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How the Holocaust is remembered in the land of Anne Frank
(JTA) — You’d think that in a country so closely identified with Anne Frank — perhaps the Holocaust’s best-known victim — cultivating memory of the genocide wouldn’t be a steep challenge.
That’s why a recent survey, suggesting what the authors called a “disturbing” lack of knowledge in the Netherlands about the Holocaust, set off alarm bells. “Survey shows lack of Holocaust awareness in the Netherlands,” wrote the Associated Press. “In the Netherlands, a majority do not know the Holocaust affected their country,” was the JTA headline. “The Holocaust is a myth, a quarter of Dutch younger generation agree,” per the Jerusalem Post.
“Survey after survey, we continue to witness a decline in Holocaust knowledge and awareness. Equally disturbing is the trend towards Holocaust denial and distortion,” Gideon Taylor, the president of the Conference of Jewish Material Claims Against Germany, which conducted the study, said in a statement.
Like other recent studies by Claims Conference, the latest survey has been challenged by some scholars, who say the sample size is small, or the survey is too blunt a tool for examining what a country’s residents do or don’t know about their history. Even one of the experts who conducted the survey chose to focus on the positive findings: “I am encouraged by the number of respondents to this survey that believe Holocaust education is important,” Emile Schrijver, the general director of Amsterdam’s Jewish Cultural Quarter, told JTA.
One of the scholars who says the survey doesn’t capture the subtleties of Holocaust education and commemoration in the Netherlands is Jazmine Contreras, an assistant professor of history at Goucher College in Maryland. Contreras studies the historical memory of the Holocaust and Second World War in Holland. In a Twitter thread earlier this week, she agreed with those who say that “the headline that’s being plastered everywhere exaggerates the idea that young people in NL know nothing about the Holocaust.”
At the same time, she notes that while the Netherlands takes Holocaust education and commemoration seriously, it has a long way to go in reckoning with a past that includes collaboration with the Nazis, postwar antisemitism, a small but vocal far right and a sense of national victimhood that often downplays the experience of Jews during the Shoah.
“It’s such a complex issue,” Contreras told me. “There’s no one answer to how the Holocaust is remembered in the Netherlands.”
Today is International Holocaust Remembrance Day, and I took the opportunity to speak with Contreras not only about Dutch memory, but how the Netherlands may serve as an example of how countries deal with Holocaust memory and the national stories they tell.
Our interview was edited for length and clarity.
Jewish Telegraphic Agency: Tell me a little bit about when you saw the survey, and perhaps how it didn’t mesh with what you know about the Netherlands?
Jazmine Contreras: My major problem is that every single outlet is picking up this story and running a headline like, “Youth in the Netherlands don’t even know the Holocaust happened there. They cannot tell you how many people were killed, how many were deported.” And I think that’s really problematic because it paints a really simplistic picture of Holocaust memory and Holocaust education in that country.
There are multiple programs, in Amsterdam, in other cities, in Westerbork, the former transit camp. They have an ongoing program that brings survivors and the second generation to colleges, to middle schools and primary schools all across the country. And they also have in Amsterdam a program called Oorlog in Mijn Buurt, “War in My Neighborhood,” and basically young people become the “memory bearers” — that’s the kind of language they use — and interview people who grew up and experience the war in their neighborhood, and then speak as if they were the person who experienced it, in the first person.
You also have events around the May 4 commemoration remembering the Dutch who died in war and in peacekeeping operations, and a program called Open Jewish Houses [when owners of formerly Jewish property open their homes to strangers to talk about the Jews who used to live there]. It’s really amazing: I’ve actually been able to visit these formerly Jewish homes and hear the stories. And, of course, the Anne Frank House has its own slew of programming, and teachers talk a lot about the Holocaust and take students to synagogues in places like Groningen, where they have a brand new exhibit at the synagogue. They are taking thousands at this point. The new National Holocaust Names Memorial is in the center of Amsterdam.
I think, again, this idea that children are growing up without having exposure to Holocaust memory, or knowledge of what happened in the Netherlands, is a bit skewed. I think we get into a dangerous area if we’re painting the country with a broad brush and saying nobody knows anything about the Holocaust.
Have you anecdotal evidence or seen studies of Dutch kids about whether they’re getting the education they need?
Anecdotally, yes. I was invited to attend a children’s commemoration that they do at the Hollandsche Schouwburg theater in Amsterdam, which is the former Dutch theater that was used as a major deportation site. And it’s children who put on a commemoration themselves. Again, not every child is participating in this, but if they’re not participating in the children’s commemoration, then they’re doing the “War in My Neighborhood” program, or they’re doing Open Jewish Houses, or they’re taking field trips. That’s pretty impressive to me, and it’s pretty meaningful. They want to help participate in it in the future. They want to come back because it leaves a lasting impression for them.
Let’s back up a bit. Anne Frank dominates everyone’s thinking about Holland and the Holocaust. And I guess the story that’s told is that she was protected by her neighbors until, of course, the Nazis proved too powerful, found her and sent her away. What’s right and what’s wrong about that narrative?
Don’t forget that Anne Frank was a German Jewish refugee who came to the Netherlands. And I think that part of the story is also really interesting and left out. She’s this Dutch icon, but she was a German Jewish refugee who came to the Netherlands, and the Dutch Jewish community was single-handedly responsible for funding, at Westerbork, what was first a refugee center. I think that’s really complicated because now we also have a discourse about present-day refugees and the Holocaust.
Jazmine Contreras, an assistant professor of history at Goucher College, specializes in Dutch Holocaust memory. (Courtesy)
I’ve also never quite understood the insistence on making her an icon when the end of the story is that she’s informed on and dies in a concentration camp. The idea that the Franks were hidden here fits really well into this idea of Dutch resistance and tolerance, and her diary often gets misquoted to kind of represent her as someone who had hope despite the fact that she was being persecuted. In the 1950s, her narrative gets adopted into the U.S., and we treat it as this globalizing human rights discourse.
We don’t talk about the fact that she’s found because she’s informed upon, and we don’t talk about the fact that you had non-Jewish civilians who were informers for a multitude of reasons, including ideological collaboration and their own financial gain.
And when it was talked about most recently, it was about a discredited book that named her betrayer as a Jew.
That was a huge controversy.
I get the sense from your writing that the story the Dutch tell about World War II is very incomplete, and that they haven’t fully reckoned with their collaboration under Nazi occupation even as they emphasize their own victimhood.
On the national state level, they have officially acknowledged not only the extensive collaboration, but the failure of both the government and the Crown to speak out on behalf of Dutch Jews. [In 2020, Prime Minister Mark Rutte formally apologized for how his kingdom’s wartime government failed its Jews, a first by a sitting prime minister.] Now, the question is, what’s happening in broader Dutch society?
Unfortunately, there was an increase in voting for the Dutch far right, although they’ve never managed to get a majority or even come close to it.
Something else that’s happening is that many ask, “Why should Dutch Jews get separate consideration after the Second World War, a separate victimhood, when we were all victimized?” The Netherlands is unique because it’s occupied for the entirety of the Second World War — 1940 to 1945. There is the civil service collaborating, right, but there’s no occupation government. So it’s not like Belgium. It’s not like France, not like Denmark. And there was the Hunger Winter of 1944-45 when 20,000 civilians perished due to famine. You have real victimhood, so people ask, “Why are the Jews so special? We all suffered.”
And at the same time, scholarship keeps emerging about the particular ways non-Jewish Dutch companies and individuals cooperated with the Nazis.
The NIOD Institute for War, Holocaust and Genocide Studies in Amsterdam, which has done so much of this research, found that Jews who were deported had to pay utility bills for when they weren’t living there. You have a huge controversy around the the Dutch railway [which said it would compensate hundreds of Holocaust victims for its role in shipping Jews to death camps]. The Dutch Red Cross apologized [in 2017 for failing to act to protect Jews during World War II], following the publication of a research paper on its inaction. A couple of decades ago, the government basically auctioned off paintings, jewelry and other Jewish possessions, and in 2020 they started the effort to give back pieces of art that were in Dutch museums. Dienke Hondius wrote a book on the cold reception given to survivors upon their return. Remco Ensel and Evelien Gans also wrote a book on postwar Jewish antisemitism.
So a lot has been happening, a lot of controversies, and, thanks to all of this research, a lot happening in order to rectify the situation.
It sounds like a mixed story, of resistance and collaboration, and of rewriting the past but also coming to terms with it.
There’s a really complex history here of both wanting to present it as “everybody’s a victim” and that the resistance was huge. In fact, the data shows 5% of the people were involved in resistance and 5% were collaborators. So it’s not like this wholesale collaboration or resistance was happening. It was only in 1943, when non-Jewish men were called up for labor service in Germany, that they got really good at hiding people and by then it was too late.
Right. My colleagues at JTA often note that the Nazis killed or deported more Dutch Jews per capita than anywhere in occupied Western Europe — of about 110,000 Jews deported, only a few thousand survived.
Yes, the highest percentage of deportation in Western Europe.
A room at the Anne Frank House museum where she and her family hid for two years during the Holocaust in Amsterdam, the Netherlands. (Photo Collection Anne Frank House)
Since this week is International Holocaust Remembrance Day, let me ask what Holland gets right and wrong compared to maybe some other European countries with either similar experiences or comparable experiences.
The framing of that question is difficult because there’s so many unique points about the Holocaust and the occupation in the Netherlands. Again, it was occupied for the entirety of 1940-45. You have a civil service that was willing to sign Aryan declarations. The queen, as head of a government in exile in London, is basically saying, “Do what you need to just to survive.”
One of the big problems is there are people like Geert Wilders [a contemporary right-wing Dutch lawmaker] who practice this kind of philo-Semitism and support of Israel, but it’s really about blaming the Muslim population for antisemitism and saying none of it is homegrown. They don’t have to talk about the fact that there was widespread antisemitism in the aftermath of the Holocaust.
In the Netherlands they’re not instituting laws around what you can and can’t say about the Holocaust like in Poland [where criticizing Polish collaboration has been criminalized]. There are so many amazing educational initiatives and nonprofit organizations that are doing the work. And even these public controversies ended up being outlets for the production of Holocaust memory when survivors, but mostly now the second and third generations, use that space to talk about their own family Holocaust history.
Tell me about your personal stake in this: How did the Holocaust become a subject of study for you?
I specialize in Dutch Holocaust memory. I’m not Jewish, but my grandparents on my mother’s side are Dutch. For my first project I looked at relationships between German soldiers and Dutch women during the war during the occupation, and I eventually kind of made my way into the post war, when these children of former collaborators were still very marginalized in Dutch society. It ties into this. I do interviews with members of the Jewish community, children of resistance members and children of collaborators and how these memory politics play out.
What is the utility of events like International Holocaust Remembrance Day and the major Holocaust memorials in educating the public about the Holocaust and World War II?
International Holocaust Remembrance Day and May 4 result in the production of new memories about the Holocaust and the Second World War. I was at the 2020 International Holocaust Remembrance Day commemoration when the prime minister formally apologized. It was a really big moment, and it allowed the Jewish community, and the Roma and Sinti community, a space to remember and to share in that and to speak to it as survivors and the second and third generation.
Unlike the United States, the Netherlands is a small, insular country, so the relationship between the public and the media and academics is so close. So in the weeks before and the weeks after these memorials, academics, politicians and experts are publishing pieces about memory. That’s useful to the production of new memories and information about the Holocaust.
But what about the other days of the year? Will putting a monument in the center of Amsterdam actually change how people understand the Holocaust? That is a question that I think is harder to answer. The new monument features individual names of 102,000 Jews and Roma and Sinti and visually gives you the scope of what the Holocaust looked like in the Netherlands. But does that matter if somebody lives outside of Amsterdam and they’re never going to see this monument?
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Gene Shalit, a mensch with a personality as big as his mustache, turns 100
The television entertainment personality Gene Shalit, who celebrated his centenary on March 25, semaphored a Jewish appearance for decades to viewers of NBC’s early morning gabfest The Today Show.
With his Jew-fro hairstyle that fascinated celebrity interviewees and his abundant mustache that outdid Groucho Marx’s mere greasepaint simulacrum, Shalit was one of a kind. Born in New York City in 1926, he clearly aimed to be recognizable even through half-opened bleary eyes of half-asleep viewers. And audible too. Shalit’s precise pronunciation, always at a vigorous decibel level, sought to be comprehensible even during voiceovers. The Canadian comedian Eugene Levy, transfixed by this persona, imitated him on SCTV roaring at high decibel levels.
In one skit, Levy embodied Shalit with haimish affection, hawking a remedy for a migraine presumably caused by his own bellowing. In another, Levy spoofed Hollywood celebrities who were notorious fressers at local restaurants, including the American Jewish actress Shelley Winters (born Shirley Schrift). In still another lampoon, Levy-as-Shalit danced and also kibitzed with the late Catherine O’Hara as the Jewish gossip columnist Rona Barrett (born Burstein).
Shalit apparently kvelled at the notion that he was prominent enough in media culture to be affectionately kidded like other Jewish noteworthies Levy imitated, including Howard Cosell, Henry Kissinger, Menachem Begin, Milton Berle, Judd Hirsch, Jack Carter, James Caan, Lorne Greene, Norman Mailer and Neil Sedaka.
Years later, Levy recalled that when the SCTV comedy troupe was invited to appear on The Today Show, before the segment was filmed, chairs were arranged so that Catherine O’Hara was seated next to Shalit. Suddenly Shalit exclaimed: “Wait a minute, shouldn’t the person who [imitates] me be sitting beside me?” Another Jewish comedian, Jon Lovitz, would likewise attempt to imitate Shalit on Saturday Night Live, but without the zest of Levy’s indelible incarnation.

Shalit once told showbiz reporter Eileen Prose that at first, his looks limited him to radio jobs in more conventional times for TV talent. By the more liberated late 1960s, when long hair and a hirsute upper lip were more common, he was hired as quasi-permanent house Jew on The Today Show. Although his mustache fit the counterculture in the mode of Jewish activist Jerry Rubin’s, Shalit as an aspiring journalist may have grown his facial hair more in tribute to earlier literati like the playwright William Saroyan or the eminent humorist Mark Twain.
At times, Shalit’s appearance could be clown-like or cartoonish, so it was natural that characters inspired by him would appear on animated series such as SpongeBob SquarePants and Family Guy as well as The Muppet Show.
Famous interviewees like Peter Sellers were plainly at ease with Shalit’s persona. A conversation filmed shortly before Sellers’ untimely death was cordial, with the sometimes tetchy actor on his best behavior, acknowledging Shalit as a fellow entertainer. And with Mel Brooks in 1987, Shalit looked to be in paradise.
A warm-hearted empathizer and enthusiast, Shalit was more suited to promoting films than criticizing them. In 1989, a tzimmes occurred when a memo drafted by Bryant Gumbel, a Today Show colleague, deemed Shalit a “specialist in gushing over actors and directors” and added that Shalit’s interviews “aren’t very good.” To his credit, Shalit minimized the controversy, telling The Los Angeles Times that Gumbel’s disses were “not big whacks.”
“Listen, I’ve been interviewing people on the show for 17 years,” Shalit said. “I must be doing something right.”

Part of his inspiration was a sincere appreciation for humor, Jewish and otherwise. His 1987 anthology, Laughing Matters featured contributions by Jewish wits such as Dorothy Parker, S. J. Perelman, Woody Allen, Fran Lebowitz, Samuel Hoffenstein, Philip Roth, Mel Brooks, George S. Kaufman, Milt Gross, Arthur Kober, Leo Rosten, Allan Sherman, Max Shulman, Calvin Trillin, Rube Goldberg, Sam Gross, Roz Chast, B. Kliban, Robert Mankoff, J. B. Handelsman, Jules Feiffer and George Burns. The volume was dedicated to, among others, the Jewish screenwriter Samson Raphaelson, who was Shalit’s instructor at the University of Illinois at Urbana-Champaign.
His visceral reaction to Jewish parody was such that during one commuter train ride, Shalit admitted in a preface, Perelman’s story “No Starch in the Dhoti, S’il Vous Plait” caused a conductor to lean down with concern, stating: “A passenger says you’re crying.” To which Shalit retorted, choking and rubbing away tears: “I’m laughing.”
The subliminal message of Shalit’s book was that without Jews, America would have distinctly fewer tears of laughter. And he regretted not being able to include funny Jews like Jack Benny and Ed Wynn whose performances could not be transferred to the printed page.
Shalit also reviewed books for years. Sticking firmly to the content of cultural products with a few brief hints of value judgment, Shalit seemed to have neither the time nor presumably the inclination to subject new items to analysis of Freudian intensity. He clearly preferred boosting things to panning them, and when a film displeased Shalit, he could be uncomfortable saying so.
One occasion when Shalit raised hackles was his response on The Today Show to the 2005 film Brokeback Mountain. Shalit described one of the gay characters as a “sexual predator.” The LGBTQ media group GLAAD objected to Shalit’s characterization as a homophobic stereotype. Shalit’s son Peter wrote an open letter to GLAAD, identifying himself as a gay physician with a Seattle practice helping the gay community. Peter Shalit admitted that his father “did not get” the film in question, but was “not a homophobe.” He might have added that his father had even included an excerpt from Harvey Fierstein’s Torch Song Trilogy in the aforementioned humor collection.
Shalit followed up with his own apology, stating in a mensch-like way that he did not intend to cast “aspersions on anyone in the gay community or on the community itself.” When Shalit finally retired from broadcasting at age 84, with the Yiddish-inflected declaration: “It’s enough, already,” he left behind admiring viewers and decades of bonhomie as one of morning television’s most genial protagonists.
Mazel tov, Gene Shalit. Biz hundert un tsvantsik (May you live until 120)!
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How a song about the food chain became a Seder mainstay
I’m almost positive I heard about the old lady who swallowed a fly before the father who bought a goat for two zuzim.
This occurred to me a few years ago while riding in my sister’s minivan. My niece was in her car seat fidgeting with a toy that plays a catalogue of public domain children’s songs. But unlike the version I’d grown up hearing, where the old lady’s ravenous habit of devouring ever-larger animals is met with the prognostic shrug of “perhaps she’ll die,” the refrain was changed to the more kid-friendly “oh me oh my.”
The Seder tune “Chad Gadya,” which involves a quite similar conceit, has no such timidity when it comes to the ravages of death.
Jack Black once described it as the “original heavy metal song” for the way it progresses along the chain of life from a little goat bought for two zuzim, to the cat who ate the goat, to the dog who bit the cat, all the way up to the angel of death. (“Very Black Sabbath.”)
It is pretty metal — in a kosher Kidz Bop, tot Shabbat kinda way. But why we sing it should, in Jewish circles, be as popular a seasonal question as what a bunny with a clutch of eggs has to do with Jesus’ resurrection. (Some Haggadot explain the greater significance of “Chad Gadya;” my Maxwell House does not.)
Dating the song or rooting out its precise origins is not easy.
As historian Henry Abramson wrote, scholars have noted the song’s similarities to a late Medieval German folk rhyme. While the fact that it is mostly in Aramaic, not the vernacular in Europe in the Middle Ages, suggests an earlier provenance, it is missing from extant Sephardic and Yemenite Haggadot, where one would expect to find texts originating in the language, and the Aramaic itself has many errors.
Abramson reasons that, given the surviving written versions, it was likely adapted sometime in the 14th century from a German children’s rhyme called “The Foreman that Sent Jockel Out,” about an idler named Jockel who a foreman tries to rouse to fieldwork with an escalating series of messengers, ending with a hangman. (Abramson notes the original is characterized by “some Teutonic weirdness,” like a witch sent to subdue a vulture.)
“Chad Gadya” belongs, like its Seder companion “Echad Mi Yodea,” to a genre called “cumulative song,” where verses build with new information a la “12 Days of Christmas.” But “Chad Gadya” stands out for its strangeness and its more oblique message.
Abramson and others see the goat, small and vulnerable, standing in for the Jewish people, and the ensuing parade of antagonists corresponding to historical enemies (Assyrians, Babylonians) and periods of time (Exodus, various conquests), ending with redemption in the Messianic age when the Holy One smites death.
As Rabbi Jonathan Sacks wrote in a commentary for his Haggadah, the song “teaches the great truth of Jewish hope: that though many nations (symbolized by the cat, the dog, and so on) attacked Israel (the goat), each in turn has vanished into oblivion.”
That this truth is conveyed in song, with much banging on the table or animal noises, speaks to the centrality of children in the Passover Seder. And, some think, its inclusion serves a practical purpose: keeping the kids awake through the last leg of a long ritual meal.
My own interpretation is admittedly less lofty. I don’t think of Israel’s tribulations. I do think of the abundance of stray cats in Jerusalem, said to have originated during the British mandate when the city had a rat problem.
And, in the years since my own days as designated Four Questions asker, I’ve been reading “Chad Gadya” into non-Jewish contexts. “The White Cat,” off of Mitski’s new album, Nothing’s About to Happen to Me, contains a lyric that recalls the song, only altered to be a metaphor for the predations of capitalism.
In it, the speaker says she must work to pay for the cat’s house and “for the bugs who drink my blood/and the birds who eat those bugs/so that white cat can kill the birds.”
These cycles speak across cultures and time because they represent a fundamental rule of nature: There’s always a bigger fish (or cat or dog or stick).
To erase death from the equation, like my niece’s toy does with that hapless, insect-ingesting pensioner, is a concession to today’s sensitivities. That’s not to say “The Old Lady Who Swallowed a Fly” represents anything more homiletic than a choking hazard warning, but in the case of “Chad Gadya,” death is the story, and an end to death is the hope.
“The Haggadah ends with the death of death in eternal life,” Rabbi Sacks concluded his drash on the song, which ends when God strikes down the Angel of Death. “A fitting end for the story of a people dedicated to Moshe’s great command, ‘Choose life.’”
I know it’s a principle of faith all over the Haggadah, but I’m more agnostic as to that Messianic promise and maybe more in the camp of our old lady. My understanding of Jewishness, which accords with Moshe’s command, says life is best lived knowing that — perhaps — we’ll die.
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Katz: ‘Israel’s Goal in Lebanon is to Disarm Hezbollah’
Then-Israeli transportation minister Israel Katz attends the cabinet meeting at the Prime Minister’s office in Jerusalem, Feb. 17, 2019. Katz currently serves as the foreign minister. Photo: Sebastian Scheiner/Pool via REUTERS
i24 News – Israel’s Defense Minister Israel Katz held a situation assessment Friday with senior military and defense officials, reiterating that the country’s policy in Lebanon remains focused on disarming Hezbollah by military and political means. Katz emphasized that the goal applies “regardless of the Iran issue” and pledged continued protection for Israeli northern communities.
Katz said the Israel Defense Forces are completing ground maneuvers up to the anti-tank line to prevent direct threats to border towns. He outlined plans to demolish houses in villages near the border that serve as Hezbollah outposts, citing previous operations in Rafah and Khan Yunis in Gaza as models.
The Defense Minister added that the IDF will maintain security control over the Litani area and that the return of 600,000 residents of southern Lebanon who had evacuated north will not be permitted until northern communities’ safety is ensured. Katz also reaffirmed that the IDF will continue targeting Hezbollah leaders and operatives across Lebanon, noting that 1,000 terrorists have already been eliminated since the start of the current campaign.
“We promised security to the northern towns, and that is exactly what we will do,” Katz said. He further warned that the IDF will act decisively against rocket fire from Lebanon, stating that Hezbollah “will pay heavy prices.”
