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The BDM-Werk Glaube und Schönheit (German for BDM Faith and Beauty Society) was founded in 1938 to serve as a tie-in between the work of the League of German Girls (BDM) and that of the National Socialist Women's League. Membership was voluntary and open to girls aged 17 to 21.
Olympia is a 1938 German documentary sports film written, directed and produced by Leni Riefenstahl, documenting the 1936 Summer Olympics, held in the Olympic Stadium in Berlin, Germany. The film was released in two parts: Olympia 1. Teil — Fest der Völker (Festival of Nations) and Olympia 2. Teil — Fest der Schönheit (Festival of Beauty). It was the first documentary feature film of the Olympic Games ever made.
Die Nibelungen ("The Nibelungs") is a series of two silent fantasy films created by Austrian director Fritz Lang in 1924: Die Nibelungen: Siegfried and Die Nibelungen: Kriemhild's Revenge.
The scenarios for both films were co-written by Lang's then-wife Thea von Harbou, based upon the epic poem Nibelungenlied written around AD 1200.
German propaganda complete color documentary from 1936. An outstanding portrait of daily life in Berlin in this rare, well preserved film, with the magical feeling of the pastel colors of Agfachrome.
Wilhelm Furtwängler conducting the Berlin Philharmonic Orchestra at a 1942 concert given at an AEG company plant
The prelude from Richard Wagner's "The Mastersingers of Nuremberg" (Die Meistersinger von Nürnberg)
The German Empire (German: Deutsches Kaiserreich, officially Deutsches Reich), also known as Imperial Germany, was the German nation state that existed from the Unification of Germany in 1871 until the abdication of Kaiser Wilhelm II in 1918.
It was founded in 1871 when the south German states, except for Austria, joined the North German Confederation. On 1 January 1871, the new constitution came into force that changed the name of the federal state and introduced the title of emperor for Wilhelm I, King of Prussia from the House of Hohenzollern. Berlin remained its capital, and Otto von Bismarck remained Chancellor, the head of government. As these events occurred, the Prussian-led North German Confederation and its southern German allies were still engaged in the Franco-Prussian War.
The German Empire consisted of 26 states, most of them ruled by royal families. They included four kingdoms, six grand duchies, five duchies (six before 1876), seven principalities, three free Hanseatic cities, and one imperial territory. Although Prussia was one of several kingdoms in the realm, it contained about two thirds of Germany's population and territory. Prussian dominance was also established constitutionally.
Ivo Saliger was an Austrian painter known for his academically painted nudes set within idyllic landscapes. Born on October 21, 1886 in Königsberg, Austrian-Silesia (now the Czech Republic), the artist went on to study at the Academy of Fine Arts in Vienna under Rudolf Jettmar. Saliger then began to integrate Neo-Classical techniques and Art Deco stylizations into his work during the 1920s and 1930s. He had a collection that was regularly exhibited at the Great German Art Exhibitions held by the Third Reich. He died on January 14, 1987 in Vienna, Austria.
"Die nordische Seele" by Clauss, Ludwig (1940)
https://archive.org/details/Clauss-Ludwig-Die-nordische-Seele/page/n0
Deutsche Menschen - Deutsche Trachten
Nordisches Blutserbe im Sueddeutschen Bauerntum 1. Band - Oskar Just & Wolfgang Willrich - Vorwort ReichsbauernfÃhrer R. W. Darre (Verlag F. Bruckmann, Muenchen 1938)
The BDM was seen as the third educational organization in society. Memoirs from previous BdM members show that the purpose of the league was to give young girls opportunities in different organised indoor and outdoor activities that took up most of their waking hours, and also offer opportunities in job training. In contrast, due to the war, the purpose of the BDM changed to prepare girls for their future roles as mothers and housewives. In 1938, Belief and Beauty Society – Glaube und Schӧnheit – was established for women aged eighteen to twenty-one because the programme for the BDM was not suitable for the older girls in order to educate them to be mothers.
Fritz Klimsch (10 February 1870 – 30 March 1960) was a German sculptor, and the younger brother of the painter Paul Klimsch. He was one of the famous artists in the era of Weimar republic.
Jury for the Berlin Secession 1908 exhibition. From the left: sculptors Fritz Klimsch and August Gaul, painters Walter Leistikow and Hans Baluschek, art dealer Paul Cassirer, painters Max Slevogt (sitting) and George Mosson (standing), sculptor Max Kruse, painters Max Liebermann (sitting), Emil Rudolf Weiss and Lovis Corinth.
Klimsch was born on 10 February 1870 in Frankfurt am Main to a family of artists, studying at the Royal College for the Academic Fine Arts in Berlin, and was then a student of Fritz Schaper. In 1898, Klimsch was a founding member of the Berlin Secession.
Des Morgens,
Des Morgens um halb viere,
Halb viere,
Da kommt der Unteroffizier.
Heraus,
Heraus ihr faulen Tiere,
Ja Tiere,
Und reinigt das Revier.
|: Aber immer,
Mit frischem frohen Mut, zwei drei,
Ja Mut zwei drei,
Ja Mut zwei drei,
Aber immer,
Mit frischem frohen Mut, zwei drei,
Ziehn wir der Heimat zu.
Lisa, Lisa,
Schenke dem Reservemann noch mal ein,
Lisa, Lisa,
Schenk der Reserve noch ein. :|
Der Hauptmann, der Hauptmann,
kam geritten, geritten
Auf einem Ziegenbock.
Da dachten, da dachten
die Rekruten, die Rekruten.
Es sei der liebe Gott.
|: Aber immer . . .
Der Posten ist erfroren,
Ja, erfroren
In einer Winternacht.
Es frorin,
Es frorin,
ihn an den Ohren,
Ja Ohren,
Das hat ihn umgebracht.
|: Aber immer . . .
In the morning,
in the morning at 3:30,
3:30,
comes the sergeant.
Out!
Out, you sloths (note: "faules Tier" = lazy animal; "Faultier" = sloth, so this is a pun.)!
Yes, animals,
and clean the office.
|: But always,
with fresh blithe cheer, two three,
Aye cheer, two three,
Aye cheer, two three,
But always,
with fresh blithe cheer, two three,
we move home.
Lisa, Lisa,
refill the substitute's glass,
Lisa, Lisa,
refill the reserve's glass. :|
The captain, the captain,
came riding along, riding along,
on a billy goat.
Here thought, here thought
the recruits, the recruits,
It was dear God.
|: But always...
The sentry is frozen,
Aye, frozen
In a winter's night.
He was cold,
He was cold,
on his ears,
Aye, ears,
That got him killed.
|: But always...
“The modern state has taken on itself a cultural mission. It also insists on ruling over the arts. This means a commitment for the painter, sculptor, poet, and musician. Their work must serve the people,” - Ludwig Eberlein
Schwarz ist die Sorge, schwarz unser Brot,
Und schwarz ist die Fahne der Bauernnot,
Schwarz ist die Erde wohl unter dem Pflug,
Und schwarz geht der Bauer im Trauerzug.
Wir pflügen und sähen und schaffen ohn Ruh,
Wir ernten und wissen doch nicht wozu,
Denn was wir erringen mit unserer Kraft
Das wird uns genommen und fortgeschafft.
Was uns die Steuer zum Leben noch läßt,
das wird uns als Zinsen herausgepreßt.
Und was wir verkaufen, das bringt uns nichts ein,
da möge der Teufel noch Bauer sein.
Jetzt sind wir am Ende, wir wollen nicht mehr,
Wir sind ein verzweifeltes Bauernheer,
Schwarz ist die Sorge und schwarz die Not,
Schwarz ist die Fahne der Bauernnot.
The Kaiser Wilhelm Institute of Anthropology, Human Heredity, and Eugenics quickly became the leading center for human genetics in Germany and gained recognition for, among other things, its empirically-based research. The institute's staff worked as experts, assessors and consultants for government policies.
Founded in 1927, the new institute, as Eugen Fischer had announced proudly, would no longer occupy itself with mere skull measuring. In the sense of opening up anthropology toward human genetics, which Fischer outlined with the catchword of anthropobiology, the conventional, static, taxonomically organized concept of race that proceeded from morphological features was to be abandoned in favor of a dynamic concept of race conceived in terms of evolutionary biology and grounded in genetics. It could be applied to a multitude of topics, practically all anatomical, morphological, physiological, pathological, and psychological features and characteristics.
In 1933, Fritz Lenz came to Berlin where he established the first specific department devoted to eugenics at the Kaiser Wilhelm Institute. Lenz specialised in the field of the transmission of hereditary human diseases and racial health. The results of his research were published in 1921 and 1932 in collaboration with Erwin Baur and Eugen Fischer in two volumes that were later combined under the title "Human Heredity Theory and Racial Hygiene" (1936). This work and his theory of race as a value principle placed Lenz and his two colleagues in the position of Germany's leading racial theorists. Lenz was a member of the "Committee of Experts for Population and Racial Policy".
For Lenz, human genetics established that the connection between racial identity and human nature was actually physical in character. Lenz also claimed that the revolutionary agitation in Germany after 1918 was caused by inferior racial elements, warning that the nation's racial quality was threatened. He stated that "the German nation is the last refuge of the Nordic race... before us lies the greatest task of world history".
"Der gute Kamerad" ("The good Comrade"), also known by its incipit as Ich hatt' einen Kameraden ("I had a comrade") is a traditional lament of the German Armed Forces. The text was written by German poet Ludwig Uhland in 1809. Its immediate inspiration was the deployment of Badener troops against the Tyrolean Rebellion. In 1825, the composer Friedrich Silcher set it to music, based on the tune of a Swiss folk song
Ich hatt' einen Kameraden,
Einen bessern findst du nit.
Die Trommel schlug zum Streite,
Er ging an meiner Seite
In gleichem Schritt und Tritt.
Eine Kugel kam geflogen:
Gilt’s mir oder gilt es dir?
Ihn hat es weggerissen,
Er liegt zu meinen Füßen
Als wär's ein Stück von mir.
Will mir die Hand noch reichen,
Derweil ich eben lad.
Kann dir die Hand nicht geben,
Bleib du im ew'gen Leben
Mein guter Kamerad!
I once had a comrade,
You will find no better.
The drum called us to battle,
He walked by my side,
In the same pace and step.
A bullet came a-flying,
Is it my turn or yours?
He was swept away,
He lies at my feet,
Like if he were a part of me.
He still reaches out his hand to me,
While I am about to reload.
I cannot hold onto your hand,
You stay in eternal life
My good comrade.
“Display the virtues of simplicity. Form the image of the German woman!" - Erna Gunther
Traditional song from Kallningken (Herdenau) settlement in Kleinlitauen / Preußisch-Litauen region of the former East Prussia. Tradicinė prūsininkų liaudies daina iš Kalnininkų gyvenvietės Rytprūsiuose (Mažojoje Lietuvoje), iš albumo "Liudviko Rėzos surinktos dainos". Žodžiai:
Pirš man iš Danskos, iš Kasteryno
Iš Klaipėdužės, iš Karaliaučiaus
Kad suruokavau ant trijų šimtų
Iš trijų šimtų viens tepatiko
Dailus žiūrėti, meilus kalbėti
Į visa Preisa nėr kito tokio
Laibs augumėlis, skaistus veidelis
Į visa Preisa nėr kito tokio
O kad jis stojos, kaip parašytas,
O kad jis mynė, kaip ant dakotų.
Translation:
They will try to match me with lads from Denmark, from Casterlee
From Memel, from Koningsberg.
Oh I talked to three hundred lads,
Out of those three hundred only one did I like.
Handsome to look at, pleasant to talk to,
In all Prussia there's no other like him.
Lean stature, bright face,
In all Prussia there's no other like him
Oh. he stood up as if he'd been written down
Oh, he stomped as if he'd been paid for it
The ballad is about a soldier or – depending on the version of the text – young boy who is separated from his beloved one, and is only allowed to return to her when she is already mortally ill. While the first verses are largely the same in most versions, there are strong deviations in the later verses. Since nowadays almost always only the first verse – usually in a happy mood drinking – is sung in Germany, the sad love story is usually not perceived
"Deutsche Koepfe Nordischer Rasse" by Guenther, Hans & Fischer, Eugen (1927)
https://archive.org/details/DeutscheKoepfeNordischerRasse/page/n0
Written as a marching song for the Dutch party NSB, it was later adopted as a song by the Nederlandsche SS.
The song references the Geuzen, which were a group of Dutch noblemen turned privateer in revolt against the ruling power. The name of Geuzen, meaning beggars, was adopted by them to hone their enemies. It originated when about 250 noblemen marched up to present a petition of grievances to the regent, Margaret of Palma.
Her advisor is rumoured to have said "Fear not, madame, they are only beggars."
The noblemen short after declared in a speech that they were all willing to become beggars if that was what was needed for their country.
The Geuzen roamed around the Netherlands and captured many Dutch cities to free them in the name of independence.
Lyrics:
De geuzenvendels rukken aan, romdiredom!
Na eeuwen zijn zij opgestaan, romdiredom!
Zie hun vlaggen vliegen in de wind!
Hoor, een nieuwe geuzentijd begint,
met slaande trom, met slaande trom ! Romdiredom!
Het volk zijn oude kracht hervindt.
De geuzenvendels trekken op, romdiredom!
Hun vuist is hard en hard hun kop, romdiredom!
d'Oude geuzentijd is weer ontwaakt,
heeft een eind aan nacht en nood gemaakt,
met slaande trom, met slaande trom ! Romdiredom.
Het Dietse volk wordt sterk gemaakt.
De geuzenvendels leven weer, romdiredom!
Zij slaan met gloed de vijand neer, romdiredom!
Want der vad'ren bloed brandt in hun ziel,
en zij vechten weer als voor Den Briel,
met slaande trom, met slaande trom ! Romdiredom!
Tot eer van wie voor Dietsland viel!
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Channel dedicated to germanicism and censored chapters of germanic culture.
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