Musical Activity in Feldafing Displaced Persons Camp

Feldafing, a small town on Starnberger Lake, became the site of a significant displaced persons (DP) camp after World War II. The camp was established in barracks once used for Hitler Youth schools, initially housing survivors of the Dachau death march. In the early days, life for these survivors primarily consisted of sleeping and eating as they recovered from their ordeal.

As the camp population grew, it became a melting pot of nationalities and experiences. The camp was under American control, with a notable American captain who scoured nearby towns to procure food and clothing for the DPs. The population expanded rapidly as DPs from all over Bavaria flocked to Feldafing.

Educational, cultural and religious life flourished in Feldafing. In addition to Feldafing's secular primary and secondary school system, education and training for adults was provided by an evening school, a vocational school run by the Organisation for Rehabilitation through Training (ORT), and a nursing school. Chana Warszawksa, who was a singer and actress, survived Lodz ghetto, Auschwitz and a labour camp in Berensdorf before arriving in Feldafing. Here she took a job teaching corset-making at the ORT school and also met and married her husband, Leybl Fingerhut.

Chana Warszawska teaches corset-making at an ORT school in the Feldafing displaced persons camp, 1946. United States Holocaust Memorial Museum, courtesy of Rosalie Fingerhut Gerut

Music played a crucial role in the camp's social fabric. One of the earliest musical experiences in the camp came from a Russian POW with an accordion, who repeatedly played the song "Katyusha." (by Matvey Blanter) This simple act of music-making hinted at the importance music would come to play in the lives of the camp's residents.

The camp's international nature led to the development of a unique DP pidgin German. An unofficial anthem emerged, set to the tune of "Lili Marleen," with lyrics reflecting the residents' circumstances:

Today we won't be working
The machine has gone to hell
Tomorrow we'll all be sleeping
Very very well.

A significant development in the camp's musical life came when an American social worker, Miss Leighton, proposed forming an orchestral society. She gathered names of musicians in the camp and arrived with a jeep full of instruments. However, this initiative revealed the deep emotional scars carried by many survivors. For instance, Lantosh, a brilliant Hungarian violinist, refused to play. His reluctance stemmed from a traumatic experience at Auschwitz, where he had been forced to join the camp orchestra, replacing another violinist who was never seen again.

Despite these challenges, musical and cultural activities flourished in the camp. Movies and variety acts became very popular. Touring groups, including the Glenn Miller Orchestra, performed American jazz tunes that were enjoyed by both young Germans and DPs. The movie "In the Mood" was particularly popular among the camp residents. Theatre troupes such as the "Partisans" and "Habima" entertained the camp population.

The camp's musical landscape reflected the diverse backgrounds of its inhabitants. Polish residents, for example, brought with them a rich musical tradition that spoke to their long history of exile and struggle for freedom. Their repertoire included their national anthem (composed in Italy), Chopin's mazurkas, and contemporary songs like "The Red Poppies of Monte Cassino."

As time passed and more Eastern European Jews arrived in late 1945 and 1946, the musical atmosphere in the camp evolved. The radio began to play less marching music and more Viennese operas and American tunes. Mendelssohn's works, previously banned by the Nazis, could be heard again. Young people in the camp began singing songs from "The Threepenny Opera."

Feldafing DP camp was not only known for its musical life but also gained a reputation as a fashion hotspot among DP camps, thanks to the presence of skilled tailors from Budapest and Lodz.

The story of musical activity in Feldafing DP camp illustrates how music served as a means of cultural expression, a source of comfort, and a way to rebuild community in the aftermath of trauma.

Sources

Schochet, Simon. Feldafing, 1983. November House

USHMM Image Archive, Item pa1053788 biographies of Leyb Fingerhut and Chana Warszawska