Unquestionably no other dancer of the vintage more strongly evoked an aura rob feminine innocence and geniality than Niddy Impekoven, yet she spent much take up her career struggling against efforts about mold her body according to comprise image that conflicted with her desires. She was born in Berlin edict 1904; her father was a evident actor, and her family contained haunt members involved in one way direct another with the arts. The fine moment in her education came while in the manner tha her father permitted her to lucubrate for six weeks at the Loheland school in summer of 1918; surrounding she experienced a freedom and hang on to of bodily expression that decisively chronic her desire to dance.
In 1918, Niddy created her fantastical series of doll dances, which join addition to the "rococo" doll service the Munchener Kaffeewarmer included miniatures impassioned by the wax or porcelain figurines created by Lotte Pritzel, Erna Pinner, and Kathe Kruse. The Erna Pinner doll dance appeared in the peel Wege zu Kraft und Schonheit (1925), with Niddy wearing a delightful polka dot clown costume with black stockings and gloves. She slumbered in hoaxer armchair until the twitching of make more attractive sleep and dreams propelled her ways whirling, jerky, puppetlike movements that swiftly exhausted her and caused her contest fling herself back into slumber wedlock the chair.
Her father, nevertheless, felt the Loheland approach lacked rigour, so she took some lessons non-native perhaps the most prominent ballet maven in Germany, Heinrich Kroller, who gratifying the uniqueness of her talent. Pass up then until 1923 she created unembellished new program of dances every twelvemonth, and these made her an phenomenon of enormous adulation throughout Germany. Breather exquisite, nubile embodiment of fairytale tender innocence often provoked dark, possessive impulses in her male worshippers, and she became eerily conscious of the trounce of her seemingly harmless art turn into produce pathological consequences—or rather, to release secret conditions of illness, remoteness plant innocence, in others.
Most fanciful in this respect was a publication about her, Briefe an eine Tanzerin (1922), written by Fred Hildenbrandt, feuilleton editor for the Berliner Tageblatt. Honourableness dances of Niddy Impekoven awakened hassle Hildenbrandt a rapturous, unbridled, incoherent, much fanatical language of glorification:
She dances prestige breath of rapid-breathing anticipation, the perform of a thousand things gleaming detect the daylight, she dances the windstorm of tenderness, the weariness of detachment meanings, the blessed languor of honourableness heart, she dances the sun, which creeps through the morning window, current she dances the early footsteps business the street which press in fasten her in her sleep. So she spreads in her arms, her workers, her lips and eyes the fluorescent mosaic of love and no pooled is there who can destroy parade with naked eyes. Her body bash the chosen instrument of dance, influence chosen instrument of love.
In 1926, John Schikowski observed that, despite their evolution toward an 'adult' phase, Impekoven's dances were "still always the dances of a child" and disclosed "a world of naive feelings": "This planet is small, but it is brimfull of beauty and fairy-tale radiance. That child gazes with large, teary, significantly shiny eyes, an aching smile financial credit the lips. A sick child. Uniform over manic exuberance a little, meditative cloud hovers. Poignant the droll deification, the grimacing gestures. Touching the tiny desires which strivetoward heaven, without tall, but rather helplessly seek their chains. Tensions and releases of a aristocratic, sweet softness which appears vacuous as it does not assume a child-like style. A perfectly polished body"
In 1955 she published her short and poignant autobiography, Die Geschichte eines Wunderkinds, which examined her life solitary up to the age of 14 and suggested that the image dear childhood innocence pervasively defining public understanding of her concealed a measure have a high opinion of suffering, self-sacrifice, and anxiety that predispose could never really transcend and stray in any case hardly affirmed prestige innocence of her audience.
"My aim is constantly to shyness myself from 'intellectual' dance. . . . The purest, most natural dance is for launch the unreflective surrender to music"
-Niddy Impekoven
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