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Toronto’s first Holocaust museum looks to the post-survivor era
(JTA) — Toronto is home to one of the world’s largest Jewish communities, nearly half of the 335,000 Jews in Canada. But until last week, the city did not have a dedicated Holocaust museum.
The Toronto Holocaust Museum opened its doors on Friday, with a ribbon-cutting ceremony attended by an array of dignitaries and Holocaust survivors. Aimed at young learners who will inherit a post-survivor world, the space centers around 11 kiosks where large-as-life survivors share their testimonies through interactive videos. Its four galleries explore Jewish and minority persecution in both Europe and Canada, World War II atrocities and the beginnings of new life in Canada for thousands of refugees.
“What we set out to do from the very beginning was to ensure that this was a place to hear from survivors long after they’re gone,” the museum’s Executive Director Dara Solomon told the Jewish Telegraphic Agency. “Bringing the Holocaust survivors in to see how we’ve done that, and having them really happy and fulfilled, has been one of the most meaningful experiences of my personal and professional life.”
While the center tells human stories from a genocide, it de-emphasizes the panoply of horror that some have come to expect from a Holocaust museum. In its gallery dedicated to the atrocities, some materials — such as images of mass killings in pits on the outskirts of towns — are stored in drawers that must be pulled out by willing viewers.
“We made some very conscious decisions to not use the incredibly graphic imagery I grew up with, because we know that students don’t learn as well as people have thought they did when they’re sad,” said Solomon. “If you’re making them sad and scaring them, the learning actually shuts down.”
The United States Holocaust Memorial Museum has advised Holocaust educators to use graphic material “judiciously” and “only to the extent necessary” to achieve learning objectives. Graphic images and texts can exploit students’ emotional vulnerability instead of encouraging them to think critically in a safe environment, according to USHMM guidelines.
Created by the United Jewish Appeal (UJA) Federation of Greater Toronto, the 9,500-square-foot museum opened on the federation’s Sherman Campus, a Jewish community center that also hosts a theater, a daycare and other communal buildings. Solomon hopes this location will help facilitate connections between the historical exhibits and daily Jewish life in Toronto.
The Toronto Holocaust Museum replaces the city’s Holocaust Education and Memorial Centre, founded in 1985 by local survivors who wanted to share their stories with students. The previous space had only a small number of exhibits and was half the size of the new museum.
Along with recorded testimonies, visitors at the new museum can now see artifacts that have never been shared with the public. Those items range from a striped prisoner uniform, standard in the Nazi concentration camps, to a gift sent from a mother in the Ravensbrück camp to her children in 1942.
Marketa Brady made three heart-shaped charms at the camp from a chewed-up bread ration painted with toothpaste for her son George and daughter Hana, who were still not captured in Czechoslovakia. Marketa, her husband Karel and 13-year-old Hana Brady were eventually killed at Auschwitz, but George survived and kept the charms. His sister’s life inspired the 2002 nonfiction book “Hana’s Suitcase,” by Karen Levine, which is widely studied by children in Canada. The charms are available on view at the new museum.
Also housed in the museum is a Torah that survived Kristallnacht, the night when the Nazis destroyed Jewish homes, businesses and synagogues throughout Germany and Austria in November 1938. A Catholic priest rescued the Torah from a burning synagogue in the town of Brand. At the end of the war, he handed it to young U.S. army chaplain Gunther Plaut, who brought it home in a bazooka case.
Plaut eventually became a rabbi in Toronto and entrusted the scroll to the future Toronto Holocaust Museum before he died in 2012. The creation of this space has been delayed several times, said Solomon, and many Canadian survivors have hoped for decades to see it become a reality.
“We haven’t really had a museum in the city to collect these artifacts, so a lot of families have been holding onto them — just waiting for this museum to be built,” said Solomon.
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The post Toronto’s first Holocaust museum looks to the post-survivor era appeared first on Jewish Telegraphic Agency.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”