Harald Kreutzberg was at the forefront of the choreography and dance during the 1920s Germany, often partnering with Yvonne Georgi – she too was an exponent of the expressionist form of dance.

In 1932 he formed a partnership with American ballerina Ruth Page. They first performed together in Chicago 1933. These performances afforded him the opportunity of performing as a solo dancer in venues in the US, Europe and the Far East. He was widely regarded as a major force in the development of the male modernist dancer at a time when women ‘pioneers’ were abundant.

1936 seen Kreutzberg labelled ‘the dancing ambassador of National Socialist Germany’ for his participation in the choreography and performance at the Berlin Olympics. Kreutzberg would later defend his actions by saying he did what he had to do to preserve dance (seen as a non-degenerate by the Nazi regime) and also save his own life.

In both his performance and that of Mary Wigmann, he choreographed the dances ending in their heroic, sacrificial deaths at the hand of soldiers. The perhaps, ironic symbolism, was obviously missed.

The side of his life kept secret was his homosexuality. Openly supported by the Nazi regime he had to contend with rising fascism and homophobic militancy of the Third Reich as a gay man whose identity was antithetical to the nation state of which he was ultimately to become a pawn.

In my collection – I have focused on the players from his time in the 20s and 30s but have also included a portrait of Michael Clark. The parallels and similarities in not only choreographic innovation are obvious – but on a superficial level, the similarity in appearance and stage costumes are striking.