On a visit to one of Germany’s most radical refugee integration experiments, U.S. migration journalist and academic Daniela Gerson went in search of her family history and found an increasingly uneasy relationship between past and present.
At the #Grand_Hotel_Cosmopolis, an African teenager served cappuccinos to European travelers below clocks telling the time in Kabul, Damascus, Grozny and other global centers of crisis.
Lamin Saidy – sporting a style he described as “American proper” with tight jeans, lots of earrings and a big smile – was 13 when he fled violence in the Gambia. After he arrived in Germany as a refugee, he was told about this place, where tourists, asylum seekers and artists all share one building. The hotel is run by staff composed of a core group of resident German artists and a diverse team that includes volunteers who may be refugees like Saidy or local college students who want to join the experiment.
Then, in the fall of 2016, at a meeting in Washington, D.C., on immigration, a public artist gave a presentation on cultural integration initiatives in #Augsburg like none I had seen in more than a decade of reporting on immigration in the United States and Europe.
The artist flashed images of the migrant job center, cafe and immigrant rights organization called Tuer an Tuer, which helped convince the city to take a stance against large institutional centers. Instead, all asylum seekers in Augsburg have been housed in residences of 100 or fewer people. She also showed photos of the colorful, boundary-bending Grand Hotel. This was Augsburg? It was definitely not the city of my imagination.
Soon after, my mother forwarded me an invitation. In summer 2017, there was going to be a gathering of Jews from Augsburg and their families to commemorate the 100-year anniversary of the synagogue. I set off, eager to explore my family’s past and to see if a city I associated with historic brutality had succeeded in building a more welcoming society as a result.
A Welcoming Nation
When I arrived in Munich, the Bavarian capital, I borrowed a friend’s bike and pedaled down to the vast main train station. In 2015, in what was known as the Welcoming Summer, more than 1 million asylum seekers came to Germany and the station was full of arriving migrants. There was such an outpouring of public support for them that they had to close the station to donations.
Two years later, the backlash was mounting. Chancellor Angela Merkel’s government had taken steps to slow the tide of arrivals, limiting countries from which people are eligible for asylum and speeding up deportations of people whose applications had been rejected.
Munich’s size has helped mask the impact of the refugee influx. Augsburg, founded more than 2,000 years ago, is a different story. With a population approaching 300,000, and a popular destination for refugees and foreign laborers, it was a contender to become the first majority minority city in Germany. Now almost 50 percent residents have a “migration background.”
After a quick train trip an hour east of Munich, I biked across Augsburg’s picture-perfect main square of churches and beer gardens, passing by women strolling in hijabs and Chechnyan kids racing in circles on scooters. And near one of the largest cathedrals, down a cobblestone street, I found the Grand Hotel Cosmopolis. On first impression, it hardly felt grand, but rather like the 1960s old-age home it once was, converted into a lively Berlin artists’ squatter house.
In a sun-drenched garden, I joined two of the artist founders and a refugee artist for a vegetarian lunch cooked in the communal basement kitchen. As we ate, they explained that the building had been abandoned for six years when some local artists spotted it and inquired about renting it out as a temporary exhibition space. But the owners, a Protestant social enterprise, said they had already entered into negotiations with the government to house asylum seekers.
That’s when the idea came up to merge the two concepts, and add a hotel. The artists take care of the hotel, cafe and ateliers. The social enterprise, with government support, provides housing for the migrants.
Three days after the first asylum seekers moved in, it became clear to the artists this was not just a utopian experiment in aesthetics and communal living when the first deportation letter for one of its residents arrived. “Many of the artists stopped their artistic work,” one of my guides, Susa Gunzner, told me. Instead, they focused all of their energies on learning about immigration laws and how to help the refugees.
After lunch, I toured the 12 uniquely designed hotel rooms: One was bordello hot pink, another constructed to feel like a container ship, a third had a forest growing through it. My stark room, with a long wooden bench of a bed and simple, low table, struck me as a very elegant prison cell.
Three days after the first asylum seekers moved in, it became clear to the artists this was not just a utopian experiment in aesthetics and communal living when the first deportation letter for one of its residents arrived.
Gunzner, who teamed up with an Iranian artist to create the room, told me it symbolized freedom. The room is a homage to a Persian woman who moved with her family to Europe at the beginning of the 20th century and later became a spy against the Nazis. Gunzner pointed out illustrations of trees on the wall from Shiraz. “We are always trying to enrich each other and find out – sometimes through very slow processes – who the other person is,” she told me.
Left on my own, I walked downstairs to the refugee floor, and passed a half-dozen or so baby carriages crowding the stairwell. I had been warned I was only allowed to intrude if an asylum seeker invited me in. The founders of the hotel like to say they “only have guests – with and without asylum.” I was also struck by the strangeness of putting us all in one building as fellow travelers: people on holiday rubbing elbows with people who have been running for their lives.
Not far from Augsburg, in the aftermath of World War II, my other grandparents – on my father’s side – landed in a very different type of refugee camp, set up by the United Nations and largely funded by the United States. They were Polish Jews whose families had been slaughtered in the streets and in concentration camps. They survived the war in Siberian labor camps and in Uzbek villages, where my father was born.
In the desperate limbo of the displaced persons camp, they created a community – my grandfather took part in local governance; my father remembers a pet dog, Blackie, a synagogue and a school. What would my grandmother have said if artists lived upstairs and American tourists stayed for a week or two, temporarily sharing her first home outside Poland, the place where my father formed his first memories? Would she have appreciated the attention, or would she have felt like a monkey in the zoo?
The Shadow of the Past
It was not the first time that I had traveled to Germany and discovered echoes of my family’s past in my present, as I grapple with issues of migration, persecution and intolerance today as a journalist and academic.
A decade ago, I spent a little over a year researching contemporary guest worker policies in Berlin and Bonn. Despite my last living relative who survived the Holocaust reprimanding me that Germany was no place for a nice Jewish girl, I fell for the country’s bike and cafe culture, numerous lakes and deliberate approach to its troubled history. I almost always felt welcome as a Jew. Even my neighbor who was a neo-Nazi was dating a Venezuelan and liked to come over and chat with me. Another neighbor, whose grandfather had been active in Hitler Youth, became one of my closest friends.
Though I was sometimes disturbed by the recent stance that Germany was not a country of immigration, as well as the focus on integration – this notion some leaders interpreted as demanding that newcomers should cede their other cultural identities – I, in many ways, felt that Germany had dealt with its past in ways that could be a lesson to all nations.
Ten years later, I visited a Germany increasingly conflicted about its moral obligations as it confronted the refugee crisis. And in Augsburg the juxtaposition of this tolerant, generous nation and the pernicious shadow of its intolerant past were in stark relief.
I left the Grand Hotel on Sunday morning to meet other descendants of Augsburg Jews in the glorious sanctuary of the synagogue built in 1917. The descendants of those who fled the Nazis, or had the foresight or luck to leave before the war, had traveled from South Africa, Norway, Israel and across the United States. Civil leaders turned out in large numbers to pledge “never again.” It was a familiar message. But the synagogue’s attic museum reminded me how quickly a nation can shift toward hate. For the first time, it felt less like a history lesson and more like a warning that struck very close to home.
In Augsburg, the juxtaposition of this tolerant, generous nation, and the pernicious shadow of its intolerant past were in stark relief.
Created in 1985, the Augsburg synagogue houses the first independent museum in Germany dedicated to Jewish history. It tells the story of how there were only 1,500 Jews in Augsburg when the Nazis came, but they enjoyed comfortable local prominence. The synagogue is a clear sign of that position. Congregants built the sanctuary – one of the most beautiful I have ever seen, with its 95ft (29m) dome and an architectural style that spans from Byzantine and Oriental elements to Art Noveau – investing in what they imagined would be a vibrant future in Augsburg.
I was struck by a slide titled “Integration through Achievement.” The museum describes the dreams of these Jews, and it reminded me of the aspirations of many of the asylum seekers I met during my stay in Augsburg. They did not want just to live free from danger, they wanted an opportunity to be productive, successful German citizens. Chillingly, the museum concludes, the local Jewish communities were “extinguished totally.”
Looking Back, Looking Forward
In the year since my visit to the synagogue, I have covered U.S. authorities tearing apart asylum-seeking families as part of a larger, often vicious, crackdown. While I wish I could at least point to Germany today as a model of how to do things differently, the picture is unfortunately not so black and white.
In German elections last fall, the far-right anti-immigrant Alternative for Germany party – whose senior member maintains that the country should be more positive about its Nazi past – won 13 percent of the popular vote. According to current polls, the party is on track to win around a similar proportion of votes in upcoming regional parliamentary elections in Bavaria on October 14.
This year, the leader of Chancellor Angela Merkel’s sister party in Bavaria, Interior Minister Horst Seehofer, pushed her to clamp down on border policy. In the eastern German city of Chemnitz, far-right protests against immigrants in recent weeks were accompanied by xenophobic tirades.
In August Seehofer instituted the beginning of a new plan in Bavaria that could soon transform how asylum seekers are treated. In what he described as a national model, the goal is to expedite rapid deportations. Most new asylum seekers will be transported to institutions that can house more than 1,000 people, where they will not be in contact with anyone who is not an official or a lawyer or has specific permission.
“That’s the opposite of what we tried to do in the last years, now we are going two steps back,” said Tuelay Ates-Brunner, the managing director of Tuer an Tuer. “For people who will be rejected, nobody will see them, nobody will know them.”
“My first impression was that I felt like I was in a new world,” Saidy told me to the beat of Afro Pop on the jukebox. “The hotel is kind of incomparable.”
The Grand Hotel is located in Augsburg, an ancient German city on Bavaria’s tourist-trod Romantic Road. It is also the place where my mother’s father was born. He was one of the first boys to have a bar mitzvah in the ornate, domed synagogue in Augsburg – just a few years before the Jews were forced to flee or perished at the hands of the Nazis.
Nearly a century later, I went to stay at the Grand Hotel – one of Germany’s most radical refugee integration experiments.
Like so many inherited homelands, Augsburg was a mythical place for me, formed from family memories I had never lived – portraits of stern ancestors, the men with elaborate waxy mustaches, the buxom women with beautifully tailored clothes and lace collars. My Augsburg froze when the Nazis took over.
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