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Experiencing and understanding culture. A case study on new perspectives for

extracurricular learning in Weimar.

Dr. Folker Metzger/Head of Education Division Klassik Stiftung Weimar Stabsreferat Forschung und Bildung Burgplatz 4 99423 Weimar folker.metzger@klassik-stiftung.de Keywords: cultural education, participation, cultural mapping

Abstract

One of the most significant cultural establishments in Germany, the Klassik Stiftung Weimar,

comprises a unique cluster of Weimar’s cultural assets, including museums, historic houses, palaces,

parks, and collections. The city of Weimar Classicism is a popular excursion destination for a lot of

school classes. Today school trips to Weimar still seem to be a ‘pilgrimage’ to the memorials of the

poets – a principle that was developed and practised in the nineteenth century. But how can

excursions to Weimar be adapted to comply with contemporary education theory and methodology,

which tends to be student-centred and oriented on activity and production as well as learning

through direct observation and self-directed learning? The interdisciplinary education project

Weimarpedia was developed to allow students to interact with this cultural heritage on their own

terms. During their visit, students can independently explore historic sites, and receive additional

topic-specific information via tablets or smartphones. Based on their research, students develop

their own projects such as audio plays, films, photo stories or encyclopaedia articles. These are

presented on the web page www.weimarpedia.de. The articles are linked to a map on the website.

With the help of this map, students and other guests are able to explore Weimar’s past via the living

city and by encountering historic objects on site. Following on from other students’ interest, they can

then form their own individual images of Weimar. The unique cultural topography of the city is made

visible and understandable: This map-based compendium will spread like a net over all of Weimar.

Introduction

The cultural legacy of Weimar with its historical parks and palaces, houses of famous poets, the

Herzogin Anna Amalia Bibliothek and the Goethe- and Schiller-Archiv forms a diverse cultural area.

On asking teachers why they organise school trips to Weimar, the common answer is that they

particularly want their students to gain a closer understanding of the poets’ ‘lifeworlds’. The priority

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is thus to achieve an affirmative learning effect, which is allegedly best communicated through

‘lively’ guided tours that invoke a sense of real life, perhaps complemented by a walking tour of the

town to experience Weimar’s ‘atmosphere’ first hand. The typical sightseeing tour thus follows a

fixed route in order to meet this objective, generally covering only the Goethe National Museum, the

Schiller Residence and the Herzogin Anna Amalia Bibliothek. Modern standards in education theory

and methodology are rarely applied to the conception of excursions to Weimar. With this type of

formal ‘observational excursion’ (Neeb 2012, 3), school tours instead pretty much adhere to the

same general principle of a ‘pilgrimage’ to Weimar that was developed and practised in the

nineteenth century (Riederer 2015). The desire to ‘experience’ the poet as a person is a perspective

grounded in the ‘aesthetic of the genius’ that came to be expressed in post-classical Weimar through

the staging and establishment of quasi-religious memorials to the city’s poets and writers (Kahl

2015). In reality, these memorials to literary persons are seldom intended to provide access to the

writer’s body of work but rather aim to construct and orchestrate lifeworlds with the help of

surviving historical objects and other supporting items that are more or less historically accurate;

they have continued to meet the widespread expectations of a large number of visitors in this

fashion right up to the present day with little critical reflection (Kahl 2011).

How can excursions to Weimar be adapted to comply with contemporary education theory and

methodology, which tends to be student-centred and oriented on activity and production as well as

learning through direct observation and self-directed learning, as is currently being discussed in the

field of geography education, for example, in the context of ‘participatory fieldwork’ (Neeb 2012)?1

The pedagogical and methodical approach to excursions comprising multiple activities prioritises the

clarification of a predefined area of study. Yet, views on Weimar have changed considerably on

account of new research into its cultural history, including the reappraisal of how cultural memory

has altered the historical narrative, resulting in continued presentation of the historic sites and

spaces as an ‘aestheticised topography’ (Bollenbeck 2005),2 as well as a particular way of reading

cultural history in accordance with the concepts of ‘materials’ and the ‘performative turn’. The latter

was researched in a project titled ‘Sinnlichkeit, Materialität, Anschauung. Ästhetische Dimensionen

kultureller Übersetzungsprozesse in der Weimarer Klassik’ [Sensuality, materiality, visual perception.

1 The deliberations portrayed here represent the perspective of the outreach and education staff at the Klassik Stiftung Weimar. The Stiftung is responsible for the maintenance, research and educational programmes related to the houses of the poets, the museums, gardens, palaces and the Goethe- and Schiller-Archiv and Herzogin Anna Amalia Bibliothek, as well as the Bauhaus collections. 2 A current recommendation from the Kultusministerkonferenz (Conference of the Ministers of Education and Cultural Affairs, KMK) ‘Erinnern für die Zukunft. Empfehlungen zur Erinnerungskultur als Gegenstand historisch-politischer Bildung in der Schule’ [Remembering for the future. Recommendations on the culture of memory as an object of historical-political education in schools] points to their pedagogical relevance, but poignantly this task is not allocated to the field of cultural education, even though the relationship between aesthetic education and cultural memory is being increasingly discussed (Bubmann, Dickel 2014). In the area of political education, this area is almost exclusively linked to the Nazi era and former East Germany (Bundeszentrale für politische Bildung [Federal Agency for Civic Education]), which means that the 19th century continues to be almost completely disregarded.

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Aesthetic dimensions of cultural translation processes in Weimar Classicism] (Valk 2012). According

to this research, the aim should not merely be to seek out Goethe’s study in order to delight in the

biographical location in which Faust was written but to gain an insight, for instance, into Goethe’s

writing process through the layout of the room and the interior, in other words, to contemplate how

writing practices can influence the style of writing (Böhmer 2012). Furthermore, an in-depth study of

Weimar has also been undertaken, examining the history of its culture and mentalities as reflected in

the so-called Saddle period, in the Collaborative Research Center (SFB 482) Ereignis Weimar-Jena.

Kultur um 1800 [The Weimar-Jena Phenomenon. Culture around 1800]. This perspective integrates

the real events that took place in Weimar into long-term historical structures, which again

presuppose that modernism began in the 18th century and that the time around 1800 must

therefore be understood as a period of radical change (Ereignis Weimar 2007).

The different interior and exterior architectures and the museum and archival objects are thus, on

the one hand, testaments to the period in which they were made around 1800 and yet, on the other

hand, are interwoven into a multilayered rewriting of history through cultural memory. Discussion of

these topographies must be based on the assumption that this dual historical role exists. This is the

starting point for many places of remembrance, especially those charged with national symbolism

such as Wartburg, the memorials to Luther in Wittenberg and Eisleben, so-called ‘baroque Dresden’

and even the former concentration camp in Buchenwald and the affiliated National GDR Memorial.

Weimar is thus not only a suitable destination for students of German but is particularly relevant for

interdisciplinary and cross-disciplinary excursions focusing on cultural history. Writings by Weimar’s

poets refer to the changes that took place around 1800 and reflect the significance of sensory

perception, making them especially interesting for fieldwork programmes in this area (Valk 2012).

The (self-) staging of Weimar Classicism

What caused the transformation of Weimar’s memorials to its poets, which is still partially upheld

today? It was above all the educated middle classes of the nineteenth century who first felt the need

to seek out important literary sites with an almost religious fervour and, in particular, to view the

rooms in which the poets used to work. The houses of the poets and writers were then staged

accordingly – and very much in the interests of the dukes of Weimar, too. ‘Secondary reliquaries’

presented at these sites include items of clothing, original manuscripts, everyday utensils and books3

3 Such erratically furnished houses, such as Luther’s houses in Wittenberg and Eisleben, or later Liszt’s house in Weimar, are defined as 'Personengedenkstätten' in German, i.e., memorials to persons, partly to distinguish them from other types of memorials and literary museums. (Kahl 2010)

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(Schmälzle 2012). The design of the houses and the associated festive culture (e.g. celebrations on

Goethe’s birthday) were also promoted in order to establish social and (national-)political values. A

prominent example is the idea of the ‘cultural nation’, in which Weimar played a central role both as

a place and a symbol. The ‘museumization’ of the Wittumspalais, the former palace of the dowager

Duchess Anna Amalia (1739–1807), which can still be observed today, illustrates this well. The

concept for the palace was devised by the regional authorities in 1870/71 in order to counter the

impending loss of Weimar’s power in the course of the unification of the German Reich. It staged

Anna Amalia as the founder of the Musenhof – the cultural circle fostered by the court – in Weimar

and thus positioned it in opposition to Berlin as a stronghold of German culture (Berger 2012). This

myth of the Musenhof, along with several others, was espoused by no less than Johann Wolfgang

Goethe himself. It was also in his interests that the alleged skull of Schiller was conserved like a

sacred relic in a pedestal at the ducal library, today’s Herzogin Anna Amalia Bibliothek, from 1826

(Müller-Harang 2009, 80). The planning and layout of Weimar during the century before last was

expressly intended to enable people to experience a place where the focus was on ‘pure’ culture –

not on political power, as was allegedly the case in Berlin. Even today, the former city palace of the

dukes, where the relations between power and intellect around 1800 can be experienced more

succinctly, is visited much less often than the supposedly apolitical houses of the poets. The palace, a

designated world heritage site, clearly illustrates the relationship between Goethe and the dukes.

When discussing Weimar’s past, it is vital that educators do not gloss over the fact that at different

times its history has been overwritten by the prevailing collective memory, especially as the city was

assigned an important role as a place of remembrance in both the Nazi era and the GDR. These

periods of occupation are again reflected in further changes and additions to the classical memorials

(Kahl, Kalvelage 2015). Despite, or perhaps because of, the proximity to Buchenwald, it was simply

suppressed for a long time that Weimar very definitely is a conflicted place of remembrance – a place

‘whose preserved topography symbolizes the sequence of attaining a normative peak followed by a

plunge into the depths’ (Bollenbeck 2005, 106). As early as 1980, Wolfgang Heise complained in this

context of the combination of positivism, ritualised memory and growing indifference that was still

evident today. This consistent, glorifying recourse to tradition was claimed to have a stultifying effect

(ibid. 105). To counteract this conclusion, intensive discussions are currently underway in Weimar on

how to deal with the versions of history that still hold sway today and further research into the area

has been initiated. Future museum presentations, especially in the writers’ houses, will no doubt

continue to try to satisfy the visitor’s need for uninterrupted ‘authenticity’ but will highlight the

manifold historical revisions much more than at present.

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Weimar around 1800 – the culture of the senses and radical changes at the turn of the century

Despite all these revisions, the sheer quantity of items preserved from the period around 1800 has

made it possible to conduct new research resulting in a wealth of new insights. Paradoxically, the

excessive preservation of objects and places that were ‘possibly’ once used or inhabited by Goethe

and Schiller has provided the bulk of material necessary for this research. The artefacts and

architecture of the writers’ houses have been reinterpreted in light of their aesthetic qualities and

within the context of a radical shift that occurred at the turn of the century. Objects are thus no

longer understood as props in an imagined historical setting with little epistemological value other

than to show, at best, on what chair Goethe may have sat; greater emphasis is now placed on the

value of their own materiality. The varied cultural praxis in Weimar around 1800 evolved from the

analysis of the Enlightenment, the emergent new social order and the related changing image of

humanity. The attributed significance of objects and architecture for the education of humanity was

thus also shaped by these new anthropological concepts. In this regard, Johann Gottfried Herder

elevated the sense of touch so that it was on par with sight as an equal faculty of perception. The

transfer of these concepts to aesthetic as well as cultural practices can be seen in the variety of

preserved objects, from individual pieces of furniture to the colour schemes of the rooms and the

interior architecture. Johann Wolfgang Goethe claimed in his Theory of Colour, for example, that

there was a close relationship between the quality of colours and psychic dispositions, a hypothesis

that he then tried out in his own house (ibid.). Goethe’s interiors, especially the stairwell and the

‘Brückenzimmer’ (Bridge Room) in his house, were designed as spaces that catered to shifting

perceptions and aesthetic experiences (Holm 2012). He was aware that spatiality can only be

constituted by movement within the space and that – vice versa – rooms can influence our moods

and perceptions. The purported link between interior design and political power can again be

witnessed in the Gentz stairwell at the former city palace, which Goethe also initiated – clearly the

Weimar concept of humanity was not devised completely outside of the political arena.

Understanding Weimar Classicism as part of the change from one era to the next around 1800 makes

it possible to identify numerous links with the present. Of particular note was the emergence of new

forms of social interaction that defied the rigid class rules of the time and have continued to evolve

right up to the present day. As the class-based society began to disintegrate, concepts of friendship

were developed and manifested in such cultural practices as going for walks, subsequently reflected

in the landscaping of the parks and gardens, and even in the fashion of the time. Both can still be

observed in Weimar today through various artefacts, such as certain portraits and examples of

garden architecture. Similarly, studies and experiments were conducted to determine how to best

arrange furniture in order to create the effect of a convivial social gathering. Chairs designed and

built in Weimar, which were also presented and sold through a local style magazine, were meant to

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be light and portable, and no longer had to primarily denote wealth and status (Beyer 2012). Similar

types of seating can also be found in the writers’ houses although they are not original. As is

commonly known, notions of ‘naturalness’ and concepts regarding relations between the genders

and child-centred education also emerged around 1800 and have in part continued to exist right up

to the present day. This process can be seen in the layout of the Schiller residence and in the

furniture and interior decoration that has only survived in fragments but is typical of his time.

New directions for cultural education in Weimar

In brief, there are three possible ways of approaching the topic of Weimar around 1800 that may be

taken into consideration and which are very closely related:

1. Teaching and discovering Weimar Classicism as a culture of the senses.

2. Classifying historical events that took place in the cultural region of Weimar-Jena within the period

of change around 1800.

3. The need to elucidate the concept of an ‘aestheticising topography’ from 1800.

How does this affect the choice of which pedagogical and methodical principles to apply? In order to

communicate the complexity of such a place of learning in a student-centred and activity-oriented

manner and to allow the qualities of the object to come to light requires a consistent approach that

makes use of examples and methods of induction, in that the students are given an enquiry-based

exercise to solve by focusing on a small number of objects and locations. Different aspects of

Duchess Anna Amalia’s trip to Italy can, for example, be studied through closer inspection of her

souvenirs at the Wittumspalais and by incorporating a portrait by Angelika Kauffmann that is on

display at the Roman House. The connection between places, things, topics and the different

protagonists demands a high degree of observational skills on the other hand. Whenever it makes

sense and is feasible to do so, historical objects should be interpreted according to functional aspects

within the context of the ‘aesthetics of correspondence’, whereby primarily the aesthetic properties

of the object should be documented (Seel 1996, 132). The deciphering of the object’s function is

relevant to the period around 1800 (Balke 2009) as well as to the question of its memorial

orchestration from the nineteenth century until the present day. Students will thus be taught or will

teach themselves why and how Anna Amalia is presented in the Wittumspalais.

Applying this knowledge to current issues and similarities with the lives of the students is possible in

several ways, for instance by comparing developments in the media around 1800 with today. By

identifying the influence of politics and memory on the historical narrative, students can sharpen

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their awareness of political presentations and representation through aesthetic means that can be

experienced on a daily basis through the media or in real life. Always important to emphasise is that

attitudes, models for different lifestyles and values were developed around 1800 that still partly exist

today, such as the idea and realisation of a public sphere (Jamme 2013).

How activity- and production-oriented learning based on the objects and artefacts can succeed is

demonstrated below by way of a project aimed at students from all types of secondary schools in

Germany from classes 8–13 (ca. 14–19 yrs). The methodology applied in the project titled

‘Weimarpedia’ revolves around a mobile website whose content is generated by participants in the

project. The project consists of three phases:

1. Introduction via guided tours and a ‘rallycross’ as well as a presentation of the project (1

day).

2. Gathering information and researching selected themes and objects in small groups on site

and with the aid of a handset and various readers or in the specialist library at the Klassik

Stiftung Weimar. Writing of short articles for the lexicon (‘wikis’) (1–2 days).

3. Production of a ‘creative work’ (film, collage, audio) and preparation of a final presentation

and appraisal (1–2 days).

In detail, the phases comprise the following: the main topic is decided in advance with the school –

possible topics include, for instance, the friendship between Goethe and Schiller, Goethe’s trip to

Italy or women’s spheres of activity around 1800. After an introduction on site, focused on the given

topic, students can choose their own subtopics and relevant objects. They then begin their own

research, not only at the historical houses and palaces but also in the city and its parks. With the help

of texts on the objects, locations and their historical background, the students should record their

findings in writing. These may entail a description of a children’s cup made of porcelain that Goethe

gave as a gift to his grandchild or perhaps – in the context of social history – a desk that once

belonged to Schiller’s servant, his fire screen and bed, questioning the ‘authenticity’ of the objects in

the process. Personal additions and connections to the students’ own lives can also be incorporated

and described. Photographing and describing the objects for the website helps to sensitise and train

the students’ awareness and perceptive faculties. The texts on the objects and locations written by

the students are published as ‘wikis’ on the web-based map ‘Weimarpedia’ (cultural mapping) and

are accessible to all interested parties, including other school groups, for research purposes. Since

2009, participants in the project have written over 400 articles. After working intensively with

specific objects or spaces each small group is given the task of making an audio piece, a collage, a

text or a short film – ideally based on their new-found knowledge. The texts and other creations are

published on the website together with a small picture and the names of the students and their

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schools. The students thus become experts who are able to impart information to others, changing

the traditional relationship between the ‘expert’ and ‘layperson’. Created solely by school pupils, the

'Weimarpedia' database has since grown to become the largest, easily accessible digital source of

information on this area – interested visitors can now find short descriptions of nearly every object in

the Goethe Residence online.

In addition to this project, we also have other offerings comprising multiple activities, for instance,

on the subject of images of humanity, which also incorporates both the era around 1900 and the

Nazi period. The focal points of the content and applied methodology are very different in each case

so that students and teachers can decide in accordance with their interests which of the student-

oriented projects they wish to realise over several days.

Conclusion

The educational praxis of the Klassik Stiftung Weimar is essentially based on research. The initial

objective of the ‘Weimarpedia’ project, for example, was to connect mobile, self-directed learning

and observation with participatory teaching forms, and it was thus decided from the outset to not

yet include the impact of cultural memory on the writing and rewriting of Weimar’s history in this

concept; however, in recent times these aspects are increasingly being incorporated, too. The

portrayed understanding of Weimar as a place of learning has been evolving within the Klassik

Stiftung Weimar over recent years and naturally cannot yet be regarded as complete. A growing

number of model projects are being initiated and realised, and the Stiftung’s own praxis is regularly

discussed within the framework of symposiums, workshops and conferences (Hochkirchen, Kollar

2015). In conclusion, we can surmise that the following methodological points appear to be pivotal to

the further development of educational theory on field trips:

- Learning about cultural spaces should be consistently based on material things (objects,

interior and exterior architectures) and be achieved by using examples.

- How these objects are arranged in a space should be questioned and interpreted.

- Students should be encouraged to appreciate these objects by applying the methods of art

education (i.e. especially sensory perception) and under consideration of existing knowledge

of cultural history and of its functional character.

- Material culture must be observed from two perspectives: in the context of the time in which

the object was created and in its function as a part of cultural memory. Thus, it must be

comprehended and explained in a political context, too.

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In order to impart knowledge on Weimar and similarly structured cultural areas, an approach to field

trips is required that is much more oriented on art pedagogy and cultural history research than has

previously been the case. To date, theory on school trips has, in my opinion, been largely defined by

the field of geography.

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About the Author:

Dr. Folker Metzger/Head of Education Division

2014 Promotion in den Erziehungswissenschaften an der Pädagogischen Hochschule Karlsruhe

seit 2013 Berater im Programm »Vor-Ort-Beratung«, Projekt zur Optimierung der kulturellen Bildung in Kulturinstitutionen, Bundesakademie für kulturelle Bildung im Auftrag der Beauftragte der Bundesregierung für Kultur und Medien

seit 2007 Bildungsreferent im Referat Forschung und Bildung der Klassik Stiftung Weimar

2004 – 2007 Leitung des Fachgebietes Pädagogik an der Kunst- und Ausstellungshalle der Bundesrepublik Deutschland

1999 – 2004 Leitung der Abteilung Bildung und Vermittlung am Deutschen Hygiene-Museum Dresden

1996 – 1999 Museumspädagoge am Badischen Landesmuseum Karlsruhe

1996 2. Staatsexamen

1990 – 1994 Studium der Geschichte, Deutsch und Pädagogik an der Pädagogischen Hochschule Karlsruhe

Further information: http://www.klassik-stiftung.de/ueber-uns/ansprechpartner/forschung-und-

bildung/dr-folker-metzger/