Musicians in exile in Shanghai 1938-1949

从1938年起，大约18,000名来自德国和奥地利的难民在上海避难，躲避纳粹国家的迫害。他们中的大多数人并不特别想去那里，他们只前往中国的海港，因为那里的移民手续已经暂停了一段时间。在难民中，超过450名音乐家的比例非常高。他们中的许多人选择上海作为目的地，是因为犹太援助组织散布了东亚特别是上海对音乐家的需求。直到1949年共产党上台之前，上海才是一个流亡之地，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一座中国城市，但法国、英国和美国人的境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，以及塞法迪克-巴格达迪克人和阿什肯纳兹-俄罗斯犹太人社区，都是形成的。此外，从1943年到1945年，难民们面临着类似犹太人区的情况和战争，大多数音乐家都被证明是适应能力强的。一方面，他们很好地融入了既定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。尤其是犹太各州，坚持他们的传统文化，而从事轻音乐的音乐家则灵活地回应公众的品味。对于演奏者来说，工作的可能性是有限的，他们往往偏离了其他领域，如轻音乐或教育学。首先，是音乐教育工作者接触了中国人，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调查上海的流亡音乐家群体。因此，它将参与身份保留和丧失抵押品赎回权以及适应和交流文化的进程。计划中的专著的结构是基于各种音乐领域的工作。这些包括犹太教堂音乐、流行音乐活动、音乐会、音乐剧院和音乐调解，每个都有不同的侧重点，机构、人员、剧目和作品。此外，还有一些章节对应于流亡的开始，即移居上海的决定，以及流亡的结束，即二战结束后纳粹受害者的进一步迁徙和赔偿问题。研究基于一手资料，如与上海有关的收藏、个人文件、赔偿记录、回忆录和媒体。这些来源与通过对音乐家进行深入研究而发现的个别文献相补充。

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.