RE: Germans and Klezmer

[Steven Fischbach <fischri...>]

Fellow List Members:

Since I receive this list in Digest Mode (I get one message with everyone's
posting at midnight, EST), I am responding a bit late.  I am glad that
people on this list want to discuss this topic, and realize that it will
engender some controversy.  I hope that all who choose to participate in
the discussion do so in a civil tone, and not make any assumptions about
the character of the persons contributing to the discussion.  That is not
to say one should not express anger or other emotions: just try to be civil
about it.  And to those who are attacked or feel attacked, please try to
hang in there.  You will find supporters on this list who do not support
personal attacks.

Back to my response.

I am not trying to suggest to anyone that Jews should "get over it", "it"
meaning the pain of the Holocaust.  That pain should never be ignored,
forgotten, etc.  Instead, I am trying to ask the political/musical
question, "where do we go from here?"  For Leopold, the answer seems to be,
"I don't want to go anywhere, please leave me alone."  That is a perfectly
acceptable answer.  I am interested in answering the question differently,
although I do not have a clearly defined answer in my own head.  The answer
lies in a continuous dialog between Jews (particularly Jews who themselves
were directly impacted by the Holocaust or, like me, who have living (and
murdered) family members that were directly impacted) and those Germans
who, as Josh stated, willingly stepped into the Hornets nest, including
those who perform Klezmer music and collaborate with Jewish musicians.  

Although I understand the sentiment behind the view that Germans playing
Klezmer is, a priori, offensive, I do not agree with it.  However, I will
not criticize those Holocaust victims who subscribe to this view.  That is
the legacy of Nazism.  I would suggest, however, that having the kind of
dialog I propose cannot happen if all Germans are viewed as Nazis.  And, I
agree with Ari that a less racist future is not imaginable without such a
dialog.

My "Shoah Notwithstanding" comment was intended to convey my belief that
the fact the Holocaust happened should not change the standard of cultural
respect and sensitivity that Germans should have towards Klezmer music,
when compared to any other "outsiders" who perform "ethnic" music.   Whites
who play blues, Canadians who play Soukous, French who play Raga, Israelis
who perform Arabic music, Japanese who perform Salsa, Germans who play
Klezmer, all should engage in their art with respect, knowledge, and love
of the cultures they are tapping into.

I do not understand why Leopold would not "intrude" in Native American
cultural activities because of the genocide perpetrated by European
colonists and their American offspring.  Our families did not arrive in
this country until long after Native Americans were driven into
reservations.  I do not feel responsible for that history.  However, since
my family took advantage of the "fruits" of the genocidal enterprise by
settling in a nearly "Native Americanrein" country, I believe my
responsibility lies in fighting against racism, as opposed to refraining
from participating in Native American cultural activities.  By so
participating (which I do not do often), I hope to learn more about the
culture.  

As for "punnishment,"  I think Josh is correct that the Post War
generation's having to confront their family's past is itself punnishment.
And like Josh, I am not suggesting sympathy is the "proper" response for
Jews to have.  Germans who want to struggle with their past should not
expect that Jews will gush with admiration for their attempt to deal with
the Nazi era.  Prolonged collaborative contact between Germans and Jews
based on mutual respect offers the best hope for breaking down the barriers
that exist between our peoples.  And joint German-Jewish klezmer projects
are one such way for that to happen.  

Like it or not, Germany is a major center of Klezmer music.  How Germans
create and interpret the music will have a significant impact on the genre.
 For those German musicians on the list, I would be interested in what your
sources of inspiration are, why you choose to perform in the styles you do,
and why you do not (if you do not) attempt to revive the repetorie or style
of Jewish folk music that was performed in Germany before anyone ever heard
of Hitler.

I must be up to nearly a DM after all this verbiage!



Steven Fischbach
Providence, Rhode Island  USA
fischri (at) gis(dot)net

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