Uncategorized
U.N. exhibit remembers when the world turned its back on stateless Jewish refugees
(New York Jewish Week) — In 2017, Deborah Veach went back to Germany, looking for the site of the displaced persons camp where she and her parents had been housed after World War II. They were in suspension, between the lives her parents led in Belarus before they were shattered by the Nazis, and the unknown fate awaiting them as refugees without a country.
To her dismay, and despite the fact that Foehrenwald was one of the largest Jewish DP centers in the American-controlled zone of Germany, she found barely a trace. A complex that once included a yeshiva, a police force, a fire brigade, a youth home, a theater, a post office and a hospital was remembered by almost no one except a local woman who ran a museum in a former bath house.
“It was sort of an accident of history that we were there in that particular camp in Germany, of all places, with no ties, no extended family, no place to call home,” said Veach, who was born at Foehrenwald in 1949 and lives in New Jersey. Now, “they renamed it. They changed the names of all the streets. There is nothing recognizable about the fact that it had been a DP camp.”
Veach is part of a now-aging cohort of children born or raised in the DP camps, the last with a first-hand connection to the experience of some 250,000 Jewish survivors who passed through them at the end of the war. To make sure memories of the camps survive them, the YIVO Institute for Jewish Research and the United Nations Department of Global Communications have staged a short-term exhibit, “After the End of the World: Displaced Persons and Displaced Persons Camps.”
On display at U.N. headquarters in New York City Jan. 10 through Feb. 23, it is intended to illuminate “how the impact of the Holocaust continued to be felt after the Second World War ended and the courage and resilience of those that survived in their efforts to rebuild their lives despite having lost everything,” according to a press release.
Residents of a displaced persons camp in Salzburg, Austria. Undated, post-Second World War. (YIVO Institute for Jewish Research)
Among the artifacts on display are dolls created by Jewish children and copies of some of the 70-odd newspapers published by residents, as well as photographs of weddings, theatrical performances, sporting events and classroom lessons.
The exhibit is “about the displaced persons themselves, about their lives and their hopes and their dreams, their ambitions, their initiatives,” said Debórah Dwork, who directs the Center for the Study of the Holocaust, Genocide, and Crimes Against Humanity at the Graduate Center-CUNY, who served as the scholar adviser for the exhibition.
“There’s no point where the residents of these DP camps were just sitting around waiting for other people to do things for them,” she told the New York Jewish Week. “They took initiative and developed a whole range of cultural and educational programs.”
As early as 1943, as the war displaced millions of people, dozens of nations came to Washington and signed onto the United Nations Relief and Rehabilitation Authority. (Despite its name, it preceded the founding of the U.N.) After the war, the British and U.S. military were in charge of supplying food, protection and medical care in hundreds of camps throughout Germany and Austria, and UNRRA administered the camps on a day-to-day basis.
Early on, Jewish Holocaust survivors — some who suffered in concentration camps, others who had escaped into the Soviet Union — were put in DP camps alongside their former tormentors, until the U.S. agreed to place them in separate compounds. Unable or unwilling to return to the countries where they had lost relatives, property and any semblance of a normal life, they began a waiting game, as few countries, including the United States, were willing to take them in, and Palestine was being blockaded by the British.
Abiding antisemitism was not the only reason they remained stateless. “Jews were [accused of being] subversives, communists, rebels, troublemakers, and the world war quickly gave way to cold war, and with it the notion that Hitler had been defeated and what we have to worry about is the communists,” David Nasaw, author of “The Last Million,” a history of the displaced persons, told the New York Jewish week in 2020.
In 1948 and 1950, Congress grudgingly passed legislation that allowed 50,000 Jewish survivors and their children to come to the United States. The rest were eventually able to go to Israel, after its independence in 1948.
The U.N. exhibit focuses less on this macro history — which includes what became another refugee crisis for the Palestinians displaced by Israel’s War for Independence — than on life in the DP camps.
“The exhibition illustrates how the displaced persons did not shrink from the task of rebuilding both their own lives and Jewish communal life,” said Jonathan Brent, chief executive officer at YIVO, in a statement.
Among those rebuilding their lives were Max Gitter and his parents, Polish Jews who had the perverse good luck of being exiled to Siberia during the war. The family made its way to Samarkand, in Uzbekistan, where Gitter was born in 1943. After the war ended, his parents returned to Poland, but repelled by antisemitism sought refuge in the American zone in Germany. They spent time in the Ainring DP camp, a former Luftwaffe base on the Austrian border, and at a small camp called Lechfeld, about 25 miles west of Munich.
Dolls made by stateless Jewish children residing in a DP camp near Florence, Italy, known as “Kibbutz HaOved.” The dolls are attired in local costumes based on the districts of the Tuscan city of Sienna. (YIVO Institute for Jewish Research)
“I was there until we came to the United States when I was six and a half, so I have some very distinct memories and some hazy memories,” said Gitter, emeritus director and vice chair of the YIVO board. One story he hasn’t forgotten is how his father and a friend were walking through the camp when they came upon a long line of people. “They were from the Soviet Union, so they knew that when there’s a line that it might be of interest.” It turned out to be a line for the lottery that would allow them to get into the United States under the Displaced Persons Act of 1948.
The family came to the United States in 1950, to “pretty shabby lodgings” in the Bronx, before his father bought a candy store and moved to Queens. Max went on to attend Harvard College and Yale Law School, and became a corporate litigator.
Gitter’s brother was born in one of the camps, and the exhibit includes a poster depicting the population increase between 1946 and 1947 at the Jewish DP center Bad Reichenhall. The birthrate in the camps has often been described as evidence of the optimism and defiance of the survivors, but Dwork said the truth is somewhat more complicated.
“There was a very high birth rate among the Jews in DP camps. This is the age group of reproductive age, at 20 to 40,” she said. “However, this image of fecundity hides what was rumored to be a significant abortion rate, too. And women had experienced years of starvation. Menstruation had only recently recommenced. So many women, in fact, miscarried or had trouble conceiving to begin with.”
A chart by artist O. Lec depicts the natural population increase of the Jewish Center Bad Reichenhall, Germany, 1946-1947. There was a very high birth rate among the Jews in DP camps. (YIVO Institute for Jewish Research)
“There is no silver lining here,” she added. “People live life on many levels. On the one hand, DPs look to the future and look with hope; at the same time, they carry tremendous burdens of pain and suffering and trauma and trepidations about the future.”
Veach, a member of the YIVO board, hopes visitors to the exhibit understand that such trauma is hardly a thing of the past.
“I think the real lesson is that history keeps repeating itself,” said Veach, growing emotional. “Basically we have DPs on our border with Mexico, you have DPs from Ukraine. I don’t think people realize the repercussions for these people who are trying to find a place to live. These are good people who are just placed where they are by history.”
Gitter, who like Veach will speak at an event Jan. 24 at the U.N. marking the exhibit, also hopes “After the End of the World” prods the consciences of visitors.
“A lot of the countries, a lot of places, including the United States, would not accept Jews after the war,” he said. “The issue of memory, the issue of statelessness, the issue of finally there was some hope for the Jews in their immigration to Israel and the United States — that part of the story also needs to be told.”
“After the End of the World: Displaced Persons and Displaced Persons Camps” is on view from Jan. 10-Feb. 23, 2023, at the United Nations Headquarters, 405 E 42nd St, New York, Monday-Friday, 9:00 a.m.-5:00 p.m. Entrance to the United Nations Visitor Centre in New York is free, but there are requirements for all visitors. See the United Nations Visitor Centre entry guidelines.
—
The post U.N. exhibit remembers when the world turned its back on stateless Jewish refugees appeared first on Jewish Telegraphic Agency.
Uncategorized
Gene Shalit, a mensch with a personality as big as his mustache, turns 100
The television entertainment personality Gene Shalit, who celebrated his centenary on March 25, semaphored a Jewish appearance for decades to viewers of NBC’s early morning gabfest The Today Show.
With his Jew-fro hairstyle that fascinated celebrity interviewees and his abundant mustache that outdid Groucho Marx’s mere greasepaint simulacrum, Shalit was one of a kind. Born in New York City in 1926, he clearly aimed to be recognizable even through half-opened bleary eyes of half-asleep viewers. And audible too. Shalit’s precise pronunciation, always at a vigorous decibel level, sought to be comprehensible even during voiceovers. The Canadian comedian Eugene Levy, transfixed by this persona, imitated him on SCTV roaring at high decibel levels.
In one skit, Levy embodied Shalit with haimish affection, hawking a remedy for a migraine presumably caused by his own bellowing. In another, Levy spoofed Hollywood celebrities who were notorious fressers at local restaurants, including the American Jewish actress Shelley Winters (born Shirley Schrift). In still another lampoon, Levy-as-Shalit danced and also kibitzed with the late Catherine O’Hara as the Jewish gossip columnist Rona Barrett (born Burstein).
Shalit apparently kvelled at the notion that he was prominent enough in media culture to be affectionately kidded like other Jewish noteworthies Levy imitated, including Howard Cosell, Henry Kissinger, Menachem Begin, Milton Berle, Judd Hirsch, Jack Carter, James Caan, Lorne Greene, Norman Mailer and Neil Sedaka.
Years later, Levy recalled that when the SCTV comedy troupe was invited to appear on The Today Show, before the segment was filmed, chairs were arranged so that Catherine O’Hara was seated next to Shalit. Suddenly Shalit exclaimed: “Wait a minute, shouldn’t the person who [imitates] me be sitting beside me?” Another Jewish comedian, Jon Lovitz, would likewise attempt to imitate Shalit on Saturday Night Live, but without the zest of Levy’s indelible incarnation.
Shalit once told showbiz reporter Eileen Prose that at first, his looks limited him to radio jobs in more conventional times for TV talent. By the more liberated late 1960s, when long hair and a hirsute upper lip were more common, he was hired as quasi-permanent house Jew on The Today Show. Although his mustache fit the counterculture in the mode of Jewish activist Jerry Rubin’s, Shalit as an aspiring journalist may have grown his facial hair more in tribute to earlier literati like the playwright William Saroyan or the eminent humorist Mark Twain.
At times, Shalit’s appearance could be clown-like or cartoonish, so it was natural that characters inspired by him would appear on animated series such as SpongeBob SquarePants and Family Guy as well as The Muppet Show.
Famous interviewees like Peter Sellers were plainly at ease with Shalit’s persona. A conversation filmed shortly before Sellers’ untimely death was cordial, with the sometimes tetchy actor on his best behavior, acknowledging Shalit as a fellow entertainer. And with Mel Brooks in 1987, Shalit looked to be in paradise.
A warm-hearted empathizer and enthusiast, Shalit was more suited to promoting films than criticizing them. In 1989, a tzimmes occurred when a memo drafted by Bryant Gumbel, a Today Show colleague, deemed Shalit a “specialist in gushing over actors and directors” and added that Shalit’s interviews “aren’t very good.” To his credit, Shalit minimized the controversy, telling The Los Angeles Times that Gumbel’s disses were “not big whacks.”
“Listen, I’ve been interviewing people on the show for 17 years,” Shalit said. “I must be doing something right.”
Part of his inspiration was a sincere appreciation for humor, Jewish and otherwise. His 1987 anthology, Laughing Matters featured contributions by Jewish wits such as Dorothy Parker, S. J. Perelman, Woody Allen, Fran Lebowitz, Samuel Hoffenstein, Philip Roth, Mel Brooks, George S. Kaufman, Milt Gross, Arthur Kober, Leo Rosten, Allan Sherman, Max Shulman, Calvin Trillin, Rube Goldberg, Sam Gross, Roz Chast, B. Kliban, Robert Mankoff, J. B. Handelsman, Jules Feiffer and George Burns. The volume was dedicated to, among others, the Jewish screenwriter Samson Raphaelson, who was Shalit’s instructor at the University of Illinois at Urbana-Champaign.
His visceral reaction to Jewish parody was such that during one commuter train ride, Shalit admitted in a preface, Perelman’s story “No Starch in the Dhoti, S’il Vous Plait” caused a conductor to lean down with concern, stating: “A passenger says you’re crying.” To which Shalit retorted, choking and rubbing away tears: “I’m laughing.”
The subliminal message of Shalit’s book was that without Jews, America would have distinctly fewer tears of laughter. And he regretted not being able to include funny Jews like Jack Benny and Ed Wynn whose performances could not be transferred to the printed page.
Shalit also reviewed books for years. Sticking firmly to the content of cultural products with a few brief hints of value judgment, Shalit seemed to have neither the time nor presumably the inclination to subject new items to analysis of Freudian intensity. He clearly preferred boosting things to panning them, and when a film displeased Shalit, he could be uncomfortable saying so.
One occasion when Shalit raised hackles was his response on The Today Show to the 2005 film Brokeback Mountain. Shalit described one of the gay characters as a “sexual predator.” The LGBTQ media group GLAAD objected to Shalit’s characterization as a homophobic stereotype. Shalit’s son Peter wrote an open letter to GLAAD, identifying himself as a gay physician with a Seattle practice helping the gay community. Peter Shalit admitted that his father “did not get” the film in question, but was “not a homophobe.” He might have added that his father had even included an excerpt from Harvey Fierstein’s Torch Song Trilogy in the aforementioned humor collection.
Shalit followed up with his own apology, stating in a mensch-like way that he did not intend to cast “aspersions on anyone in the gay community or on the community itself.” When Shalit finally retired from broadcasting at age 84, with the Yiddish-inflected declaration: “It’s enough, already,” he left behind admiring viewers and decades of bonhomie as one of morning television’s most genial protagonists.
Mazel tov, Gene Shalit. Biz hundert un tsvantsik (May you live until 120)!
The post Gene Shalit, a mensch with a personality as big as his mustache, turns 100 appeared first on The Forward.
Uncategorized
How a song about the food chain became a Seder mainstay
I’m almost positive I heard about the old lady who swallowed a fly before the father who bought a goat for two zuzim.
This occurred to me a few years ago while riding in my sister’s minivan. My niece was in her car seat fidgeting with a toy that plays a catalogue of public domain children’s songs. But unlike the version I’d grown up hearing, where the old lady’s ravenous habit of devouring ever-larger animals is met with the prognostic shrug of “perhaps she’ll die,” the refrain was changed to the more kid-friendly “oh me oh my.”
The Seder tune “Chad Gadya,” which involves a quite similar conceit, has no such timidity when it comes to the ravages of death.
Jack Black once described it as the “original heavy metal song” for the way it progresses along the chain of life from a little goat bought for two zuzim, to the cat who ate the goat, to the dog who bit the cat, all the way up to the angel of death. (“Very Black Sabbath.”)
It is pretty metal — in a kosher Kidz Bop, tot Shabbat kinda way. But why we sing it should, in Jewish circles, be as popular a seasonal question as what a bunny with a clutch of eggs has to do with Jesus’ resurrection. (Some Haggadot explain the greater significance of “Chad Gadya;” my Maxwell House does not.)
Dating the song or rooting out its precise origins is not easy.
As historian Henry Abramson wrote, scholars have noted the song’s similarities to a late Medieval German folk rhyme. While the fact that it is mostly in Aramaic, not the vernacular in Europe in the Middle Ages, suggests an earlier provenance, it is missing from extant Sephardic and Yemenite Haggadot, where one would expect to find texts originating in the language, and the Aramaic itself has many errors.
Abramson reasons that, given the surviving written versions, it was likely adapted sometime in the 14th century from a German children’s rhyme called “The Foreman that Sent Jockel Out,” about an idler named Jockel who a foreman tries to rouse to fieldwork with an escalating series of messengers, ending with a hangman. (Abramson notes the original is characterized by “some Teutonic weirdness,” like a witch sent to subdue a vulture.)
“Chad Gadya” belongs, like its Seder companion “Echad Mi Yodea,” to a genre called “cumulative song,” where verses build with new information a la “12 Days of Christmas.” But “Chad Gadya” stands out for its strangeness and its more oblique message.
Abramson and others see the goat, small and vulnerable, standing in for the Jewish people, and the ensuing parade of antagonists corresponding to historical enemies (Assyrians, Babylonians) and periods of time (Exodus, various conquests), ending with redemption in the Messianic age when the Holy One smites death.
As Rabbi Jonathan Sacks wrote in a commentary for his Haggadah, the song “teaches the great truth of Jewish hope: that though many nations (symbolized by the cat, the dog, and so on) attacked Israel (the goat), each in turn has vanished into oblivion.”
That this truth is conveyed in song, with much banging on the table or animal noises, speaks to the centrality of children in the Passover Seder. And, some think, its inclusion serves a practical purpose: keeping the kids awake through the last leg of a long ritual meal.
My own interpretation is admittedly less lofty. I don’t think of Israel’s tribulations. I do think of the abundance of stray cats in Jerusalem, said to have originated during the British mandate when the city had a rat problem.
And, in the years since my own days as designated Four Questions asker, I’ve been reading “Chad Gadya” into non-Jewish contexts. “The White Cat,” off of Mitski’s new album, Nothing’s About to Happen to Me, contains a lyric that recalls the song, only altered to be a metaphor for the predations of capitalism.
In it, the speaker says she must work to pay for the cat’s house and “for the bugs who drink my blood/and the birds who eat those bugs/so that white cat can kill the birds.”
These cycles speak across cultures and time because they represent a fundamental rule of nature: There’s always a bigger fish (or cat or dog or stick).
To erase death from the equation, like my niece’s toy does with that hapless, insect-ingesting pensioner, is a concession to today’s sensitivities. That’s not to say “The Old Lady Who Swallowed a Fly” represents anything more homiletic than a choking hazard warning, but in the case of “Chad Gadya,” death is the story, and an end to death is the hope.
“The Haggadah ends with the death of death in eternal life,” Rabbi Sacks concluded his drash on the song, which ends when God strikes down the Angel of Death. “A fitting end for the story of a people dedicated to Moshe’s great command, ‘Choose life.’”
I know it’s a principle of faith all over the Haggadah, but I’m more agnostic as to that Messianic promise and maybe more in the camp of our old lady. My understanding of Jewishness, which accords with Moshe’s command, says life is best lived knowing that — perhaps — we’ll die.
The post How a song about the food chain became a Seder mainstay appeared first on The Forward.
Uncategorized
Katz: ‘Israel’s Goal in Lebanon is to Disarm Hezbollah’
Then-Israeli transportation minister Israel Katz attends the cabinet meeting at the Prime Minister’s office in Jerusalem, Feb. 17, 2019. Katz currently serves as the foreign minister. Photo: Sebastian Scheiner/Pool via REUTERS
i24 News – Israel’s Defense Minister Israel Katz held a situation assessment Friday with senior military and defense officials, reiterating that the country’s policy in Lebanon remains focused on disarming Hezbollah by military and political means. Katz emphasized that the goal applies “regardless of the Iran issue” and pledged continued protection for Israeli northern communities.
Katz said the Israel Defense Forces are completing ground maneuvers up to the anti-tank line to prevent direct threats to border towns. He outlined plans to demolish houses in villages near the border that serve as Hezbollah outposts, citing previous operations in Rafah and Khan Yunis in Gaza as models.
The Defense Minister added that the IDF will maintain security control over the Litani area and that the return of 600,000 residents of southern Lebanon who had evacuated north will not be permitted until northern communities’ safety is ensured. Katz also reaffirmed that the IDF will continue targeting Hezbollah leaders and operatives across Lebanon, noting that 1,000 terrorists have already been eliminated since the start of the current campaign.
“We promised security to the northern towns, and that is exactly what we will do,” Katz said. He further warned that the IDF will act decisively against rocket fire from Lebanon, stating that Hezbollah “will pay heavy prices.”