The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



(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.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Rabbi Caesar Seligmann, leader of the German-Jewish reform movement, describes Jewish emancipation in 1904 as a resurrection in which the power of German Bildung brought "light into the Jewish soul." (37) Similarly, Julius Bab, director of the Kulturbund Deutscher Juden, declares in a 1933 essay in Der Schild: "We do not want to cultivate a one-dimensional Jewish culture but the grand German culture whose soil nourished us." (38)
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.
Although right after the war an effort was made through a "Kulturbund" to create an artistic "national front" that would "attract the 'bourgeois intelligentsia,'" featuring art that Hitler had "scorned as 'degenerate,'" this was soon overtaken by "Socrealismus, socialist realism." There was a "sustained attack on abstract and modern art of all kinds," based on the premise that "form without content means nothing." What, exactly, was "socialist realism"?
The Jewish Kulturbund theatre company in Nazi Berlin.
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.
Links Verlag, 2000), 157; "An die 3: Parteikonferenz der Sozialistischen Einheitspartei Deutschlands" (petition from leaders of the Kulturbund der Demokratischen Erneuerung Deutschlands), 15 March 1956.
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.
There is just a brief mention of the Judischer Kulturbund, no coverage of cabaret or of theatre in ghettoes and concentration camps, and only a little space for the possibility of performance as a way of challenging authority.
While in Germany, they played for the Judische Kulturbund, where as young musicians they met, fell in love and married.
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.