Dance becomes art, part 2: Highlights

During the turbulent years of the Weimar Republic, modern dance finally prevailed against all odds and broke new ground. The new dance form entered the consciousness of a broad public, conquering theater and opera stages and, with numerous dance events, the advertising columns of cities.

The aim of the new art form was for modern dance concepts to finally replace classical ballet and have a far-reaching impact on society with radically new forms of expression. Against this backdrop, dancers explored fundamental questions of human destiny. Mary Wigman, Vera Skoronel, and Gret Palucca developed dances ranging from deep emotion to pure abstraction. Valeska Gert, Hans (Jean) Weidt, and Jo Mihàly developed various facets of socially critical, political dance. At the same time, Charlotte Bara embodied a symbiosis between Western and Far Eastern spirituality with her internalized religious-sacred dance. 

Last but not least, artistic dance was also a field of emancipation in which women fought for independence and social participation. Conversely, male dancers now also displayed their feelings publicly. Gender identities disappeared behind masks and full-body costumes. 

These opened up space for innovations in content, for dramatic, wild, and extremely imaginative choreographies.The rise to power of the National Socialists marked a turning point for all this diversity and artistic experimentation. The year 1933 therefore forms the end point of the exhibition; the ensuing dilemma of modern dance between obstinacy and conformity is addressed as an outlook.