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Should Germany Ban a Neo-Nazi Flag?

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In recent months, the German media and top-level politicians have been up in arms about public outings of a flag that has been traditionally used by Neo-Nazis. During demonstrations of Covid-19 deniers, and most famously during an attempted storming of the Reichstag in Berlin, the German parliament building, on 29 August 2020, the Reichskriegsflagge (Imperial War Flag) was displayed by members of the crowd. What is this flag, why do Covid-19 deniers use it, and are there good reasons to ban its public display?

When the North German Federation was established in 1867 as a first step towards German unification, the new political entity needed a flag for the use of the merchant navy and its (very few) warships, which were mostly run by Prussia. The colour scheme for both was black-white-red, which combined the Prussian black and white with the red of the Hanse cities Bremen, Hamburg and Lübeck. The war flag (Kriegsflagge) of the military navy added an Iron Cross, since 1813 a Prussian military decoration, and the Prussian eagle in the centre, with black-white-red confined to the top inner corner, the canton.

Upon the founding of Imperial Germany in 1871, the colour scheme and flag design were kept, with only minor tweaks implemented in 1903. In 1892, however, the flag for the military navy was renamed: henceforth, it was called the Reichskriegsflagge (Imperial War Flag). At this point, the flag was still only relevant for its original purpose: to make German warships identifiable on international waters, in accordance with international law.

This only changed when the Imperial Navy was massively expanded in the wake of the 1898 Navy Laws, and became henceforth a cornerstone of the collective imagination, most prominently among radical nationalist pressure groups. 

During the First World War, the use of the Imperial War Flag expanded even further. It was not only used in propaganda and on picture postcards, but also in advertisements for chocolate and sparkling wine. A painting by Hans Bohrdt encapsulated the deep sense of belligerence and nationalist defiance that was now associated with the flag. Imagining a scene from the Battle of the Falkland Islands on 8 December 1914, it shows a sailor of the light cruiser SMS Leipzig. In the moment of his imminent death, he waves the Imperial War Flag at battleships of the Royal Navy. 

The Weimar Republic continued to use the established Imperial design of the flag until 1921, because the command officers of the much-diminished military navy stalled. But from 1922, a new design with the republican colours black-red-gold was in place. 

Already since the moment of defeat in November 1918, however, the Imperial War Flag had become a symbol of radical rejection of the new republican order, regularly used by right-wing Freikorps and other military desperados. When the Navy Brigade Ehrhardt entered Berlin during the Kapp putsch in March 1920, they displayed the flag as a matter of course. In Bavaria, a proto-fascist league was renamed as Reichskriegsflagge in 1923. During the Hitler putsch in Munich on 9 November 1923, none other than Heinrich Himmler – not yet a member of the NSDAP, but a member of the league Reichskriegsflagge – held a flagstaff with the eponymous flag.

Members of the Navy Brigade Ehrhardt, an anti-republican Freikorps, display the Reichskriegsflagge on 13 March 1920 in Berlin during the Kapp putsch.
Source: https://de.wikipedia.org/wiki/Reichskriegsflagge#/media/Datei:Bundesarchiv_Bild_119-1983-0007,_Kapp-Putsch,_Marinebrigade_Erhardt_in_Berlin.jpg

After the Second World War, the Federal Republic, established in 1949, found legal means to ban the use of Nazi flags and insignia, most prominently the Swastika, first by declaring it a public order offence, and since 1960 via a designated clause in the penal code. Yet this did not affect the Imperial War Flag in its 1867 to 1918 version, as this was legally a marker of the sovereignty of Imperial Germany, not a Nazi symbol. Ever since the 1950s, this distinction has given ‘old’ Nazis – for instance former members of the Waffen-SS – and neo-Nazis licence to display the Imperial War Flag in public.

From the 1950s to the 1980s, the neo-Nazi usage of the flag was limited. The floodgates were only opened when Germany won the football World Cup in 1990, and with the German reunification that took place a few months later. Ever since, members and sympathisers of the neo-Fascist party NPD, but also skinheads and other unorganised Neo-Nazi groups have used the Imperial War Flag in their marches and other public outings. When the movement of Covid-19 deniers – much stronger in Germany than in most other European countries – emerged in 2020, the use of the flag became even more prominent, and a regular feature among those who are unified in their radical rejection of the parliamentary democracy of the Federal Republic.

German football fan displays the Reichskriegsflagge in Dresden, ca. 1990. Source: https://de.wikipedia.org/wiki/Reichskriegsflagge#/media/Datei:Bundesarchiv_Bild_183-1990-1105-008,_Dresden,_Fußballfan_mit_Reichskriegsflagge.jpg

Could the public display of the Reichskriegsflagge be banned? Pending a detailed legal discussion, it probably could, either by labelling it a public order offence or by adapting paragraph 86a of the penal code, thus taking into account that also flags without a Swastika can be used to express Neo-Nazi sympathies. 

Should the Reichskriegsflagge be banned? There are good reasons to do so, as it is essentially used as a proxy for the banned Nazi flags that include Swastika symbols, but with the same rationale: to express a fundamentalist rejection of parliamentary democracy. Historically speaking, the Imperial War Flag has been used for that purpose ever since 1919. Ultimately, such a ban would also close a loophole and remove a legal anomaly, because the Imperial War Flag design that was in place from 1933 to 1935 can still be shown, even though it was a national emblem of the Nazi State.

Benjamin Ziemann is Professor of Modern German History at the University of Sheffield and co-editor of The Oxford Handbook of the Weimar Republic (Oxford: OUP, 2021). An extended German text on the topic of this blog post has appeared in the Zeitschrift für Geschichtswissenschaft 69 (2021), issue 3: https://metropol-verlag.de/produkt/zeitschrift-fuer-geschichtswissenschaft-69-jg-heft-3-2021/

Cover Image: The painting ‘The last man standing’ by Hans Bohrdt (reproduction on picture postcard, ca. 1916). Source: https://de.wikipedia.org/wiki/Reichskriegsflagge#/media/Datei:Hans_Bohrdt_-_Der_letzte_Mann_(Ansichtskarte).jpg

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Mining the Munich Crisis for Meaning: Crises Past and Present

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We are the editors of a new book, The Munich Crisis, Politics and the People (Manchester University Press, 2021). The contributors came together for a conference in 2018, the 80th anniversary of the signing of the highly controversial but pivotal Munich Agreement, a diplomatic event that was all-absorbing for people throughout Europe and beyond. The days, weeks, and months when the world was on the brink of another global conflict war was a time of acute crisis, uncertainty, anxiety, and private and public suspense and nervousness. In this blog post we reflect on the Munich Crisis in light of the current global crisis, hearing unmistakable resonances, drawing some parallels, as well as thinking about how the ‘People’s Crisis’ of 1938 differed in important ways from the all-consuming global pandemic today. 

Julie V. Gottlieb: The Munich Crisis and the repercussions of the international affairs on the home front and on private lives has been the focus of my research and my attention for many years now. It is therefore difficult not to hear (loud) resonances with crises in international affairs in the last few years and with heated debates about international intervention—Iraq, Syria, China etc… Other resonances can be heard with the current global people’s crisis of the Covid-19 pandemic. With regards to the latter, we need to be cautious about the parallels we see and the lessons we think we can draw from crisis events of the past. There is no easy symmetry here. 

Richard Toye: I agree, but there is one significant thing the crises have in common. Both involve(d) the fear of mass death. It is a commonplace in the literature that people during the interwar years tended to exaggerate the likely impact of bombing, thinking it would literally bring about the end of civilisation, but the actual results during World War II turned out to be somewhat less dramatic. However, one can hardly blame people for being fearful – of gas, as well as of bombs. On the other hand, as far as I know, there were no ‘Munich deniers’ in 1938. Nobody suggested that war was a non-existent threat that had been worked up by the authorities for their own political purposes.

Daniel Hucker: A small minority of pacifists did argue that air raid precaution measures served only to normalise militarism whilst hoodwinking the people into believing that they could be protected against bombs and gas (are there echoes here in the anti-vaxxer’s arguments, who almost fear the solution more than the problem?), but nobody genuinely argued that the threat of war was imagined. I am struck, however, by the parallels between how far people are/were willing to go to mitigate the threat. In 1938, for the French and British at least, it was a question of sacrificing honour and prestige, with the ultimate price being paid by the Czechoslovakians. Today, we are all making sacrifices but, just as in 1938, some are making more substantial sacrifices than others.

Neville Chamberlain on his way home after the signing of the Munich Agreement. To his left the Reich’s foreign minister Joachim von Ribbentrop, and to his right the head of the Munich Police Karl von Eberstein, 30 September 1938. Source: German Federal Archives/Wikimedia Commons

JG: As this pandemic wears on, it is less and less reminiscent of the Munich Crisis. Rather it evokes if anything from that heavily-mined period and the rose-tinted nostalgia for the People’s War, the ‘Phoney’ or more aptly the ‘Bore’ war. This was the long months of anticipation from September 1939 to May 1940 when Britain was at war but there was little action. 

RT: Yes, but looking at it another way, thousands of people have been dying every day–just as thousands died or were oppressed by the Nazis in Poland. This happens out of sight of most of us, which may be why it seems as though nothing is happening. A reasonably strong pro-peace movement emerged in the autumn of 1939, which is perhaps not unlike the calls today for Lockdown to be lifted.

JG: One of the main lessons I have drawn from the Munich Crisis, and from the way we have studied it in this book, is that to understand the national stories of the global pandemic these crises have to be understood as ‘people’s crises’. It seems all the more striking how little the earlier scholarship on appeasement has taken public opinion into account. So far the scholarship has not had much if any concern with the subjective experience of diplomatic events. Holed up in our home offices—alone or with people who in normal times we only see a couple of hours a day—there is ample opportunity to think and feel our way through how the global pandemic affects us individually. Certainly one unmistakable parallel is the ‘crisis fatigue’ that Mass-Observation diagnosed in 1938, and the widespread feeling that we are at a saturation point with news of the pandemic, fed up, desperate for news of something else. 

DH: Throughout the current pandemic the people have been at the forefront of politicians’ responses—we hear repeatedly of the need for clear and unambiguous messaging, for the public to do ‘their bit’ by following official guidelines, and how policy must be attentive to the public’s willingness to listen and adhere. In an era of rolling news, social media, and unprecedented global interconnectivity, this is unsurprising. But as our book shows, the Munich ‘moment’ was also framed as a global crisis, with ramifications that would be felt far and wide. Not only was the crisis experienced subjectively by individuals, but it was experienced collectively, as an event. This clearly had a profound impact, and several of the contributions in this book demonstrate only too clearly the importance of public opinion.

JG: We seem to be congratulating ourselves quite a bit here in Britain—and I expect elsewhere as well—on our appreciation and willingness to deal with the mental health consequences of the current global crisis. It is a helpful reminder that there was genuine concern and many schemes to deal with just the same mental health fallout of the crisis itself and of the impending war from the air. Our mission with this collaborative work was to think about the Munich Crisis as ripe for the study of emotions—private, collective, imagined, prescribed and proscribed. 

RT: Indeed, and it’s a very difficult thing to do. Perhaps it’s a bit easier in respect to Munich than with regards to the pandemic, as the 1938 crisis was relatively short-lived, people took particular note to record it, and everything was felt very intensely. How will historians reconstruct people’s feelings during Covid, when a lot of people are progressively, but imperceptibly, worn down a bit further every day, and perhaps feel less and less incentive to write down their emotions? True, the sociological research organisation Mass Observation sprang into action and recruited a lot of new observers in March/April 2020 to capture the experience of the pandemic. In the fullness of time we will learn how many of them stayed the course.

The Munich Conference on 29 September 1938 in the so-called Führerbau (Führer’s Building) on the Königsplatz. From left to right: Benito Mussolini, Adolf Hitler, the interpreter Paul Otto Schmidt, and Neville Chamberlain. Source: German Federal Archives/Wikimedia Commons

DH: The early stages of the Covid crisis were perhaps the most analogous to Munich—just as news of a new virus in China had played out in the background before March 2020, so the Sudeten crisis unfolded over the summer of 1938 in a way that didn’t affect people in a meaningful way until September. Then the reality dawned and a tangible ‘crisis’ set in—in 1938 air raid shelters were constructed and gas masks distributed; in 2020 we locked down, queued outside supermarkets, and fashioned face masks out of old clothes. We might acclimatise to a crisis, adapt to a ‘new’ normal, but new crises (today’s ‘variants’) are never far from the surface. 

JG: Another issue is the use of the word ‘crisis’. Can a crisis drag on and on, for months and even years, or does longevity make the word unhelpful, misleading, or even useless? Certainly in September 1938 everyone immediately referred to the moment as ‘The Crisis’, specifically the four days at the end of September at the climax of the drama when Chamberlain was summoned to a third meeting with Hitler, and the meeting of the Four Powers at Munich when they came to the agreement for the dismemberment of Czechoslovakia. In the first lockdown, thinking about Covid-19 as a crisis event was plausible. As we in Britain find ourselves in the third lockdown, and a year and counting into the global pandemic, we may very well require a different word, a different paradigm, to make sense of our historical moment, and how it will be bookended by historians of the future. The study of comparative crisis therefore prompts a fruitful discussion about periodization.

Tickets are available via Eventbrite for the book’s launch event on 11 March 2021:

Julie V. Gottlieb is Professor of Modern History at the University of Sheffield. Her related publications include ‘Guilty Women’, Foreign Policy and Appeasement (Palgrave, 2015), “The Munich Crisis: Waiting for the End of the World” https://www.historytoday.com/archive/feature/munich-crisis-waiting-end-world, and “Surviving a “War of Nerves”: Lessons for the age of coronavirus from 1930s Britain” https://www.newstatesman.com/science-tech/coronavirus/2020/03/surviving-war-nerves-lessons-age-coronavirus-1930s-britain

Prof. Daniel Hucker is Assistant Professor of History at the University of Nottingham. His related publications include Public Opinion and the End of Appeasement in Britain and France (Ashgate, 2011) and Public Opinion and Twentieth-Century Diplomacy: A Global Perspective (Bloomsbury, 2020).

Prof. Richard Toye is Professor of Modern History at the University of Exeter. His related publications include Winston Churchill: A Life in the News (Oxford University Press, 2020) and ‘“This famous island is the home of freedom”: Winston Churchill and the battle for “European civilization”’, History of European Ideas, 46 (2020).

Cover Image: Neville Chamberlain holding the paper containing the resolution to commit to peaceful methods signed by both Hitler and himself on his return from Munich, 30 September 1938. Source: Imperial War Museums/Wikimedia Commons

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Defending democracy? The protests against Werner Krauss in West Berlin, 1950

Proteste gegen Werner Krauss

In December 1950, chaotic scenes at a theatre in West Berlin made headlines in Germany and abroad. While Werner Krauss  an actor who had featured in Jud Süβ, the Third Reich’s most infamous antisemitic film – performed in Henrik Ibsen’s John Gabriel Borkman, students and Jewish residents demonstrated against his presence. For three days, protesters clashed with police officers outside and repeatedly disrupted the play’s performances inside the Theater am Kurfürstendamm, eventually securing its early cancellation.

The demonstrations against Werner Krauss, which took place seventy years ago this month, have been largely forgotten. Yet they raised central questions for early West German society, which, following the transfer of power from Allied occupation, now had to manage its own affairs. What constituted acceptable protest, and when did acts of dissent undermine the new democratic order? Should those who had been complicit in Nazi propaganda have any place in public life? And what responsibilities did Germans have towards Jews living in the country, after the atrocities of the Holocaust?

Krauss had risen to prominence before the Third Reich, starring notably in the 1920 silent movie The Cabinet of Dr Caligari. While many actors left Germany after the Nazis’ seizure of power, Krauss stayed. He went on to play four different characters in Jud Süβ, a film commissioned by propaganda minister Joseph Goebbels and viewed by 20 million Germans between its release in 1940 and 1943.[1]

Jud Süβ, which depicted the eighteenth-century Jewish court advisor Joseph Süβ Oppenheimer as a corrupt, depraved conspirator, aimed to justify the exclusion of Jews from German society. Although Krauss claimed during his post-war denazification trials that Goebbels had coerced him into taking part in the film, the final verdict in 1948 declared that Krauss had been a ‘follower’ (Mitläufer) of the Nazi regime.[2]

The judgement nevertheless allowed Krauss to resume his acting career, and, after moving to Austria, Krauss returned to German theatre stages in 1950 for the Vienna Burgtheater’s touring production of John Gabriel Borkman.[3]

The play was initially performed in several West German cities without incident. West Berlin, however, was different. The city was still a transit station for large numbers of Eastern European Jewish refugees, most of whom were awaiting emigration to Palestine. These refugees had already taken to the streets in 1949, in response to antisemitic tendencies in the newly-released British film Oliver Twist.[4]

Opposition to Krauss’s arrival also came from German-Jewish community leaders and West Berlin’s two universities, where students planned a demonstration for the play’s evening premiere. On December 8, more than five thousand students, Jewish refugees, and other protesters gathered outside the theatre, with chants and placards demanding that Werner Krauss ‘go home’.[5]

Numerous protesters attempted to penetrate the police line guarding the theatre. The police used batons and water cannons to push back the crowd, while some demonstrators hurled stones. A handful of officers and civilians were taken to hospital, and the Chicago Daily Tribune reported that ‘dozens more were mauled and bruised’.[6]

Inside the theatre, demonstrators who held tickets for the play disrupted the first act. As they were ejected from the building, the performance was initially called off. The support for Werner Krauss among other theatregoers, however, was evident when the play eventually resumed. As Krauss appeared for the second act, he was greeted with loud applause.[7]  

Disturbances continued for the next two days, however, with Jewish leaders and Berlin’s students insisting that protests would not stop until the run was cancelled. After Krauss expressed his aversion to the thought that he would be the cause of further violence, the Burgtheater called off its remaining performances.[8]

The protests provoked outraged reactions among West Berliners. Letters to Ernst Reuter, the city’s mayor, expressed various anti-Jewish sentiments. Since Reuter had declared that the time had come to forgive Krauss, several of the letters condemned Jews’ alleged inherent vengefulness – a long-standing antisemitic conception – with one citizen claiming that ‘Jews cannot forgive’.[9]

Not only did these letters make little or no mention of the Holocaust: their sweeping assertions also ignored other viewpoints among Berlin’s protesting Jews. Some demonstrators, who saw Krauss’s apparent lack of contrition as the main problem, outlined circumstances under which they would accept his return to public life. Gerhard Löwenthal, a Jewish student, later recalled telling mayor Reuter that the demonstrations would stop at once if Krauss apologised on stage for his involvement in Jud Süβ.[10]

A poster for Jud Süß, 1940. Source: Österreichische Nationalbibliothek.

The question of what constituted ‘democratic’ and ‘undemocratic’ action was another recurring theme in the debates, with individuals on both sides claiming to defend the new political order. For Löwenthal, a departure from the Nazi past was a precondition for the success of West German democracy. Yet, as one newspaper acknowledged, theatregoers considered that they had ‘democratically’ expressed their wish to forgive Krauss.[11]

The protesters’ disruptive actions were labelled by opponents as a recourse to Nazi-era ‘SA methods’ which undermined the rule of law.[12] Sympathisers, however, contended that the real threat to democracy lay in police violence and the re-emergence of overt antisemitism. The Volksblatt remarked that, while officers’ batons struck Jewish victims of the Nazis, those at the theatre who shouted ‘Jews out!’ had gone unpunished.[13]

Werner Krauss did not perform again in Berlin until 1953: when he returned, the protests were not renewed. The following year, he was awarded West Germany’s Order of Merit. Krauss’ return to respectability before his death in 1959 could be taken as an example of what some historians have described as a ‘failure to address the issues raised by the Nazi period’. Such scholars argue that a continuation of authoritarian values and a desire for political and economic stability resulted in an indifference among most West Germans, lasting until the 1960s, to questions of ‘democratisation’.[14]

The backlash against Krauss in 1950, however, reveals fierce debates at an early stage about the requirements for democratic renewal. While some Germans considered it necessary to draw a line under the past, others demanded that those who had worked with the Nazis apologise for their actions, or be barred from public life. Attitudes to protest also diverged: whereas demonstrators considered themselves to be carrying out a democratic duty, opponents saw them as violent troublemakers infringing other citizens’ freedoms. 

Such discussions continued into 1951 and 1952, as further demonstrations accompanied the screening of new films by Veit Harlan, the director of Jud Süβ. As these events, too, approach their seventieth anniversaries, it is time to reconsider the supposedly sleepy, ‘consensus-based’ early years of West Germany’s existence.

Rory Hanna is a PhD student at the University of Sheffield. His doctoral research project focuses on student protest and activism in West Germany between 1949 and 1967.

Cover image: protesters against Werner Krauss, demonstrating with placards and torches in front of the Theater am Kurfürstendamm in West Berlin, 10 December 1950. Photographer: Associated Press. Source: Österreichische Nationalbibliothek, http://www.bildarchivaustria.at/Preview/353430.jpg


[1] Susan Tegel, ‘Review Essay: Jud Süss’, Historical Journal of Film, Radio and Television 25:1 (2005), p. 156; Eric Rentschler, The Ministry of Illusion. Nazi Cinema and its Afterlife (Cambridge, Mass.: 2007), p. 154.

[2] Wolff A. Greinert, Werner Krauss. Schauspieler in seiner Zeit, 1884 bis 1959 (Vienna, 2009), pp. 273, 303.

[3] Ibid., p. 313.

[4] ‘Tumulte gegen den Film “Oliver Twist”’, Der Sozialdemokrat, 21 February 1949, p. 3.

[5] Landesarchiv Berlin (hereafter LAB) B Rep. 020, Nr. 7861, ‘Polizei-Inspektion Charlottenburg, den 9.12.1950, Betr.: Demonstrationen anlässlich des Gastspiels des Burgtheater-Ensemble mit Werner Krauss im „Theater am Kurfuerstendamm“, p. 1; ‘Tumulte am Kurfürstendamm‘, Telegraf, 9 December 1950, p. 1.

[6] ‘Das Schuldkonto des Herrn Krauss’, Volksblatt, 9 December 1950, p. 1; ‘Jews in Berlin Fight Police in Row Over Actor’, Chicago Daily Tribune, 9 December 1950, p. 7. 

[7] ‘Berliners Storm a Theatre’, Manchester Guardian, 9 December 1950, p. 5.

[8] ‘Ein Erfolg der Jüdischen Gemeinde’, Kurier, 12 December 1950, p. 2; ‘Das Ende des Krauss-Gastspiels’, Telegraf, 13 December 1950, p. 1.

[9] ‘Vergeben können’, Der Abend, 8 December 1950, p. 2; LAB B Rep 002, Nr. 3428, anonymous letter from ‘ein Lichterfelder Einwohner’, 13 December 1950. On the history of antisemitic conceptions of Jewish ‘retributive justice’, see Trond Berg Eriksen et al, Judenhass: Die Geschichte des Antisemitismus von der Antike bis zur Gegenwart (Göttingen, 2019), p. 117.

[10] Gerhard Löwenthal, Ich bin geblieben. Erinnerungen (Munich, 1987), pp. 202-203.

[11] Ibid., p. 203; ‘Die Unruhen am Kurfürstendamm’, Tagesspiegel, 9 December 1950, p. 2.

[12] LAB B Rep 002, Nr. 3428, letter from Adolf Vollmer to Friedrich Luft (editor of Die Neue Zeitung‘s Feuilleton section), 12 December 1950.

[13] ‘Problematisches Gastrecht’, Volksblatt, 11 December 1950, p. 2.

[14] Nick Thomas, Protest Movements in 1960s West Germany. A Social History of Dissent and Democracy (Oxford, 2003), p. 13; Moritz Scheibe, ‘Auf der Suche nach der demokratischen Gesellschaft’, in Ulrich Herbert (ed.), Wandlungsprozesse in Westdeutschland. Belastung, Integration, Liberalisierung, 1945-1980 (Göttingen, 2002), pp. 245-247.

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It Happened Here: The Annihilation of the Jews of the Amsterdam Rivierenbuurt, 1940-1945

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To this day, the Dutch have been unable to achieve closure concerning how the Germans were able to kill, with such relative ease, between seventy and eighty per cent of the country’s 140,500 Jews during their Second World War Occupation of the Netherlands. This proportion was by far the highest in western Europe. Many varied and complex subsidiary questions involving perpetrators, victims, bystanders and survivors still remain unexplored. Moreover, very little published research, if any, in the historiography of the persecution, has so far investigated how the urban design of a particular local neighbourhood might perhaps have contributed to theannihilation of its Jews.  

Much attention has rightly focussed on the more than sixty per cent of the country’s Jews who lived in Amsterdam, However, inherent elements of the built environment, capable of analysis by the application of interdisciplinary approaches, have been largely disregarded as potentially significant factors in this field that might otherwise contribute to the wider debate. 

A pertinent example of such an area is the Rivierenbuurt (Rivers District), a tranquil suburb a few kilometres to the south of the historic centre of Amsterdam, erected in the 1920s and 1930s and occupying only 140 hectares, a negligible 0.003 per cent of the landmass of the entire Netherlands. 

A walk through the Rivierenbuurt in 2020 barely discloses connections with its tragic past. This is unexpected, when it is understood that 13,000 individuals, out of its Jewish population of 17,000, were removed by the Germans and murdered in the death camps of eastern Europe. While Jews from many other parts of Amsterdam, and elsewhere in the country, also lost their lives in this way, the Rivierenbuurt stands out because its Jewish population represented one in nine (19.5 per cent) of the Dutch Jews. 

Certainly, the Germans were well aware of the Rivierenbuurt’s disproportionately large Jewish population from the outset of the Occupation. This awareness took on a greater relevance after February 1941, when a ghettowas imposed in the Jodenhoek (‘Jewish Corner’), the traditional centre of Jewish settlement of Amsterdam. While this ghetto had been based on the principles of eastern European paradigms, it proved to be untenable because the Germans could not seal in its Jewish population, due to the high proportion of non-Jews living there who needed to continue to interact with the rest of the city.

Thus, by the middle of 1941, the Germans alighted upon an alternative approach that could help achieve their aim by harnessing existing local conditions as they pertained specifically to Amsterdam. Henceforth, three discrete Jodenwijken (‘Jewish Districts’), took the place of the ghetto, of which the Rivierenbuurt was by far the largest.

The Germans called this model of containment a ‘lockeres Ghetto’ (slack ghetto), an unenclosed district that allowed resident non-Jews, and Jews, to continue to live alongside each other. In consequence, the physical barriers of the ghetto were rendered superfluous, thereby allowing the Rivierenbuurt to remain open and accessible. Instead, the activities and movements of Jews were controlled by means of an extraordinarily wide range of persecutory measures, of which personal registration, restricted employment, travel permits and the wearing of the ‘Jewish Star’ for identification purposes were but a few.

If the Germans did not explicitly recognize the advantages of the spatial conditions that already existed in the Rivierenbuurt before the mass deportations of the Jews began in July 1942, they soon exploited their benefits. Able to round up their Jewish victims in efficient operations with minimal resources, they could send them rapidly to local assembly points and for onward transportation to almost certain death in the extermination camps at Auschwitz-Birkenau and Sobibór. This was achieved, in the first instance, by being able to deploy police during razzias (raids for rounding up Jews) along the grand avenues of the Rivierenbuurt, the design of which was clearly derived from authoritarian precedents, as seen in Paris, St. Petersburg or Imperial Rome (see photo below). Secondly, the boundaries of the Rivierenbuurt delineated by the River Amstel and canals were capable of being cut off from the surrounding city by raising the bridges, as occurred, for example, without warning, in a major dawn razzia on 20 June 1943. Thirdly, the regimented grid-like planning of the secondary side streets created a net during razzias, the mesh of which could be enlarged or reduced in size as required to isolate specific localities where Jews lived. 

Rooseveltlaan [south end], Rivierenbuurt
Source: David Kann, 16 September 2016

In other circumstances, inherent flaws in the progressive architectural design would also have been taken for granted by their designers and residents, yet were capable of disclosing further opportunities for the Germans. This came about because four and five storey residential blocks with long frontages, designed for sustaining intensive housing densities, extended from one street corner to another. Each of these contained tightly packed clusters of spacious apartments in which large numbers of people were billeted when the Germans forced Jews from all parts of the country to move to the Rivierenbuurt, which, in effect, rendered it a large detention camp in all but name, pending their future deportation to the camps. Furthermore, awkward and narrow, steep staircases, accessed by open, communal entrance archways, led from the street to upper floors without alternative escape routes. Panicked Jews were trapped and could not escape being caught (see photo below).

Access staircase at Roerstraat 15 and 17, Rivierenbuurt
Source: David Kann, 26 October 2007

The buildings, streets and waterways of the Rivierenbuurt might have appeared well-ordered and beneficial for the well-being of their residents in peacetime. However, despite the local death rate being similar to the rest of the country, it is evident that the existing built environment of the district could be readily subverted by the Germans for more efficient means of conducting their persecution of its Jews. In the end, when theRivierenbuurt was finally liberated on the last day of the war in Europe on 8 May 1945, almost no Jews survived, apart from the very few that had managed to hide.

David Kann is a PhD researcher in the History Department at the University of Sheffield, focussing on Het Joodsche Weekblad (The Jewish Weekly) as an instrument of persecution in the Nazi Occupied Netherlands. David is a retired architect by profession and in 2017 completed a Master’s by Research thesis at Royal Holloway College, University of London 

Cover Image: Anne Frank memorial at Merwedeplein: the Rivierenbuurt’s most famous resident lived at no. 37 (on right) until she and her family went into hiding in the centre of the city.  Source: David Kann, 15 September 2016

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Delight, Dismay and Disbelief: Reactions to the Death of Hitler, 75 Years Ago

Hitler_salute_in_front_of_lamppost

It is 75 years since Adolf Hitler committed suicide in his Berlin bunker. His death continues to generate considerable public interest thanks to both continuing forensic discoveries about his biological remains, and the persistence of outlandish tales of his postwar survival. While no serious historian believes in the latter, it is worth considering how confused reporting of Hitler’s fate in spring 1945 created a climate ripe for the flourishing of such legends.

The first formal declaration of Hitler’s death came late on the evening of 1 May 1945 via a radio broadcast by Grand Admiral Karl Dönitz. Sombre music and drum rolls gave way to the momentous announcement: ‘our Führer, Adolf Hitler, has fallen. In the deepest sorrow and respect, the German people bow’. It was, proclaimed Dönitz, a ‘hero’s death’, Hitler falling in battle while fighting valiantly against the ‘Bolshevik storm’.

‘Hitler Dead’ screamed countless international headlines the next day. The bold, dramatic and matter-of-fact statement left little room for ambiguity. Hitler had met his end, National Socialism was vanquished and the Second World War was effectively over. The Daily Herald printed a caricature of a burning Nazi emblem under the slogan ‘WAStika’. The cover of Time magazine simply struck Hitler’s face out with a large red cross.

The media’s response to Hitler’s passing was predominantly one of intense relief. ‘The whole building cheered’, recalled Karl Lehmann, a member of the BBC Monitoring unit. Numerous editorials depicted it as a moment of universal liberation – ‘a terrible scourge and force of evil has been removed’, declared the Lancashire Daily Post.[1] The sense of catharsis continued into the VE Day celebrations a few days later when the burning of Hitler’s effigy typically formed the high point of the UK’s festivities.

In the midst of this jubilation, however, there was widespread uncertainty about the precise cause of death. Dönitz’s talk of Hitler ‘falling’ in battle filled the first wave of international news reports, but many of the accompanying editorials urged caution about accepting this at face value. There was suspicion that either the Nazis were exaggerating the circumstances of his demise to foster a ‘Hitler legend’, or that they were peddling an entirely false narrative to distract from his retreat from the scene. Questioned on the matter during a White House press conference, President Harry S. Truman insisted that he had it ‘on the best authority possible’ that Hitler was, indeed, dead – but conceded there were no details yet as to how he died.

The press were right to question the death-in-battle scenario invented in the Dönitz broadcast. Stationed in Flensburg, over 270 miles away from the death scene, the Admiral was reliant upon information fed to him by colleagues in Führerbunker, namely Propaganda Minister Joseph Goebbels and Head of the Party Chancellery Martin Bormann. The pair had already delayed sending definitive news of Hitler’s passing, prompting Dönitz to misdate the fatal moment to the afternoon of 1 May, rather than the 30 April. They also neglected to supply details of what, exactly, had occurred, leaving Dönitz to fill in the gaps for himself. As it transpired, he was not the only person speculating on Hitler’s fate.

United States made propaganda forgery of Nazi German stamp. Portrait of Hitler made into skull; instead of “German Reich” the stamp reads “Lost Reich”. Produced by Operation Cornflakes, U.S. Office of Strategic Services, circa 1942, https://commons.wikimedia.org/wiki/File:Futsches-Reich-Briefmarke-UK.jpg [accessed 29 April 2020]

The Western Allies, anxious to puncture martyrdom myths before they could take hold, swiftly countered Dönitz’s heroic imagery by reviving rumours of Hitler’s previously failing health. The Soviets, meanwhile, denounced reports of Hitler’s death as a ‘fascist trick’ to conceal his escape from Berlin. Even when reports of a Hitler suicide emerged from 3 May, debate continued as to whether the Nazi leader had shot himself or taken cyanide – poison being perceived by the Soviets as a particularly cowardly (and thus eminently appropriate) way out for Hitler.

What, though, did the general public make of all this? Within hours of the Dönitz broadcast, the New York Times and the social research organisation Mass Observation were gauging reactions across Manhattan and London respectively. At first, the news appeared anticlimactic; people who had longed for this moment felt disoriented, numb or empty now it was finally upon them. As the implications sunk in, Hitler’s death raised optimism that the war might finally be over, but dashed hopes that the public would see him brought to justice. ‘Too bad he’s dead’, mused one young New Yorker, ‘he should have been tortured’.[2]

The overwhelming reaction to news of Hitler’s demise, though, was one of disbelief. Some sceptics perceived the whole affair as a Nazi ruse, with Hitler just waiting to ‘pop out again when we aren’t looking’. Others foreshadowed modern-day accusations of ‘fake news’, directing their cynicism towards the contradictory explanations printed in the Allied press for Hitler’s demise. Mistrust of Nazi propaganda was also, understandably, common with one Londoner reflecting, ‘I don’t believe he died fighting. They just said that to make it seem more – you know – the way he’d have wanted people to think he died… I think personally he’s been out of the way for a long time now.’[3]

Ultimately, the competing versions of Hitler’s death ensured that the timing and cause of his demise became quite fluid within the public imagination. This, together with initial Soviet refusals to disclose the recovery of an identifiable corpse outside the bunker, created a vacuum in which all manner of rumours could take root. By contrast, the death of Benito Mussolini was commonly regarded with satisfaction because the deliberate display of his body rendered it an indisputable fact. It was only in 2000 that images of Hitler’s jaw (alongside a fragment of skull erroneously attributed to him) were publicly exhibited in Moscow, demonstrating how documenting the truth about his fate has proved a protracted process, and explaining why the Nazi leader has managed to remain so ‘alive’ in public discussion for all these years.

Caroline Sharples is Senior Lecturer in Modern European History at the University of Roehampton.  Her research focuses on memories of National Socialism, representations of the Holocaust and perpetrator commemoration. She is currently writing a cultural history of the death of Adolf Hitler. You can find her on Twitter @carol1ne_louise.

Cover image: Adolf Hitler, prior to 1945.

[1] Lancashire Daily Post, ‘Hitler’s Exit’ (2 May 1945), p.2.

[2] New York Times, ‘City Takes Report of Death in Stride’ (2 May 1945), p.9.

[3] Mass Observation Archive, University of Sussex, Topic Collection 49/1/1: ‘Hitler Indirects’, Hampstead, 2 May 1945.

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