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Warsaw Ghetto Uprising’s 80th anniversary remembered with daffodils, 3 presidents and an 11th commandment against ‘indifference’
WARSAW (JTA) — Exactly 80 years ago, a few hundred ragtag, half-starved Jews emerged from sewers in Warsaw to battle Nazis – and held them off for nearly a month rather than surrender themselves and their Jewish brethren to the Treblinka and Majdanek death camps.
On Wednesday, thousands of Poles and international visitors, including Polish President Andrzej Duda, Israeli President Issac Herzog and German President Frank-Walter Steinmeier, marked the 80th anniversary of the Warsaw Ghetto Uprising in a stirring Holocaust commemoration festooned with daffodils, the emergent symbol of the largest Jewish rebellion against the Nazis during World War II.
“As German federal president, I stand before you today and bow to the courageous fighters in the Warsaw Ghetto,” Steinmeier told a few hundred politicians, Jewish leaders and others at the Ghetto Heroes Monument, marking the first time a German president has joined in the annual commemoration. “I stand before you today and ask for your forgiveness for the crimes committed here by Germans.”
This was also the first time leaders from all three countries came together for the official uprising ceremony to commemorate the fighters, none of whom are alive today. The last surviving fighter, Simcha Rathajzer-Rotem, also known as Kazik, died in December 2018. A handful of Warsaw Ghetto survivors who were not old enough to join the fighting remain, according to Holocaust scholars.
In another first, the three heads of state attended a commemorative service led by Poland’s Chief Rabbi Michael Schdurich at Warsaw’s Nozyk Synagogue. By the end of the ceremony, which was conducted mostly in Hebrew and featured Polish-Jewish children singing the Polish and Israeli national anthems, many attendees had tears in their eyes.
“I just thought, the leaders are here, this is something we should do, it’s part of building relationships and collective memory that partnerships are built on,” Schudrich told the Jewish Telegraphic Agency.
Earlier in the day, Polish President Duda called the fighters “the heroes of the Jews all over the world” and “the heroes of Poland and the Poles.”
Herzog, a day after Yom Hashoah, Israel’s Holocaust Remembrance Day, praised the fighters for sparking hope during one of humanity’s most tragic times. “In a world falling apart, in the shadow of death, under conditions of humiliation, famine, and forced labor, in the ghettos… they succeeded — mothers, fathers, children, grandfathers, and grandmothers — in upholding human morality, mutual responsibility, faith and basic humanity,” he said.
From left to right: German President Frank-Walter Steinmeier, Polish President Andrzej Duda and Israeli President Issac Herzog hold hands before the 80th anniversary commemoration of the Warsaw Ghetto Uprising, in front of the city’s Monument to the Ghetto Heroes, April 19, 2023. (German Government Press Office/Getty Images)
Wednesday’s diplomatic tribute, which also included speeches by World Jewish Congress President Ronald Lauder and Marian Turski, a Lodz Ghetto survivor whose so-called 11th commandment — “Thou shalt not be indifferent” — became the slogan for programming by the POLIN Museum of the History of Polish Jews around the commemoration.
Eleven years ago, POLIN commissioned Jewish artist Helena Czernek to design a simple paper flower daffodil that has since been worn on the uprising’s anniversary to raise awareness of the day. The pin design was inspired by a commander of the uprising, Marek Edelman, who died in 2009. Each year he would receive a bouquet of daffodils to mark the anniversary date from an anonymous sender, and he would in turn place them on the city’s Monument to the Ghetto Heroes — a large sculpture standing at the site of the uprising’s first battle.
The daffodil marker has since changed the landscape of Holocaust memory in Poland, according to POLIN museum spokeswoman Marta Dziewulska.
“Our research shows that since we began our educational programs around this event, including handing out the daffodils, the rise in general public knowledge about the uprising has been enormous,” said Dziewulska.
This year, thanks in part to financial support from Lauder, a billionaire heir to the Estee Lauder fortune and a major Republican donor, the daffodil campaign reached far more people than ever, both in Poland and beyond. Throughout the center of Warsaw, the paper daffodil was ubiquitous among pedestrians and cafe dwellers across generations. All crew members on LOT Polish airline flights wore them.
For the first time, the daffodils were also distributed to 150,000 people in 100 Jewish communities around the world. More than 3,000 volunteers gave out 450,000 paper daffodils in six cities across Poland, and over 7,000 schools, libraries and cultural institutions participated in the museum’s daffodil campaign, which includes films and educational materials about the uprising.
Helena Czernek designed the paper daffodil over a decade ago. (Dinah Spritzer)
Krystyna Budnicka, who was 11 at the time of the uprising, told journalists about her story on Monday. The fighters of the Jewish Combat Organization (ŻOB) were armed with home-made grenades and Molotov cocktails. In the end, roughly 13,000 Jews were were burnt alive or suffocated as the Nazis burnt down the ghetto to quell the rebellion, sending the remaining some 50,000 Jews to be murdered further east.
Budnicka told the Polish newspaper Gazeta Wyborcza that “as the ghetto was burning, the underground was like a bread oven.”
But Budnicka and some of her 10 immediate family members, none of whom survived the Holocaust, had one advantage. Her brothers and father were observant Jews who happened to be carpenters. They had constructed a bunker to lead to the sewers so that eventually, at least she and her brother, who later died of typhus, were able to make it out.
Budnicka was later taken in by a Catholic orphanage while the war was still raging and hid her Jewish identity, changing her last name to Kuczer. Until the 1990s, she told almost no one of her travels. But today she is the ambassador of POLIN Museum.
Her recollection of life at the time is limited, except that she had hope for survival. The fighters slept during the day in bunkers the Nazis couldn’t easily find, and came out of the sewers to fight at night. She remembers hunger, being the only girl among many boys and dreaming about what bread tasted like, a distant memory.
Many decades later, after the end of the Communist dictatorship, a “Children of the Holocaust” association was formed in Poland. For the first time, Budnicka and many others started telling their stories out loud, and at schools.
“Now I feel that I have to do it,” she told Gazeta Wyborcza. “When I mention my loved ones at meetings, it’s like I’m erecting a monument to my family. They live then. I see them. It’s in order: my mother Cyrla, father Josef Lejzor, brothers Izaak, Boruch, Szaja, Chaim, Rafał.”
Budnicka is not the only Warsaw Ghetto survivor to ask the world to remember what she endured. Helena Birnbaum, 93, who also survived by hiding in a bunker, participated in this year’s March of the Living — an annual Holocaust remembrance event that brings thousands of participants from around the world to Auschwitz-Birkenau. She told reporters at the march on Tuesday why she flew all the way to Poland from Israel to talk about her ordeal.
“The importance of knowing about the Holocaust is to know the person in all situations, on the brink of death,” she said. “The importance of knowing that the Holocaust was life within death and not everyone died at once. The individual stories matter.”
An iconic photo from the Warsaw Ghetto shows Jews being led by Nazis in 1943. (U.S. Holocaust Museum/Wikimedia Commons)
The act of international unity in display at the official uprising ceremony comes at a time when Poland’s right-wing government continues to espouse a nationalist narrative that international scholars say downplays Polish antisemitism and violence towards Jews before, during and after World War II. Multiple Polish laws connected to Holocaust rhetoric and restitution payments caused diplomatic tensions between Poland and Israel for years, and the two only resumed more full relations last month. The rapprochement came after Israel’s foreign minister announced the resumption of Israeli student trips to Holocaust sites in Poland, which now could include sites that explain Nazi violence against non-Jewish Poles.
Six years ago, some Polish Jews who rejected their government’s patriotic narrative launched their own uprising commemoration, which has grown from a group of hundreds to nearly a thousand. During the alternative commemoration on Wednesday, which featured Yiddish songs sung by school children and recitations of poetry by Polish-Jewish authors, participants laid paper and real daffodils at Warsaw Ghetto monuments such as Umschlagplatz, where the Nazis deportee 350,000 Jews by train to Treblinka.
Patrycja Dolowy, director of Warsaw’s Jewish community center, was an early supporter of what she called a grassroots alternative to the pomp and circumstance of the government’s ceremony, only a few hundred feet away.
“Jews were sentenced to death in the center of their own city and the majority of people outside the ghetto were doing nothing about this,” said Dolowy, who believes government focus on heroism should not erase inquiry into less heroic actions by Poles.
“If Jews were not treated before the war as strangers, it would have been much easier for everyone, Jews and non-Jews, to rise together and resist,” she theorized.
The counter-commemoration reflects the contrasting attitudes in Poland towards honoring Jewish and Holocaust memory. In 2017, the government passed a law that assured public schools taught history from a heroic, patriotic perspective, and in 2018 made it illegal to insult the Polish nation’s Holocaust record, condemning scholars who dared delve into historical Polish aggression against Jews.
Attendees shown at an alternative Warsaw Ghetto Uprising commemoration, which has grown in recent years. (Dinah Spritzer)
Jerzy Warman, 76, a Polish-born Jew participating in the non-governmental commemoration whose parents survived the Warsaw Ghetto, said the Polish government wants to turn the uprising commemoration into an event where “they can do a roll call of Poles who they say helped the Jews.”
Warman noted that his father joined Edelman at the Warsaw Uprising, a major Polish resistance campaign that took place year after the Ghetto Uprising. “The Jews tried to join the Polish Home Army as a group but were rejected by them,” Warman recalled his father explaining.
Moshe Kis, 22, a Jewish political science student from Warsaw whose grandmother spent two years in the ghetto, echoed Warman’s view.
“So many people here still don’t understand their own history,” said Kis, who will immigrate to Israel next year. He added, fiddling with a daffodil over coffee, “when the sirens went off today in honor of the uprising, I heard people around me saying on the street, ‘what is this for, are we being invaded?’”
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Soccer helped my family survive the Nazis. Our community has lost sight of that story’s meaning
A new exhibit at the Holocaust Museum LA should be telling my great-grandfather’s story as part of its study of soccer, Jews and the Holocaust. But it won’t, because the museum failed to internalize the great moral lesson that my family learned from surviving the Holocaust: to never value the safety of one group over that of others.
The museum describes The Beautiful Game: The Untold Story, which opened this week, as an exploration of “the deep and often overlooked relationship between Jewish life and the global game.” It could have been curated specifically to tell my family’s story, because it was soccer that saved them from the Holocaust.
Pavel Mahrer, my great-grandfather, was a Jewish professional soccer player for Czechoslovakia. He played for teams in Teplitz and Prague, as well as at the 1924 Olympics. In the 1920s and 1930s he moved across the Atlantic to play for the Brooklyn Wanderers and for a Jewish team, New York Hakoah. His son Jerry was born during that time; eventually, the fact that Jerry held American citizenship would save much of the Mahrer family from the Holocaust.
During the Shoah, Pavel became the star player in the league at the Theresienstadt ghetto. He once wrote to his wife, as they were imprisoned separately, “tell our boys that I played soccer again and even played well and was successful.” Soccer brought him joy during those years of total despair. He avoided transport to Auschwitz — possibly because he was a famous athlete — and eventually reunited with his family in New York after the war.
The Holocaust Museum LA exhibit doesn’t tell that story, but it wanted to. My family pulled out of the exhibit because we didn’t want our story told by an institution that we think has faltered in holding true to the back half of its stated mission of inspiring “a more dignified and humane world.”
‘Never Again’ for whom?
We had already been in contact with the exhibit curators when the museum became entangled in a public relations crisis last fall over an Instagram carousel featuring a cover image of six interlocking arms of different colors with the text: “’Never Again’ can’t only mean never again for Jews.”
Further slides added: “Jews must not let the trauma of our past silence our conscience” and “To be Jewish is to remember and act.”
Finally, I thought, a Jewish institution that will stand against genocide and violence, full stop. Not just genocide and violence against Jews.
Over the past few years, I’d watched the Jewish institutions I grew up respecting make excuses for or ignore Israel’s assault on Gaza. At best, they remained silent as Israel killed innocent civilians in the name of the Jewish people. At worst, they supported Israel’s actions unreservedly.
But here was one Jewish institution that was sending the right, albeit subtle, message.
My family agreed that this was a museum that was teaching the history and lessons of the Holocaust in a way we wanted to support. We had told the museum of our interest in loaning them Pavel’s 1924 Paris Olympics jersey and photos of his soccer career for the exhibit, and grew more excited for the collaboration.
But not everyone had the same reaction to the post that we did. Comments flooded the museum’s page claiming that the phrase “Never Again” was only for Jews, and criticizing the museum for generalizing the Holocaust — as if Jews have a monopoly on being victims of genocide. I figured the museum must have been prepared for some backlash, but had decided it was worth upsetting some to show that they cared for all.
I was wrong.
The museum deleted the post, then issued an apology, calling the post “easily open to misinterpretation by some to be a political statement reflecting the ongoing situation in the Middle East.” To us, it read as if they were apologizing for giving the appearance of caring about Palestinian lives. The apology post drew outrage as well — although not in the comments section, which was disabled.
A humane world for everyone
The apology felt like cowardice to me and my family. So we asked to meet with Beth Kean, the museum’s CEO. By the time we connected with her over Zoom in October, the apology post had been deleted as well. We wanted to understand what was behind their decision to post, remove, apologize and then act like none of it ever happened.
After the meeting, we understood that the museum hadn’t expected the response to the first post; some museum staff, horrifyingly, had received death threats. But we didn’t get a good answer as to how capitulating to hateful comments and violent threats aligned with the stated mission of the museum. We were promised an updated public statement that would specifically state the museum’s humanitarian goals; but if one was ever published, I didn’t see it.
We decided that we no longer felt comfortable lending the material that told Pavel’s story to the museum. I take pride in being the descendant of Holocaust survivors, and I’m especially proud that my family has always told our story in a way that emphasizes that the safety of all peoples is and has always been intertwined. I don’t think Pavel would be proud to see his story used to help suggest in any way that Jewish lives should be valued over others.
I didn’t expect the museum to change its mind because of a thirty minute Zoom call with my family, but its willingness to, in my eyes, bend on its principles left me disheartened. If we can’t take stories of Jewish suffering and strength — like that of my family — and apply their lessons to the suffering that is occurring to this day around the world, what is the point of telling them?
I’m a soccer player myself. Every time I score a goal or make a tackle I think of how I wouldn’t be alive if it wasn’t for this beautiful game. I feel a kinship with other players, other soccer fans, because we share that love of the game. It brings us joy, it brings us hope.
I find my family’s story compelling not just because it is a story about Jews during the Holocaust, but because it is a story about survival — a story about luck, talent and both good and terrible timing. The drive to survive, and the need to ensure others’ survival, should be universal. If the message that our Jewish institutions send is that Jewish survival matters most, who is that message for? How can we expect the rest of the world to care about our safety if we don’t do anything to prove that we care about theirs?
Dani Mahrer is a former Jewish educator who now works in renewable energy in Los Angeles.
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Eliya Smith says plot is what happens when you’re busy doing nothing
Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.
“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.
“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”
Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)
The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.
“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”
Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.
“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”
In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.
Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.
The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.
“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.
“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.
About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.
Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.
We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.
“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”
She has yet to write her Texas play — or her New York one.
“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.) “Until I was like 23 I was like I can only write about being 17.”
Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.
It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.
“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”
She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.
“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”
Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.
While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.
The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.
“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”
Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.
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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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