Abstract: In 1905, Yiddish poet and Glasgow union activist Avrom Radutsky described the Jewish population of Scotland as ‘a mere drop in the ocean’. Nevertheless, by 1920 this drop had swelled to 20,000 people, centred primarily (though by no means exclusively) around the Gorbals in Glasgow. The area was characterised by vibrant community life, but also cramped low-quality housing, poor sanitation and harsh economic inequality. Many of Glasgow’s Jews began to climb a social ladder that would lead them out of the Gorbals and towards more spacious residences in the south-west of the city, but maintained regular contact with its streets, shops and places of worship. Large-scale demolition of the neighbourhood in the 1960s mean that the Gorbals looks very different today, and the Jews are gone. The Jewishness of this space, however, still remains: a remembered or imagined presence in the minds of second and third generations, celebrated through community outreach, or romantically evoked in popular narratives. Equally, an absence of Jewish life in today’s Gorbals has been paralleled by the emergence of wide-ranging and socially minded virtual networks of shared memory. Through analysis of contemporary accounts and archival sources, oral histories, fieldwork interviews, and lively online discussion groups, this article examines how this former densely populated Jewish neighbourhood now functions as an important lieu de memoire, but in a significantly different way to Eastern Europe’s pre-war Jewish spaces. At the geographical edges of more traumatic histories, the Gorbals instead provides an affective link for contemporary, assimilated Scottish Jews, while at the same time the area’s Jewish history becomes part of a wider virtual online community – signifying an emotional connection to immigrant narratives and grounding personal and social histories.
Abstract: Silence appears frequently in discourses of the Holocaust – as a metaphorical absence, a warning against forgetting, or simply the only appropriate response. But powerful though these meanings are, they often underplay the ambiguity of silence’s signifying power. This article addresses the liminality of silence through an analysis of its richly textured role in the memorial soundscapes of Berlin. Beyond an aural version of erasure, unspeakability, or the space for reflection upon it, I argue that these silent spaces must always be heard as part of their surrounding urban environment, refracting wider spatial practices and dis/order. When conventions are reversed – when the present is silent – the past can resound in surprising and provocative ways, collapsing spatial and temporal borders and escaping the ritualized boundaries of formal commemoration. This is explored through four different memorial situations: the disturbing resonances within the Holocaust Memorial; the transgressive processes of a collective silent walk; Gleis 17 railway memorial’s opening up of heterotopic ‘gaps’ in time; and sounded/silent history in the work of singer Tania Alon. Each of these examples, in different ways, frames a slippage between urban sound and memorial silence, creating a parallel symbolic space that the past and the present can inhabit simultaneously. In its unpredictable fluidity, silence becomes a mobile and subversive force, producing an imaginative space that is ambiguous, affective and deeply meaningful. A closer attention to these different practices of listening disrupts a top-down, strategic discourse of silence as conventionally emblematic of reflection and distance. The contemporary urban soundscape that slips through the silent cracks problematizes the narrative hegemony of memorial itself.
Abstract: This research offers an original contribution to the study of contemporary klezmer
music by analysing it in relation to a particular urban environment. With its origins in a
largely destroyed Eastern European Jewish culture, contemporary klezmer is both
historically-grounded and paradoxically rootless, cut loose from geographical
specificity by the internationalism of its recent revival. Seeking to counteract the
music’s modern placeless-ness, this dissertation analyses the musical and spatial means
by which klezmer has been re-rooted in the distinctive material and symbolic conditions
of today’s Berlin. The theoretical framework takes in questions of cultural identity,
music and place, authenticities of tradition and instrumental practice, to show how this
transnational and syncretic music – with few historical ties to Berlin – can be
understood in relation to the city’s particular post-reunification bricolage aesthetic and
subversively creative everyday tactics. Beginning by mapping the criss-crossing
networks of musicians and their multiple artistic perspectives, the dissertation proceeds
through an exploration of the official and unofficial spaces within which these fluid
musical practices operate, leading onto ways that the city of Berlin is made manifest in
the music itself – how the city is interpellated sonically and textually. Processes of
musical transmission and education are analysed through the filters of tradition and
pedagogical ideologies, from which my own instrument, the piano accordion, is used as
a lens through which to uncover the balance between personal expression and
historically-informed performance. The final chapter looks at the relationship between
history, Jewish identity and music in the city. It explores the resonances between the
contested discourse of memorial and present-day cultural and musical production,
discovering how at times sound and music can act as a living sonic embodiment that
speaks against the silence of historical memory
