Citation

Hagen J. Geogr. Ann. Ser. B 2008; 90(4): 349-367.

Copyright

(Copyright © 2008, Swedish Society for Anthropology and Geography, Publisher John Wiley and Sons)

DOI

10.1111/j.1468-0467.2008.00298.x

PMID

unavailable

Abstract

As the birthplace of the Nazi Party and the official Capital of the Movement, Munich assumed a high profile within the party's propaganda apparatus. While Berlin became the political and foreign policy centre of Hitler's Reich and Nuremberg the site of massive displays of national power during the annual party rallies, national and local party leaders launched a series of cultural initiatives to showcase Munich as the Capital of German Art. Munich hosted numerous festivals proclaiming a rebirth of German art and culture, as well as the regime's supposedly peaceful intentions for domestic and international audiences. To help achieve these goals, Nazi leaders staged a series of extravagant parades in Munich celebrating German cultural achievements. The parades provided an opportunity for the regime to monopolize Munich's public spaces through performances of its particular vision of German history, culture and national belonging. While such mass public spectacles had obvious propaganda potential, several constraints, most prominently Munich's existing spatial layout, limited the parades’ effectiveness.