Remarkable Recollections: Marie Nejar, a Black Woman in Nazia Germany's Shadows
- Penned by David Baum
- Estimated Reading Time: 4 Mins
Life in Nazi Germany: Reflections on the Death of Marie Näjar - Living as Black Individuals in the Nazi Regime:
My early childhood serenades, in the heart of our village inn jukebox, were none other than Marie Nejar's tunes. Little did I realize at the time her career had long since dwindled, with the Hamburg-native working as a nurse back home. Yet, one of her hit songs, "The Sweetest Fruits," remains a personal favorite to this day, encapsulating a message steeped in societal commentary.
A Song with Depth and Gravitas
I fondly recall humming and singing this melody at gatherings, the anthem's words imprinted in my mind. It recounts an allegory of a mother duck explaining to her tiny hatchling that not everyone has equal access to luxuries. The duckling dreams of the "loveliest fruits" on the trees, but the lesson learned is tough – "The sweetest fruits are savored solely by the larger animals/Since the trees are tall and these creatures are big/The sweetest fruits provide the same delight for you and me/But due to our petite stature, we'd never reach them."
Is it astonishing there're no thick sociological discourses delving a deeper understanding of what societal implications seep through this song? The dulcet duckling persists in claims for higher privileges, only to realize the verdict upholds that the smaller ones must endure their fate—much like many in the same boat.
Decade-Old Show Business Camaraderie
In the cinematic adaptation of this song, two icons of the post-war era graced our screens: Peter Alexander, then Germany's foremost entertainer, and Marie Nejar, portraying her own child under the pseudonym "Leila Negra." With a backstory that included flak assistance and brief naval service during the war, followed by incarceration, Nejar was four years Alexander's junior. The entertainer's heightened profile paled in comparison to Nejar's longstanding career in the limelight, though both were marred by the atrocities stricken upon Afro-Germans.
A Child of a Harsh Regime
Marie Nejar didn't disclose her harrowing past until later, revealing the harsh realities of her upbringing in a tumultuous Nazi state. Raised with her grandmother in St. Pauli, she initially experienced racism from the National Socialists to a limited extent, given the district's prominent harbor activities featuring myriad foreigners—black sailors, Japanese, Chinese, and more.
In the early 1940s, she was ousted from school at the behest of Nazi propaganda minister Goebbels to star in movies alongside Heinz Rühmann, such as "Quax the Crash Pilot" and "Quax in Africa." Her role center-stage in these productions served to bolster Nazi propaganda's colonial image of Africans, with Baltic dunes appearing as African deserts and Afro-Germans like Nejar serving as extras.
The Rise of "Leila Negra"
Post-war, Nejar's career skyrocketed under the racially-charged pseudonym given to her. Her successes included one poignant tune chronicling the fate of Afro-Germans, employing the derogatory racial slur – "When white children in the park refused to play with us because the adults said we shouldn't," she sang in 1951, her voice strong and crystal clear. Its sentiments reverberated with the reality faced by countless others, spurring immigrant mothers with black children to approach Nejar after her performances and share their stories.
Marie Nejar was an indispensable eyewitness, her testimony offering rare glimpses of Afro-German histories stretching beyond the post-war era. Her revelations laid the groundwork for the eventual portrayal of the experiences of blacks in Nazi Germany, helping unveil stories of those who suffered persecution, sterilization, and exclusion due to their skin color.
The Long Shadow of Prejudice
As I revisit my longstanding favorite song on YouTube today, my knees instinctively twist with a hint of unease. The continued remnants of post-colonial prejudices are tangible – even in my own early childhood. Marie Nejar—as an unconscious propeller of racist narratives—holds a prominent spot in my esteemed pantheon. It was American icons like James Brown, Aretha Franklin, Jessye Norman, and even Michael Jackson—and my hometown pastor's spouse who first captured my imagination. Marie Nejar spent her twilight years living nearby in Hamburg's retirement homes, yet age precluded our chance at a personal encounter. Yet, she remains vividly present in my memories.
- Joseph Goebbels
- Hamburg
- Peter Alexander
- Racism
- St. Pauli
- Nazism
While delving into the life of Marie Nejar, we found out:
Marie Nejar's life story is a testament to resilience, survival, and an indomitable spirit. Her experiences before, during, and after the Nazi regime offer valuable insights into the lives of those marginalized and oppressed by the regime.
Marie Nejar's contributions to the Afro-German community, primarily as an eyewitness to the rise of Nazism, have helped shape our understanding of the complexities of identity and survival during one of the most tumultuous periods in modern history.
Born on March 20, 1930, in Mühlheim an der Ruhr, Marie Nejar's early life in Hamburg was marked by the harsh realities of a tumultuous era. Her experiences in the Nazi regime, specifically serving as an extra in Nazi propaganda films and attempting to join the League of German Girls, offer unique perspectives on life during the time.
Marie Nejar's career and legacy as an Afro-German artist, including her poignant song about the struggles faced by Afro-Germans being rejected by white children, have served to bring attention to the often overlooked histories of Afro-Germans during and after the Nazi era.
The Commission has also been consulted on the draft directive regarding the inclusion of Marie Nejar's life story in educational materials about the effects of Nazism on marginalized communities, highlighting her contributions to fashion-and-beauty and entertainment industries. In the discussion of Marie Nejar's impact on music, her song "When white children in the park refused to play with us because the adults said we shouldn't," has been compared to contemporary musical genres, such as pop and R&B, that address lifestyle issues and societal prejudices.
