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How a Catholic university amassed a treasure trove of Jewish artifacts from the Bronx
(New York Jewish Week) – A Catholic university may be the unlikeliest place for what may be the largest depository dedicated to the Jewish history of the Bronx.
But at Fordham University — the private, Jesuit institution in the Bronx — decades worth of archival documents and artifacts from the local Jewish community have found a home, thanks to its Jewish studies department.
For the last three years, Fordham has been collecting and cataloging items that detail a once-thriving Jewish community in the Bronx: yearbooks full of Jewish last names, Bar Mitzvah invitations, phonebooks full of Jewish-owned businesses — all the simple transactions that define an era in history.
The archive at Fordham is one of the only physical collections of everyday material from Jewish residents of the borough, according to Magda Teter, the chair of the Center for Jewish Studies at the university, who spearheaded the project.
“It’s not only preserving a piece of New York Jewish history, but also a way of life,” Teter told the New York Jewish Week. “Bringing this voice to the dominant Christian identity of Fordham and teaching about Jews [as a minority] within the dominant cultures is very important.”
A song and dance book in the Fordham University collection features the lyrics for “Hatikvah” and “For He’s a Jolly Good Fellow,” and a “Jewish dictionary.” (Julia Gergely)
During the first half of the twentieth century, Jewish life thrived in the Bronx. There were 260 registered synagogues in 1940, and the borough produced some of the biggest Jewish names in show business, fashion, literature and more: designer Ralph Lauren, politician Bella Abzug, novelist E.L. Doctorow, filmmaker Stanley Kubrick, Miss America Bess Myerson, Nobel Prize-winning chemist Robert Lefkowitz.
At the community’s peak in 1930, the Bronx was approximately 49% Jewish, according to the borough’s official historian, Lloyd Ultan. South of Tremont Avenue, the number reached 80%. Most of the Jewish Bronx was of Eastern European descent; many were first generation Americans whose parents had immigrated and lived on the Lower East Side, but who could now afford to live in less cramped neighborhoods with more trees and wider streets.
Though there is a strong Jewish community in the neighborhood of Riverdale, most of the Jewish community moved out of the Bronx for the suburbs after World War II when mortgages for white would-be homeowners were being subsidized by the government and Blacks and Latinos were steered to Bronx neighborhoods they couldn’t afford or that the city had chosen to neglect. The Jewish population of the Bronx dropped from 650,000 in 1948 to 45,000 in 2003. Many of the synagogues have been converted for other uses, and the physical legacy of the Jewish community there has begun to erode over time, making an archive all the more necessary.
While Teter was always interested in collecting items from the Jewish Bronx, the archive got an unexpected boost from a member of the public. In the spring of 2020, at the height of the pandemic, Fordham hosted a virtual event, “Remnants: Photographs of the Jewish Bronx,” which featured evidence of the area’s faded Jewish history gathered by writer and photographer Julian Voloj. (Voloj is the husband of the New York Jewish Week’s managing editor, Lisa Keys.)
An invitation for the bar mitzvah of Freddie Rothberg, which took place on Oct. 6, 1951 at Beth Hamedrash Hagadol. (Julia Gergely)
In the audience was Ellen Meshnick, who had grown up in New York and now lives in Georgia. Inspired, she offered Fordham a trove of material her parents, Frank and Martha Meshnick, had kept throughout their lives in the Bronx. The boxes included donated yearbooks from Morris High School and Walton High School, songbooks, bar mitzvah invitations, a marriage certificate, receipts for a flower delivery — even a document from the hospital from when she was born — mostly from the 1930s through the 1960s.
The donation significantly bolstered what materials Fordham already had on hand, which included less personal but still unique items like matchbooks from kosher restaurants. Now, Teter is growing the archive through other private donations and occasionally by purchasing materials online — personal family archives, books about Bronx Jewish history, songsheets and the like.
The marriage certificate, or ketubah, recognizing the marriage between Frank Meshnick and Martha Farber on Aug. 23, 1942. The certificate was part of an archive donated to Fordham University by the couple’s daughter Ellen. (Julia Gergely)
“They may not be the most beautiful things, but we are interested in what people actually used and lived with,” Teter said.
Teter said that while the American Jewish Historical Society in Manhattan does collect the types of quotidian and personal items that American Jews kept with them in the last few centuries, they don’t have much that uniquely focuses on Jewish life in the Bronx.
The entire collection is part of a greater effort by Teter, the Jewish studies department and the librarians at Fordham to increase awareness about Judaism and Jewish people. “I will not hide that I think it’s an important way to fight antisemitism — to teach Jewish history and Jewish culture in all its colors and in all its experiences,” she said. “It enriches the students’ appreciation and understanding of Jewish life beyond how Jews are usually portrayed.”
The Jewish studies department at Fordham is relatively new: The college began offering a Jewish studies minor in 2016, and opened the department in 2017. At the time, the highlight of the library’s archives was the Rosenblatt Holocaust collection, which was funded by an alumnus. Since 1992, the library has amassed over 11,000 titles, videos and artifacts on the Holocaust, according to librarian Linda Loschiavo.
When Teter arrived, Loschiavo worked with her to bring in historical Passover haggadahs from all over the world. Fordham now possesses two Italian haggadahs from the 1660s, as well as Jewish artifacts from unexpected places, like playbills from Jewish Bollywood.
Last month the university opened the Henry S. Miller Judaica Research Room on the fourth floor of the campus’ main library — named for Fordham’s first Jewish student, who graduated in 1968. Miller, a leader of a financial restructuring firm, is now a trustee of the college.
Fordham President Tania Tetlow described herself jokingly as “a wannabe Jew” at the room’s unveiling. “I’ve understood how deeply intertwined Judaism and Catholicism are,” she said, “and the connections we have of the deep intellectualism of both faiths, of the desire to study text and the interpretation of text going back for thousands of years, of the love of ritual — and the central place of food and guilt!”
The former Jacob Schiff Center on Valentine Avenue. (Julian Voloj)
“At the moment, we envision that the research room will be a space for exhibitions that would foster the curatorial skills of our students and that will bring Jewish art and artists to campus,” Teter said. “We would now be able to display their art and combine the exhibitions with some items from the Judaica collection.”
The research room is currently displaying Voloj’s Bronx photographs, along with some of the recently acquired local archival materials, curated by sophomore Reyna Stovall, who is interning in Fordham’s Jewish studies department this semester.
“It is really, really rewarding,” said Stovall, who is Jewish. Stovall became involved in the Jewish studies department because of her interest in Holocaust studies, but as she began her internship, she was excited to work on the archives cataloging the once thriving Jewish history of the Bronx.
The yearbook photo of Frank Meshnick (bottom right), who graduated from Morris High School in Morrisania in 1931. (Julia Gergely)
“It’s pretty amazing that they have the collection to begin with,” she added. “It really shows Fordham’s commitment to diversity and inclusivity that they’re willing to take on this massive collection of Judaica, even though that’s not the religion that the school was founded on.”
Teter estimates there are about 300 Jews among the school’s 15,000 undergrads. As a result, the Center for Jewish Studies and the research room offers students from all backgrounds the opportunity to learn more about Judaism — as well as marginalized communities in general, and connect their stories to their own lives.
“Our identity grew to showcase Jewish studies at the intersection and in conversation with other fields and areas of study,” Teter explained.
The Center’s goal, she added, is “to make students, faculty and the public realize that studying Jews is not just for Jews, and that they can learn so much about the areas of their own concern and interest by studying Jews.”
“Something magical happens when you give students the opportunity to work with historical artifacts, and really touch history,” Teter said. “That’s what I think inspired the director of the library to devote that space to that kind of research and to that kind of student experience.”
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The post How a Catholic university amassed a treasure trove of Jewish artifacts from the Bronx appeared first on Jewish Telegraphic Agency.
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
The post At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption appeared first on The Forward.
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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