Wojenko, wojenko malowana,
Spłodziłaś na miętko Wodza-Pana!
Moskwa “gore,” Reich się wali—
Jeno Berlin jeden stoi,
A sławy—żarcia w nim po kolana,
Oj, joj, joj!
Dałbym ci ja i pół świata,
Germanija,
Ma-ni-ja!
Abyś była jak ....Kroacja,
Germanija!
Abyś była jak—Monako
Całą taką E-u-ro-pą.
Niech ci wnet kastracja sprzyja,
Ess-ma-ni-ja!
Wojenko, wojenko— heißgeliebte,
Wyłamiesz ząbuśki w tej gonitwie!
Triumfalne biją dzwony—
A Stalingrad nie zniemczony!
Ze czeterech świata stron lizą kryple...
Heil! Heil! Heil!
Miała, miała i pół świata,
Germanija,
Ma-ni-ja!
Łajno w portkach—z łajna łata,
Zasranija!
Lepiej tycim być Monako,
Niźli taką E-u-ro-pą...
Menschenskind, kastracja sprzyja?
Esss-ma-ni-ja!
Spłodziłaś na miętko Wodza-Pana!
Moskwa “gore,” Reich się wali—
Jeno Berlin jeden stoi,
A sławy—żarcia w nim po kolana,
Oj, joj, joj!
Dałbym ci ja i pół świata,
Germanija,
Ma-ni-ja!
Abyś była jak ....Kroacja,
Germanija!
Abyś była jak—Monako
Całą taką E-u-ro-pą.
Niech ci wnet kastracja sprzyja,
Ess-ma-ni-ja!
Wojenko, wojenko— heißgeliebte,
Wyłamiesz ząbuśki w tej gonitwie!
Triumfalne biją dzwony—
A Stalingrad nie zniemczony!
Ze czeterech świata stron lizą kryple...
Heil! Heil! Heil!
Miała, miała i pół świata,
Germanija,
Ma-ni-ja!
Łajno w portkach—z łajna łata,
Zasranija!
Lepiej tycim być Monako,
Niźli taką E-u-ro-pą...
Menschenskind, kastracja sprzyja?
Esss-ma-ni-ja!
inviata da Riccardo Venturi - 27/3/2014 - 14:14
Lingua: Inglese
GERMANIA!
War, war, tarted up war,
In the heat of passion you spawned quite a ruler!
Moscow’s tops, the Reich’s crumbling,
Berlin alone still stands.
And his royal highness? He’s stuffing his face.
Oy, oy, oy!
I’d give you half the world,
Germania!
Ma-ni-a!
If only you could be like little Croatia,
Germania!
If only you could be like tiny Monaco,
Picture all Europe exactly like that!
May we suggest you consider castration?
SS-ma-ni-a!
War, war, hotly loved war,
You’ll chip your teeth chasing around that way!
Bells are tolling out in triumph—
But Stalingrad’s not Germanified!
From all four corners of the world,
cripples, crawling, crying...
“Heil! Heil! Heil!”
You had half the world,
Germania!
Ma-ni-a!
Now you’ve got crap in your pants
and crap to patch your pants!
Shit-caked country!
Better to be like tiny Monaco,
Rather than a Europe like that...
My dears, consider castration?
SS-ma-ni-a!
War, war, tarted up war,
In the heat of passion you spawned quite a ruler!
Moscow’s tops, the Reich’s crumbling,
Berlin alone still stands.
And his royal highness? He’s stuffing his face.
Oy, oy, oy!
I’d give you half the world,
Germania!
Ma-ni-a!
If only you could be like little Croatia,
Germania!
If only you could be like tiny Monaco,
Picture all Europe exactly like that!
May we suggest you consider castration?
SS-ma-ni-a!
War, war, hotly loved war,
You’ll chip your teeth chasing around that way!
Bells are tolling out in triumph—
But Stalingrad’s not Germanified!
From all four corners of the world,
cripples, crawling, crying...
“Heil! Heil! Heil!”
You had half the world,
Germania!
Ma-ni-a!
Now you’ve got crap in your pants
and crap to patch your pants!
Shit-caked country!
Better to be like tiny Monaco,
Rather than a Europe like that...
My dears, consider castration?
SS-ma-ni-a!
inviata da Riccardo Venturi - 27/3/2014 - 14:33
Lingua: Sloveno
Prevod / Traduzione slovena / Slovene translation / Traduction slovène / Sloveniankielinen käännös: Jani Kovačič
Zebe, gospod / Zimno, panie!
glasba neznan napev
besedilo Aleksander Kulisiewicz
prevod: Jani Kovačič
V Sachsenhausenu so si številni Poljaki višjega stanu prizadevali ohraniti svoje socialne ugodnosti, tako da so služili z "uslugami" gospodarjem taborišča. Kulisiewicz imenuje dva takšna zapornika – Lulusińskega (Lulušinski) in grofa imenovanega Graf – v tej kratki pesmici iz leta 1944. Oba "aristokrata" sta izdala pripadnike poljskega komunističnega podzemlja, kot tudi druge aktiviste, uradu kriminalistične policije Reicha, kar je vodilo do aretacije več zapornikov. Očitno sta denucianta / kolaboranta ovadila Kulisiewicza. Iz barake so ga odvedli sredi noči februarja 1945. Zaslišala ga je policija SS-a. "Beraški blok", imenovan v prvi vrstici pesmi, je bila taborniščna oznaka za ogromno vojašnico, v kateri je bilo 600-800 zapornikov.
»Zebe, gospod. Ni kruha.« se spominja Wiktor Siminski, približno 1947. Umetnik Siminski je Kulisiewicza spoznal v Sachsenhausnu in ga je vzpodbujal, da naj vse spomine na taboriščno življenje zapiše. Tako je nastala tudi ta satira.
»Zebe, gospod. Ni kruha.« se spominja Wiktor Siminski, približno 1947. Umetnik Siminski je Kulisiewicza spoznal v Sachsenhausnu in ga je vzpodbujal, da naj vse spomine na taboriščno življenje zapiše. Tako je nastala tudi ta satira.
Zebe, gospod / Zimno, panie!
glasba neznan napev
besedilo Aleksander Kulisiewicz
prevod: Jani Kovačič
ZIMNO, PANIE! / ZEBE, GOSPOD!
1
Bil pomembnež je nekoč
živel v Beraškem bloku,
po imenu Lulusiński,
brez jajc lakaj v brlogu,
njegov bil gospodar
poznani Graf,
grof, ki vse obdela, ta šušmar!
Heissgeliebter Graf...
2
Ze - ze -ze ... Zebe, gospodje
Ze - be, ze - be!
Ne, ne, ne ni kruha!
Stradež! Stradež!
3
Bitte um bischen Zigarette,
Bitte, ach, bitte, bitte, bi...
Bitte, gôrko damo tu dobite,
Bitte, slinari sluzast bednik!
Ze - ze -ze ... Zebe, gospodje
Ze - be, ze - be!
Ze - ze -ze, Ze - ze - ze ... Zebe me
Zebe!
1
Bil pomembnež je nekoč
živel v Beraškem bloku,
po imenu Lulusiński,
brez jajc lakaj v brlogu,
njegov bil gospodar
poznani Graf,
grof, ki vse obdela, ta šušmar!
Heissgeliebter Graf...
2
Ze - ze -ze ... Zebe, gospodje
Ze - be, ze - be!
Ne, ne, ne ni kruha!
Stradež! Stradež!
3
Bitte um bischen Zigarette,
Bitte, ach, bitte, bitte, bi...
Bitte, gôrko damo tu dobite,
Bitte, slinari sluzast bednik!
Ze - ze -ze ... Zebe, gospodje
Ze - be, ze - be!
Ze - ze -ze, Ze - ze - ze ... Zebe me
Zebe!
inviata da Jani Kovačič - 22/3/2019 - 23:58
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Lyrics by Aleksander Kulisiewicz
Music: Jindřich Harapát (“Travička zelená”, 1936)
Sachsenhausen, 1941/43
Testo di Aleksander Kulisiewicz
Musica: Jindřich Harapát (“Travička zelená”, 1936)
As an antidote to despair over Hitler’s seemingly unstoppable war machine, the brazen and ribald “Germania!” proved extremely popular. Rather than risk performing the entire piece, prisoners took to singing aloud only the word “Germania” —ironically endearing the song to the SS guards who, Kulisiewicz reports, regretted that it did not have more lyrics. After Germany’s crushing defeat at Stalingrad in February, 1943, Kulisiewicz added the second verse, peforming it with exaggerated gestures so his non-Polish audience could scarcely miss his meaning. For example, the word “Germania” was sung while imitating a Hitler Parade March—knees raised high with a springing motion, face contorted into a grimace suggesting overweening pride; heißgeliebte [passionately or hotly loved] was illustrated by a sauntering walk and batting eyes; “Stalingrad is not Germanified,” by a bashful tugging at a pant-leg. In performance, Kulisiewicz was often joined by his French fellow inmate, Roland Tillard, who accompanied “Germania!” on that stereotypically German folk instrument, the accordion.
Come antidoto alla disperazione per l'apparentemente inarrestabile macchina da guerra di Hitler, la sfrontata e carognesca “Germania!” si rivelò estremamente popolare. Invece di azzardarsi a cantarla per intero, i prigionieri presero a cantare a alta voce soltanto la parola “Germania”, rendendo ironicamente cara la canzone alle SS cui, ricorda Kulisiewicz, dispiaceva che non avesse ulteriori parole. Dopo la disfatta di Stalingrado, nel febbraio 1943, Kulisiewicz aggiunse la seconda strofa eseguendola con gesti esagerati in modo che i non-polacchi capissero ugualmente bene di che cosa si stesse parlando. Per esempio, la parola “Germania” veniva cantata imitando il passo dell'oca e con una smorfia di orgoglio smisurato; heißgeliebte [appassionata, amata ardentemente] veniva accompagnata da un'andatura tipo “passeggiatina di innamorati” sbattendo gli occhi di continuo; “Stalingrado non è germanizzata” da una leggera tiratina a una gamba dei pantaloni. Quando la eseguiva, Kulisiewicz lo faceva spesso insieme al suo compagno di prigionia francese, Roland Tillard, che lo accompagnava alla fisarmonica, strumento popolare tedesco per eccellenza. [trad./ad. RV]
"This compact disc focuses exclusively on Kulisiewicz’s own song repertoire from Sachsenhausen. These recordings, preserved on reel-to-reel tapes by Kulisiewicz after the war, are of variable quality, reflecting the conditions in which they were produced, from home recordings to studio or concert hall productions. The selections are arranged chronologically and are intended to provide both a representative sample of Kulisiewicz’s artistic output and a sense of his personal reactions to the realities of life in a Nazi concentration camp"
1. Muzulman-Kippensammler
2. Mister C
3. Krakowiaczek 1940
4. Repeta!
5. Piosenka niezapomniana
6. Erika
7. Germania!
8. Olza
9. Czarny Böhm
10. Maminsynek w koncentraku
11. Heil, Sachsenhausen!
12. Pożegnanie Adolfa ze światem
13. Tango truponoszów
14. Sen o pokoju
15. Dicke Luft!
16. Zimno, panie!
17. Moja brama
18. Pieśń o Wandzie z Ravensbrücku
19. Czterdziestu czterech
20. Wielka wygrana!
Aleksander Kulisiewicz (1918–1982) was a law student in German-occupied Poland in October 1939 when the Gestapo arrested him for antifascist writings and sent him to the Sachsenhausen concentration camp near Berlin. A talented singer and songwriter, Kulisiewicz composed 54 songs during five years of imprisonment. After liberation, he remembered his songs as well as ones he had learned from fellow prisoners and dictated hundreds of pages of them to his nurse in a Polish infirmary. As a “camp troubadour,” Kulisiewicz favored broadsides—songs of attack whose aggressive language and macabre imagery mirrored his grotesque circumstances. But his repertoire also included ballads that often evoked his native Poland with nostalgia and patriotic zeal. His songs, performed at secret gatherings, helped inmates cope with their hunger and despair, raised morale, and sustained hope of survival. Beyond this spiritual and psychological importance, Kulisiewicz also considered the camp song to be a form of documentation. “In the camp,” he wrote, “I tried under all circumstances to create verses that would serve as direct poetical reportage. I used my memory as a living archive. Friends came to me and dictated their songs.” Haunted by sounds and images of Sachsenhausen, Kulisiewicz began amassing a private collection of music, poetry, and artwork created by camp prisoners. In the 1960s, he joined with Polish ethnographers Józef Ligęza and Jan Tacina in a project to collect written and recorded interviews with former prisoners on the subject of music in the camps. He also inaugurated a series of public recitals, radio broadcasts, and recordings featuring his repertoire of prisoners’ songs, now greatly expanded to encompass material from at least a dozen Nazi camps. Kulisiewicz’s monumental study of the cultural life of the camps and the vital role music played as a means of survival for many prisoners remained unpublished at the time of his death. The archive he created, the largest collection in existence of music composed in the camps, is now a part of the Archives of the United States Holocaust Memorial Museum in Washington, D.C.
Aleksander Kulisiewicz (1918-1982) era uno studente di giurisprudenza nella Polonia sotto occupazione tedesca quando, nell'ottobre 1939, la Gestapo lo arrestò per i suoi scritti antifascisti e lo inviò al campo di concentramento di Sachsenhausen, vicino a Berlino. Kulisiewicz era un cantautore di talento: durante i suoi cinque anni di prigionia compose 54 canzoni. Dopo la liberazione si ricordò non solo delle sue canzoni, ma anche di quelle che aveva imparato dai suoi compagni di prigionia, e dettò centinaia di pagine alla sua infermiera in un ospedale polacco. In quanto “cantastorie del campo”, Kulisiewicz prediligeva le ballate descrittive, usando un linguaggio aggressivo e brutale per riprodurre le circostanze grottesche in cui si trovava assieme agli altri; ma il suo repertorio comprendeva anche ballate che, spesso, evocavano la Polonia natia con nostalgia e patriottismo. Le sue canzoni, eseguite durante riunioni segrete, aiutarono i prigionieri a far fronte alla fame e alla disperazione, sostenendo il morale e le speranze di sopravvivenza. Oltre a rivestire un'importanza spirituale e psicologica, Kulisiewicz riteneva che le canzoni del campo fossero anche una forma di documentazione. “Nel campo”, scrisse, “ho cercato sempre di creare versi che servissero da reportage poetico diretto. Ho usato la mia memoria come un archivio vivente. Gli amici venivano da me e mi recitavano le loro canzoni.” Quasi ossessionato dai suoni e dalle immagini di Sachsenhausen, Kulisiewicz cominciò a raccogliere una collezione privata di musica, poesia e opere d'arte create dai prigionieri. Negli anni '60 si unì agli etnografi polacchi Józef Ligęza a Jan Tacina in un progetto di raccolta di interviste scritte e registrate con ex prigionieri a proposito della musica nei campi di concentramento. Cominciò anche a tenere una serie di spettacoli, trasmissioni radiofoniche e incisioni del suo repertorio di canzoni di prigionia, che si ampliarono fino a comprendere materiale proveniente da almeno una dozzina di campi. L'enorme studio di Kulisiewicz sulla vita culturale nei campi e sul ruolo decisivo che la musica vi svolgeva come strumento di sopravvivenza per molti prigionieri rimase inedito fino alla sua morte. L'archivio da lui creato, la più vasta raccolta esistente di musica composta nei campi di concentramento, fa ora parte degli archivi dell'United States Holocaust Memorial Museum a Washington.