My Blog
Thoughts on the power of music
During my research for the film, I came across a testimony of a young boy that was ordered to play his violin, only to be shot to death during his play by an SS officer. When I read this testimony, my body choked and my heart ached. Many thoughts and feelings flashed before my eyes; the little boy and his violin, my cousin Lilly, myself as a little girl playing the violin, the innocence, the pure, the beauty and hope all destroyed by a single shot.
Ironically, a couple of days later, I received a call from a 13-year-old violin player who wanted to take music lessons. As I listened to a recording of him playing the violin, my eyes filled with tears, and I knew...! At that moment I felt a great sense of joy and victory. Everything fell in my mind into place right there and then. I realized that music had the power to survive and surpass all evil. It exists beyond any words, religion or faith. Music is a universal language that can speak to every man, and penetrate every single sole.
It has been said that the need to create during the Holocaust, demonstrates one’s hope and strong will to live. And that hope is one of the most powerful emotions necessary for survival. Despite the Shoah of the Jewish people and that of many others, it is through my own existence and ability to create music, that I carry feelings of hope and proof of victory; the power of human survival to continue living and overcome trauma and genocide, the power of music to exist beyond any act of evil.
In memory of Lilly and the children who lost their lives
-- Dr. Nurit Jugend
(2009)
In the land of samba and carnival
It was the summer of 2010 when I took a trip to visit my family in Brazil. Brazil, the land of the carnival, caipirinha, samba, coconut trees and beautiful stretches of pure sand. It was a combination of family visit and work that brought me to the city of Curitiba. A city of approximately 2 million citizens and and a small but influential Jewish community of approximately 2,500 members. Upon my arrival to Curitiba, I gave a presentation about music during the Holocaust at the Jewish Community Centre; a growing modern facility, and a home to many Jewish families since 1870.
The following day I spent with my aunt and uncle in their home. My uncle Xuxe; a proud, well respected man in Curitiba, a man of action, an accomplished advocate to his many beliefs and ideologies, with profound love for people and deep appreciation for music. He began to tell me about his life as a young boy in Sokal, a town which once belonged to Poland. My uncle described his home town during the 1920’s and before the war; the scents, the memories, the beautiful landscapes, the Jewish traditions and the day to day life.
As I listened to him revive the many stories from his childhood, I stared out the window and watched as people walked by. It took me a few minutes to realize what my eyes had captured and my mind had yet to process. I was staring at the same large wall that had always stood naked in front of my uncle’s window, this time with shock and disbelief.
The sprayed graffiti and the writings on the wall carried out a
chilling and alarming message!
It was a moment when I realized how significant and important my journey to Curitiba was.
How meaningful it was to stand before the Jewish community members and talk about the Holocaust; revive history, remember those who perished, and emphasize the strength, hope and spiritual resistance that arose through music and art.
It made me realize that we’ve entered the 21st century and to many the Holocaust seems like a distant and dark period in history. Or so we hope...
But in fact it’s quite the opposite. The readings on this wall cried to keep the conversation about the Holocaust alive; to continue educating future generations about this part of history, and hope for a better future for our children.
It assured me that our film carries an invaluable mission to teach our children to strive for more tolerance and acceptance among people worldwide. Including - the land of the carnival, caipirinha, samba, coconut trees and beautiful stretches of pure sand.
Since my visit to Curitiba in the summer of 2010, my dear uncle sadly passed and I remained with a great void. But I proudly carry on his memories of a once peaceful and happy life of a Jewish boy in Europe prior to WWII, his endless love, appreciation and passion for music. I try to fill the void by carrying on his love for people, his ability to accept and embrace the different and the disadvantaged, and carry on his life long ideology to make the world a better place.
Dedicated to Chaim Israel (Xuxe) Jugend z”l (1924-2010)
-- Dr. Nurit Jugend
(2011)
‘Help us’ or ‘For us’....?
During a conversation with my friend Sarah over coffee about the challenges of making a documentary film about music and the Holocaust, Sarah asked me why I am asking people to "Help Us" ?!
At first, her remark confused me. Then I wondered “what does she mean by that...?”
Sarah tried to clarify and rephrased her question: “when you approach people for assistance with the film, are you asking them to help YOU”? I replied with a definite - "NO, this film is not for me... and YES, it takes a community to raise a film!”
Sarah had an interesting and refreshing point that she wanted to share with me. She spared no thoughts as she continued to explain: 'Music' and 'Holocaust' are very powerful topics, and people with interest in either one of them are driven from a very strong and passionate 'place' within themselves. The need, or the urge, to get involved in such a project can 'come' to each person from a different 'place'.
Sarah continued explaining:
For many of us, the Holocaust 'touches' on a very personal, deep and painful level. Getting involved in the process of making this film allows us to commemorate our lost loved ones, or the family we once had and will never know.
To others, it may be a way to address one of histories’ most darkest days. It allows them to ‘do something' by helping voice the stories of those who survived and are here to attest to history.
To some it may be simply about pure love, appreciation, respect and profound need for music in our lives.
And some of us can't really say ‘why’...but we feel a strong sense of obligation to preserve history, to preserve beautiful music, the memories of great talents and an almost lost culture. We believe in the importance of educating our children and grandchildren for more tolerance among people worldwide, and acceptance of those who are different from us.
Sarah made me realize that film is one of the most powerful medias to document the heroic and incredible stories of people who played music to save their lives during the Holocaust.
She also made me realize that getting involved in the making of this film is an opportunity for anyone who feels strongly about Music or the Holocaust, to do something meaningful for themselves, and make a difference for others. For Us.
-- Dr. Nurit Jugend
(2011)
By Addy Feibel, 12 years-old from Bexley-Ohio April 5th, 2011
Throughout the world, people have always been intrigued and mystified by the Holocaust. Why did Hitler and the Nazis hate the Jews and attempt to eradicate them? Why did so many support their plans? How could such evil exist? Perhaps the most puzzling question of all is: How did the Jews get the strength to stay alive? A new Holocaust documentary in the making, ‘They Played for Their Lives’, explores how a certain group of prisoners from ghetto Terezin and Auschwitz concentration camp would answer this question. Though surrounded by hatred and tragedy, what allowed these people to survive was their music. Music is both beautiful and empowering. It allows one to realize that good still exists. Not only were these specific survivors emotionally lifted by music, but the Nazis' need for entertainment saved their lives.
The film director and project manager of ‘They Played for Their Lives’ is Dr. Nurit Jugend, a professor at Stanford University. Her assistant producer, Roger Goldberg, is originally from Columbus, Ohio. Dr. Jugend came up with the idea to make a movie about the struggles of musicians during the Holocaust and how music saved their lives. When talking about the film's message, she says: "’They Played for Their Lives’ embarks on its mission to preserve the legacy of music during the Holocaust, pass it on to subsequent generations and preserve the memory of the victims. The film uniquely captures personal stories by Holocaust survivors through original images, interviews and archival recordings of the sounds of music that they created.” In creating this documentary, Dr. Jugend discovered the essential role that music played in the lives of prisoners of ghetto Terezin and Auschwitz concentration camp.
Ghetto Terezin was, in many ways, less horrific than other ghettos because it was used for Nazi propaganda; to show the world how "well" the Germans treated the Jews. Residents of the camp took part in musical performances -- including the children. The children's opera ‘Brundibar’ by Hans Krasa, was originally performed by children in ghetto Terezin. The lives of many Jews in Auschwitz were saved because of their musical talent. They entertained members of the SS on a regular basis.
The women's orchestra in Auschwitz was one example of Jews playing in that concentration camp. In addition to playing for the SS, they also played marches as the slave laborers left camp for work and when they returned at night. That orchestra was created in June, 1943 by order of the SS. During the final stages of the Holocaust, the orchestra also played music to the laborers who were sent directly to the gas chambers. Around this time, when Auschwitz was shut down, the orchestra was deported to the Bergen-Belsen work camp. All of the orchestra members were scheduled to be shot to death the day the work camp was liberated by the British. Anita Lasker-Wallisch is highlighted in the movie for being the only cellist in the orchestra. She provides insights about her experiences at the camp. Lasker-Wallfisch was born on July 17, 1925 in Breslau, Germany. She and her sister escaped deportation because they both worked in a paper factory. At the factory, they met French prisoners of war and helped them forge papers to allow them to return to France. Lasker-Wallfisch said "I could never accept that I should be killed for what I happened to be born as, and decided to give the Germans a better reason for killing me." She and her sister tried to escape to France in September, 1942 but they were arrested for forgery and sent in prison trains to Auschwitz. There, Lasker-Wallfisch joined the orchestra. This saved her life because cellists were hard to come by. In 1946, after Lasker-Wallfisch and her sister were liberated, they both moved to England where Lasker-Wallfisch performed as a soloist and a member of the English Chamber Orchestra, touring internationally. Her son, Raphael Wallfisch, born in 1953, also became a cellist.
Alice Herz-Sommer, a Czech pianist and music teacher, played piano at ghettoTerezin along with other musicians there. At the age of 107, Herz-Sommer is known for being the oldest living Holocaust survivor. She was born in Prague, Austria-Hungary, on November 26, 1903. She married Leopold Sommer, a musician, in 1931 and gave birth to her son Raphael in 1937. In 1943, her family was deported to ghetto Terezin. There, Herz-Sommer played the piano and her son, Raphael, performed in the ‘Brundibar’ children’s opera as the sparrow, one of the supporting leads. Though Herz-Sommer's husband did not survive, both she and her son did. After the Soviet liberation of the camp in 1945, they immigrated to Palestine to be reunited with her family. In 1986, she and her son immigrated to the United Kingdom. In interviews, she has said that her optimism is what made her able to live so long. She said, "Music actually saved my life there {Terezin}. If the Germans wanted music, then they could not send me into the gas chamber. As Terezin was a propaganda camp, I was not separated from my son Raphael, who also acted and sang in the operas in the camp as a small boy." She also said, "Even though my family was not religious I found God in music."
Just as Herz-Sommer and her son could both be connected through music, this documentary connects the younger generation to the Holocaust. This film not only impacts an adult audience but it also draws in teenagers as well. Music is clearly a significant element in the teenage culture. Young adults use music as an outlet to express their emotions. The survivors who played for their lives were literally forbidden to speak their minds or vent their emotions. Playing music, even though forced to do so, gave them a way to express themselves. It showed them that the Nazis had not taken everything away from them. They still had their thoughts and their music. Music is trans-generational. Even though the musical style may differ, its essence and therapeutic value remain the same. This documentary, more than any other Holocaust documentaries that have come before it, allows both teenagers and adults to connect with these survivors. Connecting this young audience to Holocaust history is essential. Just as we pass music from generation to generation, this movie allows us to pass the stories of the Holocaust to our children so that the world will never forget.
Lilly Lindenborn (1928-1944 Auschwitz)
