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Tag: murals

Bucharest a city of contrast

Bucharest a city of contrast

There is an abundance of street art in Bucharest. (photo by Deborah Rubin Fields)

What could be more Israeli than the hora? Well, truth be told, the hora is not Israeli! The word hora comes from Romania. And, like the origins of the hora, the Romanian capital, Bucharest, is a place where the unexpected should be expected.

When you walk along Bucharest’s broad boulevards, one word comes to mind – palatial. There is the former Cantacuzino Palace, today’s George Enescu National Museum; the Elisabeta Palace, the private residence of the former Queen Elizabeth of Greece (born Princess Elisabeta of Romania), following her 1935 divorce from King George II of Greece; the former Royal Palace, today’s National Museum of Arts; the Romanian Athenaeum, today a major concert hall; the Palace of the Deposits and Consignments, still a bank, but today called the CEC Palace; and the Palace of Parliament.

Bucharest once had strong ties to Paris, and French is still mandated in schools. It was called Little Paris, so it should not be a surprise to see that Bucharest’s Manu-Auschnitt Palace is a copy of Paris’s Hôtel Biron (today’s Rodin Museum). While smaller in size, many older private homes were built with stunning stone (perhaps even cement) arches and columns, bas reliefs incorporating figures of lions, men and women, shields, gryphons, eagles, the angel of death, and various free-standing sculptures. In this home, the windows are in national-romantic and neo-Romanian style. Paris-inspired art deco metal work appears on door grills, door overhangs and the tops of buildings. Five classy examples of art deco building in Bucharest are 1 Piata Sfântul Stefan; the Ministry of Justice at 53 Bulevardul Regina Elisabeta; the Telephone Company Building on Calea Victoriei; the “Union” Building on 11 Strada Ion Campineanu; and 44 Calea Calarasilor.

photo - The Old Palace of the Chamber of Commerce in Bucharest, a city full of former palaces
The Old Palace of the Chamber of Commerce in Bucharest, a city full of former palaces. (photo by Deborah Rubin Fields)

In addition to the number of stunning palaces, there is also an abundance of street art. Some of this street art is commissioned and appears on the sides of various buildings. It is often colourful and imaginative. There is, however, a lot of graffiti, which, apparently, began to appear after the 1989 Romanian revolt against the communist regime. Graffiti is illegal, but, as I was told, the consequences depend on the discretion of who catches the graffiti artist or how fast the artist can run.

Jewish presence in Romania dates to Roman times, when the country was a province called Dacia. The first mention of Jews in Bucharest is from the 16th century. Jews came to Bucharest from two directions: Sephardi Jews came from the south, mainly from the Ottoman Empire; later, Ashkenazi Jews came from the north. The latter, from Galicia or Ukraine, settled in Bucharest after having lived in Moldavia. As in other European countries, Jews were at various times tolerated, even integrated into general city life.  At other times, however, they were punished in one way or another.

The Jewish population of Bucharest grew significantly, particularly in the second half of the 19th century. In 1835, some 2,600 Jews lived there; this number jumped to 5,900 in 1860. In the 1800s, nine synagogues were constructed and, by 1900, the total Jewish population had risen to 40,500, making Bucharest by far the largest Jewish community in Romanian territory. By 1930, the city’s Jewish population was 74,480. Jews settled in virtually all the city districts, especially in areas where economic growth was fastest. Bucharest’s Jews laboured as artisans, metalworkers, merchants and bankers.

In the early 19th century, there were several instances in which Jews were accused of ritual murder. This led to violence and pogroms. While, on the books, Jews were to be given citizenship, government after government dragged its feet in making emancipation stick. In general, being Christian was a prerequisite for Romanian citizenship, although a complex naturalization process was theoretically made available to Jews. When, in 1866, Jewish French lawyer Adolph Crémieux came to Bucharest to help push for Jewish political emancipation, rioters attacked Jewish shops and synagogues. Toward the end of the century, many antisemitic organizations existed, due in large part to nationalist leader Alexandru C. Cuza’s political activities. In particular, his followers organized antisemitic agitation against Jewish students at Bucharest University. 

After Germany, Romania is directly responsible for more Jewish deaths in the Shoah than any other country. For most of the Second World War, Romania allied with Nazi Germany. According to official Romanian statistics, between 280,000 and 380,000 Jews were murdered or died in territories under Romanian administration during the war. Antisemitic legislation downgraded the identity of Jewish citizens to second-rate status: they lost the rights to education and health care, their property was confiscated, and they were forced to perform hard labour. In September 1942, approximately 1,000 Jews were deported to Transnistria.

Despite such treatment, most of Bucharest’s large Jewish community was spared the worst horrors of the Holocaust. Between 1941 and 1943, Bucharest-based Chilean charge d’affaires Samuel del Campo saved the lives of more than 1,200 Romanian and Polish Jews by issuing them Chilean passports, thus preventing their deportation to Nazi concentration camps.  A memorial stands in front of the former Ashkenazi Great Synagogue, commemorating the January 1941 paramilitary Iron Guard’s (Legionnaires’) savage murder of 125 Bucharest Jews, an action reminiscent of Nazi techniques, with the skinning of the victims and the hanging of them on meat hooks. 

Shortly after the Second World War, Bucharest experienced a great influx of Jews, as refugees arrived from concentration camps and from several areas in Romania where they continued to feel unsafe. By 1947, the Jewish population had grown to 150,000.

After the first years of the communist regime and the closing of Jewish welfare and religious institutions, Bucharest continued to be a centre of Jewish communal and cultural life due, in large part, to Chief Rabbi Moses Rosen, who coped with the inconsistencies and peculiarities of Romanian official policy – particularly during the 1965-1989 dictatorship of Nicolae Ceausescu. When former US ambassador Alfred Moses first visited Bucharest in 1976, a young Jew approached him saying, “Don’t believe what they tell you. The situation here is terrible, especially for Jews. We are blamed for everything that goes wrong. Help us get out. There is no future for Jews in Romania. Everything you hear is a lie, a lie, a lie.”

After the rebirth of the state of Israel, many Jews made aliyah. By 2000, only 3,500 Jews were left in Bucharest. Today’s Jewish life in Bucharest focuses on three synagogues, a community centre, a kosher restaurant and the Centre for the Study of the History of Romanian Jews. 

In 2021, a Romanian survey reported one-fourth of respondents saying they didn’t know or couldn’t say exactly what the Holocaust was. Another 35% said they couldn’t identify the Holocaust’s significance for Romania. In 2022, the populist Alliance for the Union of Romanians (AUR) opposition party called Holocaust education a “minor topic” when it was mandated in Romanian high schools. This party currently holds 12% of parliament seats and some people predict it will become a major political force in the near future.

On a more positive note, a few years after the death of Jewish Romanian Nobel laureate Elie Wiesel, at age 87, Bucharest memorialized him with a bust in the Piata Elie Wiesel. 

Finally, if you hear what sounds like a Slavic language spoken in Bucharest, it might just be Ukrainian. Since Russia began its attack on Ukraine two years ago, 11,000 Ukrainian men of conscription age have illegally fled to Romania. It is too early to say how this population will impact Bucharest life. 

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Format ImagePosted on September 20, 2024September 18, 2024Author Deborah Rubin FieldsCategories TravelTags Bucharest, Canadian Jewish Holocaust Survivors and Descendants, history, murals, palaces, Romania, street art
Windows into the shul

Windows into the shul

The Beth Israel Mural Project goes beyond the synagogue’s parkade, with a website that features each artwork, as well as information about the holiday depicted, and more. (screenshot)

Windows into the synagogue, windows into Judaism. The Beth Israel Mural Project features 13 works of art, each based on a Jewish holiday. Adorning the shul’s parkade, they welcome visitors.

“During COVID, Sy Brown started the Good Times Club at the BI. The goal was to bring in new programming into the shul for the over-50 crowd,” explained project manager Reisa Schwartzman. “We have had blood drives, book clubs and walking clubs. I came up with the idea to do a mural in the garage.

“At first, the idea was to do one large mural. The challenge was that there are parking signs that could not be removed so it motivated us to think out of the box a bit. The smaller framed murals allowed it to have the effect of being windows into the shul.

photo - Ramona Josephson was the lead artist on one of the two murals portraying Shabbat
Ramona Josephson was the lead artist on one of the two murals portraying Shabbat. (photo from Beth Israel Mural Project)

“The next steps were to call out to the congregation to see who would like to participate. At this time, all meetings were held on Zoom due to COVID. Once the committee had the members, we then went out to the congregation – we wanted the entire membership to feel included, to see what they wanted to see in the garage. The overwhelming feedback was the holidays.”

Volunteers were assigned a holiday and the committee helped with each image. “This is when the real work began,” said Schwartzman. “But, up to this point between COVID and summer holidays, it was two years.

“With Peter Sarganis, an amazing artist himself but also an art teacher, he guided us on the steps required to take our wonderful images through the multiple steps to get each image on the boards. Once the boards were ready to go, we met each Sunday afternoon for painting for several months. There were committed painters who would come in during the week to work as well. This was a labour of love! The energy in the room when we were painting was fabulous. Focused artists and painters working together to bring these works to fruition.”

Sarganis answered the callout to members because, he said, “As an artist, I thought it would be a creative way to combine my love of Judaism, the Beth Israel Synagogue, collaboration and painting.”

Sarganis became the project’s art director and a lead artist and designer of one of the two Shabbat works.

“I love Shabbat. From Friday evening family dinners; to Shabbat morning services; to the candles, wine, challah and artifacts used – I can simply say I love it,” Sarganis said of his choice of holiday to portray. “The Shabbat panel I designed and painted is an abstracted representation of our family’s candle holders, Kiddush cup and challah cover.”

About the project, he said, “We had a wide range of expertise, from those who don’t paint at all to those who paint a lot. The common thread that kept us going and made this a beautiful group to be a part of was everyone’s passion for the project. 

“As a professional artist and someone who has taught at a fine arts school for the past 29 years, it seemed the role of me becoming art director happened organically, it was not something that was there at the start of the project,” he added. “This included helping the designers of the panels with their designs, bringing in tools and equipment to help facilitate the transferring of the designs onto the large panels, advising the groups of painters on the painting process and/or techniques, figuring out (with Reisa) the placement of the panels in the parkade.”

“I really believe that we can beautify the most simple areas to make them more impactful,” said Schwartzman. “Having these windows in the garage makes the experience of going to the BI start right from parking your car. But we didn’t stop there. Krystine McInnes came up with the idea that we should add QR codes to each image so that people could open their phones and learn more about each holiday, the customs and history. We hope we can use these to fight antisemitism as well, or just to help educate. We decided to paint on boards rather than the wall itself so, if needed, we could have them traveling.

“One thing different about our art is that none of the pieces are signed. This was with the commitment that the works were collective, designed and inspired by several artists and painted by the community we built. It is a community effort for our shul.”

While the lead artists aren’t indicated on the murals in the garage, they are credited on the project’s website, bethisraelartproject.com: Beryl Israel (Purim and Tu b’Shevat), Sheila Romalis (Hanukkah), Ramona Josephson (Rosh Hashanah, Sukkot and Shabbat), Debby Koffman (Simchat Torah), Janice Masur (Shavuot), Luca Carati (Yom Hashoah and Yom Yerushalayim), Nassa Selwyn (Pesach and Yom Kippur) and Adele Lewin (Simchat Torah). In addition to the QR code integration, McInnes designed the project website, which features information on the holidays, their history and customs from several sources, including work done by Jean Gerber and Jonathan Berkowitz and a dozen or so websites.

The paint was donated by Benjamin Moore Paint and the boards and framing by Burton Mouldings, said Esther Moses, Beth Israel executive director. Ralph (z’l) and Elaine Schwartzman donated to help make the project possible, she said.

“My parents believe in supporting our community and have always been supporters of several Jewish agencies here and abroad,” explained Schwartzman. “Once they heard about what I wanted to do, my mom called the shul and made a donation to make sure we could complete the project. Supporting the shul, the arts, community and engagement for people are all reasons they stepped forward.”

image - Beryl Israel was the lead artist on the Tu b’Shevat mural
Beryl Israel was the lead artist on the Tu b’Shevat mural. (photo from Beth Israel Mural Project)

“I am so proud of Beth Israel and our members who worked on the murals. They are strikingly beautiful,” said Rabbi Jonathan Infeld, the synagogue’s senior spiritual leader. “They bring light to our congregation and are a great educational tool. They brought people together for an important common cause. The murals are another way that we help bring Jews closer to God, Torah and Israel at Beth Israel.”

While he helped, for example, with the Hebrew on one of the works, Infeld admitted, “I am involved in many different aspects and programs of the synagogue, this is one that I did not play a large role in though. Yes, I helped with some of the Jewish content. But anyone who knows my artistic abilities knows why I left this project to others to accomplish.”

The project – which took a total of three years from conception to installation – “was a great way to add colour to our parkade in a meaningful and Jewish way,” said the rabbi. “The murals are educational and exceptionally beautiful. But, most importantly, they created community amongst people of all ages.”

Overall, it has been a huge success, he said. “People love seeing [the murals] when they enter the parkade. They love looking at them and learning from them. I know that the participants loved making them.”

“This project was really a labour of love by all who participated,” agreed Schwartzman. “Peter was incredibly supportive with his knowledge and guidance. There were so many amazing artists that we all learned from each other, helped each other and celebrated together. We really hope that these images bring the shul much enjoyment and support them in any of their programming when possible.”

“This project took a lot of time and work – and was worth every moment,” said Sarganis. “I met some wonderful people, and got to know people I already knew even better. A beautiful community project.” 

Format ImagePosted on June 14, 2024June 13, 2024Author Cynthia RamsayCategories Visual ArtsTags Beth Israel Mural Project, Jonathan Infeld, Judaism, murals, painting, Peter Sarganis, Reisa Schwartzman
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