Musicians in exile in Shanghai 1938-1949

从1938年起，约有1.8万名来自德国和奥地利的难民在上海避难，以躲避纳粹国家的迫害。他们中的大多数人并不是特别想去那里；他们只前往中国港口，因为那里暂停了一段时间的移民手续。难民中有450多名音乐家，比例相当高。他们中的许多人选择上海作为目的地，因为犹太援助组织传播了东亚，特别是上海需要音乐家的消息。直到1949年共产党掌权，上海才成为一个流放之地，在政治、文化、语言和卫生方面都是一个特例。这座拥有350万居民的城市主要是中国人，但法国人、英国人和美国人的海外定居点，以及其他外国人群体的存在，包括日本占领者、德国人、所谓的白俄人，以及西班牙裔巴格达人和阿什肯纳兹裔俄罗斯犹太人社区，都是形成因素。此外，从1943年到1945年，难民面临着类似贫民窟的情况和战争。事实证明，大多数音乐家的适应能力很强。一方面，他们很好地融入了现有的音乐会和娱乐活动，另一方面，他们建立了独立的音乐生活。尤其是犹太唱诗班，他们坚持自己的传统文化，而从事轻音乐的音乐家则灵活地响应公众的口味。对于音乐会表演者来说，工作的可能性是有限的，他们经常偏离到其他领域，如轻音乐或教育学。最重要的是，音乐教育家接触到中国人，并通过他们的学生留下了持久的影响。这个项目的目的是利用文化纠葛的概念来考察上海的流亡音乐家群体。因此，它将参与身份保护和取消抵押品赎回权以及文化适应和交流的过程。计划专著的结构是基于工作的各个音乐领域。这些包括犹太教堂音乐、流行音乐活动、音乐会、音乐剧和音乐调解，每一种都有不同的机构、人物、曲目和作品的重点。此外，还有一些章节对应于流亡的开始，即移居上海的决定，以及它的结束，即第二次世界大战结束后纳粹受害者的进一步迁移和赔偿问题。本研究基于第一手资料，如与上海有关的收藏品、个人文件、薪酬记录、回忆录和报刊。通过对音乐家的深入研究发现的个人文件补充了这些来源。

From 1938 onwards, about 18,000 refugees from Germany and Austria took refuge from the persecutions of the Nazi state in Shanghai. Most of them did not wish to go there specifically; they only headed for the Chinese seaport because the immigration formalities had been suspended there for some time. Among the refugees was a remarkably high proportion of more than 450 musicians. Many of them chose Shanghai as destination because the Jewish aid organizations had spread the news that there was a demand for musicians in East Asia and especially in Shanghai.A place of exile only until 1949, when the Communists came to power, Shanghai was a special case in political, cultural, linguistic, as well as hygienic terms. With its 3.5 million inhabitants this was predominantly a Chinese city, but the exterritorial settlements of the French, British and Americans and the presence of other groups of foreigners, including Japanese occupiers, Germans, so-called White Russians, and both a Sephardic-Bagdadic and an Ashkenazi-Russian Jewish community, were formative. In addition, from 1943 to 1945 the refugees were confronted with a ghetto-like situation and with warfare.Most of the musicians proved to be adaptable. On the one hand, they integrated well into the established concert and entertainment events, on the other hand, they built up an independent musical life. The Jewish cantors, in particular, persisted in their traditional culture, while musicians engaged in light music responded flexibly to the tastes of the public. For concert performers, the possibilities of work were limited, they often deviated into other areas, such as light music or pedagogy. It was above all the music educators who came into contact with the Chinese population and left a lasting impact through their pupils.It is the aim of this project to investigate the group of exiled musicians in Shanghai utilizing concepts of cultural entanglements. Thus it will engage with processes of identity preservation and foreclosure as well as acculturation and exchange. The structure of the planned monograph is based on the various musical fields of work. These include synagogue music, popular music events, concerts, musical theater and music mediation, each with different emphasis on institutions, persons, repertoires, and works. In addition, there are chapters that correspond to the beginning of the exile, that is to say the decision to move to Shanghai, and its end, i. e. the further migration and questions of compensation for the victims of the Nazis after the end of Second World War.The study is based on primary sources, for example Shanghai-related collections, personal papers, compensation records, memoirs, and the press. These sources are complemented by individual documents which have been be discovered through intensive research about the musicians.