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Tag: Holocaust

Survivors living in squalor

Survivors living in squalor

Survivor Mitzvah Project’s Zane Buzby, centre, in 2012 with Abramas and Malka Dikhtyar, the last two Jews in Bazaliya, Ukraine, the birthplace of Buzby’s grandfather. (photo from Survivor Mitzvah Project)

It is officially autumn and British Columbians are nesting, settling in for the cozier, slower season to come. For impoverished Holocaust survivors living in shocking squalor in eastern Europe, the impending winter is a time of danger and scarcity.

Like most people, Zane Buzby initially had no idea that there were thousands of destitute, aged survivors of the Holocaust living in subhuman conditions across the former Soviet Union. After she first encountered some of the poorest of the poor, she returned to her California home and searched for organizations that help them.

“I thought a lot of them must be doing this, even the big organizations that have Holocaust survivor programs,” she recalled recently. “I called every single one of them, [asking] specifically what are you doing? It’s nothing. They’re not helping people financially. No one was doing with this.”

The Claims Conference, which was created by the German government to aid survivors of the Holocaust, has proven useless to most of these individuals.

photo - Survivors Isak and Galina in hospital
Survivors Isak and Galina in hospital. (photo from Survivor Mitzvah Project)

“If you were in a concentration camp – and the Germans kept really good records – if you survived Auschwitz, they have your name … [even so], most people have to hire an attorney,” Buzby said. The survivors she helps don’t have records, partly because the Holocaust in the east was typified by on-the-spot mass murder by Einsatzgruppen killing squads rather than concentration camps. And the few survivors in eastern Europe today do not have the resources to apply.

“They don’t have computers, they don’t have people advocating for them, there’s no lawyers out there,” said Buzby.

photo - Survivors Isak and Galina in their younger days
Survivors Isak and Galina in their younger days. (photo from Survivor Mitzvah Project)

In many cases, they also don’t have the money to pay for heating fuel, let alone medications or doctors. Some may have a pension of $10 a month, others have no income whatsoever. Food can be very scarce and many of the survivors are the last, or among the last, Jews in their villages, making their final years bleak and lonely.

Buzby took it upon herself to help. She formed the Survivor Mitzvah Project in 2001 and has helped thousands of the most desperate, destitute survivors. (See also jewishindependent.ca/oldsite/archives/may08/archives08may02-01.html.)

“This is the last generation of Holocaust survivors and we are the last generation who can say that we helped,” she said. “Everyone turned their back in 1939 but today we can do something to help them and we should.”

The Survivor Mitzvah Project (SMP) doesn’t try to create the infrastructure of social services or initiate major projects. The goal is simple. Get some money into the hands of the most destitute Holocaust survivors as quickly as possible.

“We try to give them between $100 and $150 a month to get food, heat and medication, so it comes out between $1,800 and $2,000 a year per survivor,” she said. “Of course, we don’t have the money, we don’t bring in enough money, we don’t have enough donors to help everyone every month and that’s the sad part. That’s why this is really a call to action. There is no tomorrow for these people. They need money now.”

Buzby, an actor and TV director before she became obsessed with helping destitute survivors, finds recipients through word of mouth, traveling to villages and asking around for Jews or looking for signs of Jewish life. Often, she said, survivors lead her to others. She recalled a particular example.

photo - Some survivors are living in huts – “no running water, no heat, broken windows.”
Some survivors are living in huts – “no running water, no heat, broken windows.” (photo from Survivor Mitzvah Project)

“When I went there, to this little village, it was in such poverty, it was unimaginable, unbelievable poverty. No bathroom, no running water, no heat, broken windows,” she said. “A lot of these people made the huts they live in themselves out of mud and straw bricks after the war. It needs to be refurbished every year but now in their old age they can’t do it, so ceilings fall in. I gave [a woman] $800 and, on the way out, she pulls on my jacket and says to me through a translator, ‘Can I split this was someone?’ And I said, ‘Who are you going to split it with?’ ‘There is a woman down the road who is much worse off than I am.’ And I thought, how could anybody be worse off than you are, so I said come with us and take us to this woman. So we went to see the second woman and she was very bad off, so she was put on the list, and that’s how it goes.”

The Jews in these villages are often surrounded by non-Jews who are also destitute, said Buzby.

“There’s always poor people to help, God knows,” she said. “But for the Jewish people who survived the Holocaust, not only were their families decimated and murdered, their communities were obliterated, especially if they were in the east, they were burned to the ground. There’s no community, there is no rabbi, there’s no Jewish community, there is no shul, there’s no sister, brother and uncle, there is no support system. So, these [non-Jewish] villagers, even though they are also poor, they have large families, they have maybe a church, they have community. These [survivors] have no community. There is absolutely nothing supporting them.”

photo - Basya Kreyn with her prewar photo, Belarus
Basya Kreyn with her prewar photo, Belarus. (photo from Survivor Mitzvah Project)

Holocaust survivors in eastern Europe have one thing in abundance, Buzby clarified. Antisemitism.

“Rampant. Terrible,” she said. “There’s more antisemitism now than there’s ever been.”

In places, neo-Nazis march openly on the streets. Fascistic parties are gaining strength across eastern Europe. In Vilnius, Lithuania, kids dress up as “Jews” in masks with exaggerated features that are perceived as Jewish and trick-or-treat, demanding money. War-era Nazi collaborators are being rehabilitated as national heroes, she said.

The relationships between the few surviving Jews and their neighbors is additionally fraught because of the high levels of collaboration between the Nazi invaders and the native populations in the east. The almost complete destruction of the Jewish communities of Lithuania – an estimated 95% of the Jews there were killed – is credited to the assistance of Lithuanians. The Simon Wiesenthal Centre has said that Ukraine, for example, has never initiated any investigation into collaboration or prosecuted a perpetrator.

The Survivor Mitzvah Project gets almost no institutional help. Buzby said she routinely contacts major foundations but they demur, saying they support various organizations that assist survivors. But the survivors Buzby has tracked down have fallen through the cracks of whatever institutionalized assistance might be available.

What they do get is support from some of Buzby’s show biz colleagues. Buzby’s acting career includes turns in some of the classic comedies of the 1970s and ’80s, including Up in Smoke, National Lampoon’s Class Reunion and This is Spinal Tap. As a director, she worked on sitcoms including The Dick Van Dyke Show, Golden Girls, Newhart and Blossom. She has brought entertainment figures together for emotional events in which luminaries including Valerie Harper, Ed Asner, Frances Fisher, Elliott Gould, Lainie Kazan and Chris Noth read letters from survivors SMP has helped, who speak about their hardships and the difference the assistance has made in their lives. A powerful video of one of the events is online at survivormitzvah.org.

SMP has hit the $1 million a year mark, but Buzby estimates she needs $2.5 million to meet demand.

“This is an opportunity for people to change the course of history for the survivors,” she said. “Everybody has monuments and raises money for and builds museums for remembrance of those that perished, which is absolutely as it should be. But what about those that survived?”

The coming of the cold winter adds urgency to Buzby’s work. So does the obvious march of time, she said, as the remaining survivors near the end of their lives.

“It’s a time that’s never going to come again,” she said.

For more information or to donate, visit survivormitzvah.org or canadahelps.org.

Format ImagePosted on October 16, 2015October 19, 2015Author Pat JohnsonCategories WorldTags Holocaust, SMP, Survivor Mitzvah Project, survivors, Zane Buzby
Ullmann’s last work

Ullmann’s last work

Viktor Ullmann, 1924. (photo from Arnold Schoenberg Centre Los Angeles)

The memories of City Opera Vancouver’s production of The Emperor of Atlantis in 2009 still resonate. Written by Viktor Ullmann (composer) and Petr Kien (librettist) in 1943-44 at Theresienstadt concentration camp, its stirring score and lyrics, both of which, remarkably, reflect hope for a positive future, stay with you. No doubt, Project Elysium’s Cornet: Viktor Ullmann’s Legacy from Theresienstadt will have a similar effect.

In two public performances (and one private), the group Elysium will present Cornet, the last work that Ullmann finished before he was deported to Auschwitz on Oct. 16, 1944, and killed there two days later. Set to excerpts from Rainer Maria Rilke’s The Lay of Love and Death of Cornet Christoph Rilke, it tells the “tale of a young soldier who experiences love and death in a single night.”

Combining recitation and piano, the piece will be performed by pianist Dan Franklin Smith, who is also music director of Elysium, with Gregorij H. von Leïtis, who is the group’s founder (in 1993) and artistic director, among other things. The evening will include Ullmann’s Piano Sonata No. 6, Op. 49, written in Theresienstadt in 1943, and a lecture by Michael Lahr, Elysium program director and executive director of the Lahr von Leïtis Academy and Archive. Project Elysium was created by Vancouver performer and producer Catherine Laub to bring Elysium to Canada.

“In honor of the 70th anniversary of the end of WWII, Elysium – an organization focused on performing music of composers persecuted during the Nazi regime – is coming to Canada for the first time to present a concert of Viktor Ullmann’s music. One of the concert dates will be the actual date 71 years ago that Ullmann arrived in Auschwitz from Theresienstadt and was immediately put to death,” Laub told the Independent. “The focus of the endeavor is not to dwell on the suffering and death of this artist but to celebrate a man who created beauty during an intensely painful time, and be uplifted by artistry that justly survives his shortened lifespan. In Michael Lahr’s words, ‘The adamant will to live, the unshakable hope that good will prevail no matter how horrible the attempt to crush it – this is the message of Ullmann’s music from Theresienstadt. Elysium offers Ullmann’s music as a powerful symbol of hope.’”

In addition to being a performer, composer and teacher, Laub has been a concert producer since she moved to Canada from the United States in 2006. She founded the Erato Ensemble, with William George, and has been involved on the production side with various other ensembles. Since the creation of the monthly Sunday concert series at Roedde House Museum in 2012, of which she is artistic director, she said, “I have started to focus more energy on being aware of which artists and which projects are poised to bring important gifts to audiences and communities in Vancouver. Project Elysium is the largest-scale project I’ve been involved with from an organizational standpoint, and it’s unique in that I’m not wearing my performance hat at all.”

The Project Elysium concerts, she said, “have been in the works since December 2013, when I reconnected with Gregorij von Leïtis and Michael Lahr on a trip to Munich. I first worked with them when I was fresh out of graduate school and participating in their young artist program. In the years since, I had become more familiar with the second part of their mission statement: ‘… fighting against discrimination, racism and antisemitism by means of art.’ It inspired me that here were people with a clear artistic mission as well as a humanitarian focus. In today’s world, where we all expect quick sound bites and instant gratification, it has to be clear why live performance and the arts – beyond big-budget Hollywood – are relevant and important. This seems like a clear answer to me, and it’s never been more important to be reminded of what happens to the world when we don’t listen to such messages.”

image - Drawing of composer Viktor Ullmann by Petr Kien, graphic artist, Theresienstadt inmate and librettist of The Emperor of Atlantis
Drawing of composer Viktor Ullmann by Petr Kien, graphic artist, Theresienstadt inmate and librettist of The Emperor of Atlantis. (image from project-elysium.org)

“Never forget.” This was one of the reasons that City Opera Vancouver decided to produce The Emperor of Atlantis.

Artistic director Dr. Charles Barber first encountered Ullmann’s music when he was in graduate school at Stanford. “I had made friends with Lotte Klemperer, daughter of the great conductor Otto Klemperer,” Barber told the Independent. “She and her father knew his work, and she introduced me to Ullmann’s broken life and unbroken promise. We listened to recordings together, and Lotte told me about his music and its time.”

Barber also knew Ullmann’s work through violin teacher Paul Kling. “He had played Ullmann’s music, knew it intimately, and was imprisoned with him at Theresienstadt. Prof. Kling considered Ullmann one of his teachers, and strongly believed in his genius.”

While Ullmann and Kien did not survive the Holocaust, Kling did, and, said Barber. “I felt an obligation to help maintain, in his name, the music that might have been.”

The choice of Atlantis, said Barber, had to do with “its unique story, its historical context and its relevance today.” City Opera presented it “in partnership with the Vancouver Holocaust Education Centre, and they were wonderful collaborators in bringing this British Columbia première to the Rothstein Theatre.

“City Opera specializes in chamber opera: the small forms, the intimate eloquence, the affordable advantage. Atlantis met all of these criteria, and more. The music is wonderful, the libretto is bold and vivid, the voice is favored and the audience was moved. It’s what we hoped to achieve, and it’s what we tried to honor.” (For more on the 2009 production, visit jewishindependent.ca/oldsite/archives/feb09/archives09feb06-01.html.)

While Barber, unfortunately, won’t be able to attend Elysium’s Cornet concert – he will be in Quebec City with COV, conducting its opera Pauline – he put the program into context. He said, “It highlights Ullmann’s gifts: concision, wit, superlative technical accomplishment, daring, and a strong foundation in European musical traditions.

“Ullmann’s significance in musical history is, alas, limited. He was one of the great lights in a musical generation destroyed by the Nazis. We will never know what his place would have been; we only know what it might have been. In his 46 years, he seems to have composed as many works. Only 13 survived him after he was killed at Auschwitz.

“His music works for me, and I think will for the audience coming up, because of its eclecticism. Ullmann was an authority on many sources, he drew widely upon them, but found a voice that was unlike others of his day. He was not an academicist. He wrote for real people, and presumed in them a shared awareness of musical and cultural traditions, and a desire to advance them – playfully, skilfully and imaginatively.”

“While it isn’t possible to rewrite history,” said Laub, “this project functions as a kind of musical ‘rescue mission,’ bringing recognition to a brilliant composer whose work was nearly lost to us. His story and his music allow us to make a more personal connection to a time that is almost too overwhelming to contemplate. This connection is essential as it helps us not only mourn but learn.”

Echoing these comments, Barber said, “These concerts will not be a funeral procession. Ears will be challenged, knowledge will be deepened, and awareness will be empowered.

“According to my teacher Paul Kling, the real Ullmann was a witty and profoundly learned man who delighted in sharing knowledge and in jolting listeners. What an irresistible combination.”

Cornet will take place Oct. 16, 8 p.m., at the Cultch’s Historic Theatre, and Oct. 17, 8 p.m., at Pyatt Hall. Tickets ($30/$20) are available from the Cultch box office, 604-251-1363, and tickets.thecultch.com/peo.

Format ImagePosted on October 9, 2015October 8, 2015Author Cynthia RamsayCategories MusicTags Catherine Laub, Charles Barber, Cornet, Elysium, Emperor of Atlantis, Holocaust, Viktor Ullmann
Memorials to millions

Memorials to millions

Ian Penn’s exhibit at the Zack Gallery, Pole, “isn’t happy but it’s genuine.” (photo by Olga Livshin)

The poignant tale behind Pole, Ian Penn’s new multimedia exhibit at the Zack Gallery, is a bleak travelogue detailing his recent journey to Poland.

Although Penn’s family came from Poland – his parents were lucky to have escaped the Holocaust and settled in Australia – he never wanted to visit the country of his ancestors. “My mother said she would never set a toe in Poland,” he told the Independent.

Growing up in Australia, Penn moved to Vancouver, where he worked as a cardiologist for many years. He is mainly retired now but still teaches at the University of British Columbia and works as a medic with the emergency-response ski patrol in Whistler.

“When I retired, I enrolled in Emily Carr,” he said. “I graduated in 2010 with a bachelor’s in fine arts but I’ve always kept a visual diary, since university. I have hundreds of little albums at home. Wherever I am, wherever I go, I draw and write in them. It’s how I explore the world.”

He paints regularly, landscapes and figurative images. “For me, painting is a way of telling a story, one of many. There are other ways, too: words, sculpture, video, photography. I used the multimedia approach for this show because I wanted to bring all those ways together, see how they fit. The show is a story of Jewish soul.”

Penn found his subject in Poland. He had resisted making the trip for a long time, until a couple years ago. “My daughter said to me then, ‘It’s time to visit your history,’ so I made the decision to go,” Penn explained. “I have a friend in Australia. We have known each other for a long time. He is a Pole, he speaks Polish, and he wanted to take me. He said we should both read a few books first to prepare ourselves, books about the plight of Jews in Poland during the war, but written by Poles, not Jews. We didn’t want to go as tourists. We wanted to understand.”

Nonetheless, Poland shocked him. “There are almost no Jews left there, and the ones who remain don’t know anything about Jewish culture. I went to a synagogue and I had to say Kiddush because nobody there could speak Hebrew. But the Poles – they exploit Jewish history. They charge 23 euros for a trip to Auschwitz. They have those happy golf carts all around Krakow and they take you to the Schindler’s factory and to the ghetto. They sell Jewish souvenirs, but who made them? Not Jews. This is not how you engage in history. They made a commodity out of our tragedy, of the Jews killed by the millions. It’s like Horror Disneyland. I couldn’t stay there more than one week.”

Penn found most of the Jews of Poland in the cemetery. “There, every stone has a name written on the tombstones, remembered, while those who died in Auschwitz are just dust. I learned that Nazis burnt 1,000 people an hour in the ovens in Auschwitz. I tried to wrap my head about the number. That’s why I did this show. It’s about those thousands of souls.”

All of the works displayed in the show bear the same name, “1000 Marks.” By creating the paintings, Penn wanted to visualize his non-memories, remember something he had never witnessed. Five paintings are similar: dead trees, brown and dreary, wooden poles striving to reach the sky, one pole for every Jewish soul that didn’t have their name written somewhere. Together, they form a memorial.

A couple other paintings have a subtitle: “From the Village to the Ramp.” They are painful to view, powerfully evoking the horrors of the Holocaust. So does the entrance to the gallery, decorated with two real wooden poles, with bark still on in some places, unpolished and branchless. The “Welcome Back” mat underneath them doesn’t look particularly welcoming either. There was a sign at the entrance to Auschwitz, too, and the correlations reverberate in the air.

“This show isn’t happy but it’s genuine,” said Penn. “It’s my response to the entertainment industry they made of the catastrophe. Their tourist trips have nothing to do with our dead families.”

The show also includes a few short videos, two of them filmed at the Jewish cemetery. The screens are mounted to the walls like paintings, continually running loops of footage. “I shot them myself,” said Penn. “There is serenity at the cemetery. And lots of greenery, living trees. I saw a man restoring the text on one of the tombstones and filmed him. I didn’t talk to him, didn’t ask him anything. He was doing a holy job. That was enough.”

A few more wooden poles, also part of the exhibition, are placed outside of the Zack Gallery. They are suspended above the atrium, where the stairs lead down to the Vancouver Holocaust Education Centre.

“They are uprooted, like all of us whose parents left Europe,” said Penn. “The poles come from the UBC Endowment Lands and from the Whistler area. They remind me of the trees in the Jewish cemetery but they are also my connection to this place, to Canada.”

The show Pole opened on Sept. 10 and continues until Oct. 11.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Format ImagePosted on September 18, 2015September 17, 2015Author Olga LivshinCategories Visual ArtsTags Holocaust, Ian Penn, Poland, Zack Gallery
Adler amends bio, posters

Adler amends bio, posters

The photo tweeted Aug. 16 by Walrus editor Jonathan Kay of Mark Adler’s original campaign office sign. (photo from @jonkay)

Conservative MP Mark Adler has removed a reference in his online biography in which he described himself as the first child of a Holocaust survivor to be elected to Parliament.

The move came after an Aug. 17 Canadian Jewish News story revealed that Raymonde Folco, a Liberal who served as a Montreal-area MP from 1997 to 2011, preceded Adler in that distinction, and that Folco was herself a child survivor of the Holocaust.

The Adler campaign also changed a large building sign outside his campaign office that contained a reference to the candidate being the son of a Holocaust survivor, which was removed and replaced with a message about “keeping our taxes low.”

The York Centre MP found himself at the centre of controversy after Walrus editor Jonathan Kay tweeted a picture Aug. 16 of Adler’s original campaign office sign containing his claim about being the son of a survivor. “And who needs Yad Vashem when Holocaust awareness is now being promoted on partisan Conservative signage?” Kay tweeted with the photo.

Adler’s current online biography continues to describe him as “a child of a Holocaust survivor … [who] has passionately dedicated his time to raise awareness about discrimination and antisemitism throughout the world.”

In a prepared statement, Adler said, “Throughout my life, I have advocated for Holocaust remembrance – so that all Canadians will remember the great evil of the Second World War and never forget. My father came to Canada after surviving the horrors of a Nazi death camp, and chose Canada based on the values that continue to unite us: democracy, freedom, human rights and the rule of law.

“I am proud to serve our country and deliver on the priorities of residents in York Centre – including advocacy for the security of the state of Israel and the promotion of democratic values abroad. I share the concern of many residents who are alarmed by the global campaign to isolate and denounce Israel, and the moral relativism that was embraced by past governments who equivocated on the defence of the Jewish state.”

Adler’s NDP opponent, Hal Berman, a palliative care physician, criticized the MP on his own Twitter feed, saying, “Shame on you using #Holocaust for political gain. #yorkcentre deserves better – I am in this for voters.”

Ironically, Berman is also the child of Holocaust survivors. In his own web bio, the Montreal-born Berman points out his “grandparents and mother arrived to start a new life after the Holocaust.”

Meanwhile, Folco said she found it “disgusting” for Adler “to use the Holocaust in this way, for personal ends.” As an MP, she never publicized her status as a child of Holocaust survivors, while Adler is “profiting” from it.

“Whether he is the first or 15th, I should think it is your record that matters: what you’ve done and what you intend to do for Canadians, when elected,” she told the CJN.

Adler is far from the first politician to draw attention to unique circumstances in their personal background.

In Vancouver, Liberal candidate Harjit Sajjan, who served in the Canadian Armed Forces and received the Order of Military Merit, noted in his web biography that he “is the first Sikh to receive this award and continues to be a role model for youth across the country as he prepares to serve his country in new ways.”

Retired senator Vivienne Poy, a Liberal, is described on the parliamentary website as the “First Canadian of Chinese origin appointed to the Senate.” She notes on her own website that she “was the first Canadian of Asian descent to be appointed to the Senate of Canada.”

High-profile NDP candidate Olivia Chow mentions her unique circumstances in her online biography, as well: “Olivia was born in Hong Kong and moved to Toronto with her parents when she was 13. In 1991, Olivia became the first Asian-born woman elected as a Metro Toronto councilor.”

And, south of the border, Hillary Clinton, the front-running Democratic Party presidential candidate, in a statement designed to appeal to new Americans, said during the campaign that her grandparents had immigrated to the United States. However, that comment was inaccurate. Three of her grandparents were born in the United States and the fourth immigrated to the country as a young child.

– For more national Jewish news, visit cjnews.com.

Format ImagePosted on August 28, 2015August 27, 2015Author Paul Lungen CJNCategories NationalTags Conservatives, federal election, Holocaust, Mark Adler, Raymonde Folco

Adler’s action unseemly

The memory of the Holocaust is frequently misused and abused. Enemies of Israel exploit the memory and imagery of the Shoah, using it against Zionists to deliberately cause pain. Many people unintentionally diminish this history by nonchalantly throwing around terms associated with the Nazi era.

Earlier this year, Project Democracy, a group that aims to convince Canadians to vote for the candidate in their riding most likely to defeat the Conservative candidate, produced a meme with a picture of Prime Minister Stephen Harper and the words: “Canadians fought fascism from 1939 to 1945. Why vote for it now?” This from an organization that has as the first line on its Facebook page: “Our objective … is to *raise* the bar of Canadian political discourse, not *lower* it.” Fail.

It may be especially bewildering to see those who, of all people, should know better, exploit tragic history. Recently, there was a tempest involving Ontario Conservative MP Mark Adler (again).

Adler was the MP who embarrassed himself, his party and the prime minister while on a trip to Israel last year. Harper was praying at the Western Wall when Adler, in perfect proximity to a media microphone, urged one of the PM’s handlers to let Adler get in the picture.

“This, it’s the reelection,” said Adler, whose riding has a significant concentration of Jewish voters. “This is the million-dollar shot.”

The incident undermined the Conservative party’s insistence that its support for Israel is principled, not political.

Last week, Adler was criticized for appearing to exploit his family’s own history when he advertised himself as a son of a Holocaust survivor.

This is not irrelevant information. Being Jewish and being a son of a Holocaust survivor almost certainly has an impact on the manner in which Adler’s worldview has been shaped. It was pointed out, in his defence, that other people have proudly declared their own unique heritage such as, in one instance, being the first Canadian of Asian heritage appointed to the Senate. Fair enough.

But Adler’s fault here is twofold. First, he proclaimed himself the first child of a Holocaust survivor elected to Parliament, which was quickly corrected by former Liberal MP Raymonde Folco. Folco, who represented a Montreal-area riding from 1997 to 2011, is not only a child of Holocaust survivors but a child survivor herself. She told Canadian Jewish News (see story on page 4) that it was “disgusting” for Adler “to use the Holocaust in this way, for personal ends.” She did not publicize her family’s experience before, she said, accusing Adler of “profiting” from his.

Ouch. But being incorrect on whether he was the first or second child of survivors pales when compared with the form of his use of this family history. On a large banner printed for the window of his campaign office – which has since been changed – there were four points he wanted voters to take away: “Son of a Holocaust survivor” topped the list. This was followed by “Raising my family in Bathurst Manor” (a heavily Jewish neighborhood), “Strong supporter of Israel” and “Keeping our community and the economy strong.” On another banner, the wording and order varied, but the messages were the same.

We get it. You like us. You’re one of us. But this is just unseemly.

 

 

Posted on August 28, 2015August 27, 2015Author The Editorial BoardCategories From the JITags federal election, Holocaust, Mark Adler, Project Democracy, Raymonde Folco
Journey is a crucial experience

Journey is a crucial experience

The Coast-to-Coast March of the Living group, as well as a few Israeli youth, in Israel. (photo from Talya Katzen)

This past spring, I took part in the March of the Living 2015 program – a two-week trip to Poland and Israel, where people from 45 different countries are brought together to learn about the Holocaust and the current state of Judaism in Israel.

The trip was the most emotional and heartbreaking two weeks of my life. I never could have anticipated the kind of life-changing journey I was about to embark on.

photo - Participants in March of the Living stand together in front of the ashes of those murdered in the concentration camp, Majdanek
Participants in March of the Living stand together in front of the ashes of those murdered in the concentration camp, Majdanek. (photo from Talya Katzen)

The week in Poland was extremely draining, and I came to many realizations. I felt so strongly about things I simply cannot put into words. Our pre-trip informational sessions came nowhere near to preparing me for what I was going to witness. How can anything prepare you for walking through a gas chamber where, just 70 years ago, thousands of innocent lives were erased each day? Pictures may speak louder than words, but physically being there is like a blood-curdling scream right in your face.

Each day’s event was a new brick dropped on my shoulders and, as the bricks piled up, I came to appreciate more and more the wonderful life I have been blessed with. The weather in Poland was cold and windy, spitting rain into our eyes as we walked through extermination camps, cemeteries and ghettos in our warm down coats and hats. Our complaints about the cold were no match to the below-zero temperatures that those starving prisoners in the thousands of concentration camps across Europe had to face day in and day out.

The tour of Majdanek concentration camp was truly an experience that will be with me for the rest of my life. The defining moment of the journey was visiting the monument that holds the ashes of the victims of the camp. A recording of the prisoners, just liberated from Bergen-Belsen, singing “Hatikvah” began to play as we all stood hand-in-hand. My mind was blank and completely full at the same time. The mutual sorrow all we marchers felt was overpowering. A connection to one another that I doubt will ever be broken.

photo - Left to right, Talya Katzen, Hayley Kardash, Shauna Miller and Alyssa Diamond participate in Yom Ha’atzmaut celebrations in Israel
Left to right, Talya Katzen, Hayley Kardash, Shauna Miller and Alyssa Diamond participate in Yom Ha’atzmaut celebrations in Israel. (photo from Talya Katzen)

This feeling of grief was flipped on its back upon our arrival in the beautiful state of Israel, a country that is now home to Jews who have survived some of the worst events in history – and prospered. I was fortunate to be there during the festival that celebrates Israeli Independence Day. Israelis gather together to celebrate community and overcoming many hardships. Having just experienced the height of grief in Poland, I could not have been more grateful for Israel, and the promise it holds for the Jewish people. Of course, our celebrations of freedom were constantly overshadowed by the memory of those who perished in Europe, who never had the chance to visit our homeland. It made me realize how absolutely crucial it is for young Jewish people of the world to experience this journey so that we may never forget.

March of the Living taught me that I have family all over the world who are just as passionate about keeping Judaism alive as I am, and that it is completely up to us to carry the torch from generation to generation, to keep the flame of the Jewish people burning forever. I am a third-generation survivor and it is my duty to be a witness, to live out the lives of those who never had the chance to see their 10th or 18th or 85th birthday simply because of who they were. Hitler and the Nazis may have been successful in murdering millions of people who didn’t fit their blueprint of the ideal race, but they failed miserably in taking away our Jewish identity. I am a person, I am a witness, I am a Jew, and no one can take that away from me.

Talya Katzen originally wrote this article as a Lord Byng Secondary school assignment. Jewish Federation of Greater Vancouver offsets the cost of March of the Living by $2,000 for each local participant. The funds for this are generated through the Federation annual campaign, and are distributed to participants through the Israel and Overseas Connections fund. Jewish Federation also provides support through staff resources, program leader training and participant education.

 

Format ImagePosted on July 24, 2015July 22, 2015Author Talya KatzenCategories Op-EdTags Holocaust, Israel, Majdanek, March of the Living, Yom Ha'atzmaut

The JI wins two Rockowers

Earlier this month, the American Jewish Press Association announced the winners of this year’s Simon Rockower Awards for Excellence in Jewish Journalism, which honor achievements in Jewish media published in 2014. In its division (newspapers with 14,999 circulation and under), the Jewish Independent garnered two first places.

image - 2015 Rockower Winner  First Place SealPublisher and editor Cynthia Ramsay won the first place award for excellence in writing about Jewish heritage and Jewish peoplehood in Europe for her article “World Musician at Rothstein” (Nov. 21, 2014), about the work of Lenka Lichtenberg. The group Art Without Borders was bringing Lichtenberg to Vancouver from her home base of Toronto for a solo performance at the Norman and Annette Rothstein Theatre. The article includes reviews of Lichtenberg’s three most recent CDs and how, in all of her music, “the memory and traditions of those who have lived before can be heard – they are celebrated, and merge with the memories, traditions and passions of Lichtenberg and the artists with whom she collaborates.”

The JI editorial board – Pat Johnson, Basya Laye and Ramsay – won the paper’s other award: first place for excellence in editorial writing. The three editorials that comprised the winning entry were “The message is universal” (March 7, 2014), about plans for the Canadian National Holocaust Monument to be constructed in Ottawa; “The spirit of Limmud” (Feb. 14, 2014), about how the vision and passion of one woman, Ruth Hess-Dolgin z”l, significantly enriched our community by initiating the movement to bring Limmud here; and “Uniquely set apart for exclusion” (May 9, 2014), about the Conference of Presidents of Major American Jewish Organizations decision to exclude J Street from the group.

The Rockower awards will be presented at AJPA’s annual conference, which, for the second year in a row, is scheduled around the Jewish Federation General Assembly being held in Washington D.C. Nov. 8-10. AJPA sessions will be held Nov. 9-11. The entire list of Rockower winners can be found at ajpa.org/?page=2015Rockower.

Posted on June 26, 2015June 25, 2015Author The Editorial BoardCategories From the JITags AJPA, American Jewish Press Association, Basya Laye, Conference of Presidents of Major American Jewish Organizations, Cynthia Ramsay, Holocaust, J Street, Lenka Lichtenberg, Limmud, Pat Johnson, Rockower, Ruth Hess-Dolgin

Teaching on the Holocaust

One of the most powerful books I read as a preteen was Fran Arrick’s Chernowitz. A young adult novel about bullying and antisemitism, I recently revisited it as I read it aloud to my own kids. Told mostly in flashback form, the novel leads up to an episode of revenge by the victim to the antisemitic bully, followed by a school assembly about the Holocaust led by the school principal as an attempted antidote. While the victim goes through tremendous personal growth as he realizes the limits of vengeance, his tormenter is portrayed as blinded by bigotry and beyond redemption.

I wondered how the themes would hold up a generation later and in the context of my own kids’ lives. Given that at the time I first read it I attended Jewish day school and was surrounded by almost all Jewish friends, I wondered how my kids – who are one of only a few Jewish kids at their large public elementary school – would react. I like to think that their Jewish identity is solid and their friendships nurturing enough to feel secure from the ignorance from which racism and prejudice stems. On this, time will tell.

The theme of revenge is also apt in today’s political climate, where cycles of violence are all too prevalent on a global scale. While it can taste sweet at the time, revenge – rather than justice-seeking – all too often leaves a bitter aftertaste. The book succeeds in mining this ethical complexity. I also appreciate the author’s unvarnished treatment of bigotry and the lesson around how important and sometimes challenging it is to keep parent-child communication open and flowing.

But the book’s final scene – that of the school assembly where graphic Holocaust footage is shown to the students – left me wondering. Assuming empathy and awareness are good antidotes to all kinds of prejudice including antisemitism, how much exposure is too much, particularly when it comes to images of Nazi atrocities?

My own kids know that their paternal grandfather was a survivor of Auschwitz. They have heard of Hitler – he is a common word in their vocabulary, for better or worse, and they know something of the Holocaust. But, as I read the final pages of Chernowitz to them aloud, I found myself omitting much of the excruciatingly graphic imagery, which included references to Mengele’s victims.

When it comes to Holocaust education, the consensus now seems to be that graphic imagery should be used “judiciously,” in the words of the U.S. Holocaust Memorial Museum – and “only to the extent necessary to achieve the lesson objective. Try to select images and texts that do not exploit the students’ emotional vulnerability or that might be construed as disrespectful to the victims themselves,” the museum advises educators on its website.

Julie Dawn Freeman, a professor of history, has warned that exposing students to too much graphic imagery can backfire in multiple ways: it can desensitize students to the subject, it can provide students with a sense that classroom trust has been violated, it can unwittingly provide a voyeuristic experience and it can dehumanize as well as stereotype the victims.

On all of these counts, the fictional principal’s shocking assembly, while well-intentioned, probably failed.

For these and other reasons, many of us have tended to focus on individual perspectives. In this vein, Anne Frank’s diary has, of course, had great impact. And many educators have made wonderful use of direct survivor testimony. When my father-in-law Bill Gluck was younger, he made a point to visit Vancouver schools and community centres to share his tale of survival. I have been fortunate to host Ottawa’s David Shentow in my course at Carleton. But, as we know, and as my own family experienced firsthand this year with the loss of my father-in-law, our own loved ones in the form of Holocaust survivors won’t be around forever.

Prejudice, hatred, suffering and revenge are heady themes for kids and preteens. Whatever our methodology for getting students to think ethically, at the very first, we can work our hardest to get them to think about basic impulses like kindness.

Mira Sucharov is an associate professor of political science at Carleton University. She blogs at Haaretz and the Jewish Daily Forward. This article was originally published in the Ottawa Jewish Bulletin.

Posted on June 26, 2015June 25, 2015Author Mira SucharovCategories Op-EdTags Bill Gluck, Chernowitz, David Shentow, Fran Arrick, Holocaust
Help Ringelblum doc

Help Ringelblum doc

Emanuel Ringelblum (left), Rachel Auerbach (third from the left) and other Jewish intellectuals in Poland, 1938. (photo from whowillwriteourhistory.com)

Many Vancouverites will remember the 2008 traveling exhibit hosted by the Vancouver Holocaust Education Centre called Scream the Truth at the World: Emanuel Ringelblum and the Hidden Archive of the Warsaw Ghetto. It provided an overview of Warsaw historian Ringelblum and a secret group, Oyneg Shabbes (Joy of Sabbath), who during the Holocaust worked to document and preserve material relating to their experiences. The artifacts they buried in milk cans and metal boxes – some 30,000 items – were found in the rubble of the Warsaw Ghetto in 1946.

Now, Katahdin Productions is raising funds to make a feature documentary about Ringelblum and the Oyneg Shabbes archive. The film, Who Will Write Our History, is based on the book of the same name by historian Samuel Kassow.

Writers, artists, scholars, journalists, poets and diarists, more than 60 diverse people, handpicked by Ringelblum, collected and recorded as much as possible about every aspect of life in the ghetto – poems, paintings, photographs, underground newspapers, essays on hunger, smuggling, the Jewish police, clandestine schools and literary evenings and more. Their common goal was to ensure that the truth would survive even if they did not, as was the case with Ringelblum.

Only three members of Oyneg Shabbes survived the war. Among them was Rachel Auerbach, a prolific writer who would spend the rest of her life memorializing Ringelblum and Oyneg Shabbes. It is Auerbach’s writing and point of view that will provide the narration and narrative structure of the film. She will be voiced in the film by Academy Award-nominated actress Joan Allan.

In 1946, before Auerbach left Poland for Israel, she and the other two Oyneg Shabbes survivors led rescuers to the location of the first cache of the ghetto archive. The rescuers unearthed 10 metal boxes that had been buried on the eve of the Warsaw Ghetto Uprising. A second cache of two milk cans was discovered when Polish construction workers were building new apartment buildings on the site of the former ghetto. The third cache was never found and is believed to be buried under what is now the Chinese embassy in Warsaw.

Directed and produced by Roberta Grossman with Nancy Spielberg as executive producer, Who Will Write Our History (whowillwriteourhistory.com) will make the story accessible to millions of people around the world. Katahdin Productions’ documentaries include Blessed is the Match: The Life and Death of Hannah Senesh, which won the audience award at 13 film festivals, was broadcast on PBS, nominated for a Primetime Emmy and shortlisted for an Academy Award; Hava Nagila (The Movie), which was the opening or closing night film at more than half of the 80 film festivals where it screened, and was released theatrically; and Above and Beyond, about Jewish-American pilots who volunteered to fly for Israel in its War of Independence, which earned 20 audience awards and critical acclaim. (For an article on the latter, visit jewishindependent.ca/spielberg-opens-film-festival.)

The goal of the Indiegogo fundraising campaign is to raise $100,000 to fund 10 days of shooting in Warsaw in fall 2015. On average, each day of shooting costs $10,000. Some days are much less expensive; for example, shooting exteriors of streets in Warsaw involves only a small crew. Other days are quite involved. For example, shooting recreations of key events in the story with props, costumes, actors, lighting, sets, stages, etc., requires a crew of 20+ people and costs as much as $20,000 per day. If the $100,000 goal is not reached, it will mean fewer filming days in the fall; if it is exceeded, there will be more, as needed to complete production.

For more information, including a video about Who Will Write Our History, visit indiegogo.com/projects/who-will-write-our-history-production#/story. There is about a week and a half left to contribute to the campaign.

Format ImagePosted on June 26, 2015June 25, 2015Author Katahdin Productions with JICategories TV & FilmTags Emanuel Ringelblum, Holocaust, Katahdin, Nancy Spielberg, Oyneg Shabbes, Rachel Auerbach, Roberta Grossman
Rescuing the Rafiach

Rescuing the Rafiach

A screenshot from Gad Aisen’s documentary, which has its Canadian première at the Rothstein Theatre June 28.

After the Holocaust and the Second World War, the British government that controlled Mandate Palestine severely limited Jewish immigration, continuing the restrictive policies from before the war. But the Jewish underground in pre-state Israel was operating a steady movement of illegal transports bringing Jews – mostly Holocaust survivors – from Europe to the Yishuv.

In November 1946, the ship code named Rafiach set off from Yugoslavia with 785 passengers. Twelve days into the voyage, a storm forced the ship to seek refuge in a bay on the tiny Greek island of Syrna but it ran aground and, within an hour, sank. The vast majority of passengers survived, crawling from the water onto the island, which is little more than a craggy rock, or jumping from the ship before it was fully immersed. It is not known exactly how many passengers drowned.

Among those who survived and eventually made it to Palestine were Lili and Solomon Polonsky z”l. Their daughter, Tzipi Mann, lives in Vancouver. She knew that her parents and some of their friends had been on the ship, but she had never delved into details. By the time her curiosity was piqued, her parents had passed away. But her quest to uncover the story of the Rafiach and its passengers has led to a documentary film that will screen here in its Canadian première on June 28.

Code Name: Rafiach is directed by Israeli filmmaker and television personality Gad Aisen, but he credits Mann as being the driving force behind the project.

Aisen is the creator of a TV show on Israel’s Channel 10 called Making Waves, about nautical topics. He served seven years in the Israeli navy before obtaining an MFA in cinema from Tel Aviv University. He had never heard of the Rafiach before he was approached by a student of Mevo’ot Yam Nautical School, who thought it would make a good topic for Aisen’s TV show.

Code Name: Rafiach is a story about Holocaust survivors finding a place in the world and also about the Jewish underground risking their lives to smuggle Jews into Mandate Palestine. There are many narratives of this sort, Aisen acknowledged, but the Rafiach’s tragedy and the rescue make this one especially poignant.

Because it is not possible to produce a story of nearly 800 people, the filmmaker decided to focus on a few individuals. One is Shlomo Reichman. Known to the circle of people around the film as “Shlomo the baby,” Reichman, now a grandfather, was thrown to safety from the ship.

“This man’s story was particularly touching because he was a newborn,” Mann said in a telephone interview. “He was three weeks old and he was tossed onto the rocks, but he wasn’t sure who tossed him. Was it his father, or was it someone else? For Shlomo, this has been sort of the core of his existence – who tossed me onto the rocks?”

The fact that the passengers were Holocaust survivors magnifies the impact of the incident, Mann said.

“If you can imagine Holocaust survivors having to deal with this,” she said. “There were so many personal, emotional issues attached to everything.”

In interviews, Mann and Aisen learned that adults who first made it to shore from the listing ship lay on the rocks to create a softer landing for those coming after.

For Mann, the Rafiach became a sort of obsession.

“In 2010, just one morning I thought, I need to find out more about this,” she said. “My intention was originally to try to write a book and I thought the only way I can do this is by being in Israel.”

She made arrangements to head for Jerusalem and enlisted the help of her cousin, Sara Karpanos, who lives there. They put an ad in an Israeli newspaper and the response was so overwhelming the pair had to rent a hotel space for a reunion of 200 Rafiach survivors and, in some cases, their children and grandchildren.

Unbeknownst to the two women, Aisen was already on the story. After being turned on to the history of the ship, Aisen had connected with an instructor at Israel’s naval high school who had led his students on a dive and recovered a couple of artifacts from the hulk of the Rafiach.

From what had seemed like lost history, Mann saw the story of the Rafiach begin to reveal itself. “A complete mystery was unraveling in front of me,” she said.

For Aisen, the story of the Rafiach “captured my heart, and I feel particularly connected to this story from many aspects, as a sailor, an Israeli and Jewish.”

To tell the history of the Rafiach in a documentary, he decided to use animation, which allowed him to be more creative than merely showing interviews with survivors.

“It enabled me to present the film in the present tense and not as a memory from the past,” he said. “It took me about six years to create the film, five journeys abroad, months in the archives, 300 hours of footage and a year’s work of three animators. But one of the more challenging things was to get to the wreck of the Rafiach and to dive and film inside.”

In a way, Aisen said, making the film let him vicariously live the life of an underground commander of an immigrant ship.

The Vancouver Jewish Film Centre presents Code Name: Rafiach on June 28, 7 p.m., at the Rothstein Theatre. Tickets are $10 and available at vjff.org.

Pat Johnson is a Vancouver writer and principal in PRsuasiveMedia.com.

Format ImagePosted on June 19, 2015June 17, 2015Author Pat JohnsonCategories TV & FilmTags Gad Aisen, Holocaust, Rafiach, Tzipi Mann, Vancouver Jewish Film Centre, VJFC

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