Interview with Dr. Barbara Knorpp:

Why is the German concept of Heimat untranslatable?

Dr. Knorpp: The word Heimat is deeply intertwined with German history and culture. Originally, it was a purely legal term that referred to a person’s house and estate. In the early 19th century, the first Heimatvereine (local history societies) emerged, which began to document and research their own local history. In addition, this century was defined by a passion for collecting. Everyday objects, fossils, and flora were part of an obsession with collecting that was later extended through colonialism, bringing countless objects from all over the world into European museums. With the onset of industrialization, the concept of Heimatschutz (homeland protection) arose, which sought to preserve old architecture as well as landscapes from destruction. At the beginning of the 20th century, a form of the Heimat novel began to develop and became very popular. This was also the start of the so-called Heimatfilme (homeland films)—especially mountain films—which appreciated the beauty of pristine German landscapes and were depicted in numerous documentaries. Leni Riefenstahl was one of the first whose films found a wide audience. The concept of Heimat is, of course, also firmly anchored in fascism, during which Heimat was equated with the nation, shaped by racism, and resulted in the barbaric murder of all non-Germans—primarily Jewish people, but also Sinti and Roma, disabled individuals, homosexuals, and communists fell victim to it. After the war, the genre of the romantic Heimatfilm attempted to make people forget the past, and audiences of millions flocked to cinemas to see kitschy stories on the big screen. It was not until the 1980s, with the production of Edgar Reitz’s Heimat on German television, that the concept of Heimat was able to regain a positive connotation. To this day, the concept of Heimat remains linked to film, environmental protection, and local history, making it untranslatable.

Do Germans have a special relationship with Heimat, and if so, why?

Dr. Knorpp: Due to the unique history of the concept of Heimat that I have just outlined, this word allows for an emotional connection to one’s surroundings and environment—one that people can share and understand as vital to life. Heimat also, of course, has a sensory dimension. A certain smell, a taste in the form of food or a drink, but also specific sounds can trigger a sense of Heimat.

What is your own relationship with Heimat, and what associations come to your mind?

Dr. Knorpp: For a long time, I actually did not have a good relationship with the word Heimat because it reminded me of old-fashioned German customs and traditions, Bavarian landscapes, traditional costumes (Trachten), and folk songs. It was only through Edgar Reitz’s magnificent series that a different perspective emerged. For me, Heimat is rather a state of “being in between”—traveling, not belonging—which in anthropology is understood as a “liminal space.” It is a very heavy concept that cannot escape its history. Therefore, I still have a conflicted relationship with the concept of Heimat.

Which local history museum (Heimatmuseum) can you recommend, and why?

Dr. Knorpp: I don’t know very many Heimatmuseen. The Heimatmuseum of my childhood is located in Kommern in the Eifel region near Cologne. It is an open-air museum featuring traditional historical houses where you can admire old furniture and objects, but it also has woods to walk in, livestock, and gardens. It was always a very rewarding place to visit.