{"id":9467,"date":"2020-11-28T11:30:43","date_gmt":"2020-11-28T10:30:43","guid":{"rendered":"http:\/\/idraetshistorie.dk\/?page_id=9467"},"modified":"2020-11-28T14:58:35","modified_gmt":"2020-11-28T13:58:35","slug":"niels-bukh-den-verdenskendte-danske-gymnastikpaedagog","status":"publish","type":"page","link":"https:\/\/idraetshistorie.dk\/niels-bukh-den-verdenskendte-danske-gymnastikpaedagog\/","title":{"rendered":"Niels Bukh – Den verdenskendte danske gymnastikp\u00e6dagog"},"content":{"rendered":"\t\t
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Niels Bukh og hans gymnastik i visuelt lys<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Over to timers visuelt materiale med Niels Bukh og hans gymnastik<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Niels Bukh og hans gymnastik i visuelt lys<\/strong><\/span><\/h1>

Af Prof., dr.phil. Hans Bonde (K\u00f8benhavns Universitet)<\/p>

Materialet handler om en internationalt kendt gymnastikp\u00e6dagog, der f\u00f8rst blev \u00e9n af Danmarks store s\u00f8nner og siden stemplet som unational i brede dele af den danske offentlighed. I 2001 udgav jeg min disputats og i 2003 en popul\u00e6r bog om Niels Bukh og hans gymnastik. Sk\u00f8nt b\u00f8gerne om Niels Bukh var rigt illustrerede, tillod de ikke en fyldestg\u00f8rende demonstration af hans gymnastiske revolution og skabelse af en helt ny mandegymnastik. Der manglede simpelthen levende billeder af Bukhs dynamiske og rytmiske gymnastik. I disputatsen skrev jeg s\u00e5ledes, at: \u201cEgentlig burde bogen v\u00e6re udgivet som en multimedie-\u2018tekst\u2019, hvor l\u00e6seren kunne hente de relevante fotos og filmklip frem\u201d. Det er det, der sker nu.<\/p>

Der er tale om en dokumentarfilm, men uden tilsigtet dramatisk form, idet alle klip simpelthen er placeret p\u00e5 en lang snor i kronologisk orden. Blandt de v\u00e6sentligste aspekter i materialet kan n\u00e6vnes: Mennesket Niels Bukh, Gymnastik, Skolens kunst og arkitektur, Jordomrejsen (1931), \u201cDen nordiske olympiade\u201d (1935), Fascismen og nazismen, Rejser samt Dansk politik. Kategorien gymnastik viser kun klip, der udelukkende indeholder gymnastik. Indslag med gymnastik kan findes i n\u00e6sten alle de \u00f8vrige klip. S\u00f8gekriterier som \u201c\u00e6stetik\u201d og \u201cnational identitet\u201d er fravalgt, da disse kategorier ogs\u00e5 n\u00e6sten optr\u00e6der overalt. Politisering p\u00e5 udlandsrejserne findes ved opslag under de respektive lande, men kan ogs\u00e5 s\u00f8ges under \u201cJordomrejsen (1931)\u201d samt under \u201cFascismen\u201d og \u201cNazismen\u201d.<\/p>

Som led i udforskningen af Niels Bukhs og Ollerupgymnastikkens historie blev dav\u00e6rende forstander p\u00e5 gymnastikh\u00f8jskolen i Ollerup, Gunnar Hansen, og jeg opm\u00e6rksomme p\u00e5 et gammelt pengeskab, som vi ikke regnede med indeholdt noget af betydning. Men da alt potentielt kildemateriale jo skulle vendes, \u00e5bnede vi til sidst skabet og til vores store overraskelse indeholdt det en guldgrube af film og enkelte lydb\u00e5nd blandt andet med Niels Bukhs egne kommandoer i gymnastiksalen og af den tyske rigssportsf\u00f8rer, som roser Niels Bukh. Filmene d\u00e6kkede hele Bukhgymnastikkens glansperiode i hans egen levetid fra begyndelsen af 1920\u2019rne til hans d\u00f8d i 1950 samt optagelser vedr\u00f8rende OL i 1952. Enkelte af filmene var endog i farver, s\u00e5 langt tilbage som i 1937. Filmene blev optaget af forskellige af Niels Bukhs elever, der deltog p\u00e5 rejserne rundt om i verden. Under min redaktion og i samarbejde med filmteknikeren Ren\u00e9 Lindecrone Christensen er der ud af de mange filmruller blevet digitaliseret omkring et hundrede klip svarende til ca. to timers film.<\/p>

En international stjerne
<\/strong>Materialet udgives udover p\u00e5 dansk ogs\u00e5 med engelsk speak, da der i engelsktalende lande er en voksende interesse for mande\u00e6stetiksamt for det s\u00e6rtr\u00e6k ved den kontinentale kropskultur, at gymnastikken havde en prominent betydning i hvert fald frem til 1945, ja endog i perioder kunne g\u00f8re konkurrencesporten rangen stridig. Materialet udgives ogs\u00e5 p\u00e5 japansk, fordi dansk gymnastik ikke mindst via Niels Bukhs rejse til Japan i 1931 blev meget udbredt i Japan og stadig i dag dyrkes i radiogymnastik, skolesystemet og p\u00e5 virksomheder. Samtidig havde Asiensturen i 1931 klare politiske overtoner, der kan v\u00e6kke interesse hos den japansktalende l\u00e6ser. Udover de mere officielle film indeholder materialet ogs\u00e5 en hemmelig optagelse af tysk eksercits p\u00e5 Gymnastikh\u00f8jskolen i Ollerup i 1944.<\/p>

Den meget pressebevidste Niels Bukh var udm\u00e6rket klar over gymnastikkens visuelle appel, og han s\u00f8rgede derfor for, at mange af gymnastikrejserne og skolens daglige liv blev fotograferet ofte af en af gymnasterne. Herefter kunne gymnastikken fremvises f.eks. af gymnaster fra \u201cJordomrejsen\u201d i 1931, der rejste landet tyndt med filmforedrag a la \u201cMed Niels Bukh i Japan\u201d.\u00a0<\/p>

Niels Bukh og hans gymnaster havde en forunderlig evne til at lande midt i det internationale samfunds br\u00e6ndpunkter lige fra Sovjet under tvangskollektiviseringen, i Japan, Kina og Korea omkring den japanske bes\u00e6ttelse af Manchuriet, i Tyskland kort tid efter Hitlers magtovertagelse og i Sydafrika midt under Anden Verdenskrigs udbrud og den eskalerede kamp mellem de hvide befolkningsgrupper. Alt dette er dokumenteret gennem fotos og unikke filmoptagelser i cd-rom og dvd, der rummer et stykke international visuel kulturhistorie, der f.eks. hvad ang\u00e5r Tyskland sp\u00e6nder fra en rundtur i Berlin i 1933 over OL i Berlin 1936 til et udbombet Tyskland i 1950. Der er ogs\u00e5 billeder fra turneer til demokratiske lande som Storbritannien i Royal Albert Hall i 1937 og USA ved verdensudstillingen i 1939.<\/p>

Bukh blev for Danmark et ansigt b\u00e5de udadtil og indadtil. Han fremviste sin version af den vesterlandske civiliserede krop for mange hundrede tusinde unge mennesker rundt om i verden p\u00e5 et tidspunkt, hvor dette projekt endnu ikke i st\u00f8rre grad blev b\u00e5ret frem af det nye massemedium filmen. Samtidig vakte Bukhs gymnastik i h\u00f8j grad opm\u00e6rksomhed gennem filmmediet. Ved store st\u00e6vner som \u201cDen nordiske olympiade\u201d i Danmark i 1935 og p\u00e5 turneer til Japan i 1931 og USA i 1939 blev gymnastikholdene professionelt filmet til et biografpublikum.<\/p>

Fra visuel illustration til visuel dokumentation
<\/strong>Mange humanistiske forskere, herunder ikke mindst historikere, arbejder i dag med billeder af og symboler p\u00e5 menneskekroppen i form af hule- eller kalkmalerier, fotos, film og tegninger. Alt for ofte bruges billederne dog alene som illustrationer, men ikke som kildem\u00e6ssig dokumentation, som eleverne kan bruge til at dokumentere h\u00e6ndelsesforl\u00f8b. Det er logisk, at anvendelsen af visuelt materiale i samtidshistorisk forskning m\u00e5 spille en mere tilbagetr\u00e6dende rolle end ved udforskning af perioder, hvor det skriftlige kildemateriale kun er sparsomt overleveret. Men helt at negligere billeders betydning som moderne historisk kildemateriale forekommer alt for radikalt ikke mindst i en stadig mere billedorienteret kultur.<\/p>

I idr\u00e6tshistorien er billedanalysen s\u00e6rligt v\u00e6sentlig, da idr\u00e6t prim\u00e6rt handler om fascinationen ved selv at udf\u00f8re bev\u00e6gelser eller se andre g\u00f8re det, hvilket har aff\u00f8dt et meget stort og centralt kildemateriale. Idr\u00e6ttens sprog er fundamentalt set nonverbalt, og derfor m\u00e5 visuelle kilder inddrages, for at etablere en forst\u00e5else for, hvordan de kropslige tegn opfattes. Film og billedmaterialet tjener f\u00f8lgelig ikke blot som illustrationer, men ogs\u00e5 som visuelle citater underlagt de samme kildekritiske krav som verbale udsagn. Billeders fascinationskraft og appel til ikke-bevidste lag af bevidstheden g\u00f8r dem til formidable kilder til menneskers dybere mentalitet.<\/p>

At Bukh ofte blev tillagt en s\u00e6rlig udstr\u00e5ling er vanskeligt at forst\u00e5, n\u00e5r man ser ham p\u00e5 film og fotos, hvor der ikke kan fornemmes den store udstr\u00e5ling hos den korpulente og ofte udk\u00f8rte mand. If\u00f8lge Max Weber beh\u00f8ver et menneskes karisma imidlertid ikke at h\u00e6nge sammen med en ekstraordin\u00e6r udstr\u00e5ling, men kan fortrinsvis skyldes de forventninger hans tilh\u00e6ngere har til ham og den magt de till\u00e6gger ham. Det er dog ubetvivleligt, at Bukh under tr\u00e6ning og opvisninger var i stand til at indg\u00e5 i en meget t\u00e6t forbindelse med sine gymnaster, hvilket gav tilskuerne en fornemmelse af en us\u00e6dvanlig sammensmeltning mellem hold og leder. Ogs\u00e5 n\u00e5r han ikke selv dirigerede, kunne hans hold optr\u00e6de med en meget stor pr\u00e6cision, der blev tilskrevet Bukhs evner som gymnastikp\u00e6dagog.<\/p>

Personligt var jeg i \u00f8vrigt fuld af fordomme om gymnastik, herunder ikke mindst Ollerup-gymnastik, da jeg startede arbejdet p\u00e5 min afhandling. Stor var derfor min overraskelse, da jeg oplevede eliteholdet fra Niels Bukhs stadig yderst livskraftige skole i Ollerup ved et \u00e5rsm\u00f8de i 1992, ved Landsst\u00e6vnet i Svendborg i 1994 og igen ved National Danish Performance Teams opvisning i K\u00f8benhavn i 2004. M\u00e6ndenes spring virkede som en str\u00f8m af kroppe, der var forenede af en usynlig kraft. Den samme oplevelse har jeg f\u00e5et ved at studere de mange film fra Ollerupgymnasternes internationale turneer under Bukhs ledelse, hvor springerne ikke mindst p\u00e5 grund af den elasticitet i b\u00e6kkenregionen, der nu er bandlyst i gymnastikp\u00e6dagogikken, n\u00e6rmest virker som gummimennesker, der bev\u00e6ger sig p\u00e5 en helt intuitiv m\u00e5de. Endvidere deltog jeg p\u00e5 et tidspunkt i en \u201cidr\u00e6tshistorisk\u201d tr\u00e6ning under fhv. forstander Gunnar Hansens ledelse, der var anlagt som et fors\u00f8g p\u00e5 at udf\u00f8re den traditionelle Bukhgymnastik i mesterens \u00e5nd. Allerede ved marchen oplevede jeg en st\u00e6rk f\u00e6lles energi, n\u00e6sten som et frembrusende ekspreslokomotiv. Ogs\u00e5 selve \u00f8velserne gav f\u00f8lelser af dynamik og f\u00e6llesskab, der adskilte sig fra mine oplevelser af boldspil og kampsport, fordi alle deltagerne ville det samme p\u00e5 samme tid.<\/p>

Yderligere information i bogen Fra forkant til udkant \u2013 Kampen om gymnastikken gennem 100 \u00e5r<\/em> (2020)<\/a><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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More than two hours of visual documentation of Niels Bukh and his gymnastics<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Niels Bukh and his Danish Gymnastics in Full View<\/strong><\/span><\/h1>

By: Prof., dr.phil. Hans Bonde (University of Copenhagen)<\/p>

The documentation is all about an internationally recognised Danish gymnastics educationist, Niels Bukh, who became first one of Denmark\u2019s most celebrated sons to be after WW II marked out as a betrayer of patriotism by a broad section of the Danish public. In 2001, I published my doctoral dissertation and, in 2006, a shorter book on Niels Bukh and his gymnastics in English: Gymnastics and Politics<\/em> (2006). Although these publications on Niels Bukh were richly illustrated, they did not enable a thorough demonstration of his revolution in gymnastics and his creation of an entirely new men\u2019s gymnastics form. What was needed was living pictures of Bukh\u2019s dynamic and rhythmic gymnastics. In my dissertation, I wrote “Ideally, this work should have been published as a multimedia \u2018text\u2019, from which the reader might retrieve relevant photographs and film clips.”<\/p>

With the help of this new documentation on Youtube, the user can make an onscreen selection to view the complete material in chronological order. This selection can be regarded as if it were a documentary film, though without dramatic form, and with many repetitions and long sequences, since all the clips are simply organised on a lengthy chronological string. An alternative would be interactively to make use of the chapters, to be guided through the almost two hour long material. The material covers themse like: Niels Bukh the Man, Gymnastics, The Art and Architecture of Bukh\u2019s School, World Tour (1931), The Nordic Olympiad (1935), Fascism, Nazism, The other Tours, and Danish and international Politics that Niels Bukh and his team of gymnasts got involved with. Sequences featuring gymnastics will be found throughout nearly all the chapters.<\/p>

The material is published in both Danish and English language versions since there is a growing interest from English-speaking countries for masculine aesthetics, as well as for that characteristic of Continental body culture, namely the prominence of gymnastics, at least until 1945, which could on occasion out-compete competitive sport. The DVD is published with a Japanese language version, too, because Danish gymnastics, not least via Bukh\u2019s 1931 tour to Japan, became widespread throughout the country and is to this day practised as a \u2018radio-gymnastics\u2019, as part of schools\u2019 gymnastics and by industrial companies. Furthermore, the Asian tour of 1931 had clear political overtones, and this might well be of interest to Japanese-language readers.<\/p>

During our research in the archives of Niels Bukh\u2019s gymnastics school in Ollerup, school principal of the time Gunnar Hansen and I became aware of an old wall safe, which we never expected would contain anything of importance. But given that all potential source material had to be gone into, we eventually opened the safe and to our amazement found a goldmine of films as well as audio tapes. The films covered the entire golden age of Bukh gymnastics, during his own lifetime, from the beginning of the 1920s until his death in 1950 and beyond to recordings of the Olympics of 1952. A number of films were even in colour, from as far back as 1937. The films were taken by students of Bukh who took part in the various national and continental tours. In addition to the more official films, the material from the safe also included a secret recording of German military training at Bukh\u2019s Gymnastics High School in Ollerup from 1944.<\/p>

The highly \u2018press-conscious\u2019 Niels Bukh was entirely aware of the visual appeal of gymnastics, and he therefore ensured that many of their gymnastics tours as well as daily life at the school was photographed, often by one of his gymnasts. On the basis of these recordings, his gymnastics could then be shown, by gymnasts who had taken part in the World Tour of 1931, for example, who travelled the length of country presenting popular film screenings and talks of the variety Niels Bukh \u2013 in Japan<\/em>.<\/p>

Niels Bukh and his gymnasts had an extraordinary ability to arrive right in the middle of the international community\u2019s hotspots: in the Soviet Union during forced collectivisation; in Japan, China and Korea during the Japanese occupation of Manchuria; in Germany shortly after Hitler\u2019s succession to power; and in South Africa amid the eruption of the Second World War and the escalating struggle between white sections of the populations. All this is documented in photographs and unique film footage contained in this visual documentation that also includes a slice of international visual cultural history \u2013 with regards to Germany, for example, there is a trip round Berlin in 1933, together with the Berlin Olympics of 1936 and the Bombed-out Germany of 1950. There is also a very rare film-documentation from the Soviet Union in 1931. Alternatively, there are images from tours to the democratic countries, to Great Britain and the Royal Albert Hall in 1937 and USA at the World Exhibition of 1939.<\/p>

Bukh became the face of Denmark both outwards to the public abroad and inwards to the Danish people at home. He showed off his version of the Western civilised body for many hundred thousand young people around the world, at a time when that project was not yet driven forward by the new mass medium of film. At the same time, Bukh\u2019s gymnastics -provoked interest to a great extent through the medium of film. At the large-scale games such as \u2018The Nordic Olympiad\u2019, held in Denmark in 1935, and on tours to Japan in 1931 and the USA in 1939, Bukh\u2019s gymnastics teams were filmed by professionals for a movie-going public.<\/p>

The material comprise a project in visual research and presentation. Many humanities researchers, not least historians, today work with images of and symbols referring to the human body, in forms such as cave paintings or frescoes, photographs, films and drawings. All too often these images are made use of simply as illustrations, and not as direct source material itself. Of course the recourse to visual material in the investigation of contemporary history will play a less pronounced roll than it does in the study of periods where the chief alternative is sparsely extant written records. But to completely ignore the importance of images as contemporary source material seems far too radical, especially in our steadily more image-oriented culture.<\/p>

In studying the history of sport, the analysis of pictorial evidence is particularly relevant, since sport is primarily concerned with the fascination of either performing movements ourselves or seeing others perform, a fascination that has lead to a large and central body of source material. The language of sport is fundamentally non-verbal. Therefore, visual source material must be brought in, to establish an understanding of how the corporal signs are comprehended. Film and pictorial material does not serve simply as illustrations but also as visual citations, bound to the same demands from source material as verbal testimony. The power of fascination that pictures have and their appeal to subconscious levels of our awareness make them potent sources in indicating the deeper levels of human thinking.<\/p>

Bukh was often described as having a powerful magnetism or a presence, but this is hard to understand when we see him on film and in photographs, where no convincing sense of a presence can be retrieved from this corpulent and often worn down man. According to Max Weber, a person\u2019s charisma need not necessarily depend on an extraordinary radiating presence, but can in part be attributed to the expectations supporters have of their \u2018leader\u2019 and the powers they ascribe to that person. It is without doubt, however, that Bukh was able to establish an extremely strong connection to his gymnasts during training sessions and displays, which gave spectators the impression of an unusual degree of fusion between the team and their leader. Also when Bukh was not conducting, his teams could perform with enormous precision, which was explained by Bukh\u2019s ability as a gymnastics instructor.<\/p>

Privately, when I began work on my dissertation, I was full of certain prejudices about gymnastics, not least about Ollerup gymnastics. It was therefore a great surprise when I watched an elite team from Bukh\u2019s still very-much alive school in Ollerup, at an annual meeting in 1992, at a national games in Svendborg, in 1994, and again at the National Danish Performance Teams display in Copenhagen in 2004. The men\u2019s jumps seemed like a stream of bodies welded together by an invisible force. I had the same experience studying the many films from the international tours by Ollerup\u2019s gymnasts under Bukh\u2019s leadership, in which the leaping gymnasts \u2013 not least because of an elasticity around the pelvis, which is now outlawed from modern gymnastics principles \u2013 seemed like rubber men who moved in an entirely intuitive way. Moreover, at one point I took part in a \u2018sports history\u2019 training session, led by former Gymnastics School principal Gunnar Hansen, which had been arranged as an attempt to reproduce the traditional Bukh gymnastics in the old master\u2019s true spirit. Already, during the march, I experienced a heightened sense of group energy, almost like a rushing express train. The exercises themselves, too, gave a feeling of dynamism and fellowship, which was very separate from my experiences with ball games and martial arts, because all the participants were trying to do the same thing at the same time.<\/p>

After the films were transferred onto U-Matic format, they were handed on to the Danish film museum in Glostrup, Copenhagen. My thanks go to former principal Gunnar Hansen for his specialist knowledge regarding the exposition and cataloguing of the various gymnastic exercises. Thanks also to the film technician Ren\u00e9 Lindecrone Christensen who skillfully managed to put the old films into new formats.<\/p>

Further information in the book: The Fight about Gymnastics over 100 years<\/em> (2020)<\/a><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Niels Bukh og hans gymnastik i visuelt lys L\u00e6s mere Read more Over to timers visuelt materiale med Niels Bukh og hans gymnastik – p\u00e5 tre forskellige sprog Dansk https:\/\/www.youtube.com\/watch?v=JpioTUgc5Ak&t ENGELSK https:\/\/www.youtube.com\/watch?v=uf09npyvTOY JAPANSK https:\/\/www.youtube.com\/watch?v=bLagclJgVQA&t Niels Bukh og hans gymnastik i visuelt lys Af Prof., dr.phil. Hans Bonde (K\u00f8benhavns Universitet) Materialet handler om en internationalt kendt […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ocean_post_layout":"full-screen","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"on","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","jetpack_post_was_ever_published":false,"footnotes":""},"categories":[],"tags":[],"yoast_head":"\nNiels Bukh - Den verdenskendte danske gymnastikp\u00e6dagog <<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idraetshistorie.dk\/niels-bukh-den-verdenskendte-danske-gymnastikpaedagog\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Niels Bukh - Den verdenskendte danske gymnastikp\u00e6dagog\" \/>\n<meta property=\"og:description\" content=\"Niels Bukh og hans gymnastik i visuelt lys L\u00e6s mere Read more Over to timers visuelt materiale med Niels Bukh og hans gymnastik – p\u00e5 tre forskellige sprog Dansk https:\/\/www.youtube.com\/watch?v=JpioTUgc5Ak&t ENGELSK https:\/\/www.youtube.com\/watch?v=uf09npyvTOY JAPANSK https:\/\/www.youtube.com\/watch?v=bLagclJgVQA&t Niels Bukh og hans gymnastik i visuelt lys Af Prof., dr.phil. 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