Uncategorized
A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
—
The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
Uncategorized
In North Carolina, a memorial project will honor Martin Luther King and Holocaust victims
(JTA) — Two people lean down from an abstract version of a rail car. Their outstretched hands reach towards a family gathered around the car’s opening. The adults on the ground reach back, either to get help stepping into the car or to say good-bye.
That’s one side of the artist rendering of what will be a Holocaust monument. On the other side, train tracks lead to the entrance of the Nazis’ largest death camp, Auschwitz-Birkenau. A message across the top reads, “They were here. We remember.”
The sculpture by artists David Wilson and Stephen Hayes, called “In Transit: The Weight of Absence,” is emotional on its own. But what makes the project planned for Charlotte, North Carolina, especially noteworthy is what will be alongside it.
Charlotte is the planned home for what its organizers believe is the first memorial plaza in the United States to both honor Dr. Martin Luther King Jr. and remember the Holocaust in the same space. The Circle of Humanity: Monuments for Unity and Remembrance in Marshall Park will feature the 8-foot bronze statue of King currently in the park plus the new Holocaust monument.
Linking the two will be paved walkways, educational reflections and digital resources on the Holocaust, the Civil Rights movement and the combined history of African Americans and Jews in the U.S. School and tour groups will take part in interactive educational experiences.
To those who might wonder why these monuments belong together, Rabbi Ya’aqov Walker points to a common inheritance. “You could just describe it plainly: white supremacy in continental Europe and white supremacy in the southeastern United States,” said Walker, who is Black and serves on the project’s education committee.
The groups also share deep resilience and desire for change, he said, which led to a significant Jewish presence in the civil rights movement in the United States 20 years after the Holocaust.
“It was very prescient in their minds, from King to any major civil rights leader who was committed to nonviolence, to study and learn what the Jewish experience was, and to build relationships with rabbis as fellow spiritual leaders,” said Walker, who co-leads the Charlotte Black/Jewish Alliance.
The new monument will replace a small one dedicated in 1979 that’s hidden in overgrown foliage. Project partners include the Charlotte Black/Jewish Alliance, Mecklenburg County, Queens University of Charlotte, the Stan Greenspon Holocaust Education Center, and the Charlotte-Mecklenburg branch of the NAACP.
After a national search for artists that yielded 57 design proposals, a review committee narrowed the choices to eight finalists. Wilson and Hayes, who are Black and live in Durham, North Carolina, were one of two teams asked to submit their concepts. Though they had never designed a sculpture based on a Jewish theme, they were compelled by its juxtaposition to the King monument, “creating a broader dialogue about injustice, courage and the consequences of hatred,” Wilson told county commissioners during a recent public meeting.
David Wilson, left, and Stephen Hayes are the designers of “In Transit: The Weight of Absence,” the winning design for the Circle of Humanity memorial in Charlotte’s Marshall Park. (Courtesy Circle of Humanity)
Their presentation moved Commissioner Leigh Altman, who is white, to reveal that her great-grandparents and many of their children were murdered in the Holocaust. About 25 to 30 Holocaust survivors live in the Charlotte area today.
“This shared partnership for me is a reminder across one of history’s worst genocides and the worst legacy of what America has done wrong, and brought it together to find a commonality, which was a failed obligation to recognize the humanity of others and to fight for it,” she said.
The second finalist team, Miriam Gusevich and Sal Pirrone from Washington, D.C., envisioned an abstract sculpture with thousands of silver circles to represent those killed by the Nazis. The proposed structure opened to a skylight in the shape of a Star of David. Members of Gusevich’s family died in the Holocaust.
“Circle of Humanity” organizers held 12 community feedback sessions, including at synagogues, a Black church and Johnson C. Smith University, a historically Black university. About 850 community members participated. More than 100 completed written surveys on their preferences. Ultimately, a majority favored the rail car image. At one session, participants audibly gasped when “In Transit” was revealed.
It’s yet to be determined which materials will be used to render the piece. Options range from cast and fabricated metal to large-scale 3-D printing. What likely won’t change is the sculpture’s bronze hue and structure.
“The skin tones can be interpreted in many ways, and it looks very similar to an auction block” used in the trafficking of enslaved people, Walker noted. He recalled that during a feedback session at a Black church, some church members teared up to see the reminder of family separation.
Urban Design Partners in collaboration with Groundworks Studio will develop the plaza, in a design called “Woven Histories.” Potential elements include a stone walkway with a plaid design. The plaid pays tribute to the dress that civil rights pioneer Dorothy Counts-Scoggins wore on the day in 1957 when she faced down an angry white mob to become the first Black student to attend a segregated high school in Charlotte.
The plaza will include benches and may incorporate decorative stone books. Like the monument design, the concept is still open to changes based on additional community feedback. The planned budget is just under $1 million, including a $100,000 endowment for programming and maintenance. If fundraising efforts are successful and the timeline stays on track, the plaza is scheduled to open in May 2027.
Marshall Park has particular resonance as the setting. It is part of the former Brooklyn, a Black neighborhood razed in the 1960s in the name of urban renewal. More recently, Marshall Park has been a familiar site for protests and political demonstrations.
The idea for the innovative combination began with a discussion between Rev. Corine Mack, president of the Charlotte-Mecklenburg NACCP, and Rabbi Judy Schindler, Sklut professor of Jewish studies at Queens University of Charlotte and executive director of Spill the Honey, a national non-profit which produces arts and educational materials intended to empower the Black-Jewish alliance to combat racism and antisemitism.
The Dr. Martin Luther King Jr. memorial statue in Charlotte’s Marshall Park, created by renowned sculptor Selma Burke, was dedicated on April 5, 1980. (Courtesy Arrowmount School of Arts and Crafts)
“It all came out of the same conversation, looking at the Civil Rights movement, looking at the rise in racial slurs and antisemitism, and just really understanding that we have to do something to elevate the importance of not only our cultures, but what love would look like in this country,” Mack said. “I thought it was important that we went back to the root of the civil rights movement, which was us collaborating.”
She acknowledges a few phone calls from members of Charlotte’s Black community who expressed concern about the collaboration in light of the war and political divides opened after the Hamas attacks on Israel on Oct. 7, 2023. Others were unclear about the benefits of bringing the two histories together. But no vocal opposition has emerged to the project. Organizers say on-site education about the history of Black-Jewish ties in America is essential.
Charlotte has its own claims to this history. Humorist and social critic Harry Golden lived in the city and published his commentaries in The Carolina Israelite, a newspaper whose subscribers included Congressional members and well-known writers. In “The Vertical Negro Plan” in 1956, he pointedly noted that whites seemed to have no trouble standing next to Black Americans. It was only when Black people wanted to sit “that the fur begins to fly.” His tongue-in-cheek solution? Remove the seats at schools and lunch counters.
In 1971, attorney Adam Stein, father of N.C. Gov. Josh Stein, was part of the legal team who argued Swann v. Charlotte-Mecklenburg Board of Education before the Supreme Court. The case began the era of busing for school integration nationwide. Busing for that purpose officially ended in Charlotte in 2002, when the Supreme Court declined to take up a challenge to lower-court ruling recognizing local schools as adequately desegregated .
Now, supporters hope the Circle of Humanity will be a catalyst for Black-Jewish collaborations in other cities. Schindler, named after a great-aunt who was killed during the Holocaust, wants the gathering spot to be a place not only for remembrance, but for inspiration and beginnings.
“It’s really important to me that we bring joy to this work,” she said, envisioning the opening ceremony filled with klezmer music as well as both soul food and Jewish noshes. She cautions against “letting those to seek to harm us control our thoughts and our struggles and our fears. We need to celebrate our culture and who we are with pride and joy, so I pray that this will be a centerpiece for cultural celebration of all sorts.”
This article originally appeared on JTA.org.
The post In North Carolina, a memorial project will honor Martin Luther King and Holocaust victims appeared first on The Forward.
Uncategorized
Tennessee GOP leaders denounce ‘No wars for Jews’ mailers bearing Young Republicans name
(JTA) — A rural Tennessee region was rocked this week after thousands of homes received mailers encouraging them to join the local Young Republicans chapter with a campaign platform including “No wars for Jews.”
The flyers led to a dramatic showdown at a local GOP meeting, including a state lawmaker’s cry of “I am a Jew!” and a rejoinder from Austin Lee, the young man behind the flyers: “We will not fight wars for you.” Cops escorted the provocateur out.
“Let’s face it, we read about antisemitism and anti-Black or white nationalism, right?” the lawmaker, State Rep. Scott Cepicky, told the Jewish Telegraphic Agency. “We hear about this stuff, and people are like, ‘Well, you know, that’s over there, or that’s in another state, that’s not here.’ Let me tell you something. It came to Maury County.”
The mailers, which encouraged recipients to “support” Lee, also said “Stop the Great Replacement” (a reference to the antisemitic Great Replacement Theory), “Ban Islam and Hinduism” and “Men in charge.”
“Nonwhite foreigners have invaded our country and are replacing White Americans,” read the flyers, viewed by JTA and reportedly sent to around 2,000 households with young white men. “Efforts at mass deportations have failed. No one is coming to save us; we must solve this problem ourselves.”
The flyers were mailed mainly in Maury County, 50 miles south of Nashville, as well as some surrounding counties. In addition to Lee’s name and an invitation to join the Maury County Young Republicans, they contained the prominent logo of the Tennessee Young Republicans — invoking broader concerns that a younger generation of Republicans are trending toward antisemitic and white nationalist ideas.
However, local Republican leaders told JTA the mailers were sent out without permission; that Lee holds no formal leadership role in the county GOP; and that the county’s Young Republicans chapter is currently inactive.
The county GOP chair strongly denounced the content of the mailers to JTA.
“It’s appalling that somebody would send this out,” Jason Gilliam told JTA about his reaction to the flyers. “This kind of thing really disgusts me. I mean, I have an Israeli flag on my bumper — not that that means anything.”
Gilliam said he first became aware of the flyers on Sunday, after households had begun receiving them. At a local GOP meeting the next day, Cepicky condemned the flyers by invoking his own Jewish ancestry.
“I’m a Jew, I’m an Ashkenazi Jew,” Cepicky told the crowd at the GOP meeting in a video taken and later posted by Lee himself. “My family left Israel, moved to Central Europe. In the 30s, you know what happened in Central Europe with Jews. My family immigrated to the United States.”
After Cepicky threatened to “pursue the law on these individuals” who distributed the mailer, Lee, who was also in attendance at the meeting, identified himself.
Cepicky accused Lee of spreading rhetoric “espoused in Europe” in the 1930s. Lee responded, “It was right then, and it is right now. We will not fight wars for you.” Lee was later escorted from the event by law enforcement. Lee has on social media cited Russia’s invasion of Ukraine as a “war for Jews.”
Cepicky told JTA he felt compelled to denounce Lee’s antisemitism in part because he was standing in front of a replica of the preamble to the U.S. Constitution at the meeting.
“It was behind me, and it spurred me to say, ‘That doesn’t say, “We the Christians,” or, “We the Jews,” or, “We the Islamics,” or, “We the men, we the women.” It doesn’t say that,’” he said. “It says, ‘We the people.’”
Cepicky told JTA that he is a practicing Christian who discovered his Ashkenazi Jewish ancestry on 23andMe. He said his family arrived sometime after the 1917 Russian Revolution. He made his first trip to Israel in 2024, to visit the kibbutzim attacked by Hamas on Oct. 7, 2023, and helped found the Tennessee Israel Caucus in the state legislature shortly thereafter.
Gilliam and Cepicky both described Lee to JTA as an infrequent attendee at county GOP meetings who holds no leadership role with the party, and said the county Young Republicans chapter was inactive. They added they would be pushing for an investigation into what they said was his unauthorized use of the county and state Young Republicans name on his mailers.
In social media posts and other interviews following the meeting, Lee continued to assert that he was the president of Maury County Young Republicans. He also referred to Cepicky multiple times as “Jewish Representative Scott Cepicky.”
“I took over that chapter,” Lee said in an interview Wednesday with a local radio station, claiming he had used a “process” to reactivate the local Young Republicans group. He declined to answer questions about who funded his mailers.
In a statement to media, the statewide Tennessee Young Republicans said the use of their logo “was not authorized” and said the group “did not, and does not, authorize, endorse, or support the recent communications published by the Maury County Young Republicans.”
As of press time, the Tennessee Young Republicans list Maury County as an active chapter on their website. Efforts by JTA to contact the group’s statewide director were unsuccessful. In recent months, official Young Republicans chapters across the country have become embroiled in antisemitism controversies.
Whether Lee has any more solid connection with local GOP officials was a matter of dispute. Gilliam claimed he had first been introduced to Lee by Aaron Miller, a local elected GOP county commissioner with whom Gilliam has since had a falling-out over unrelated matters. Asked about his relationship to Miller on the radio, Lee declined to comment.
Reached by JTA on Friday, Miller denied he had any connection to Lee beyond that “we had beers a couple of times.”
“I don’t agree with his politics. I don’t agree with his approach,” Miller told JTA. “I got a mailer and I was like, ‘Oh, OK, this is interesting.’”
Lee did not respond to a JTA request for comment.
Miller did say that young men, feeling unrepresented by the current Republican Party, are seeking out “alternatives to liberal democracy.” He has advocated for the county GOP to reach out more to the population, he said.
“Anything where you’re going to approach an entire group of people with a blanket mindset, I think that’s wicked,” he said. “We’re all made in God’s image.”
Gilliam and Cepicky told JTA that, in addition to the antisemitism, they strongly objected to the mailers’ anti-immigrant rhetoric and misogyny. At a time of Republican-led immigration crackdowns on the national level, and as national figures including Vice President JD Vance have downplayed the rise of antisemitism within the party, these local GOP leaders loudly insisted such forces should be stamped out.
“This kind of stuff is absolutely not going to be allowed. I will not stand for it,” Gilliam said. “If you don’t cut the head off the snake, it’s going to come back, right? It’s not going to stop. It’s only going to fester. It’s going to grow. And this kind of thing, the roots need to be yanked out of the ground.”
This article originally appeared on JTA.org.
The post Tennessee GOP leaders denounce ‘No wars for Jews’ mailers bearing Young Republicans name appeared first on The Forward.
Uncategorized
Austria once denied its Nazi past. Now it sends young people abroad to confront it.
(JTA) — For decades after 1945, Austrians often emphasized their own victimhood under Nazi Germany.
Only in the 1980s and ‘90s did they formally and informally acknowledge the role of Austrians as perpetrators and supporters of Nazi crimes.
In 1998, at the peak of this reckoning, the Austrian Service Abroad program was established to provide young Austrians the chance to work with nonprofit organizations that preserve the memory of the Holocaust and its victims.
Young Austrians just out of high school can choose the program as an alternative to military service. They work in non-profits around the world for 10 months, 34 hours each week at no cost to the receiving organization.
“It has been a big boon to our work and allows us to greatly expand our Holocaust educational offerings,” said Olivia Mattis, the president and CEO of the Sousa Mendes Foundation, a Long Island-based nonprofit that perpetuates the memory of Holocaust rescuer Aristides de Sousa Mendes. The Portuguese diplomat issued visas to thousands of refugees fleeing Nazi-occupied France.
“There are things we can now do having this extra hand that we were not able to do before,” said Mattis, whose father was rescued by Sousa Mendes.
This year the foundation, which has been part of the program 2022, has welcomed Robin Bigga-Piskernig, 19, as its fifth Austrian participant.
Bigga-Piskernig said he views the program as a way for Austria to “make amends” for its actions during World War II. He’s available for whatever the foundation needs, which includes the production of various educational materials.
“We just now finished new translations for a graphic novel that’s going to be published in an English version as well as French and German,” said Bigga-Piskernig. “Right now there’s a project that involves old passports from the 1940s and an upcoming program about Freud and how he was saved during the Holocaust.”
Jean Lou Cloos, managing director of Austrian Service Abroad, said in an email interview that there is a direct connection between the program and the country’s belated efforts to come to terms with its past.
The program “grew out of Austria’s long and difficult process of confronting National Socialism and the Holocaust,” Cloos said. “For decades after 1945, Austria often emphasized its own victimhood under Nazi Germany. Later, public and political debate became clearer about the fact that Austrians had also been perpetrators, supporters and beneficiaries of Nazi crimes.”
Some 1,323 Austrians 17 and older have taken part in the program since its founding, 85% of them men. Austrians in the program are now in 66 countries, including Germany and Italy.
“Our volunteers work in Holocaust memorials, Jewish museums, archives, research institutions, survivor-related organizations and educational institutions,” he said. “Volunteers serve where memory is preserved, researched and passed on, whether that is Auschwitz, Yad Vashem, a Jewish museum in Europe, or a Holocaust education center in the United States.”
The participants bring a perspective to Holocaust education that is useful in reaching young people like them. As a result of the work of Bigga-Piskernig and his predecessors, Mattis said her organization since 2024 has had an active Instagram account that enables it to post its “hero of the week,” a rescuer during the Holocaust.
Recently it highlighted Michael Ber Weissmandl, an Orthodox rabbi from present-day Solovakia, who helped Jews escape deportation by bribing Nazis and their local collaborators. “He wrote desperate letters through Switzerland to Allied powers asking that they bomb the gas chambers and the train tracks — and of course that never happened,” said Mattis.
Ber Weissmandl is also featured in a set of 52 poker-sized playing cards, each containing a photo of a Holocaust rescue, created and printed by the Sousa Mendes Foundation. The cards would not have been possible without the effort of the Austrian service workers.
“They researched the background of each of the rescuers,” she said.
The Austrian interns were also “absolutely integral” to the foundation in creating graphic novels that tell the story of Sousa Mendes and the families he saved. “We want to get them into bar mitzvah training programs,” said Mattis.
In addition, the foundation helps to produce Sunday film-and-discussion programs on stories of rescue and resistance. It also developed a children’s picture book about Sousa Mendes and his work, and another about Anne Frank and the Anne Frank Sapling Project.
“When she was in hiding with her family from the Nazis in a secret annex in Amsterdam,” Mattis said, “there was only one piece of nature outside that she could see. It was a tree and watching it was how she could mark the change of seasons. It lived to age 170, dying in 2010. At that point, the Anne Frank House in Amsterdam took saplings from that tree and sent them to sites of remembrance so the Anne Frank story could travel all over the world.”
One of these trees is to be planted at the Sousa Mendes Museum in Portugal and dedicated in July. The foundations invited 20 teachers to the dedication.
“The reason we were so anxious to get this tree is because Anne Frank had a cousin, Jean-Michel Frank, the first cousin of Anne’s father, Otto Frank, and he got his visa from our hero, Sousa Mendes. So we are combining both Anne Frank and Sousa Mendes through this tree.”
Asked about his experience in Austrian Service Abroad, Bigga-Piskernig said his work and the education he has received at the Sousa Mendes Foundation “has helped me better understand the Holocaust and the role of education in helping to reduce antisemitism.”
This article originally appeared on JTA.org.
The post Austria once denied its Nazi past. Now it sends young people abroad to confront it. appeared first on The Forward.
