ABSTRACTThis article presents an analytical and cultural reading of the 1932 song ‘Der Onkel Bumba aus Kalumba tanzt nur Rumba’ by the German vocal group the Comedian Harmonists. It incorporates Erving Goffman's stigma theory to propose an alternative interpretation of performances of commercial rumba and jazz by members of a Weimar cosmopolitan youth culture that pushes beyond paradigms of appropriation and exoticism. The author argues that songs seemingly exoticizing an Other could rather serve as a means of articulating concerns of an Othered Self in the context of the rise of National Socialism. The article contrasts a close reading of the Comedian Harmonists’ performance of the song with performances by Leo Monosson and the Melody Gents and incorporates the contrasting experiences of the lyricist Fritz Rotter with those of the Comedian Harmonists to show how ‘Der Onkel Bumba’ presented jazz/rumba as an indicator for both utopian idealism and looming dystopian horror.
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