(Kulturbund der DDR; from 1958 to October 1972 the Deutscher Kulturbund), a mass organization in the German Democratic Republic (GDR) set up to help develop the national socialist culture and the spiritual molding of men in socialist society.

The Kulturbund was organized in the summer of 1945 on the initiative of antifascist cultural figures as the Cultural Alliance for the Democratic Regeneration of Germany. The first presi-dent of the Kulturbund was the poet J. Becher. The Kulturbund played an important role in the propaganda of national and world democratic culture. Through such mediums as clubs and circles, the Kulturbund works with the people. Under the guidance of the Socialist Unity Party of Germany, the Kulturbund focuses its efforts on the solution of the problems of culture that arise during the construction of a developed socialist society. It is subdivided into regional, district, and local organizations. The highest body is the congress, which elects a president, a presidium, and a central auditing committee. The Kulturbund is a member of the National Front of the GDR. It has its own representatives in the People’s Chamber of the GDR and has a membership of more than 195,000 (1972). Its press organ is the weekly Der Sonntag, which has been published since 1946.


Schulmeister, K. H. Zur Entstehung und Griindung des Kulturbundes zur demokratischen Erneuerung Deutschlands. Berlin, 1965.


References in periodicals archive ?
The very title of Westphal's article, "Publikum zur demokratischen Umerziehung Deutschlands" (Public for the Democratic Reeducation of Germany), was a mocking play on the name of the primary cultural-political organization in the Soviet zone, the Kulturbund zur demokratischen Erneuerung Deutschlands (Cultural Federation for the Democratic Renewal of Germany), which had been founded by the writer Johannes R.
The Jewish Kulturbund theatre company in Nazi Berlin.
Ironically, Nathan the Wise, Lessing's German Enlightenment-era play about religious tolerance, inaugurated the Kulturbund Theatre Company (part of the Cultural Association of German Jews) in Berlin in 1933 a few months after the Nazis took power.
The chapter continues with a study of organ music and Jewish identity under the National Socialists in the 1930s, with particular attention to the activities of the Judischer Kulturbund, and the contrasting organ works of Nadel, Siegfried Wurzburger, and Hans Samuel.
Prince Karl Anton Rohan of the Europaischer Kulturbund visited Tallinn in spring 1927, (2) and Paevaleht published an article about Herman Sorgel's Atlantropa.
One of this movement's most prominent spokesmen was the Bohemian nobleman Karl Anton Prinz Rohan (1898-1975), a former officer in the Austro-Hungarian army who founded the Deutscher Kulturbund in Vienna in 1922.
The Kulturbund produced movies, plays and musical events.
Rebecca Rovit's "Jewish Theatre: Repertory and Censorship in the Judischer Kulturbund, Berlin" sheds somber light on an organization that"became the only long term, legitimate cultural outlet for Jewish musicians and theater practitioners in Germany" between 1933 and 1941 (187).
It is also a studied look at the Kulturbund deutsche Juden or Judischer Kulturbund, the "Jewish Culture Club," the "Kubu," which flourished under the aegis of the National Socialists both as a haven for Jewish actors, writers, singers, and musicians and as Goebbels's propaganda tool.
The umbrella organization under which many activities took place was the now dissolved Kulturbund.
Instead, Sommerfeld was to become the first member of the orchestra of the newly founded Kulturbund Deutscher Juden, where he worked until he left for Palestine in 1936.
Einzelne Kapitel widmet Dumling dem "Hassobjekt Jazz", schildert die Geschichte des Judischen Kulturbunds und beschreibt die fruhe Flucht von Curt Prerauer, Korrepetitor und Organist an der Staatsoper unter den Linden, und Oberkantor Boas Bischofswerder vorerst nach London.