind of basis or in- troduction into dance theory, and which should have an important place in the envisaged institution and serve as a platform for institutional and non-instituti- onal researchers of dance. Throughout issues dealing with special themes whe- re dance is positioned in relation to literature, photography, dramaturgy, fi lm or visual arts, along with translations of essays of the most important international dance theoreticians, we have introduced texts that present different examples of knowledge about dance on the path to the much needed dynamically organised dance studies, and we have also presented outstanding creations from the Croa- tian dance scene and promoted domestic authors.
    [Show full text]
  • World Conference on Higher Education
    World Conference on Higher Education Higher Education in the Twenty-first Century Vision and Action UNESCO Paris 5–9 October 1998 Volume I Final Report 5WOOCT[QH major concerns of higher education. Special VJG9QTNF&GENCTCVKQPQP attention should be paid to higher education's role of service to society, especially activities aimed at *KIJGT'FWECVKQP eliminating poverty, intolerance, violence, illiteracy, hunger, environmental degradation and disease, and to activities aiming at the development of peace, through an interdisciplinary and transdisciplinary 1. Higher education shall be equally accessible approach. to all on the basis of merit, in keeping with Article 5. Higher education is part of a seamless system, 26.1 of the Universal Declaration of Human Rights. starting with early childhood and primary education As a consequence, no discrimination can be and continuing through life. The contribution of accepted in granting access to higher education on higher education to the development of the whole grounds of race, gender, language, religion or education system and the reordering of its links economic, cultural or social distinctions, or physical with all levels of education, in particular with disabilities. secondary education, should be a priority. 2. The core missions of higher education Secondary education should both prepare for and systems (to educate, to train, to undertake research facilitate access to higher education as well as offer and, in particular, to contribute to the sustainable broad training and prepare students for active life. development and improvement of society as a 6. Diversifying higher education models and whole) should be preserved, reinforced and further recruitment methods and criteria is essential both to expanded, namely to educate highly qualified meet demand and to give students the rigorous graduates and responsible citizens and to provide background and training required by the twenty-first opportunities (espaces ouverts) for higher learning century.
    [Show full text]
  • 02 Hauptdokument / PDF, 9355 KB
    III-755-BR/2021 der Beilagen - Bericht - 02 Hauptdokument 1 von 245 Kunst Kultur Bericht www.parlament.gv.at 2 von 245 III-755-BR/2021 der Beilagen - Bericht - 02 Hauptdokument www.parlament.gv.at Kunst- und Kulturbericht 2020 III-755-BR/2021 der Beilagen - Bericht 02 Hauptdokument www.parlament.gv.at 3 von 245 4 von 245 Kunst- und Kulturbericht 2020 III-755-BR/2021 der Beilagen - Bericht 02 Hauptdokument www.parlament.gv.at Wien 2021 Liebe Leserinnen und Leser, III-755-BR/2021 der Beilagen - Bericht 02 Hauptdokument als wir im Juli des vergangenen Jahres den Kunst- und Kulturbericht 2019 veröffent- lichten, hatten wir gehofft, dass die optimistischen Prognosen über den Verlauf und die www.parlament.gv.at Eindämmung der Pandemie eintreten werden und wir Anfang des Jahres 2021 unser gesellschaftliches und kulturelles Leben langsam wieder aufnehmen können. Es kam anders. Das Virus und seine Mutanten haben es nicht erlaubt, dass wir uns ohne er- hebliche Gefahr für unsere Gesundheit in größeren Gruppen treffen oder als Publikum versammeln. Diese unsichtbaren Gegner haben es unmöglich gemacht, in Theatern, Kinos, Konzerthäusern, Galerien und Museen zusammenzukommen, um das zu tun, was wir alle lieben: gemeinsam Kunst zu erleben und zu genießen. Unser wichtigstes Ziel war es daher, alles zu unternehmen, damit wir am Ende der Pan- demie dort fortsetzen können, wo wir plötzlich und unerwartet aus unserem kulturellen Leben gerissen wurden: All jene, die in unserem Land Kunst machen, die sich dazu entschlossen haben, ihr Leben und ihre ganze Kraft dem künstlerischen Schaffen zu widmen, sollten bestmöglich durch diese schwierigen Zeiten kommen.
    [Show full text]
  • Gfe Full Program 13.02.2019
    Joint Meeting of the German and Israeli Societies of Developmental Biology Vienna, February 17-20, 2019 https://gfe2019.univie.ac.at/home/ Organizers Ulrich Technau, Eli Arama Co-Organizers Michael Brand, Fred Berger, Elly Tanaka, David Sprinzak, Peleg Hasson GfE https://www.vbio.de/gfe-entwicklungsbiologie IsSDB http://issdb.org Gesellschaft für Entwicklungsbiologie e.V. Geschäftsstelle: Dr. Thomas Thumberger Centre for Organismal Studies Universität Heidelberg Im Neuenheimer Feld 230 69120 Heidelberg E-mail: [email protected] Contents Sponsors ......................................................................................................................................... 4 General information ..................................................................................................................... 5 Venue .......................................................................................................................................... 5 Getting there................................................................................................................................ 5 From the airport ...................................................................................................................... 6 If you come by long distance train .......................................................................................... 6 Taxi ......................................................................................................................................... 6 If you
    [Show full text]
  • Kunst- Und Kulturbericht 2019
    Kunst Kultur Bericht Kunst- und Kulturbericht 2019 Kunst- und Kulturbericht 2019 Wien 2020 Liebe Leserinnen und Leser, im März 2020 wurde alles anders. Denn die österreichische Bundesregierung und das österreichische Parlament waren angesichts der weltweiten Covid-19-Pandemie zu gesundheitspolitischen Maßnahmen gezwungen. Diese führten zu drastischen Änderun- gen in unserem privaten Alltag, aber auch in unserem beruflichen, wirtschaftlichen und kulturellen Leben. Wer in diesen Tagen unterwegs war, in der Stadt oder am Land, war die meiste Zeit allein und traf kaum auf andere Menschen. Nicht nur Schulen, Universitäten, Geschäfte, Restaurants und Cafés konnten nicht öffnen, auch Konzerthäuser, Theater, Kabaretts, Kinos, Museen, Galerien und Literaturhäuser mussten geschlossen bleiben. Das öffentliche und gesellschaftliche Leben – und damit die Grundvoraussetzung für Kunst und Kultur – stand still. Da konnten auch all die wunderbaren Projekte und Auftritte im Internet nicht darüber hinwegtäuschen, dass Kunst und Kultur Gemeinschaft und persön- liche Begegnung benötigen. Das Theater, aber auch Bücher, Filme, Musikstücke, Bilder und digitale Kunstformen sind auf ein Publikum angewiesen, das zusammenkommt, das sieht und hört, staunt und begreift, begeistert zustimmt, kritisch kommentiert oder sich glänzend zu unterhalten weiß. Wäre es anders, könnten wir uns Buchmessen, Lesungen, Kinos, Galerien, Museen, Konzerte, Filmfestivals und Festivals für digitale Kunst sparen und zu Hause vor unseren Bildschirmen sitzen bleiben. Und auch wenn zahlreiche Musikerinnen und Musiker in diesen Wochen des März und April 2020 ihren Balkon zur Bühne gemacht und für Passantinnen und Passanten auf der Straße gespielt haben, so dürfen wir niemals vergessen, dass Künstlerinnen und Künstler nicht nur Applaus verdienen, sondern vielmehr ein Recht darauf haben, für ihre Leistungen bezahlt zu werden.
    [Show full text]
  • Expressions of Form and Gesture in Ausdruckstanz, Tanztheater, and Contemporary Dance Tonja Lara Van Helden University of Colorado at Boulder, [email protected]
    University of Colorado, Boulder CU Scholar Comparative Literature Graduate Theses & Comparative Literature Dissertations Spring 1-1-2012 Expressions of Form and Gesture in Ausdruckstanz, Tanztheater, and Contemporary Dance Tonja Lara van Helden University of Colorado at Boulder, [email protected] Follow this and additional works at: http://scholar.colorado.edu/coml_gradetds Part of the Comparative Literature Commons, Dance Commons, and the Performance Studies Commons Recommended Citation van Helden, Tonja Lara, "Expressions of Form and Gesture in Ausdruckstanz, Tanztheater, and Contemporary Dance" (2012). Comparative Literature Graduate Theses & Dissertations. Paper 10. This Dissertation is brought to you for free and open access by Comparative Literature at CU Scholar. It has been accepted for inclusion in Comparative Literature Graduate Theses & Dissertations by an authorized administrator of CU Scholar. For more information, please contact [email protected]. EXPRESSIONS OF FORM AND GESTURE IN AUSDRUCKSTANZ, TANZTHEATER, AND CONTEMPORARY DANCE by TONJA VAN HELDEN B.A., University of New Hampshire, 1998 M.A., University of Colorado, 2003 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Program of Comparative Literature 2012 This thesis entitled: Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance written by Tonja van Helden has been approved for the Comparative Literature Graduate
    [Show full text]
  • 'There Was Never Anythin'like This!!!'Valeska Gert's Performances
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Kolb, Alexandra (2007) ‘There was never anythin’ like this!!!’ Valeska Gert’s performances in the context of Weimar culture. The European Legacy, 12 (3) . pp. 293-309. ISSN 1084-8770 [Article] (doi:10.1080/10848770701286976) UNSPECIFIED This version is available at: https://eprints.mdx.ac.uk/9000/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • THU APRIL 21 – SUN APRIL 24 in TQW / Studios and TQW / Halle G
    THU APRIL 21 – SUN APRIL 24 in TQW / Studios and TQW / Halle G ARCHIVES TO COME SCORES N°11 / / ATELIER EDN — EUROPEAN DANCEHOUSE NETWORK Perjovschi (c) Dan CALENDAR ----------------------------------- ----------------------------------- ----------------------------------- ----------------------------------- MON 18 – SAT 23 APRIL FRI 22 APRIL SAT 23 APRIL SUN 24 APRIL 10.45 h – 12.30 h in TQW / Studios 14.00 h – 17.30 h in Leopold Museum / ongoning at TQW / Studios Passage ongoning at TQW / Studios Passage SHANNON COONEY unteres Atrium DAN PERJOVSCHI DAN PERJOVSCHI TRAINING Legible Archive SIOBHAN DAVIES DANCE Black Belt Drawing Black Belt Drawing Table of Contents ----------------------------------- 12.00 h – 17.30 h in Leopold Museum / 10.30 h – 15.00 h in Leopold Museum / 15.00 h in TQW / Studios Passage unteres Atrium unteres Atrium THU 21 – SAT 23 APRIL DAN PERJOVSCHI SIOBHAN DAVIES DANCE SIOBHAN DAVIES DANCE 13.00 h – 15.30 h in TQW / Studios Black Belt Drawing Table of Contents Table of Contents CLAUDIA BOSSE + GUESTS WORKSHOP The archive as a body, 16.00 h – 21.00 h in TQW / Studios 16.00 h – 21.00 h in TQW / Studios 12.00 h in TQW / Studios the body as an archive DANIEL ASCHWANDEN + DANIEL ASCHWANDEN + FUTURE ARCHIVES CONNY ZENK CONNY ZENK with ARKADI ZAIDES, ----------------------------------- INSTALLATION OPENING INSTALLATION Mobil[e]_migration DAN PERJOVSCHI, Mobil[e]_migration SIOBHAN DAVIES + THU 21 APRIL 16.00 h – 21.00 h in TQW / Studios SCOTT DELAHUNTA, PENELOPE 16.00 h – 21.00 h in TQW / Studios 16.00 h – 21.00 h in
    [Show full text]
  • ABE Journal, 14-15 | 2019 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930S and
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Access LMU ABE Journal Architecture beyond Europe 14-15 | 2019 Building the Scottish Diaspora Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Electronic version URL: http://journals.openedition.org/abe/5949 DOI: 10.4000/abe.5949 ISSN: 2275-6639 Publisher InVisu Electronic reference Burcu Dogramaci and Rachel Lee, « Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay », ABE Journal [Online], 14-15 | 2019, Online since 28 July 2019, connection on 23 September 2019. URL : http://journals.openedition.org/ abe/5949 ; DOI : 10.4000/abe.5949 This text was automatically generated on 23 September 2019. La revue ABE Journal est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and ... 1 Refugee Artists, Architects and Intellectuals Beyond Europe in the 1930s and 1940s: Experiences of Exile in Istanbul and Bombay Artistes, architectes et intellectuels ayant fui l’Europe dans les années 1930 et 1940 : expériences de l’exil à Istanbul et Bombay Burcu Dogramaci and Rachel Lee Introduction 1 During the first half of the twentieth century visual artists, architects and intellectuals from Europe sought refuge in global metropolises.
    [Show full text]
  • Migration and Memory: the Dances of Gertrud Bodenwieser
    Migration and Memory: The Dances of Gertrud Bodenwieser by Carol brown I’m speaking to you. Ready the space, make it possible, make it real. Mark/sign/imprint/trace/seal. Step together, stop, wind, unwind, step turn schlinger, breathe. And speak to me in this silence.1 In the reaches of my memory a figure is held in language and gesture. She is re-membered in certain movements and habits of style. She is distant and close, inside and outside, part omnipotent presence and part invisible trace; a “dancemother” whose image was interiorized through the process of learning how to dance. Composed of fragments of memory, mythology, and history, her story is less biography than biomythography, for I never knew her, yet I know her still. My earliest knowledge of dance as an art form was inscribed through a series of “quotes” from the past, for it was the Viennese Ausdruckstanz choreographer Gertrud Bodenwieser (1890-1959) whose words and ideas animated my dancing. I came to know Bodenwieser through the teachings of her former dancer Shona Dunlop-MacTavish, with whom I trained in New Zealand from 1972-85. When I moved to the UK in the late 1980s, curiosity and a hunger for the familiar led me to meet with other former Bodenwieser dancers now residing there: Hilde Holger, the late Bettina Vernon, Evelyn Ippen, and Hilary Napier. All of these women, including Dunlop-MacTavish, received their primary dance training with Bodenwieser, danced in the Tanzgruppe Bodenwieser in Vienna (1923-38), and, with the exception of Hilde Holger, danced in Australia with the Bodenwieser Viennese Ballet (1939-58).2 Significantly, they also all developed independent careers as dancer-choreographers and teachers in various parts of the world, including Australia, New Zealand, South Africa, China, India, and England.3 I have listened to their stories, studied their personal archival collections of photographs, programmes, and writings, and learned some of their dances.
    [Show full text]
  • Dance and Exile Research and Showcasing in Austria – an Attempt at a Chronology
    גרט ויזנטל רוקדת את יצירתה אנדנטה, וינה, 08/1906, גרטרוד קראוס רוקדת את יצירתה וודקה, וינה 1924, באדיבות מורה ציפרוביץ, וינה 1920, צילום: לא ידוע, באדיבות מוזיאון התיאטרון צילום: מוריץ נהר, באדיבות מוזיאון התיאטרון מוזיאון התיאטרון בוינה Mura Ziperowitsch, Wien, 1920, Photo: Unknown, Courtesy of Theatermuseum -KHM – Museumsverband Gertrud Kraus in Wodka, Wien 1924, Photo: Martind Grete Wiesenthal in Ändante con moto, Wien, Imboden, Courtesy of Theatermusem – KHM 08/1906, Photo: Moritz Naher, Courtesy of Theatermusuem, KHM-Museumsverband Dance and Exile Research and Showcasing in Austria – An Attempt at a Chronology Andrea Amort The broadly defined topic of exile, to a varying extent still relevant Nazi dictatorship. Presciently, Gertrud Kraus left Austria in 1935 to dance )modern dance and ballet( today, mainly covers those and emigrated to Palestine/Israel. Rudolf von Laban )Bratislava dance practitioners in Austria who, in the wake of Austro-Fascism 1879 – Weybridge, Surrey 1958(, the influential founder of Aus- and the racist and political measures of Nazi dictatorship, were druckstanz )expressionist dance(, is nowadays considered a na- restricted in their activities and went into inner emigration or else tional figure especially in Germany and England and, in recent were active in resistance, persecuted, expelled, or murdered. In years, also in Slovakia despite having been born in the Austro- dance scholarship also artists who had emigrated much earlier Hungarian Monarchy. He left Berlin in 1937 and escaped via Paris on and were committed to Zionism )among others, the Ornstein to England. sisters and Jan Veen, alias Hans Wiener ]sic[( are included in this topic. No precise statistics of the persecuted and murdered are avail- able; we estimate, however, that at least 200 dance practitioners All dance practitioners mentioned in the following – with the ex- were affected.
    [Show full text]
  • WIDERSTAND Gegen Den Nationalsozialismus in Berlin Widerstand Gegen Den Nationalsozialismus War Schwierig, Aber Möglich
    WIDERSTAND gegen den Nationalsozialismus in Berlin Widerstand gegen den Nationalsozialismus war schwierig, aber möglich. Er endete für die han- delnden Akteure oftmals mit Verhaftung, Folter, Verurteilung und Tod. Dennoch sind manche Menschen mutig diesen Weg gegangen. Herausgeber: Berliner Geschichtswerkstatt e. V. Die Berliner Geschichtswerkstatt ist ein gemeinnütziger Verein, der seit 1981 besteht. Im Zent- rum unserer Arbeit stehen Alltagsgeschichte und die Geschichte „von unten“, wobei wir die Erinnerungsarbeit nicht als Selbstzweck verstehen. Wir wollen anhand des Schicksals der NachbarInnen am Wohnort Zeitgeschichte und die eigene Verstrickung darin nachvollzieh- bar machen. Berliner Geschichtswerkstatt e. V. Tel: 030/215 44 50 [email protected] www.berliner-geschichtswerkstatt.de Widerstand gegen den Nationalsozialismus in Berlin Herausgeber: Berliner Geschichtswerkstatt e. V. Mit Beiträgen von: Geertje Andresen Madeleine Bernstorff Dörte Döhl Eckard Holler Thomas Irmer Jürgen Karwelat Ulrike Kersting Annette Maurer-Kartal Annette Neumann Cord Pagenstecher Kurt Schilde Bärbel Schindler-Saefkow Dokumentation zur Veranstaltungsreihe der Berliner Geschichtswerkstatt e. V. „Widerstand gegen den Nationalsozialismus in Berlin“ Januar bis Juni 2014 Eigenverlag der Berliner Geschichtswerkstatt e. V. Goltzstraße 49, 10781 Berlin, 2014 Druck: Rotabene Medienhaus, Schneider Druck GmbH, Rothenburg ob der Tauber Satz, Layout und Umschlaggestaltung: Irmgard Ariallah, Atelier Juch © für die Texte bei den Autorinnen und Autoren
    [Show full text]