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A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’

(New York Jewish Week) —  While hiding from the Nazis, the German Jewish artist Charlotte Salomon began a series of autobiographical paintings and texts with a painfully simple description of her aunt, and namesake’s, suicide: “Scene 1: 1913. One November day, a young girl named Charlotte Knarre leaves her parents’ home and jumps into the water.” 

Intense and memorable, that image is the launching point for “Life? or Theatre?”, a series of hundreds of gouaches Salomon made between 1940 and 1942. Best described as an “autobiographical play,” it features personal stories illustrated with vibrant paintings and cues for music. Salomon, in her 20s when she made the body of work, called it a “singspiel,” a play with music.

And now, a new film directed by French sisters Delphine and Muriel Coulin, delivers a cinematic representation of her best-known work. “Charlotte Salomon: Life and the Maiden” will make its world premiere at Lincoln Center on Weds., January 18 as a centerpiece of the New York Jewish Film Festival. 

The film lies somewhere between cinema and art installation: Aside from a brief opening and conclusion, Salomon’s expressive paintings take up most of the screen time. Sound design brings the paintings to life, as does the music Salomon indicated in her original script, along with text read by the actress Vicky Krieps (“Phantom Thread,” “Corsage”), who plays protagonist Charlotte.

“We didn’t want to make a pure documentary of her,” co-director Delphine Coulin told the New York Jewish Week. “What had never been done was to make a true film with the painting, the music and the text, and to imagine what Charlotte was visualizing when she was painting… Because the neighbors said they could hear her singing while she was painting.” 

French sisters Muriel Coulin, left, and Delphine Coulin are co-directors of “Charlotte Salomon: Life and the Maiden.” (Richard Schroeder)

These days, Salomon — who died at Auschwitz at age 26 in 1943 — is something of a cult favorite among art lovers and Jewish historians. In a 2017 New Yorker article, writer Toni Bentley notes that “Life? or Theatre?” is “the largest single work of art created by a Jew during the Holocaust.” She is also sometimes compared to Anne Frank. Critics have noted this comparison does neither artist justice, distinguishing between the youthful directness of Frank’s writing as an adolescent in hiding with the more mature, sophisticated representations made by Salomon as a young artist. 

Born in Berlin in 1917, Salomon grew up in a cultured German Jewish family. Her mother died when she was 8. She studied at the German capital’s prestigious Academy of Arts until the Nazis’ rise to power made it impossible for her to continue. In 1938, her father spent a brief period in an internment camp — after his release, he sent his daughter to stay with her grandparents in the south of France, where he hoped she’d be safe. 

After Salomon’s arrival at Villefranche-sur-Mer in 1939, her grandmother attempted suicide and eventually died. Only then did Salomon learn that her mother had died by suicide as well, and that the women in her family had a history of depression (though it isn’t covered in the film, there is some evidence that her grandfather may have been abusive). 

In “Life? or Theatre?” Salomon writes: “My life began when my grandmother ended hers, when I learned that my mother too had ended her life, and that deep down I felt the same predisposition to despair and death. I thought to myself: either I kill myself too, or I create something really crazy and extraordinary.” 

For the next two years, Salomon did just that, creating some 1,300 paintings about her life in exile. She accompanied these paintings with text and musical cues that included Bach, Schubert, Mahler and the German anthem “Deutschlandlied,” creating an entire multimedia body of work. 

As the Nazi grip tightened in France, Salomon, realizing the danger she faced, brought a box containing all her paintings to a friend, the town’s doctor. The film recounts what she tells him: “Take care of it. This is my whole life.” Just weeks later, Salomon, five months pregnant, was sent to Auschwitz, where she died on Oct. 10, 1943. 

While Salomon’s work includes depictions of Nazis, antisemitism and persecution, the majority of “Life? or Theater?” — and therefore the film — is dedicated to the explosive inner life and autobiography of its creator. She explores suicide, Freudian lust, psychological distress, music, philosophy and her own artistic impulses. 

Yet “Life? or Theatre?” is unmistakably a product of its time, and as such the film includes historical images of Hitler’s rise. Though the French filmmakers don’t identify as Jewish themselves, Delphine said that she and her sister have some Jewish family, and she noted the film’s content is more relevant than ever. “Antisemitism never did end, but now in France and in Europe, it is stronger and stronger than ever, since 1945,” she said. “We really see it and we talk to it nearly each day. We can’t ignore it.” 

“With all these strange times we’re living in, Charlotte gives you strength, because she really crossed the times with a strong belief in art and love,” she added.

The film ends with astonishing footage from the early 1960s of Salomon’s father and stepmother, who survived hiding in the Netherlands, looking through their daughter’s paintings as they are interviewed about her. “I was surprised when I discovered her work,” says her father Albert Salomon. He had known nothing of his late daughter’s project until the couple visited Villefranche-sur-Mer after the war, hoping to find some traces of Charlotte’s life. 

“The work is very, very vivid — very expressive of life in all its aspects,” said Delphine of Salomon’s art — and the Coulin sisters, in turn, were inspired to bring the work to a broader audience. In 2019, Muriel directed her first theater piece, “Charlotte,” a rendition of Salomon’s work for the stage that played in Paris at the Théâtre du Rond Point. When the COVID-19 pandemic shut down the production, the Coulins transposed their medium to film. 

Delphine added that they were also drawn to what she called the “poignant story” of Salomon’s brief life, now immortalized by her singular creative impulse in the face of adversity. 

“In difficult times — and her times were probably the most difficult times ever — she really believed in art,” she said. “How art makes you survive. How it can give you a piece of eternity. We wouldn’t speak about her this way if she had not been able to make this wonderful work.”

“Charlotte Salomon: Life and the Maiden” will screen on Weds., January 18 at 12:00 p.m. and 6:00 p.m. at the Walter Reade Theater at 165 West 65th St. For additional information on the New York Jewish Film Festival, which runs through Monday, January 23, click here. 

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The post A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’ appeared first on Jewish Telegraphic Agency.

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The new U.S. passport design is fueling a Star of David conspiracy theory. Here’s what’s really there.

When Secretary of State Marco Rubio unveiled a new U.S. passport design last week, online sleuths zeroed in on a curious detail: “Is that the star of david???” one TikTok user commented on a video of Rubio showing off the document’s revamped look.

“Why do we rock the Star of David on American passports?” asked an X user in a post that garnered 1.6 million views.

The symbol was not, in fact, the Star of David, but rather 13 stars arranged in a hexagram, representing the original 13 colonies. The design is part of the official Great Seal of the United States, approved by the Continental Congress in 1782 as the official symbol for the newly sovereign country.

The hexagram shape wasn’t a new addition to the passport, either. The Great Seal has long been a fixture of the U.S. passport cover; the new design just enlarges it. The seal — including the cluster of 13 stars in a hexagram — appears on all sorts of government materials, including military uniforms, official presidential documents, and the dollar bill.

The shape’s resemblance to the Magen David, however, has long fueled conspiracy theories about secret Jewish or Israeli influence over the U.S. government. To some online commentators, the redesigned passport was fresh confirmation of that belief.

“It’s a colony of israel (sic) so it makes sense to pay homage to their owners,” a TikToker commented about the new design.

The seal’s history

Shortly after they adopted the Declaration of Independence, the Founding Fathers had another important matter to attend to: appointing a committee to design a seal for the United States.

Benjamin Franklin, Thomas Jefferson and John Adams made up the all-star team. Franklin suggested an image of Moses parting the Red Sea. Jefferson wanted “the children of Israel in the wilderness, led by a cloud by day and a pillar of fire by night.” Adams preferred an image of Hercules, the Greek hero known for his strength.

Evidently, none of them had a great eye for graphic design. Congress tabled their proposals.

Two more committees took up the project. In 1782, Secretary of the Continental Congress Charles Thomson integrated the various committees’ ideas into a new design, which featured a bald eagle, a shield, an olive branch and arrows, and a constellation of 13 stars. Congress approved the seal that year.

Thomson described the design as featuring “thirteen stars forming a constellation”; he did not specify a hexagram or six-pointed star. Original sketches, in fact, show the stars in a seemingly random arrangement.

Charles Thomson’s design for the Great Seal of the United States, 1782. Courtesy of National Archives Catalog

Robert Scot, the chief engraver of the United States Mint, is credited with arranging the 13 stars into the six-pointed geometric star.

According to legend, George Washington ordered the 13 stars arranged as a Star of David as a tribute to Haym Salomon, a Jewish financier who aided the Revolutionary cause. But there’s no historical evidence of that, nor that Washington or Salomon had any role at all in designing the seal.

One plausible theory is that Scot may have simply been emulating the arrangement of stars on the American flag at the time, rearranging the 13 stars to fit symmetrically inside a circular field.

Even so, the myth of the Star of David intentionally appearing on the seal has reached as far as former presidential candidate Ben Carson, who in 2015 suggested that “Salomon gave all his funds to save the U.S. Army and, some say, no one knows for sure, that’s the reason there’s a Star of David on the back of the one dollar bill.”

Historians were quick to correct the record.

“If you squint, you can say there’s some resemblance but that certainly was not the intention of the designers, that we’re aware,” Wayne Homren of the Numismatic Bibliomania Society, which studies currency, told ABC News.

The theory behind the theory

Kent Harber, a professor of psychology at Rutgers University who studies conspiracy theories, said the passport claim fits within the emerging zeitgeist, in which “conspiracy beliefs about Jews and Israel are getting an increasing amount of currency.”

In this case, gaps in the historical record surrounding the hexagram’s design may have helped the theory take hold.

“We can’t take ‘no reason’ for an answer,” Harber said. “We have to have an explanation, and we will fill in that blank with other explanations, even bogus, sometimes sort of seemingly silly ones.”

Harber’s research has found a strong relationship between conspiracy theories, antisemitic attitudes, and hostility toward Israel.

Conspiracy theories are like “epistemological junk food,” he said. “They satisfy this craving by giving you exactly what you want, even though it’s not particularly good for you or for society.”

The post The new U.S. passport design is fueling a Star of David conspiracy theory. Here’s what’s really there. appeared first on The Forward.

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Swastikas, racist slurs painted on a playground and a golf course outside Philadelphia

The police were still there when neighbors arrived to clean up the Philadelphia playground where vandals had struck.

They had come to a playground in Abington Township, just outside Philadelphia, on Saturday morning with cleaning supplies. Officers had been called and were still collecting evidence from the swastikas that someone had spray-painted on the playground equipment and the blacktop, and from the N-word painted on the playground’s sign. So the volunteers waited. Then dozens of them, along with volunteer firefighters and school district staff, went to work.

Abington Township police have several investigative leads, Deputy Chief Ed Quinn told the Forward. “I’m confident we’re making an arrest and holding those responsible accountable for their actions,” he said, adding that it is too early to say whether charges would include a hate crime.

A week earlier, about 25 miles away, someone carved swastikas and a racial slur into the greens at Yardley Country Club, a private golf course. The similar incidents occurred at both the start and the close of the festival of Sukkot.

No arrests have been announced in either case. Neither police department knew about the other’s case until the Forward called. Quinn said he had never heard of the golf course, and Yardley’s police chief, William Golden, said the same of the playground. Golden declined to discuss leads or whether the vandalism would be charged as a hate crime.

Golden said he had also learned of a golf course about five miles away in Morrisville that was vandalized a week before Yardley’s. The course, he believed, did not report it to police and repaired the damage on their own. Golden said there were no swastikas in that vandalism, but that it included a racist slur.

The Yardley Country Club is adjacent to the Abrams Hebrew Academy, a Jewish elementary school with close to 200 students. Rabbi Ira Budow has run the school for more than four decades. His car is parked beside the hole that was hit, he said, and golf balls sometimes sail onto the school grounds.

“I really think it was probably a prank,” he said, noting that he can’t recall any other local antisemitic incident in his time there. “This is a good town.” Yardley, where Budow lives, is also home to three synagogues. The local police work with the school on security, and he is scheduled to speak to the Borough Council on Tuesday night.

The school already receives state security money. Applications ask whether a school feels threatened and requires them to provide an example – which gave Budow a message for whoever did this.

“This person should know that because of him, the school will be able to get more security grants,” he said. “They did the job for me.”

Why Shapiro is watching

Abington Township is also home to Gov. Josh Shapiro’s private residence.

“Gov. Shapiro has always been clear: antisemitism and hate have no place in Pennsylvania,” Rosie Lapowsky, a spokesperson for Shapiro, told the Forward. “These acts are intended to intimidate our neighbors and we condemn them unequivocally. Every Pennsylvanian deserves to feel safe in their community.”

For Shapiro, it is close to home in more than one way. His wife, Lori, went to elementary school at Abrams, in the building beside the golf course. Shapiro was Pennsylvania’s attorney general on Oct. 27, 2018, when a gunman killed 11 worshippers at the Tree of Life synagogue in Pittsburgh. That anniversary is three weeks away. He was sworn in as governor on three Bibles, one of them rescued from the synagogue.

His own brush with violence opens his memoir, Where We Keep the Light. In April 2025, hours after the Shapiro family hosted a Passover seder, a man firebombed the governor’s residence in Harrisburg while the family and guests slept inside. Shapiro writes that it sharpened his sense that antisemitic violence is a lived reality, even for a governor with a police detail. “The bubble burst that morning,” he writes.

Shapiro is up for reelection next month. He is also widely seen as a possible Democratic candidate for president in 2028, which would make him the nation’s first Jewish president if he won.

Two communities, one response

Jason Holtzman, who runs the Jewish Community Relations Council at the Jewish Federation of Greater Philadelphia, has been watching the headlines pile up. The region’s Jewish community, which he puts at between 250,000 and 300,000 people, now responds to incidents “far more often than we were a few years ago,” he said.

In August, the Weitzman National Museum of American Jewish History in Philadelphia was vandalized, the third attack on it in one year. “These headlines are regular to us,” he said.

What worries Holtzman this week is the setting. “It’s really concerning that it’s also moving into everyday spaces,” he said, like a playground and a golf course. The one in Yardley, beside a Jewish school, “definitely affects children and it definitely affects people in our community.”

He also sees an opening. Antisemitism and anti-Black racism, Holtzman said, “grow from the same root,” and local churches, synagogues and elected officials have rallied together. “While this is a horrible thing, we’re hoping that this is an opportunity to actually bring people together in both communities.”

The Salem Baptist Church of Abington said much the same in a statement. The church called the N-word “the nuclear weapon in the English language” and the swastika “the symbolic equivalent.” Ignorance, it said, “has shown its vile face. At a park. The symbol of civic unity.” It called the vandalism “yet another opportunity for Blacks and Jews to be reminded that our enemies are two sides of the same coin. Unity. Not polarity. Not isolation.”

On Thursday, the town is set to hold a vigil at the park. The idea, the invitation says, is to “reclaim a shared community space from hate.”

The post Swastikas, racist slurs painted on a playground and a golf course outside Philadelphia appeared first on The Forward.

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What do Germans talk about when they talk about antisemitism?

In today’s Germany, an accusation of antisemitism can end careers, shutter institutions and put political alliances beyond consideration. That gravity is understandable in the country responsible for the Holocaust. What has become less clear, particularly since the Hamas-led attacks on southern Israel on Oct. 7, 2023, and the ensuing war in Gaza, is what Germans mean when they use the word “antisemitism.”

Days before Berliners went to the polls on Sept. 20, Germany’s chancellor Friedrich Merz provided a particularly awkward illustration. At a campaign event for his party, the CDU, Merz called antisemitism “the most perfidious form of xenophobia.” German Jews were quick to point out a glaring problem; they were not foreigners. The contentious IHRA framework officially embraced by Germany stresses that antisemitism and hostility toward foreigners are separate phenomena.

The confusion has become politically consequential since Berlin voted. Die Linke, a democratic socialist party, won 25.7%, more than doubling its 2023 share and finishing nearly seven points ahead of the CDU, which came in at 18.8%. The far-right AfD came third with 16.3%, itself an extraordinary gain of 7.2 points. Yet, since the election, the question consuming German politics has been whether Die Linke is too antisemitic to govern.

Israel’s ambassador, Ron Prosor, described antisemitism within Die Linke as systemic. The Central Council of Jews warned the SPD and Greens against joining a Linke-led coalition. Bavaria’s premier, Markus Söder, called Die Linke “deeply antisemitic.”

Philipp Peyman Engel, editor in chief of the Jüdische Allgemeine, the weekly newspaper of the Central Council of Jews in Germany, distilled the case against Die Linke in Britain’s Jewish Chronicle. The party, he wrote, was “riddled with people who hate Jews and Israel” and represented “the elimination of Israel.” Even voters drawn by rents and social policy had tolerated its hatred of Israel; SPD and Green politicians would forfeit any claim to moral seriousness by governing with it. “No non-Jewish democrat should simply accept this election result either,” he wrote.

That is an extraordinary indictment of a party that just received more votes than any other in the German capital. It is also hard to reconcile with the party that actually exists.

Die Linke does carry unusual historical baggage. It was formed in 2007 from a movement of trade unionists and Social Democrats alienated by Gerhard Schröder’s welfare reforms and the PDS, successor to East Germany’s ruling communist party. The GDR pursued an anti-Zionist foreign policy, strands of which survived reunification; the modern party also absorbed a western anti-imperialist tradition in which hostility toward Israel has at times shaded into antisemitism.

A 2011 analysis published by Germany’s Federal Agency for Civic Education found serious hostility toward Israel in parts of Die Linke but rejected describing the party itself as antisemitic. A year later, Die Linke nominated Beate Klarsfeld — the Nazi hunter who spent decades pursuing German war criminals and famously slapped former Chancellor Kurt Georg Kiesinger over his Nazi past — for the German presidency. She received 126 votes in the Federal Assembly.

Die Linke party’s co-leader Ines Schwerdtner, deputy parliamentary group leader Soeren Pellmann, MP Pascal Meiser, new Bundestag Vice-President Bodo Ramelow, MP Ferat Kocak, and parliamentary group leader Heidi Reichinnek. Photo by JENS SCHLUETER/AFP via Getty Images

Die Linke’s current official position is markedly different from Engel’s characterization in the Jewish Chronicle. At its federal congress in June, Die Linke explicitly affirmed Israeli and Palestinian self-determination and the right of both Israel and Palestine to exist. It passed a separate resolution condemning antisemitism and describing its sharp rise since Oct. 7. While one may regard those positions as inadequate, contradictory or politically naïve, they do not amount to a program for eliminating Israel.

The party that won Berlin last month has changed in other ways as well. Its candidate for mayor, Elif Eralp, a trained lawyer, was born in Munich to Turkish socialist trade unionists who fled the 1980 military coup. Her campaign centered on housing, rent controls and migrant rights, and borrowed consciously from Zohran Mamdani’s campaign in New York; Linke activists even traveled there to meet his advisers.

That helps explain why this election has rattled Germany’s political center. Die Linke is no longer easily dismissed as the residual party of eastern German communism. In Berlin, it has assembled a young, urban and increasingly diverse electorate around an issue — the cost of housing — that the governing parties have conspicuously failed to solve. Unlike the AfD, it also has potential coalition partners. A Linke-SPD-Green government could remove the CDU from power and seek to implement the result of a 2021 referendum, approved by 57.6% of voters, calling for the socialization of large housing companies.

There are nonetheless questions about parts of its Berlin organization, especially in Neukölln. A rapper at a campaign event sang “Yalla Yalla Intifada” and “Death to the IDF.” Ferat Koçak, the district’s Linke Bundestag member, was photographed on election night with Ibrahim Ibrahim, described by Democ, an anti-extremist monitoring group, as a longtime activist with the Popular Front for the Liberation of Palestine, which the EU lists as a terrorist organization. Ibrahim has also been reported to have praised Hamas leader Yahya Sinwar as a “steadfast leader” and “martyr hero.”

Beyond Berlin, a June investigation by Bayerischer Rundfunk into internal forums and chats of Linksjugend, the party’s youth organization, found messages by a spokesman for Die Linke’s youth organization in Rhineland-Palatinate referring to Israeli “concentration camps” and a “genocide in the name of Judaism” and telling Israel to “drop dead!”

Wolfgang Benz, who directed the Center for Research on Antisemitism at Berlin’s Technical University for more than two decades and edited an eight-volume handbook on antisemitism, told the Tagesspiegel that the term Antisemitismus is undergoing an Ausverkauf — an inflationary depletion of its meaning.

“Die Linke is not antisemitic,” he said. Anti-Israel slogans can be crude, denunciatory, even “misanthropic,” without thereby becoming Jew-hatred. His answer when asked whether the chant “Death to the IDF” was antisemitic was no.

In the same interview, Benz also argued that Die Linke’s leadership should deal loudly and decisively with genuinely unacceptable conduct and singled out Bodo Ramelow, who became Linke’s first minister-president in 2014, and Petra Pau, a veteran Linke politician and former Bundestag vice president, as politicians with strong records against antisemitism. Benz’s successor, Stefanie Schüler-Springorum, has likewise called the debate around Die Linke “overblown” and warned that antisemitism is being used to influence coalition formation.

The consequences of collapsing antisemitism and anti-Zionism have extended beyond electoral politics. In Verfassungsblog, an open-access forum on constitutional law and politics, scholars Dörthe Engelcke and Ilyas Saliba documented Palestinian-related events at German universities losing rooms or being canceled, while antisemitism commissioners intervened in debates over terms such as “genocide,” “apartheid” and “settler colonialism.” Berlin’s Jews, meanwhile, are hardly unanimous. An open letter signed by 150 Jewish Berliners, including Susan Neiman, Deborah Feldman and Eva Menasse, accused parts of the media and Jewish community of instrumentalizing antisemitism against Die Linke while the far right advances.

The signatories also point out some obvious facts that, I imagine, tend to get overlooked: that Jews in Berlin pay rent, send children to schools, use hospitals and, like their neighbors, worry about economic insecurity.

Britain’s Labour Party under Jeremy Corbyn offers a cautionary precedent. As genuine failures over antisemitism became entangled with factional warfare, parts of Corbyn’s camp focused so heavily on the political motives behind the accusations that they appeared to minimize the underlying problem. The result was to strengthen the very attacks they regarded as politically motivated. Die Linke would be unwise to repeat that mistake.

Right now, far more than Die Linke’s reputation is on the line. The far-right AfD party won 43.8% in Saxony-Anhalt last month, an increase of 23 percentage points. On the same day Berlin voted, it won 38.2% in Mecklenburg-Western Pomerania, according to preliminary official results, while the CDU fell to 4.9% and disappeared from the state parliament. In Berlin, the AfD rose from 9.1 to 16.3% and finished third.

Those results should provide some perspective on the attempt to establish whether Die Linke’s 25.7% represents an antisemitic rupture in German democracy. Die Linke’s leadership will have to demonstrate that its stated opposition to antisemitism has real-world consequences. But the claim that Jew-hatred is baked into the party itself is unsupported by its program, its history or the records of many of its leading politicians.

What the controversy more clearly reveals is the alarm produced when a party long treated as marginal suddenly wins and becomes capable of leading its government. Antisemitism, the most devastating accusation available in German political language, offers Die Linke’s opponents a means of turning questions about the behavior of certain activists into a referendum on the party’s legitimacy.

Yet while Berlin argues over whether Die Linke is fit to govern, a far-right party with openly ethnonationalist positions and powerful antidemocratic currents, is winning close to 40% in parts of the former East. What’s shocking is that Germany’s political center is devoting its fiercest moral language to the left precisely when the far right is remaking the country’s electoral map.

 

The post What do Germans talk about when they talk about antisemitism? appeared first on The Forward.

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