Overview
- Description
- Between 1933 and 1945, Roma (Gypsies) suffered greatly as victims of Nazi persecution and mass murder. Building on long-held prejudices, the Nazi regime viewed Gypsies both as "asocials" (outside so-called normal society) and as "racial inferiors"-believed to threaten the biological purity and strength of the "Aryan" majority. During World War II, the Nazis and their collaborators killed up to 220,000 Gypsy men, women, and children across German-occupied Europe. Auschwitz-Birkenau, the largest Nazi killing center, was the site of a special Gypsy "family camp." Established in February 1943, this camp held as many as 20,000 Gypsies, the vast majority of whom died from starvation, disease, medical experimentation, or in the gas chambers.
Among historically nomadic peoples such as the Roma, stories, poetry, and song are passed down from one generation to the next by oral tradition. Recently, however, researchers have begun collecting and publishing Holocaust-related folklore from Gypsy survivors and their families. The lament Aušvits (Auschwitz) was first recorded in the 1960s by Ružena Danielová, a survivor from the Czech town of Mutenice, and was later featured in a documentary on Gypsy music, Latcho Drom (Safe Journey). Sung in the Romani language, Aušvits draws on themes common to the repertoire of Roma folk laments, notably the singer's feelings of isolation and despair, and the symbolic image of a dark bird bearing a message from the land of the dead.
The Roma ensemble Khanci Dos ("No Problem") was formed in 1987 in Nagyecsed, Hungary. Now based in Budapest, its main goal, according to bandleader Gustav Eros, is "to promote, through music, mutual acceptance and understanding between Hungarian Roma and non-Gypsy Hungarians." Members of Khanci Dos-several of whom lost family during the Holocaust-learned Aušvits from the soundtrack to Latcho Drom. - Alternate Title
- Aušvits
- Format
- MP3
Physical Details
Rights & Restrictions
- Conditions on Access
- You do not require further permission from the Museum to access this archival media.
- Copyright
- Copyright Undetermined
- Conditions on Use
- Owner of copyright, if any, is undetermined. It is possible this is an orphan work. It is the responsibility of anyone interested in reproducing, broadcasting, or publishing content to determine copyright holder and secure permission, or perform a diligent Fair Use analysis.
Administrative Notes
- Recorded Sound Provenance
- This song was included in the United States Holocaust Memorial Museum's web exhibition, "Music of the Holocaust" https://www.ushmm.org/exhibition/music/ curated by the Museum's musicologist.
- Recorded Sound Notes
- Performed by Khanci Dos, USHMM Rubinstein Auditorium, December 11, 2003
- Recorded Sound Source
- Bret Werb
- Record last modified:
- 2024-02-21 07:29:00
- This page:
- https://collections.ushmm.org/search/catalog/irn671452
Also in "Music of the Holocaust" web exhibition
Songs included in the United States Holocaust Memorial Museum's web exhibition, "Music of the Holocaust" https://www.ushmm.org/exhibition/music/. Music was heard in many ghettos, concentration camps, and partisan outposts of Nazi-controlled Europe. While popular songs dating from before the war remained attractive as escapist fare, the ghetto, camp, and partisan settings also gave rise to a repertoire of new works. These included topical songs inspired by the latest gossip and news, and songs of personal expression that often concerned the loss of family and home. Classical music—instrumental works, art songs, opera—was also produced and performed during this period, notably by prisoners at the Theresienstadt (Terezín) ghetto and transit camp in Czechoslovakia, as well as in several other ghettos and camps. For many victims of Nazi brutality, music was an important means of preserving and asserting their humanity. Such music—particularly the topical songs—also serves as a form of historical documentation. Like “audio snapshots,” these works offer a telling glimpse into the events and emotions that their creators and original audiences experienced firsthand.
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