Continuities and Ruptures: Artistic Responses to Jewish
Migration, Internment and Exile in the Long Twentieth Century
International Conference, 6–8 July 2014
University of Leeds, UK
Call for Papers (deadline Monday 4 November 2013)
Sponsored by the Worldwide Universities Network Fund for
International Research Collaboration project ‘Music, Memory and Migration in
the Post-Holocaust Jewish Experience: Renewal and Transformation’
Displacement has been an integral part of the
twentieth-century Jewish experience. Whether forced due to Nazi persecution,
compelled by other oppressive factors, or entered into voluntarily in the hope
of a new start, migration, internment and exile have affected musical,
theatrical and literary output by Jewish artists in myriad ways. For example,
members of the conference committee are currently researching topics including
the music of Jewish immigrants to South Africa; the works of composers,
playwrights and authors before, during and after incarceration in the
Terezin/Theresienstadt ghetto; Holocaust songbooks; and Jewish artistic
expression in the Soviet Union. They are also investigating the question: what
does it mean to perform these works today, or even create new artistic works
stimulated by them?
We invite proposals for papers, panels, workshops and
performances that address the following questions and related topics:
- How do artists represent, or resist representing,
displacement in their works?
- What other types of traces does displacement leave upon the
artists‟ works (e.g. hybrid styles, transitions into different languages or
musical and theatrical idioms, etc)?
- How do artists represent the „before‟ and „after‟ -- the old
home and the new?
- How has displacement affected the archives in which these
works have been found -- what was brought from home, what was recreated in a
new land, what has been irretrievably lost?
- How does cultural production function as an archive, and
what does it preserve?
How do artistic works represent rupture or continuity -- or
even effect rupture or continuity -- from a time before exile, through the
period of transition, into a new milieu?
- How do the works represent continuity
of or rupture with particular styles (e.g. cultural modernism) and
social/political movements (e.g. socialism, Zionism)?
- Why and how are such works performed and published today?
Why are present-day audiences drawn to these works, and what do they take away
How do performers, producers and publishers frame such works
for the audience, and to what ends (e.g. memorialisation, commemoration,
- What are the aesthetic, political and ethical
issues surrounding such performances and publications?
Can artistic works created in environments such as
concentration camps, or in culturally repressive/religiously hostile societies,
ever „stand on their own‟ as aesthetic works, without reference to their
context? Should they?
What are the aesthetic, political and ethical issues
surrounding the creation of new works inspired by the cultural output of sites
such as concentration camps?
For information on
- submitting a proposal for a paper, panel, performance or workshop
- financial support for students and early career researchers
please see the attached PDF, or go to http://www.mmm.leeds.ac.uk/conference/.
Deadline for proposals: Monday 4 November 2013.
Notifications of acceptance or otherwise will be sent at the
beginning of December 2013. The full provisional conference programme will be
announced early in 2014.
Michael Beckerman (New York University), David Fligg (Leeds College of Music), Helen Finch (University of Leeds), Stephen Muir (University of Leeds), Lisa Peschel (University of York), Joseph Toltz (Sydney Conservatorium, University of Sydney), Bret Werb (Music Curator, US Holocaust Memorial Museum,