[5] Andresen's work describes a vindictive murder by the Nazi state of a German woman who was only tangentially linked to Die Rote Kapelle and whose association with the group constituted resistance.

A year later, Dorothea suffered a severe nervous ailment and spent a substantial amount of time in a sanatorium during her recovery.

[3] With an absentee mother, Oda was left to be raised in Gdańsk by her father, whose income was limited as he was paying his wife maintenance.

[3] From 1922 to 1924 Oda attended Odenwald to prepare for her Abitur,[2] and became lifelong friends with Klaus Mann who later became a well-known writer.

[2] Geheeb considered Schottmüller to be unstable during the whole period she attended Odenwald School, but she managed to pass her Abitur in 1924.

[3] Between 1924 and 1927 Schottmüller completed an arts and crafts education in goldsmithing, pottery and enamel in Pforzheim and Frankfurt.

[1] At the dance studio she met Fritz Cremer, the sculptor who acted as occasional headmaster for the school and later became part of the collegial discussion group that was led by Harro Schulze-Boysen.

From that point onward, the type of expressive and experimental dance that Schottmüller performed in the Weimar Republic was prohibited.

[3] In October 1937, the Reich Chamber of Culture finally located Schottmüller and she was forced to complete an application and a course in German dance.

To satisfy the Nazis she renamed her masks the German Suite and performance dances with names like e.g. Angel of Consolation and The Stranger.

[11] On 11 November 1941 Schottmüller gave her last public performance—The Last— in a prestigious concert hall, Beethovensaal on Köthener Straße, which was formerly used by the Berlin Philharmonic orchestra until it was destroyed by British bombers on 30 January 1944.

[15] In January 1943, she was sentenced to death by the Reichskriegsgericht "for aiding and abetting the preparation of a treasonable enterprise and enemy favouritism".

[17] The street was formerly named after the bacteriologist Hugo Schottmüller but the aristocratic Pallandt family intervened to rename it in honour of her.

Geertje Andresen, formerly a research associate at the Memorial to the German Resistance, collaborated with Deutsches Tanzarchiv Köln in Cologne to conduct an analysis of the estate of Schottmüller.

It resulted in the publication of a book and an exhibition that was created in cooperation with Hans Coppi;[19] the latter was held on 16 November 2006 at the German Resistance Memorial Center.