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Holocaust survivor Edith Kimelman keynote speaker at the Jewish Heritage Centre’s 19th annual Holocaust and Human Rights Symposium
By MYRON LOVE
Edith Kimelman, whom I have known for many years, exudes elegance and confidence. Beneath the surface though, this child survivor of the Holocaust – in common with most Holocaust survivors – will tell you she continues to bear the scars of the trauma that she went through. And, as with many of her fellow survivors, she came here with nothing and built a life for herself as a wife, mother, grandmother, scholar and educator.
In recent years, Kimelman has devoted much of her time to Holocaust education, sharing her story with many high school students in and around Winnipeg in an effort to inspire young people to eschew prejudice and hate and work for the betterment of society. In 2016, she was one of those featured in filmmakers Yolanda Papini Pollock and Erol Meryl’s “Never Again: A Broken Promise” – a documentary on genocide.
On Thursday, March 12, Kimelman told her story to her largest audience yet – 1,350 high school students from 27 Manitoba schools who were in attendance at the University of Winnipeg’s Duckworth Centre for the 19th annual Holocaust and Human Rights Symposium presented by the Jewish Heritage Centre of Western Canada.
Kimelman and Indigenous leader, acclaimed author, and Indian Residential School survivor Theodore Fontaine were the two keynote speakers for the day, with Kimelman speaking in the morning and Fontaine in the afternoon session.
The symposium began with remarks from Dr. Annette Trimbee, President and Vice-Chancellor of the University of Winnipeg. She noted that pre-war Germany society was not much different from our own society today. “Minority communities in many countries are still being marginalized and abused,” she pointed out.
Trimbee quoted the late Simon Wiesenthal, who said that “for evil to flourish, it only requires good men to do nothing”.
She also spoke of the importance of education in making the world a better place.
In introducing Edith Kimelman, Belle Jarniewski began by putting the Holocaust into graphic context. The executive director of the Jewish Heritage Centre of Western Canada and director of the Freeman Family Foundation Holocaust Education Centre noted that, along with death camps, the Nazis built tens of thousands more slave labour camps, transit camps and ghettos throughout Nazi-occupied Europe.
In addition to the more than three million Jews murdered in the death camps – as well as millions more Roma, Jehovah’s Witnesses, political prisoners and others deemed “undesirable”, 1.4 million more Jews in Eastern Europe were murdered by the Einsatzgruppen in mass shootings.
Jarniewski also spoke of Canada’s sorry record of residential schools as well as the worrying explosion in recent years of antisemitism, racism, and anti-immigrant sentiment in many countries. “There are at least 100 active white supremacist hate groups in Canada alone”, she added, noting that many espouse neo-Nazi ideology.
Jarniewski urged the students at the symposium to add their voices to the fight against hate. “Together, we can make a difference,” she said.
Kimelman began her remarks with a paraphrase from the great Israeli statesman Abba Eban, who described the Holocaust as one of the greatest crises in the history of Western civilization – with the Jews at the centre of it: “Antisemitism is the most violent hatred,” she observed. “I have carried the trauma of what we went through all of my life. I was robbed of my childhood but still managed to find a spark from the ashes from which I was able to build a new life in a new country.”
She described her early years as a happy time, doted on by loving parents in a small, community in Ukraine, where her best friend was a non-Jewish little girl next door. Life as the six-year-old Edith knew it came to an end in June 1941, when the Nazis arrived. Her family’s home was ransacked by the neighbours and almost everything was taken.
“I saw my best friend wearing my best clothes,” she recalled. “My friends shunned me. I sensed that something was wrong, but I didn’t know what it was. I thought that I must have done something wrong.”
A short time later, German soldiers took her father away and shot him. She and her mother found his body and had to carry it back to their home, where two of her mother’s brothers came to take her father’s body for burial.
Part of Edith’s family home was overtaken by Ukrainian militia. Her mother overheard some of the militiamen making plans to drown Edith, her mother and grandmother (her father’s mother), along with some Russian soldiers who they had previously captured – in the Horin River. Her mother woke the little girl in the middle of the night (her grandmother refused to leave) and they walked 24 km to Rowno, where they were taken in by her mother’s relatives.
Her mother’s parents were farmers in another village. They sent a farmer with a wagon filled with hay to pick up mother and daughter and bring them to the safety of their farm. In the fall of 1941, 19,000 Jews in the Rowno Ghetto who did not possess work permits were gathered at the train station, then taken directly to Soscenki, and shot into prepared mass graves.
In the fall of 1942, Edith and her mother continued to stay with her mother’s family in Tuchin. The remaining Jews in the Tuchin ghetto decided to burn it down rather than being slowly depleted in small groups.
At another point, Kimelman’s mother was badly beaten by some Germans and left with permanent kidney damage.
Kimelman told how she, her mother, grandparents, and her uncles and aunt were hidden in a haystack by a kindly Ukrainian lady throughout the winter of 1942-43. After that, they joined other escapees in the forest.
There were other brushes with death and finally, in early 1944, the group of about 75 destitute and desperate Jews was liberated by Partisans. That spring, Edith and her mother were both afflicted with typhus. Her mother eventually died in Lodz as a result of the severe beating that she had received, which had damaged her kidneys.
“With my mother’s death, everything I loved, everything I held dear also died,” Kimelman recalled. “I felt that I had nothing to live for. Fortunately, my grandmother, my uncles and my aunt gave me the courage to hang on to life.”
In 1949, Edith and her surviving family came to Winnipeg, where she lived with her grandmother and an uncle. Education had been very important to her parents and, by becoming well educated, Edith was determined to honour their memory. She went to university as a mature student, earning a BA from the University of Winnipeg and certification from the University of Manitoba, followed by graduate studies at Bar Ilan University and the Hebrew University in Israel, Oxford, and Columbia. She became an educator and an administrator in the Jewish school system.
Edith was married to Sam for 63 years prior to his passing in 2017. She is the proud mother of three sons and grandmother of two grandsons.
“I see myself as a branch that was ripped from a tree, but managed to take root and grow,” she told her audience. “We are fortunate that in Canada, we have the opportunity to raise our family in freedom, peace and security.”
Nonetheless, she added, quoting Bernie Farber, former executive director of the Canadian Jewish Congress, “Jews are no strangers to antisemitism. While history has shown us that Jew hatred may take an occasional holiday, it never takes a permanent vacation.”
“I am frightened by the current rise of antisemitism and am reaching a time in my life when every day is a bonus. The world is turbulent; so many countries are at war with other or themselves. I am grateful that I live in Canada where I can express my feelings before you without feeling repercussions just because I am Jewish. I hope I have been able to leave you some seeds of thought which will take root.”
The symposium receives funding from the Jewish Foundation of Manitoba and the Asper Foundation, while the Jewish Heritage Centre is a beneficiary agency of the Jewish Federation of Winnipeg,
Local News
Interviews with the curator of the Nakba exhibit and the CEO of the Human Rights Museum
By BERNIE BELLAN On June 26, I was invited to attend the Canadian Museum for Human Right to see the Nakba exhibit prior to its being opened to the public. While I was there I was given the opportunity to interview the curator for the exhibit, Isabelle Masson, along with CMHR CEO Isha Khan. What follows are the transcripts of those interviews (edited only to remove pause words like “uh” and phrases the were repeated). The first interview was with Isabelle Masson:
Jewish Post: Several representatives of Winnipeg Jewish community organization say that they weren’t fairly consulted on this exhibit. How do you respond to that?
Isabell
Masson: We came to this project with an awareness that Palestinian voices are often marginalized, even silenced, and an awareness that Islamophobia and anti-Palestinian racism have an impact on whose voice is heard and whose suffering is recognized. And so we intentionally chose to centre Palestinian voices with this exhibition.
JP: But to the point that many Jewish representatives of organizations and people within the community at large feel that the Jewish community should have been consulted on an issue that had such a direct impact on the Jewish community – did you not feel an obligation to consult with the Jewish community?
Masson: I think the best person to talk further about this issue is our CEO, Isha.
JP: In terms of the exhibit itself, I must say it really stresses the suffering that Palestinians have endured. But, in looking at other refugee situations around the world, the Palestinian situation seems to me to be unique in that there has never been an effort to resettle Palestinians within the countries to which they were forced to flee.
Do you not think that separates their situation (from other refugee situations) and, in some ways, it has made their situation worse than it could have been?
Masson: Well, the exhibit not only centres that experience of forced displacement and disposition as a longstanding experience across five generation that you know is tied to human rights violations that are ongoing today, but it also I want to point out, you know, foregrounds beauty, foregrounds resilience, foregrounds the maintenance of identity and belonging across time and across that experience. So there’s also these elements about this exhibition because it was also about humanizing Palestinians – about people with families with stories, with creativity – and coming back to some of the videos what interviewees say, right, we hope that Palestinians can be seen as fully human and hope that they can see Palestinians as having human rights and this this story today in this gallery is is a story about human rights.
JP: If I can focus on one particular aspect of the exhibit that I read this morning when I was sent the preview, it referred to what happened between the years 2000 and 2005 as a Palestinian uprising. But the Israeli term would be the Intifada which for them meant large-scale attacks – terrorist bombings by some Palestinians. Did you not think it necessary to include that in a larger context?
Masson: Well, we use uprising because it’s the most more accessible term in the exhibition and we, you know, we’re focusing really here on an artwork by artists – Palestinian American artist Reggie Cook and with an artwork that was trying to translate the experience of of occupation into what is created. So that’s the context in which we talk about that.
JP: But to ignore what happened during the uprising seems to me to leave out a major part of the context.
Masson: I don’t think that we are ignoring that. This exhibit is not about the full story of what has happened in Palestine, in Israel. It’s not, you know, the scope of this small exhibition. This small exhibition has a scope and the scope was really to create an opportunity and a place for Canadians to be able to encounter Palestinian Canadians and hear their voices.
JP: Given the current mood in the Middle East and the ongoing tensions between Israel and various other actors, the concern among many in the Jewish community that this is going to lead to a heightening of antisemitism and an exhibit like this seems that it it’s not going to do much to improve relations between Jews and Palestinians when it focuses on only one side of the story. How do you respond to that?
Masson: Well, this is only one exhibit of of many, of many stories that we have.
Following is my interview with Isha Khan. Khan began by explaining that she is “the CEO at the Canadian Museum for Human Rights and I’ve been here as CEO of the museum since August of 2020. So almost six years.”
JP: So let’s get right down to discussing (the exhibit). I spoke to the curator. I asked a lot of questions about the exhibit itself. I’m more interested in asking (you) about the general context and the atmosphere in the community. The accusation has been made repeatedly by various leaders of Jewish organizations that you have not been willing to consult on this exhibit. How do you respond to that?
Khan: I think the word consult can mean many things. We have a community engagement practice. So for us that means that depending on the scope of the exhibit and this exhibit is about Palestinian Canadians and their experiences, the impacts of the human rights impacts, of forced displacement, which means we engage with that community as we share their stories. Many folks in the Jewish community will say we haven’t consulted with them and yet we have met with leaders of Jewish organizations from across Canada, main uh, major federations, foundations, local Jewish organization representatives many times to talk about this exhibit, to explain what its scope is, what it’s about, what it’s intended to do, and most importantly, what it isn’t. And unfortunately there continues to be misconceptions about what it is. So we hope people will come and see it.
JP: I think the fear in the community – and I think it’s well founded is that this will foment an increase in antisemitism. Can you understand that concern?
Khan: Absolutely. I personally and any member of our team who’s talked to folks about this has said that we unequivocally share the concern about antisemitism in Canada today. That is part of our mandate. And we will continue to do that work and we can also share these stories of Palestinian Canadians – you know, telling the story of one community’s human rights violation in no way should negate or minimize the experience of another community. That’s what this museum was designed to do….designed to build understanding of shared humanity and that’s what we believe we’re doing responsibly.
JP: Just before I began this interview, I was taken (down to the fourth floor; the Nakba exhibit is on the fifth floor) to see the gallery of other human rights violations. I’m not sure what it’s called. (It’s where there is a ) recitation of various human rights violations, including what happened in 1947 and 1948 (in Palestine). They offer passing reference to the displacement of both Jewish and Palestinian refugees. Would you consider ever having an exhibit about the displacement of Jewish refugees from Arab lands in 1948 and subsequent years?
Khan: We would absolutely consider it and in fact have shared with leaders of the Jewish organizations months ago that yes, these are important stories that need to be told (and) invited them to work constructively with us on developing that content. Unfortunately we didn’t really receive much response.
JP: How long is this exhibit supposed to be on for?
Khan: So this exhibit right now we’re saying is a minimum of two years. That’s because it is an exhibit in a standing gallery and so it also depends on our updating of our other galleries and, you know, exhibits take a bit of time. This one is four years in the making and so we’ve just committed that it’ll be a minimum of two years and we’ll see where things go.
JP: There are a lot of other refugee situations in the world – (for instance) South Sudan, and just this morning I was saying to Isabelle that I received an email about the situation for people from Burundi in the Democratic Republic of the Congo.
I didn’t realize that was a problem. I know that the Congo has had ongoing problems with displacement of populations. It it seems to me it’s not an unlimited number of stories like this you could tell, but there are a lot of others. How do you decide which ones take priority?
Khan: We’re often asked the question of how we decide, and it comes back to how this museum is designed. Each gallery is intended to tell a different story. It has an objective. So this exhibit, Palestine Uprooted, is in our Rights Today gallery. It’s to talk about global human rights issues. And we know that people want to better understand human rights of Palestinians. There’s no question. It’s being talked about, debated, discussed all over the world. And so we’re being responsive there to that need. And we know that Palestinian experiences were under represented in our galleries and have heard that for years. To your point though that there are other stories – the design of this museum is that you ought to be able to feel something, understand something about the forced displacement of one community and apply it to another. So now this story stands along the forced displacement of the Rwanda people, indigenous peoples, Ukrainian people, the Igbo people. You’ve named a number of others that we do need to develop content on over time, but it’s done depending on what gallery it is, what we are trying to invoke…because we’ll never be the encyclopedia of all human rights atrocities in the world. That’s actually why we’re called the Canadian Museum for Human Rights rather than the Canadian Museum of Human Rights.
We’re here to to develop an understanding through the stories that will impact people.
JP: Okay. I want to ask a politically loaded question.
Khan: Okay.
JP: The Jewish population of Canada is at best 450,000. In that range, Jews don’t have the political impact that they used to. At most, there are 12 to 16 ridings where the Jewish vote can make a difference. The Muslim population has grown substantially. It has a much larger political impact. Did that factor in to this exhibit being mounted in any way?
Khan: Absolutely not.
JP: So, I’ll ask the question that I asked the curator of the exhibit. Where did the impetus for this come from? Did it come from Palestinian Canadians?
Khan: The this exhibit came from a recognition, our decision. I hold responsibility ultimately for the decisions made by my team. It was made based on the recognition that Palestinian experiences were under represented in this museum. We absolutely heard from the Palestinian community organizations in Canada and had heard for many years that their stories were underrepresented. Ultimately, the decision was ours. And as we look at this gallery and updating our content, this is ‘rights today’ – global human rights. We know that the world is talking about Palestinian human rights and the stories of Palestinian Canadians naturally belong in our collective memory alongside many other stories that are told here.
JP: There was one particular aspect on one of the panels when I was sent a preview this morning and it referred to the Palestinian uprising from 2000 to 2005 which led to a lot of Israeli deaths that we generally refer to as the Intifada. Um there’s no mention of Israeli deaths on that panel. Would you agree that that might have been an oversight?
Khan: I mean I know that there the factual point is absolutely accurate. The decisions on the curation of the exhibit are not ones that I make, but certainly if that is a concern that we will look at.
Local News
Nakba exhbit at CMHR now open – here’s what it looks like
By BERNIE BELLAN (Posted June 26)The following press release was sent to me early Friday morning June 26 (Photos supplied by Annie Kierans, CMHR) Nothing that follows has been edited. I leave it to you to form your own opinion:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
Local News
Nakba exhibit at human rights museum set to open despite mounting criticism
By NOAH STRAUSS (posted June 25) The Canadian Museum for Human Rights’ Nakba exhibit is scheduled to open this Saturday, June 27, despite growing criticism and calls for it to be delayed or revised. The exhibit has sparked public debate in Winnipeg and beyond regarding how it presents the history surrounding the creation of the State of Israel.
Earlier this week, Mark Berlin resigned from the museum’s board. In his resignation letter, he expressed concern that the exhibit presents a one-sided narrative and does not adequately address the experiences of Jewish communities affected by the events surrounding Israel’s independence.
The Nakba, an Arabic word meaning “catastrophe,” refers to the displacement of hundreds of thousands of Palestinians during the 1947–1949 conflict that followed the creation of the State of Israel. Critics of the exhibit argue that it focuses primarily on Palestinian displacement without sufficiently acknowledging the broader regional consequences of the period.
Some Jewish advocacy groups also point to the experiences of Jews who left or were expelled from several Arab and Muslim-majority countries in the decades surrounding Israel’s creation. Estimates suggest that between 850,000 and 950,000 Jews left or were displaced from countries including Iraq, Egypt, and Yemen, under a range of circumstances including persecution, expulsion, and confiscation of property.
In his resignation letter, Berlin, a faculty member at McGill University specializing in human rights law, wrote, “Telling the story with a one-sided perspective chosen by the museum serves to deepen division and contributes to further hostility toward Jews in Canada.”
Following his resignation, CIJA President Noah Shack released a statement saying, “The resignation of the museum’s only Jewish board member is a clear indictment of the museum’s handling of the controversial ‘Nakba’ exhibit.”
The exhibit’s VIP opening is expected to include invitations to representatives from all three levels of government. Winnipeg Mayor Scott Gillingham had initially been invited but later declined following discussions with representatives from the Jewish community, including CIJA Manitoba Vice President Gustavo Zentner and Jeff Lieberman, President and CEO of the Jewish Federation of Winnipeg.
Members of Winnipeg’s Jewish community are also planning a peaceful rally outside the museum on Friday at 5 p.m., according to organizers.
The Canadian Museum for Human Rights is expected to release a formal statement ahead of the exhibit’s opening.
(added June 26) To see interviews that Bernie Bellan conducted with Isabelle Masson, curator of the “Palestine Uprooted: Nakba Past and Present” exhibition at the Canadian Museum for Human Rights (CMHR) in Winnipeg and Isha Khan, CEO, CMHR about the exhibit go to curator of exhibit and CEO interviewed
