As the influx of refugees from Nazi Germany intensified, what had begun in 1934 as the anniversary brochure of the German Jewish Club in New York quickly turned into a professional publication and a lifeline for the uprooted. With its offer of a wide range of cultural and athletic activities, the monthly was an emotional anchor for the newcomers, but it also offered practical help getting settled in the new country. This issue of the Aufbau from June 1938 features a large number of rental ads, mostly for fully furnished rooms, often in the Washington Heights neighborhood of Northern Manhattan, thereby giving some extra income to the owners or main tenants while providing affordable housing to refugees who usually arrived with very little money and property.
The banishment of Jews from public spaces was far advanced by now. Already in 1933, Jewish creative artists had been dismissed from state-sponsored cultural life. Since November 12th, 1938, Jews were no longer admitted even as audience members at “presentations of German culture” and were banished from concert halls, opera houses, libraries and museums. More and more restaurants and shops denied access to Jews. On Dec. 12th, 1938, the Jewish Telegraphic Agency pointed out a striking discrepancy: while abroad, the “German News Bureau,” the central news agency of the Reich which followed the directives of the Propaganda Ministry, spread the information that from January 1st, 1939, certain anti-Semitic measures would be relaxed, quite the opposite had been communicated to Jews inside the Reich. One fact, however, was not hidden: the goal was to prompt all Jews to emigrate, “also in the interest of the Jews themselves,” as the Bureau put it.
Immediately after their rise to power in January 1933, the Nazis began to extend their control over every aspect of cultural life in Germany. As a popular medium capable of reaching large numbers of people—and one perceived as being dominated by Jews—film was of central importance to the new regime. Before the production of a new movie could begin, the script had to pass pre-censorship. The final product was scrutinized by the censorship authority for film (Film-Prüfstelle) of the Reich Propaganda Ministry. Under the Nazi regime, the state’s relationship with the film industry changed. While prior to 1933, authorities had primarily sought to censor or suppress material deemed harmful, the Nazi regime actively instrumentalized the film industry to promote National Socialist ideology. The anti-Semitic film “Juden ohne Maske” (“Jews unmasked”), whose authorization card from the censors is shown here, is such a case. It received the rating “valuable to national policy”, but it was also restricted to screenings for adult audiences in the context of NSDAP events.
The Jewish community of Eisenstadt in the Burgenland region of Austria had never been a large one, but as the oldest Jewish community in the area, it dated back to the 14th century and had a rich cultural life. The moment Austria was annexed by Nazi Germany on March 12, 1938, Jews were vulnerable. Under the deeply racist Gauleiter Tobias Portschy, the Burgenland was the first part of Austria to expel its Jewish population. In June 1938, Hilde Schlesinger Schiff was in Eisenstadt helping her parents get ready to relocate. In a birthday letter to her daughter Elisabeth, Hilde calls Elisabeth “a true Jewish child, not settled, always ready to be on the move,” in contrast with her own emotional connectedness to Eisenstadt, from which she is now forced to uproot herself. Mrs. Schlesinger Schiff writes that she hopes her parents will soon be allowed to immigrate to Czechoslovakia, but bureaucratic hurdles remain. Meanwhile, she is clearly taken aback by the eagerness of non-Jews to snatch up the family’s property at a low price, calling it “grave robbery.”
This drawing shows the interior of the Prinzregentenstraße Synagogue in Berlin (Wilmersdorf). Built in 1930, the building was designed to fulfill the needs of a liberal congregation. As shown in the picture, the synagogue boasted a magnificent organ. Rabbi Leo Baeck gave the sermon at the opening ceremony. From 1933, when Jews began to be pushed out of Germany’s cultural life, the synagogue also became a Jewish cultural center.
For four years, Aufbau, the newsletter of the German-Jewish Club in New York, had served immigrants as a cultural and emotional anchor and as a source of useful information. The December issue brings a gushing report on the Club’s newly established weekly radio program. Among the prominent speakers who were asked to contribute speeches to inaugurate the program was Dr. Joachim Prinz, a former Berlin rabbi and outspoken opponent of the Nazis. Forging a bridge from the days of the exodus from Egypt via a history of emigrations to the present predicament, he made no attempt to minimize the emigrants’ plight. At the same time, likening the situation of his community to that of Jewish refugees from the Spanish Inquisition, he saw the potential in the challenges of emigrant life in America. The new program, he felt, was “an important instrument of education as Jews and as people of freedom.” The call of the moment was clear: “We must embrace Tomorrow and bury Yesterday. We must try to be happy again.”
The works of the Expressionist painter and graphic artist Bruno Gimpel were classified as “degenerate” during the Third Reich. Neither his voluntary service as an aide in a military hospital during World War I nor his “mixed marriage” with an “Aryan” woman spared him the usual repressive measures. On November 22nd, 1938 he received a letter from the Reichskammer der Bildenden Künste, the Nazi authority in charge of the visual arts, which yet again denied him membership and banned him from all branches of his profession. In 1935, this institution of the Third Reich had once before rejected a request for admission by the Dresden artist. Since 1937, he had no choice but to make a living by giving drawing lessons to Jewish children.
Even though the climate under the Vargas regime in Brazil was becoming increasingly anti-Jewish, refugees could count on the support of allies. Already in 1933, an aid organization for German-Jewish refugees had come into being in Sao Paulo. And in 1936 in Porto Alegre, where Bernhard and Anni Wolf had recently fled from East Frisia, refugees established a Jewish culture and welfare society. The overall attitude of the Church was ambiguous; nevertheless, a Catholic aid committee for refugees lent significant aid to the newcomers. After an unsuccessful attempt to arrange their immigration to Brazil at the consulate in Cologne, Bernhard’s brother Richard and his wife Jola pinned all their hope on their relatives in Brazil.
Numerous Jewish organizations, such as the Hebrew Immigrant Aid Society, German Jewish Children’s Aid and the Boston Committee for Refugees were dedicated to the rescue of refugees from Nazi Germany. In 1938, it was a non-Jewish body, the American Friends Service Committee, that came up with a particularly good project: from mid-June to the beginning of September, it ran a camp in the Hudson Valley for about 70 persons, mostly Jewish refugees from Nazi Germany and about one third Americans, for the two sides to get to know each other by working, studying and singing together, sharing household chores, attending lectures and religious services and playing sports or games with each other. The author of this article in the October issue of the Aufbau is full of gratitude for what he calls “a remarkable contribution to the internal integration of our people in the country.”
When Gotthold Ephraim Lessing’s tragedy “Emilia Galotti” was put on at the non-Zionist agricultural training camp run by the Reich Representation of Jews in Germany in Groß-Breesen (Silesia), the talented and energetic Friedel Dzubas, 23, was central to making it happen: not only did he direct the performance, design the costumes and design and create the stage decoration, he also played the role of Odoardo, the tragic heroine’s father. Lessing, the son of a Lutheran pastor and a central figure of the German enlightenment, had taken up the cause of the Jews early on in life and eternalized his close friend, the philosopher Moses Mendelssohn, in his play “Nathan the Wise.” His determined stance earned him a place of honor in the hearts and minds of German Jews as well as in their libraries.
In August 1938, Irma Umlauf’s life had begun to unravel: she had been notified that the Jewish-owned company in Breslau for which she worked was going to be liquidated, leaving her jobless. And her landlord had terminated her lease. While there was no law in October 1938 stipulating that non-Jews could not have Jewish tenants, some landlords were eager to get rid of them. In Irma Umlauf’s case, the problem was that her Jewish co-tenants could no longer afford the place and had moved out. The non-Jewish landlord, according to Irma, was afraid to accept other Jewish tenants, and since Jews and non-Jews weren’t allowed to share living space, she had no choice but to leave. Among the other topics broached by Irma in this letter to her friend Hilde Liepelt in Berlin, is her job situation. Luckily, the Landesverband in Berlin gave her permission to do language lessons in the Jewish communities of Münsterberg and Fraustadt, both near Breslau, providing her both with means to live as well as allowing her to continue caring for her mother. A little extra income was generated by singing engagements.
It was more of a wistful farewell than a joyful Bar Mitzvah: Rabbi Manfred Swarsensky seemed to be fully conscious of the situation in which his congregants at the Prinzregentenstraße Synagogue in Berlin found themselves. In his address on the occasion of the Bar Mitzvah of 15 teenagers, he captured the mood of this day of celebration: everything clearly bears “the stamp ‘for the last time.’” Many families, whose sons celebrated their Bar Mitzvah on this day, sat on packed suitcases. One family was departing the very next day. The synagoge, in Berlin’s Wilmersdorf neighborhood, had been one of the only synagogues first built during the Weimar Republic. It had also quickly developed into a center of Jewish culture. Now, at the end of September 1938, it was clear to the rabbi that his congregation was facing major changes: “In a few years, much of what’s here today will be gone and perhaps also forgotten.”
In July 1938, 17-year-old Marianne Pollak traveled all by herself from Teplitz/Teplice (Czechoslovakia) to England. Not accustomed to the climate there, the young girl developed rheumatism and was in generally miserable condition. Every few days, her mother wrote her caring, supportive letters. While clearly vexed by Marianne’s unhappiness, Mrs. Pollak and her husband made sure to communicate to her the importance of her staying in England. Apparently, Marianne was in an individual hakhsharah program, meaning that she was acquiring skills preparing her for pioneer life in Palestine. In Eastern Europe, the Zionist Pioneer organization “HeChalutz” (“The Pioneer”) had been offering agricultural and other training courses for prospective settlers in pre-state Palestine since the late 19th century. A German branch was established in 1923, but the concept gained traction in western Europe only during the Great Depression and had its broadest reach during the years of persecution by the Nazis. Instead of being prepared collectively on farms, youngsters could also get their training individually, as seems to have been the case with Marianne.
When the Halutz (Pioneer) Movement first began to establish itself in Germany in the 1920s, it had a hard time gaining traction among the country’s mostly assimilated Jews, who saw themselves as “German citizens of Jewish faith.” The Movement, which aimed to prepare young Jews for life in Palestine by teaching the Hebrew language as well as agricultural and artisanal skills, got its first boost during the Great Depression (from 1929), which made emigration more attractive as an opportunity for economic improvement. But even more significant growth took place after the Nazis’ rise to power: so-called “Hachscharot” sprung up all over Germany, instilling young Jews with a meaningful Jewish identity and imparting valuable skills. The photo presented here shows graduates of the Jewish Professional School for Seamstresses on Heimhuderstraße.
On June 17, the Jewish Telegraphic Agency reports that in the last four days, the Nazi authorities have re-intensified their raids on cafés in Berlin and elsewhere in the country, which between June 13 and 17 have led to the arrests of 2,000 Jews. During the Weimar Republic, there had been a thriving Kaffeehauskultur—artists and intellectuals practically saw certain cafes as their homes, where they would spend half of their days and nights discussing art, literature, and politics. Under the Nazis, this phenomenon quickly disappeared; they suspected subversive activities among these free thinkers. The public sphere was infested with informers. By the time of the Juni-Aktion, in the context of which these raids were carried out, the original clientele had largely disappeared. Ostensibly, the raids were targeting “anti-social elements.” In fact, however, they constituted the first mass-arrest of Jews. The Minister of Propaganda, Joseph Gobbels, had summarized the intention with the pithy words: “Our password is chicanery, not the law.”
In 19th century, the Central Association of German Citizens of Jewish Faith began to publish lists of spas and hotels at which Jewish guests were not welcome. Some resorts even advertised themselves as judenfrei (“free of Jews”). After World War I, the phenomenon known as Bäder-Antisemitismus (“spa antisemitism”) increased, and with the Nazi rise to power in 1933, it became official policy. By 1935, Jews had been effectively banned from the Northern German bathing resorts, and from spas in the interior of the country by 1937. It was not until the Anschluss in March 1938 that Jews were pushed out of Austrian spas as well. Bad Ischl and other locations in the Salzkammergut region were particularly popular with Jews, to the point that in 1922, the Austrian-Jewish writer Hugo Bettauer quipped that “it caused a stir when people suspected of being Aryans showed up.” In a notice from June 2, The Jewish Telegraphic Agency reports that at the behest of the Nazi commissioner in charge, Jews were to be “segregated in Jewish hotels and pensions” and were no longer permitted to attend cultural events in Bad Ischl.
After three decades of making his fellow Austrians laugh, cabaret artist Fritz Grünbaum’s career was brought to an abrupt end by the Anschluss. His politics alone would have sufficed to make him intolerable for the new regime: Grünbaum had returned from action in World War I not only a decorated soldier but also an avowed pacifist. As for Nazism, he did not mince words. Since 1933, he had been getting more political, and when during a 1938 performance a power outage caused the stage lights to go out, he commented glibly, “I see nothing, absolutely nothing. I must have accidentally gotten myself into National Socialist culture.” His last performance at the famous cabaret “Simpl” in Vienna just two days before the Anschluss was followed by an artistic ban on Jews. Grünbaum and his wife Lilly, a niece of Theodor Herzl, tried to flee to Czechoslovakia but were turned back at the border. On May 24, he was interned at the Dachau concentration camp. Grünbaum was also known as a serious art collector, mostly of modernist Austrian works, and a librettist.
After stints with various orchestras in Germany and Austria, in 1930, the conductor Erich Erck returned to Munich, where he had studied music. The Nazis forced him to relinquish his stage name and return to his family name, Eisner. His application for membership in the Reichsmusikkammer was rejected, since his Jewishness was seen as more damning than his combat service for Germany in WWI was redeeming. After he was banned from employment in 1935, he initiated the establishment of the Munich branch of the Jüdischer Kulturbund and became the executive director of its Bavarian State Association. He also took over the Orchestra of the Kulturbund (founded in 1926 as the “Jewish Chamber Orchestra”), in which capacity he appears on this photograph from the ensemble’s May 18, 1938 performance at Munich’s monumental Main Synagogue on Herzog-Max-Straße.
A few inconspicuous lines in today’s issue of the Jüdische Rundschau advertise a lecture in Berlin’s “Ohel Jizchak” Synagogue by “Miss Regina Jonas” on the topic “Religious problems of the Jewish Community today.” Regina Jonas had studied with much dedication at the Hochschule für die Wissenschaft des Judentums in Berlin and fought hard to reach her goal of becoming a rabbi. Not wishing to rock the boat in these troubled times, even liberal rabbis who might have been positively inclined toward the ordination of women, such as Leo Baeck, were not willing to ordain her. Her final thesis was a halakhic treatise on the topic “May a Woman Hold Rabbinic Office?” It was Rabbi Max Dienemann who in 1935 made her the first female rabbi in history. Interestingly, in spite of the passionate opposition in some quarters and doubts regarding the validity of Regina Jonas’s ordination, she enjoyed the respect even of some orthodox rabbis, who henceforth addressed her as Fräulein Rabbiner or “colleague.” The Jüdische Rundschau apparently preferred to play it safe.
On May 14, 1938, American moviegoers lined up to see Errol Flynn in his latest swashbuckling adventure produced by Warner Brothers. Flynn’s turn as Robin Hood was especially thrilling thanks to the lush film score by an Austrian Jew whose music was no longer welcome at home. Although a citizen and resident of Austria, composer and conductor Erich Wolfgang Korngold felt the effects of Nazi cultural policy soon after 1933, since he had often worked in Germany. In this climate, he did not have to think twice about Max Reinhardt’s invitation in 1934 to compose the score for his Hollywood production of “A Midsummer Night’s Dream.” Korngold’s symphonic film scores broke new ground and established the typical “Hollywood sound.” In 1937, while on an extensive visit to Vienna to complete the orchestration of his opera “Die Kathrin,” he received an invitation from Warner Brothers to compose the score for “The Adventures of Robin Hood.” This assignment spared him the turmoil of the Anschluss. He returned to the US well before March 12, 1938. This photograph shows what appears to be a recording session for the Robin Hood score. The actor in the photograph is Basil Rathbone, who played Robin Hood’s nemesis, Sir Guy of Gisbourne. Korngold won an Academy Award for his compelling score—his second after “Anthony Adverse” (1937).
From its inception, the Horthy government had made no secret of its antisemitism. As a matter of fact, in 1920, Hungary was the first European country after World War I to introduce a numerus clausus to limit Jews’ access to higher education. First in reaction to territorial and demographic losses in WWI, later in the wake of the Great Depression, there was a striking proliferation of fascist and right wing extremist movements in Hungary, some calling themselves “national-socialist.” One such group was the rabidly antisemitic Arrow Cross Party, founded in 1935. In 1938 a bill was introduced to restrict the economic and cultural freedom of Jews in the country. This May 11 report from the Jewish Telegraphic Agency describes Count Apponyi’s vehement critique of the bill in the Chamber of Deputies. Dr. Istvan Milotaj, deputy of a right-wing party, defended the bill, claiming that Jews could not be assimilated and that even figures such as Disraeli and Blum had “spiritually remained Jews.”
On May 9, the Ärztegruppe of the German-Jewish Club (an informal association of physicians within the city’s main German émigré organization) in New York offered a lecture on the topic of abortion. During the Weimar Republic, repeated efforts had been made to abolish or at least reform the anti-abortion paragraph (§218). Its opponents pointed out that it put the working class at a disadvantage, since poverty was the chief motivation for abortion. In 1926, a member of the Reichstag representing a coalition of three right-wing parties, including the NSDAP, proposed legalizing abortion for Jews only. Under the Nazi regime, which promoted the production of “racially valuable” offspring, abortion was illegal unless it prevented the birth of children considered “undesirable.” In the US, the depression had led to an increased demand for abortion, and by the beginning of the 1930s hundreds of birth control clinics had sprung up. Poverty and the lack of access to qualified practitioners often led to the injury or death of pregnant women through self-induced miscarriage. The lecturer, Dr. Walter M. Fürst, was a recent arrival from Hamburg.
After Polish-born Shulamit Gutgeld’s return to Palestine from several years of study in Berlin with the greats of German theater, Erwin Piscator and Max Reinhardt, she changed her name to Bat Dori – “daughter of my generation” or “contemporary.” And that she certainly was in a very conscious way: her plays were highly political and attuned to the events of the day—so much so that the British mandatory authorities forbade the performance of her 1936 play, “The Trial,” which called for peace between Jews and Arabs and was critical of the British. The Berlin branch of the Jüdischer Kulturbund, however, decided to produce the play. The document shown here is an invitation to the May 8 performance at the Kulturbund-Theater on Kommandantenstraße under the direction of Fritz Wisten.
Three prominently placed ads on the front page of the “Jüdisches Gemeindeblatt für Baden” make amply clear what is on people’s minds in April 1938: emigration looms large. Three businesses in Karlsruhe are offering related goods and services, such as passage to South America, Africa, and Asia, furniture for emigrants, and home sales. In the April 27 issue, the topic comes up from various perspectives: the shrinkage of congregations as a result of members going abroad, English classes for prospective emigrants, the departure of esteemed leaders, practical advice on how to get support from Jewish aid organizations during the emigration process, and more. Other parts of life seem to be taking their normal course. Lehrhaus activities, student concerts, Kulturbund events, personal ads and other topics counter-balance the abnormality of the situation.
According to a Jewish Telegraphic Agency report, on April 21, the Propaganda Ministry of Nazi Germany authorized the creation of a Jewish Cinema Institute. The name was misleading. It was not intended to serve the cultural enrichment of the Jewish community. The main purpose of the Institute was supposed to be the production of movies showing life in Palestine and urging German Jews to emigrate. In other words, the plan was just another part of the Nazi scheme to rid Germany of its Jews. At the same time, Der Stürmer, one of the most viciously antisemitic newspapers in Nazi Germany, declared that Jews should not be allowed inside cinemas and theaters.
In 1938, the first day of Passover fell on April 16. As they did every year, the inhabitants of the Jewish Residential Home for Youth and Apprentices in Berlin gathered around a festively set dinner table for the second Seder. Under the dedicated management of Paul and Friedel Joseph, the home provided its charges with opportunities that went well beyond practical needs like housing and vocational training. They also strove to provide them with cultural and intellectual stimulation that would expand their horizons. The boys and young men, ranging in age from 14 to 21, had been removed from their homes due to behavioral problems. According to Friedel Joseph, life in the home was still going on “relatively unimpeded” at this point, but the political situation cannot have been lost on its inhabitants. The Passover message of liberation from bondage under a tyrannical ruler must have resonated very strongly at this year’s celebration.
Usually the Jewish National Workers Alliance, as the Labor Zionist fraternal order was known, occupied itself with serious matters. Among other things, it strove to strengthen the working class and offered help in cases of economic hardship, illness, or death of its members. In 1911, it had established the first modern insurance system for Jewish workers. On April 9, 1938 it strayed from its core mission and held a Passover Ball in the German-Jewish stronghold of Washington Heights in New York. Among other items, the program featured “Cologne humorists.” German immigrants would have understood that this referred to Cologne carnival jesting, a tradition associated with the Catholic carnival season that dates back to the Middle Ages. The venue was the ballroom of the Paramount Mansion, which also housed several institutions that promoted the interests of German Jewish immigrants.
The April 6 event at the Jüdischer Kulturbund (Jewish Cultural Association) in Hamburg was dedicated to dance. Elsa Caro, also known by her stage name, Juana Manorska, used challenging music not originally intended for dance as the inspiration for her performance. Since the beginning of the 20th century, the fixed, formulaic repertoire of movements in classical ballet seemed limiting and outdated to some. German dancers, among them Elsa Caro and the “half-Jewish” Gret Palucca, were at the forefront of those experimenting with new forms, a movement that gave birth to Ausdruckstanz, also known as “Expressionist Dance” or “modern dance.”
By 1938, the ability of Jews to make a living had been seriously curtailed by a series of laws aimed at humiliating, isolating, and impoverishing them. While not all Jews were affected equally by these changes, the number of Jews dependent on the services of welfare organizations, such as the Jewish Winter Relief, was constantly on the rise. The level of solidarity and the support for the Winter Relief were remarkable. Much of the money came from small donations, and the Kulturbund held cultural events in support of the organization. Volunteers from women’s and youth groups assisted in the fundraising efforts.
The Austrian-born theater and film director Max Reinhardt emigrated to the US in October 1937, accompanied by his wife Helene Thimig, an actress. By introducing technical innovations and elevating the position of the director, Reinhardt played a pivotal role in the development of modern theater. With his production of H. von Hoffmannsthal’s “Jedermann” in 1920, he became one of the co-founders of the Salzburg Festival. Shortly after he settled down in the US, plans emerged to found “another Salzburg” festival in California. This time, he wrote his friend Arturo Toscanini, he would be working “under more favorable climatic and political conditions, and perhaps with greater financial means.” Among his achievements in the US were staging Werfel’s “The Eternal Road” (1937) and founding the Max Reinhardt Workshop for Stage, Screen and Radio, a theater and film academy in Hollywood (1937–1939). He did not think very highly of US audiences.
The entire front page of Bratislava’s German-language religious-Zionist “Allgemeine Jüdische Zeitung” is dedicated to the Anschluss. Jews are called upon to stand by their Austrian coreligionists. An anonymous source notes the impoverished state of many Jews in Austrian lands and the resulting need to restructure social services as well as address the increasingly urgent issues of occupational retraining and emigration. The reader is reminded that Austria is still a member of the League of Nations and that Austrian law stipulates equal rights for religious and national minorities. Among other sources quoted is the British Under-Secretary of State for Foreign Affairs, Butler, who reports having received assurances that the German government would “endeavor to achieve a moderation” of its policy towards minorities. The paper also reports that the President of the World Jewish Congress, Rabbi Wise, has appealed to the League of Nations to help Austrian Jewry. The rest of the picture is bleak: newspapers suspended, prominent Jews arrested, a Jewish theater closed, Jewish physicians dismissed, and other chicanery. The paper calls upon Jews everywhere to come to the aid of their Austrian brethren.