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Sütterlin Script: A Resurgence of Germany’s Forgotten Handwriting

by Ahmed Hassan - World News Editor

A resurgence of interest in a nearly forgotten German script, Sütterlin, is captivating hobbyists and researchers alike, revealing a unique intersection of history, literacy, and national identity. Once the standard handwriting taught in German schools, Sütterlin is now largely unreadable to younger generations, creating a cultural and historical disconnect.

Developed by graphic artist Ludwig Sütterlin in 1911 at the behest of the Prussian Ministry of Science, Art and Education, the script evolved from the earlier, more complex Deutsche Kurrentschrift. Its introduction in Prussian schools in marked a shift towards a more pedagogical approach to handwriting, designed to be easier for children to learn. By , Sütterlin had become the sole handwriting script taught in German schools, solidifying its place in the nation’s literacy landscape. However, this dominance was short-lived; it was replaced by the German Normalschrift in .

The appeal of Sütterlin extends beyond mere historical curiosity. Twelve-year-old Tamara, featured in a recent report, describes the script as “like a cool secret code,” highlighting its aesthetic qualities and the sense of intrigue it evokes. Her interest, sparked by her grandfather’s genealogical research, demonstrates a generational connection being rekindled. Her grandfather, Heinrich Heckeroth, utilizes his Sütterlin skills to decipher historical documents, particularly church records, in his pursuit of family history.

The ability to read Sütterlin is proving increasingly valuable for professionals as well. Birgit Tröße, an instructor offering Sütterlin courses in Geisleden, Germany, notes a consistent demand for her classes. Participants include individuals seeking to decipher family letters, as well as professionals in fields like law, surveying, and archival research who encounter the script in older documents. Tröße’s courses have been offered across Thüringen, Hessen, and Niedersachsen, indicating a widespread interest.

The revival of Sütterlin isn’t without its complexities. Tröße acknowledges the need to be vigilant about attracting participants with potentially problematic ideologies. The script, along with its predecessor Fraktur, has been historically appropriated by right-wing extremist groups, though Tröße emphasizes that her courses are not affiliated with such movements. She recounts an instance where she identified and dismissed individuals who appeared to be motivated by Reichsbürger ideology, seeking to utilize the script for their own purposes.

Ironically, the Nazi regime, which initially utilized Fraktur and Sütterlin for propaganda, officially abolished the script in , deeming it undesirable. This historical twist adds another layer of complexity to the script’s legacy.

The ability to decipher Sütterlin also unlocks access to a wealth of historical information, particularly personal narratives often absent from official records. Professor Michaela Fenske of the University of Würzburg highlights the importance of the script in accessing the voices of women, who frequently used it to write diaries, poetry albums, and, importantly, recipe books. These personal documents offer invaluable insights into everyday life and societal norms of the past. Fenske emphasizes the human connection fostered by learning the script – the ability to read love letters from parents and grandparents, bridging generational gaps.

The resurgence of Sütterlin represents more than just a nostalgic hobby; it’s a recognition of the importance of preserving cultural heritage and maintaining access to historical records. As younger generations rediscover this “secret code,” they are not only unlocking the past but also forging a connection to their ancestors and a deeper understanding of German history and identity. The demand for courses and the dedication of individuals like Tamara and her grandfather demonstrate that Sütterlin, though once fading into obscurity, is experiencing a remarkable revival.

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