It’s Murder on the Dancefloor: Incredible Expressionist dance costumes from the 1920s | Dangerous Minds
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https://dangerousminds.net/content/uploads/images/made/content/uploads/images/06duhrkoop_465_642_int.jpg Lavinia Schulz and Walter Holdt were a wife and husband partnership briefly famous in Germany during the early 1920s for their wild, expressionist dance performances consisting of “creeping, stamping, squatting, crouching, kneeling, arching, striding, lunging, leaping in mostly diagonal-spiraling patterns” across the stage. Shulz believed “art should be…an expression of struggle” and used dance to express “the violent struggle of a female body to achieve central, dominant control of the performance space and its emptiness.”
In his book, Empire of Ecstasy—Nudity and Movement in German Body Culture, 1910–1935, author Karl Toepfer notes that “Husband-wife dance pairs are quite rare on the stage; in the case of Schulz and Holdt the concept of marriage entailed a peculiarly deep implication in that it also referred to a haunting marriage of dance and costume.”
The couple created dances and costumes together and at the same time, so that bodily movement and the masking of the body arose from the same impulse. Schulz was a highly gifted artist whose drawings and sketches invariably startle the viewer with their hard primitivism and demonic abstraction, but Holdt assumed much responsibility for the design of the costumes and masks; for most of the costumes deposited in Hamburg, it is not possible to assign definite authorship to Schulz. The mask portions consisted mostly of fantastically reptilian, insectoid, or robotic heads, whereas the rest of the costumes comprised eccentric patchworks of design, color, and material to convey the impression of bodies assembled out of contradictory structures.
According to Toepfer, these costumes “disclose a quality of cartoonish, demonic grotesquerie rather than frightening ferocity.” The couple gave these designs descriptive names like Toboggan, Springvieh, and Technik, which they also used as titles for their performances. Their designs sought something pagan, pre-Christian, that tapped into the “redemptive organic forms of nature and the animal world.”
