Abstract
<jats:title>Abstract</jats:title> <jats:p>This chapter considers musical re-enactments by survivor ensembles that returned to the spaces and repertoires of Nazi terror. In May 1946, the United States Military invited the Ex-Concentration Camp Orchestra, an ensemble of Eastern-European Jewish survivors, to perform for the Allied attorneys and staff of the Nuremberg Trials. The musicians appeared on the stage of the Nuremberg State Theater wearing recreations of their concentration camp uniforms while standing beside barbed wire set pieces and oversized Stars of David. Performing on one of the most celebrated stages in Nazi Germany, and in the very city where the 1935 racial laws were promulgated, the orchestra was well aware of the symbolic meaning their concert held just one year after the defeat of the Third Reich. Performing a marginalized subject position, akin to what performance theorist José Esteban Muñoz calls “disidentification” by reclaiming symbols of oppression and denigration, these musicians created testimonial spaces for themselves in former spaces of persecution.</jats:p>