Holocaust – Jewish Independent

Colour bursts forth in Conjunction

Ira Hoffecker’s current solo exhibit at the Zack Gallery, Conjunction, runs until July 21. (photo by Olga Livshin)

Conjunction, Ira Hoffecker’s current solo exhibit at the Zack Gallery, opened on June 13 and runs until July 21.

German-born Hoffecker and her family moved to Canada in 2004. “I always liked art, but when I lived in Germany, my husband and I worked in marketing for the movie industry,” she explained in an interview with the Independent.

Once, when her children were still young, they came here for a family vacation and traveled Vancouver Island. “We loved it,” she said. So much that, when they moved here permanently, they settled in Victoria. As if that wasn’t change enough, Hoffecker also decided to switch careers and follow her lifelong love of art. She enrolled in the Vancouver Island School of Art and has been studying and creating ever since.

Hoffecker’s previous show at the Zack Gallery, in 2016, was dedicated to maps. Since then, her art has undergone a couple of transformations. Conjunction is much brighter and more expressive set of works, although the abstract component remains.

On the journey to her new colourful mode, Hoffecker went through a black-and-white stage, which was the focus of her master’s in fine arts’ thesis, which she completed last year. The works she created for her master’s degree include a number of huge paintings – abstracts made with tar on canvas – plus three documentary videos. The theme – “History as Personal Memory” – was a painful one for the artist. She recalled, “One of my professors said that my works are the interconnected layers of urban setting and history. ‘Where is your personal layer?’ he asked me.”

Taking this advice, she has been trying to delve into her personal recollections, to uncover her place in history, her “personal layer” among the historical layers dominating her art. “In ‘History as Personal Memory,’ I tore pages from a history book about the Third Reich, an era in history that many Germans would prefer to forget. Yet I think it is important to face and discuss this past. Such dialogue might prevent the horrors from happening again,” she said.

In Hoffecker’s art, the artist’s memories are intertwined with the history of her nation. “Correlations between my childhood abuse, which I tried to forget, and the history of Germany, which the Germans tried to eradicate from their memories, exist in my paintings and films,” she said.

In her art and her videos, she opens up about the abuse she suffered as a child at the hands of her grandfather, who was also a Nazi. She is convinced that such openness has helped her heal, whereas suppressing the memories led only to the festering of her inner wounds.

The same is true for historical memories, Hoffecker insisted. “Germany needs to remember, to confront and challenge complacency to prevent a repetition of historical atrocities,” she said.

Her master’s thesis was a deep and painful discovery, a journey in black-and-white to underscore the grimness and tragedy of the topic. Once it was completed, she was ready for a change of direction.

“I spent the summer last year in Berlin,” she said. “When I came back home to Victoria, I wanted to paint some colours again.”

Hoffecker’s current exhibit bursts with vibrant colours and optimism. The series Berlin Spaces, like most of her paintings, has several layers. “There are outlines of many famous Berlin buildings there,” she said, tracing the architectural lines embedded in the abstract patterns with her finger. “The Jewish Museum, the Philharmonie, the library, the Reichstag. It is like a reconstruction, when I think about the past. I overlay history and architecture.”

One of the paintings, a bright yellow-and-pink abstract, has writing among its patterns. “It means ‘forgetting’ in German,” Hoffecker explained. “A few years ago, I was invited to have a solo show in Hof, a city in Germany. I worked there in the archives, found many old maps and records. One of their buildings is a factory now. After the war, it was a refugee camp, and there is a plaque to commemorate the fact. But, during the war, it was a labour camp, a place from where Jewish prisoners were transported to concentration camps and death, but nothing is there to remind [people] of that past. The painting reflects the current happy state of the building, but it also reflects the tragic past, the past we shouldn’t forget.”

While not many art lovers will see the horrors of the labour camp in the airy and cheerful palette of the painting, Hoffecker doesn’t mind. Like other abstract artists, she infuses her images with hidden messages, but doesn’t insist on her personal intentions.

“I own the making,” she said. “I bring in my memories and my heart, but I have to leave the interpretation to the viewers. One man in Victoria loves my art. He bought two of my paintings. He said he sees animal in them. I don’t paint animals, but I’m glad people’s own experience resonates with my paintings.”

Hoffecker is very serious about her art, but bemoans the need for promotion. “I did marketing for movies professionally, but I never really cared [about the reaction]. If someone didn’t like the movie we were pushing, it was his business,” she said. “But to promote my own paintings is scary. When someone doesn’t like what I do, I care. It hurts. I don’t want to do it. An artist wants to be in her studio and paint. It is all I want: to paint and to exhibit. I want people to see my work. Besides, a show is the only time when I see many of my paintings together. I never can do that in my studio. I only see one or two at a time.”

To learn more about Hoffecker’s work, visit irahoffecker.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Naming inhumanity

Concentration camps are in the news this week. The term, which was first used in the context of Jews in the Holocaust, is being invoked by opponents of the U.S. government’s detention of migrants from Latin America. Appallingly, those detained include hundreds of children who have been separated from their parents. These current child detainees are among the at least few thousand children who have been separated from their families over the last two years.

The use of “concentration camps” and phrases like “Never again” has been criticized by some high-profile Jewish activists and others as diminishing the meaning and seriousness of the Holocaust. Some see the use of these terms as a cheapening of the Jewish experience or a form of Jew-baiting. In contrast, it is not heartening that Republicans who sanctimoniously condemn the use of these terms have a crass political motivation for defending the sanctity of Jewish historical memory.

There is no question that the words are used for their shock value. And, at a time when short attention spans intersect with what is genuinely a grotesque affront to humanity, there is little wrong with shocking a complacent population.

Reports from the facilities tell of sickening conditions.

A group of lawyers who toured one of the facilities and spent days interviewing child-inmates said that the most basic standards demanded under international law around the treatment of children in custody are being ignored. Children are not supposed to be held for longer than 72 hours, but many have been incarcerated for weeks. They are crammed into windowless warehouses, unwashed for days, in mucous-stained clothing, without the most rudimentary necessities like soap or toothbrushes, sleeping on cold concrete floors, suffering lice-infestations and untreated influenza outbreaks. Guards bring diaperless 2- and 3-year-old children to the facility and ask older children to care for the younger ones. Teenagers serve as unofficial guards in exchange for extra food. Parents are being held separately in unknown locations and some experts have said it is likely some families will never be reunited.

The situation for adults is not to be ignored either. At one facility, about 900 migrants are incarcerated at a facility intended for 125. Cells intended for 35 people are jammed with more than 150.

In an unfathomable breach of what public relations folks call “optics,” there are plans to accommodate the ever-growing number of child detainees by repurposing Fort Sill, Okla., a site where Japanese-Americans were interned during the Second World War.

To be charitable, the argument over language reflects a struggle to find words for what is happening. The situation for these children (and adults) is intolerable in any country, least of all, perhaps, in the land that once welcomed the tired, the poor, the huddled masses yearning to be free.

Still, concerns over the desecration of the memory of the Holocaust are legitimate. We have witnessed too many instances where minor affronts are equated with Nazism and other massively inappropriate comparisons. But the Holocaust did not begin with crematoria. It began with dehumanization and othering and, as the will of the world to tolerate increasingly hostile acts against Jews was tested and found to be elastic, the perpetrators progressed into successive stages leading to genocide.

There is no way to predict the future and there is little point in making unnecessarily combustible assertions about impending genocide. But, when human beings are treated as they are in this circumstance and the trajectory is toward more of the same, people must militate against this inhumanity.

A consensus has developed among Holocaust educators and human rights activists that the term “Never again” does not apply solely to attempts to reprise anti-Jewish ideas and actions, but that the lesson of the Shoah is that we must be vigilant when any people are targeted.

It is unfortunate that the people who seem most inclined to use Holocaust-associated language in the context of current events are also people whose record on issues of concern to Jewish people are highly problematic, drawing reasonable suspicions to their motives. Terminology is important. But, the more we learn about what is happening to children and others in American detention facilities, the more hair-splitting over nomenclature seems to compound the inhumanity we are witnessing.

We are correct to be defensive about any perceived disrespect to the memory of the Holocaust and its victims. However, we might ask ourselves, when judging the appropriateness of such usage: If not now, when?

Not long ago, not far away

This child’s shoe and sock were found in January 1945 among thousands of others at Auschwitz-Birkenau, abandoned by the Nazis as the Red Army approached. (photo from Collection of the Auschwitz-Birkenau State Museum, Oswiecim, Poland. ©Musealia)

On display now at the Museum of Jewish Heritage in New York City, the exhibit Auschwitz: Not Long Ago. Not Far Away is the most comprehensive Holocaust exhibition ever mounted in North America about Auschwitz. Dedicated to the victims of the death camp, the goal of this exhibit is to make sure no one ever forgets.

A study conducted by the Conference on Jewish Material Claims Against Germany reported that 41% of Americans and 66% of millennials say they don’t know about the Auschwitz death camp, where more than a million Jews and others, including Poles, Sinti and Roma, Soviet prisoners of war, homosexuals, Jehovah’s Witnesses and others, were executed. And 22% of millennials say they haven’t even heard of the Holocaust.

image - Artist Alfred Kantor’s depiction of arrival in Auschwitz: “Throw away your baggage and run to the trucks” — Artist Alfred Kantor’s depiction of arrival in Auschwitz: “Throw away your baggage and run to the trucks.” *(photo from Gift of Alfred Kantor, Museum of Jewish Heritage, N.Y.)*

“Seventy-three years ago, after the world saw the haunting pictures from Auschwitz, no one in their right mind wanted to be associated with the Nazis,” Ron Lauder, founder and chair of the Auschwitz-Birkenau Foundation Committee and president of World Jewish Congress, said. “This exhibit reminds them, in the starkest ways, where antisemitism can ultimately lead and the world should never go there again. The title of this exhibit is so appropriate because this was not so long ago, and not so far away.”

The exhibition consists of 20 galleries spanning three floors, and features more than 700 original objects and 400 photographs. They are on loan from more than 20 institutions and private collections around the world, as well as the Auschwitz-Birkenau State Museum in Poland.

An audio guide given to each visitor upon entry details the items on display. Visitors will see hundreds of personal possessions, such as suitcases, eyeglasses, photos, shoes, socks and clothes that belonged to survivors and those murdered at the concentration camp. In one glass case, a child’s shoe is on display with a sock neatly tucked inside. We are left to wonder, who put that sock in the shoe and were they expecting the child to shower and then retrieve it?

photo - Determined to survive, and to have a head of hair again one day, Ruth Grunberger made this comb for herself in Auschwitz, using stolen scrap metal and wire — Determined to survive, and to have a head of hair again one day, Ruth Grunberger made this comb for herself in Auschwitz, using stolen scrap metal and wire. *(photo from Collection of the Museum of Jewish Heritage. Gift of Ruth Mermelstein, Yaffa Eliach Collection donated by the Centre for Holocaust Studies.)*

Auschwitz was located 31 miles west of Krakow in the small southern Polish town Oswiecim, which dates back to the Middle Ages. Jews were a part of its society for centuries. Auschwitz-Birkenau was conceived and initially constructed to house 100,000 Soviet prisoners of war and slave labour, before it became a factory of death. The architect who designed the camp was Fritz Ertl, a native of Austria. Ultimately, some 1.1 million Jews and thousands of others were killed there. Many who arrived at Auschwitz were sent directly from the overcrowded, sealed, windowless boxcars to the gas chambers and crematoriums.

There are videos throughout the exhibit, including one of Hitler and a large adoring crowd. There’s a concrete post that was a part of the fence at the Auschwitz camp, and a part of the original barrack for prisoners at the killing centre.

photo - Margit (Manci) Rubenstein made this Star of David necklace from material taken from the lining of her shoes and shoelaces while imprisoned in Auschwitz (1944) — Margit (Manci) Rubenstein made this Star of David necklace from material taken from the lining of her shoes and shoelaces while imprisoned in Auschwitz (1944). *(photo from Collection of the Museum of Jewish Heritage. Gift of Sugar siblings in memory of Rosenfeld and Schwartz families.)*

A German-made Model-2 boxcar, like those used to transport people to Auschwitz, sits outside the museum. In a video, survivors talk of the horrible conditions and stench inside those boxcars.

Viewers can see the operating table, test tubes and instruments used in medical experiments. There’s a gas mask used by the SS and a model of a gas chamber door used in crematoria 2, 3, 4 and 5 – and testimonies from survivors of the camp. To show the striking contrast between the victims and the perpetrators, there are photos of Rudolf Hess at his nearby residence with his family enjoying the outdoors.

Nazi ideology and the roots of antisemitism are traced from the beginning, to understand what happened before the gas chambers were created. Discrimination and bigotry against Jews existed long before Hitler came into power, of course. In one room, there’s an anti-Jewish proclamation issued in 1551 by Ferdinand I that was given to Hermann Göring for his birthday by German security chief Reinhard Heydrich. The proclamation required Jews to identify themselves with a yellow ring on their clothes. Heydrich noted that, 400 years later, the Nazis were completing Ferdinand’s work.

In a video seen near the end of the exhibition, Holocaust survivors urge people to refrain from hate and to work for peace.

This exhibition was in Madrid before coming to New York. This important and moving must-see exhibition is both a reminder and a warning.

Alice Burdick Schweiger is a New York City-based freelance writer who has written for many national magazines, including Good Housekeeping, Family Circle, Woman’s Day and The Grand Magazine. She specializes in writing about Broadway, entertainment, travel and health, and covers Broadway for the Jewish News. She is co-author of the 2004 book Secrets of the Sexually Satisfied Woman, with Jennifer Berman and Laura Berman.

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Located in the Museum of Jewish Heritage, at 36 Battery Place, entry to the exhibit Auschwitz: Not Long Ago is by timed tickets available at mjhnyc.org. An audio guide is included with admission, and tickets range from $10 to $25. Hours are Sunday to Thursday, 10 a.m.-9 p.m. (last entry at 7 p.m.), and Friday, 10 a.m.-5 p.m. (last entry at 3 p.m.). The exhibit will be in New York until January 2020.

First edition Frank diary

Dr. Robert Krell and VHEC executive director Nina Krieger at the display case for Het Achterhuis, a first edition of Anne Frank’s Diary of a Young Girl. (photo by Shula Klinger)

In November 2017, the Jewish Independent published the story of a first edition of Anne Frank’s Diary of a Young Girl, that had come to light in North Vancouver (jewishindependent.ca/retribution-and-restoration).

The edition had been purchased by bookbinder Richard Smart from an estate sale in Holland. The book was badly damaged. The front cover had come apart and the spine had broken away from the bound pages. Inside the binding, pieces of another book had been used to pad the spine. It was common practice at a time when paper was scarce, but, in this case, the paper fragments came with a message. Taken from a German volume, the original bookbinder had positioned the title of the book, Die Vergeltung, where it could easily be seen. Its meaning: retribution.

Smart planned to sell the book but not to a private collector. He wanted it to remain in the public eye and be kept within the Jewish community.

A few weeks after the article was published, I received an email from Dr. Robert Krell in Vancouver. A survivor himself, he is a founder of the Vancouver Holocaust Education Centre. He wanted to know if the book was still for sale and could be purchased for the VHEC.

I passed Krell’s message to Smart at the Old English Bindery, and a conversation began about its possible sale. Two weeks later, I drove Smart and Emilie Crewe, the bindery’s administrator, to a meeting at Krell’s home. Krell and his assistant, Joy Fai, welcomed us, and we talked over coffee.

Krell explained his position on the sale, talking about the book’s precious legacy and his own feeling for history. It was deeply moving when he held the book for the first time and opened the cover to see the printed words in the spine.

For any lover of history, a volume like this can take a pretty firm hold on one’s imagination. When the volume is a treasure of this kind, in the hands of a Dutch Holocaust survivor, and – just possibly – with its own, private message of solidarity for those who perished, the power of this moment is immeasurable.

It took a few minutes to finalize the administrative aspects of the sale. Krell gave me a moment alone with the book, then I put it back in the decorative box Smart had crafted, wished Anne goodnight and closed the lid.

Het Achterhuis is now on display at the Vancouver Holocaust Education Centre. The case is situated next to the classroom where all school students begin their tours. It is, said Krell, “a high-traffic area,” so the children cannot fail to pass the book. And, while the centre’s artifact-driven exhibits include many extraordinary items, he said, “the symbolism of Anne reaches far more children than we can.”

photo - Housed at the VHEC, Het Achterhuis will be a teaching tool — Housed at the VHEC, the book will be a teaching tool. *(photo by Shula Klinger)*

Having said that, Krell added, “It’s symbolic for all the wrong reasons. It’s a lovely story of a bright girl who saw so much more than anyone else could, from that tiny room. The Dutch use this photo of a smiling adolescent girl as an example of Dutch resistance, but they have not yet apologized for what they did, the 100,000 Dutch Nazis.”

Krell spoke of the many ties between Holland and Canada, describing liberation day on May 5, 1945, by Canadian troops. Even now, Holland celebrates this day with a gift of tulip bulbs to Ottawa.

Asked why the first edition should be housed here, at the VHEC, Krell said, “Why not? We have been teaching students since 1976. We have earned the right to have a precious book to show our students and loyal teachers.”

Krell emphasized the educational role of the book – artifacts make history real for children, he said. And, “to continue our teaching, we have to use artifacts that survivors have left us. They are evidence of what happened and we have to show what they represent. A skipping rope, a toy, a tin cup, a utensil – that is the difference between life and death.”

Even more importantly, he said, “we’re in a phase of succession to the next generation, to carry the legacy of survivors. These include memories and warnings because we’re facing incredible racism and antisemitism in the world today.”

Contemplating the importance of remembering and teaching about the Holocaust, Krell offered a sombre analogy. At Auschwitz, he said, when prisoners were robbed of their last possessions, they were stockpiled in a spot they named “Canada,” the land of plenty. “Canada was in Auschwitz,” said Krell. “We must be careful not to bring Auschwitz back to Canada.”

Shula Klinger is an author and journalist living in North Vancouver. Find out more at shulaklinger.com.

Awards all round

Each year, the Eric Hoffer Award presents the da Vinci Eye (named after Leonardo da Vinci) to books with superior cover artwork. Cover art is judged on both content and style and, among this year’s winners is Olga Campbell’s Whisper Across Time: My Family’s Story of the Holocaust Told Through Art and Poetry (Jujabi Press). The book is still being considered for category, press and grand prizes.

Whisper Across Time also won the Ippy Award for independent self-published authors. Campbell’s book was selected as one of the 2019 Independent Publisher Book Awards’ Outstanding Books of the Year under the freedom fighter category. Campbell planned on attending the May 28 gala event in New York.

(For a review of the book, see jewishindependent.ca/a-story-told-in-art-and-poetry.)

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Julia Ivanova’s National Film Board documentary Limit is the Sky saw its Toronto première on May 2 in the retrospective of the largest documentary film festival in North America, Hot Docs. Ivanova is one of only three directors from British Columbia who have received a Focus On retrospective at Hot Docs since 2002 – the others are John Zaritsky and Nettie Wild.

photo - Julia Ivanova — Julia Ivanova *(photo from NFB)*

Ivanova, the director, cinematographer and editor of Limit is the Sky is a Russian-Canadian filmmaker. She came to Canada at the age of 30, became a filmmaker in Vancouver and captured Canada from within but with the ability to look at the country from a distance. She has made documentaries for the NFB, CBC, Knowledge Network, played Sundance and won many awards for her films.

The screening of Limit is the Sky, the NFB film about the Fort McMurray boom-bust-fire circle and the winner of the Colin Low Best Canadian Feature Award at DOXA 2017, commemorates the third anniversary since the worst wildfire and the worst natural disaster in Canada’s history devastated the capital of the oil sands. (See jewishindependent.ca/diverse-doxa-festival-offerings.)

The Hot Docs Focus On retrospective of her work includes the world première of her new film, My Dads, My Moms and Me, a film about the joy and turmoil of parenting in the modern family, including same-sex partners, surrogates, adoption and combinations that break the old conventions. The film follows three families, filmed twice, 12 years apart – in 2007 and in 2019.

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More than 250,000 children participated in the Ontario Library Association’s annual Forest of Reading program and have helped choose the best Canadian authors and illustrators. On May 14 and 15, thousands gathered at the annual Festival of Trees, an annual rock concert of reading, hosted at the Harbourfront Centre, where winners of the 2019 Forest of Reading program were announced. Among the books awarded honours was When We Were Shadows by Janet Wees, published by Second Story Press. (For more on Wees and the book, visit jewishindependent.ca/saved-by-dutch-resistance.)

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By Chance Alone: A Remarkable True Story of Courage and Survival at Auschwitz by Max Eisen (HarperCollins) won Canada Reads 2019. The book was championed by TV host and science broadcaster and author Ziya Tong, and was chosen by the five panelists as the book for Canadians to read in 2019. This year’s title fight asked the question: What is the one book to move you?

After four days of debate in front of live audiences, Tong and By Chance Alone survived the final vote to be crowned this year’s winner. The runner-up was Homes by Abu Bakr al Rabeeah and Winnie Yeung (Freehand Books), which was defended by Simple Plan drummer Chuck Comeau. Audiences can catch up on all of the debates on demand on CBC Gem or by downloading the Canada Reads podcast from CBC or iTunes.

“Before 2016, I don’t remember seeing swastikas, but these days I see them often – in the news and on social media. But here’s something even more shocking: one in five Canadian young people have not even heard of the Holocaust. They don’t know what it is, ” said Tong.

This year’s debates took place March 25-28 and were hosted by actor, stand-up comedian and host of CBC Radio’s Laugh Out Loud, Ali Hassan.

Artistic tribute to Shoah survivors

The Schara Tzedeck Shoah Survivors Tribute Wall was created for the congregation by John Nutter. The sculpture, which includes the names of 230 survivors, was dedicated May 3. (photo from John Nutter)

Congregation Schara Tzedeck has a new art installation in its main sanctuary. The Schara Tzedeck Shoah Survivors Tribute Wall – a Tree of Life rendered in sandblasted glass – includes the names of 230 survivors. It was dedicated May 3.

Full of shared memories and friendship, the pre-Shabbat dedication ceremony featured several speakers: the synagogue’s spiritual leader, Rabbi Andrew Rosenblatt; its executive president, Howard Kallner; younger family members of the survivors; Ed Lewin, co-chair of the project with Hodie Kahn; and the man who started the entire project, Dr. Robert Krell, a child survivor.

“We wanted to honour the Holocaust survivors who found their way to Canada, before and after the war, and wound up as members of this shul,” Lewin told the Independent. “Most of them came here in 1948. Their names are all there, on the wall. My parents’ and grandparents’ names are among them.”

Explaining how the project started, Lewin said, “We had this empty space, and Krell suggested a tribute to Holocaust survivors. It was several years ago. It took us awhile to find the talented glass artist, John Nutter, who transformed our ideas into a sculpture.”

The synagogue is publishing a commemorative book about the installation, as well. While the Tribute Wall features survivors’ names only, the book also contains photographs of the survivors; there are family and group photo pages. Together, the book and the wall serve as a memorial to those who not only survived the Shoah but contributed greatly to Schara Tzedeck and to the development of Greater Vancouver and the province over the past seven decades.

One page of the book is dedicated to Nutter, who has created numerous art installations for churches and synagogues, mostly in New York. His works decorate many institutions in the United States and Canada: hotels, museums, hospitals. He collaborated with local artist Bill Reid on a glass sculpture at the Vancouver International Airport. A few years ago, Glass Magazine named Nutter one of the top three architectural glass artists in the country.

About how he came to design the Tribute Wall, Nutter said, “A few years ago, I did a small glass sculpture for the Louis Brier Home, a collaboration with a wonderful artist and friend, Diana Zoe Coop. Camille Wenner, Diana’s daughter, works for Schara Tzedeck. I’ve known Camille since she was a young child. She contacted me about this project and, of course, I said, yes.”

He explained his work process. “They knew exactly what they wanted – a Tree of Life, made like a Vancouver cherry tree in bloom. Usually, I start with a small draft, show it to my clients, make changes until they’re satisfied, before I transfer the design to glass. But the people from Schara Tzedeck were very nice. They approved my first draft of the design.”

The first step in making the sculpture was creating a life-size drawing out of the small-scale draft. “I hire a company for that,” said Nutter, “give them my small drawing, and they blow it up to the size I want.”

Once he has the full-size paper draft, he starts working on the glass. For this sculpture, he used nine separate glass panels. The three bottom panels are roots. “The words ‘Schara Tzedeck’ are carved among the roots, to symbolize the Jews who had set their roots with the congregation,” Nutter explained.

The middle panel is the trunk, and the five panels around it are carved with leaves and flowers. “I sandblasted each petal of each flower individually,” Nutter said. “It gives more depth to the sculpture.”

The work is made of 15-millimetre laminated glass; two layers joined together. The carving is on the back, and the names of the survivors are written on the front, in black, which adds to the visual depth.

Nutter has been working with architectural glass for decades. “I started as an architecture student at the University of Manitoba,” he recalled. “A couple years into my studies, I took a summer job with a stained glass company. I loved it so much, I left my schooling and stayed with the company for several years, before I founded my own company. I never finished my architectural degree, but I taught stained glass making at the same faculty years later.”

He loves architecture, and most of his works are large-scale glass. “Sometimes,” he said, “my background in architecture helps me to win the contracts. I often build small-scale models of my proposed installations when I bid for a job. I like the details and hardware used in the models. I learned that during my years of architectural studies.”

Frequently, Nutter’s sculptures and windows tell a story, like the one he created for Schara Tzedeck. “In the past, when artists made glass installations in churches and other religious institutions, it was always to tell a story, as most of the population were illiterate,” he said. “Now, people can read, so the art became more decorative, but it still tells a story.”

To learn more about the artist, visit johnnutterglassstudio.com or visit his studio on Granville Island. For those interested in purchasing the hardcover, full-colour commemorative book ($54), visit scharatzedeck.com/event/-shoah-survivors-tribute-book-order.html; the order deadline is June 30.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Memories and miracles

Dr. Robert Krell with Grade 12 King David High School students Gali Goldman, left, and Edden Av-Gay. (photo by Shula Klinger)

On May 2, King David High School marked Yom Hashoah at its annual assembly commemorating those lost in the Holocaust. This year, for the first time, the school hosted Grade 10 students from Alpha Secondary School in Burnaby.

The morning began with prayers for the victims of the recent Poway shooting in San Diego. After a minute’s silence, the assembly commenced with a procession led by child Holocaust survivor Dr. Robert Krell. Each of the five KHDS students in the procession carried a candle.

Originally from The Hague, Krell is founding president of the Vancouver Holocaust Education Centre and an educator and advocate for the centre’s programs. He is also professor emeritus, department of psychiatry, University of British Columbia, and distinguished life fellow of the American Psychiatric Association. He was introduced by KDHS students Estie Kallner and Mattea Lewis, his granddaughters. They spoke of their grandfather, thanking him for the “privilege” of hearing firsthand stories of the Holocaust.

Krell began his talk holding up a black and white photograph of himself as a baby. “Who was the enemy of the Third Reich?” he asked the audience. “This,” he said.

Krell was born when Holland was already occupied by Nazi forces. Indeed, the hospital he was born in was already partially confiscated by the Gestapo. He described how restrictions were imposed rapidly, every mundane aspect of Jewish life being placed under more and more stringent rules. Deportations began in 1942. Speaking of the local Jewish population being assembled for the euphemistically named “resettlement in the east,” he said, “No one panicked sufficiently.”

Krell went on to describe how, as family friends began to disappear, his “rather astute” parents fled their home, taking few possessions. “What would you grab?” he asked. His parents abandoned their photo albums because, in enemy hands, they would give away too much personal information.

Placed in the care of a local Dutch Christian family, Krell learned to call the parents Mother and Father. He described them as “the most wonderful people on earth.” With them, he said, his life was “comparatively normal.” That said, with the ever-present risk of betrayal, as a dark-haired child in a sea of blond heads, he was very noticeable. He was not allowed to look out of the apartment windows; there were Dutch Nazi sympathisers living within sight of his adoptive home.

One of the most powerful aspects of the lecture were Krell’s insights on human memory and identity under conditions of extreme stress. He described his recollections as “fragmented, not fully formed” and, while his young mind didn’t appreciate the extent of the horrors being committed outside, he said, “I knew something was wrong because I was part of another family.” His mother, he explained, remembered nothing of that period. Having given her young son over to a Dutch Christian, he said, “She was in shock for three months.” He spoke in the present tense of how his real identity vanished in hiding. “I melt into the family.”

As an adult, his adoptive sister, Nora, also buried some memories, which led to a conflict with Krell. He recalled being taken to visit his mother by Nora but Nora said she had never done that. This was a way of “denying me my memory,” he said, adding that this denial causes grievous harm to the psyche. Even though we have fragmented memories, he said, “we don’t want to give them up because they are part of who we are.”

In the end, the disagreement was resolved. Nora had indeed taken Krell to see his mother. Twice, he was nearly discovered and twice he narrowly escaped, first by covering his head with a blanket and, the second time, by hiding under a bed.

His years in hiding were characterized by unease, a looming sense of fear and constant hyper-vigilance. After the war, his family moved to Vancouver, leaving behind Holland, which he said he viewed as “a place of death.” He described himself as “the most eager immigrant-in-waiting that ever existed.”

Once in Canada, Krell reinvented himself, hiding his shyness behind outward charm and sociability. He said he became resilient, ignoring illness and pain, striving to forge a new life, a family and career for himself.

He spoke of the medical advice he received when dealing with overwhelming feelings – “You should get rid of your obsession with the Holocaust.” Instead, he helped found the Holocaust Symposium for high school students and facilitated the recording of 140 testimonies from survivors.

Following the lecture at KDHS, Krell answered questions from students, concerning Holocaust education today, as well as why it is that some people hid Jews and put their own lives at risk. Krell referred to “common decency,” adding that his own rescuers “didn’t know the precise nature of the unfolding danger, but once they had me, they were committed.” He told the students that, in spite of the “showcase” of the Nuremberg trials, “there is no justice.” And, are we at risk today? “Massively.”

photo - Left to right: KDHS students Gali Goldman and Edden Av-Gay, Dr. Robert Krell’s daughter Simone Kallner, Dr. Robert Krell and his granddaughters Estie Kallner and Mattea Lewis — Left to right: KDHS students Gali Goldman and Edden Av-Gay, Dr. Robert Krell’s daughter Simone Kallner, Dr. Robert Krell and his granddaughters Estie Kallner and Mattea Lewis. *(photo by Shula Klinger)*

In his closing comments, Krell shifted from storyteller to teacher, using the narrative of his life to guide the students in theirs. “Learn your history,” he said. “In it lies everything to secure the safety of your children and grandchildren.”

He said, “Without engaging with the Holocaust, you are at great risk of becoming an under-educated person, and that makes you vulnerable. This mass murder took doctors, lawyers. Physicians were killing children in 1938. It was the doctors, engineers, architects. Each of the professions we trust for our safety. They all worked in the service of mass murder. Safeguard your professions from sliding into the abyss. It happens so quickly.”

Grade 12 students Edden Av-Gay and Gali Goldman spoke with Krell after his talk. Av-Gay was struck by how “one person could experience so many miracles in his life, especially someone born into such hardship” and said, “His story is truly amazing.”

Goldman, who had recently given a class presentation on youth movements during the Holocaust, had heard Krell tell his story before. She said she was still touched by how “he lost so much but he has devoted his life to teaching about what he went through, even though it was horrific. He can still find parts of his story that were miracles.”

Asked about Krell’s decision to speak about his past, Av-Gay said, “I think it’s not a matter of him being comfortable telling his story, I think he feels obligated to do it, to share his past, to show what happened to six million Jewish people.”

Alpha Secondary Grade 10 student Amy Ricker said she found Krell “motivating and inspiring.” Ricker, who hopes to become a humanitarian lawyer, said she “teared up because he showed me how in the dark I have been, and how much I want to help people.”

One perhaps surprising message in his talk was a warning about tolerance.

“If Jews were ‘tolerated’ in Holland, and the result was the deaths of over 80% of the Jewish population,” he said, “then we have to do much better than just tolerance.”

As he finished his lecture, he said, “Realize what you have. Thank your parents and tell your irritating siblings that you love them. I urge you – be kind.”

Shula Klinger is an author and journalist living in North Vancouver. Find out more at shulaklinger.com.

D-Day: heroism, horror

The fear, bloodshed and massive loss of life in the cause of freedom are illustrated through remarkable – and convincing – dramatic reenactments in D-Day in 14 Stories. (photo from YAP Films and the History Channel)

The horrors and heroism of D-Day took place 75 years ago June 6. A remarkable new documentary, with distinct Canadian and Jewish connections, will air on the History Channel June 1. D-Day in 14 Stories includes firsthand recollections from Allied and German soldiers and French civilians – many of them kids or teenagers at the time of the conflict.

The massive battle of the Second World War saw more than 150,000 Canadian, American, British and other Allied soldiers storm the beaches of France, marking the turning point of Nazi – and Allied – fortunes.

D-Day in 14 Stories is a social history of D-Day, a joint production of YAP Films and the History Channel. The events on that long-ago day in 1944 are illuminated by eyewitness accounts from some of the few remaining veterans of that historic battle.

On D-Day alone, 359 Canadian soldiers were killed. More than 5,000 Canadian soldiers died during the succeeding weeks of fighting in Normandy. The fear, bloodshed and massive loss of life in the cause of freedom are illustrated through remarkable – and convincing – dramatic reenactments, visual effects and historical footage, including a trove of colour film taken by a soldier using an early Bell and Howell handheld movie camera.

Many soldiers on both sides were just following orders but, as Morton Waitzman recounts in the documentary, some Jewish soldiers felt a particular motivation.

“Being of the Jewish faith myself, and so many of my comrades, we knew we had to get over there as soon as possible to do whatever we could to stop this terrible curse,” he said. As a communications specialist, he connected American and British forces with members of the French Underground to help coordinate the battle.

photo - D-Day in 14 Stories makes the effort to capture the particular experiences of African-American and First Nations soldiers — D-Day in 14 Stories makes the effort to capture the particular experiences of African-American and First Nations soldiers. *(photo from YAP Films and the History Channel)*

The Germans were anticipating an attack, but had no idea when, where or how large a force the Allies would assemble. The documentary follows a wall of soldiers parachuting through a cascade of tracers. In all, 13,000 Americans dropped inland by air to support the amphibious landing and undermine the German response.

While one Allied soldier says, “Anybody who says they weren’t afraid is not telling the truth,” a German soldier recounts, tellingly: “We had no fear. We were convinced that we would win.”

Until D-Day, the British Air Force had strafed the Normandy coast, but returned to their island redoubt. French residents of the area were familiar with the routine: take shelter when the alarms go off and come back out when they ring again.

Bernard Marie was a 5-year-old child in Normandy at the time.

“The big difference is that, on June 6th, the siren never came back,” he said.

In all, 7,000 vessels embarked from Britain to the French coast. The Allies had no illusions about the cost of the operation. Casualties were anticipated to reach 25 to 30%.

Emotionally powerful dramatizations follow 16- and 17-year-olds as they face the life-and-death moment for themselves and the free world.

“Some never got off the boat,” recalled one soldier. “They were shot, bodies laid all over, boats turned upside down, real chaos. We still kept going forward.… Soldiers.”

One survivor remembers that, despite the explosions all around him, his sole consideration when coming ashore at Normandy was that his socks were soaked through.

The average soldier was carrying 35 kilograms on his back and, for those whose vessels did not manage to make it close to shore, jumping off the ship, in many cases, led to almost instantaneous drowning.

If they survived the initial landing, the soldiers had to confront the German enemy firing down from above at Allied soldiers who were effectively sitting ducks. A German soldier recalls: “We merely had to point that machine gun and it was like cutting wheat with a scythe. For the odd miss, we had a thousand hits.”

The film admirably makes the effort to capture the particular experiences of African-American and First Nations soldiers.

Waitzman, the Jewish American soldier, went on to fight in Europe and participated in the liberation of concentration camps.

“We became eyewitnesses to the Holocaust by what we saw,” he says in the film. “We were very compelled to tell the details to young people. We had to talk, to fight this as much as possible.”

Another veteran of the battle reflects on the loss of life, but ponders the alternative: “God knows what would’ve happened if we hadn’t done it.”

Korczak course at UBC

A postcard showing Janusz Korczak in the courtyard of the orphanage on Krochmalna Street in Warsaw, Poland, in the early 1930s.

An unprecedented interdisciplinary event will take place this summer at the University of British Columbia, focusing on the legacy of Janusz Korczak, a pioneer in the area of children’s rights and welfare.

Korczak is perhaps remembered most for his final act of heroism: his refusal to accept an offer of a reprieve, choosing instead to walk with the 200 or so orphaned children of his school as they were sent to their deaths at Treblinka. But it is his legacy as an educator, physician and writer that will be the focus of the 2019 Korczak Summer Institute. The two-week intensive program, called Advocacy in Action: The Legacy of Janusz Korczak, is open to graduate and undergraduate students across disciplines. It takes place July 2-11.

“To the best of my knowledge, there’s never been a university-based course on the work of Janucz Korczak, not in his native Poland, not in Israel, certainly not in North America,” said Rabbi Dr. Hillel Goelman, professor emeritus in UBC’s department of educational and counseling psychology, and special education. The program was developed across disciplines, reflecting Korczak’s range of academic and philosophical work.

“He was a pediatrician by training, so we reached out to the department of pediatrics to get their help and a number of faculty members are going to do Korczak-related activities,” said Goelman. “He was an educator, so the faculty of education were happy to co-sponsor the course with the Januscz Korczak Association [of Canada]. But it would also be open to people studying social work or any sort of child-focused activity. A lot of people at UBC support the whole cause of child activism and child welfare from an interdisciplinary perspective.”

Korczak’s philosophy inspired and informed the United Nations Charter on the Rights of Children. Importantly, his work was not limited to academics or writing, but was devoted to applying his values of child empowerment directly to the real world.

“Children are not the people of tomorrow but people today,” Korczak wrote. “They are entitled to be taken seriously. They have a right to be treated by adults with tenderness and respect, as equals.”

“In the orphanage that he ran in Warsaw, they had a children’s parliament, where children elected their leaders to make the rules and enforce the rules,” said Goelman. “There was a children’s court, where children could complain about their treatment either by the staff or by other students. There was a children’s newspaper that they published. He very much empowered children and he thought it was important to draw on this and give them opportunities to develop their own leadership. I think those are all very important contemporary messages for educators, social workers, pediatricians … and it’s kind of timeless. It’s really relevant to where we are today in terms of child activism, child welfare and child advocacy.”

The institute is designed to help participants transform their working environment to model democratic principles pioneered by Korczak in his writings, pedagogy and governance of the orphanages under his care. It will also encourage participants to adopt strategies to translate the respect for children’s rights into professional practices, including communication with parents and the larger community, and to learn how to help children in developing and sustaining their cultural identity, particularly among those who may struggle with multiple identities.

The course will be taught by Prof. Tatyana Tsyrlina-Spady, an internationally recognized expert on the life and legacy of Korczak and adjunct professor at Seattle Pacific University. She will be joined by a team of international and national invited speakers: teacher trainer and UNICEF consultant Jonathan Levy (Paris, France); founders and leaders in the field of social pediatrics Dr. Gilles Julien and Hélène Trudel (Montreal); researcher and practitioner of Korczak’s legacy Wojtek Lasota (Warsaw, Poland); several UBC professors of nursing and psychology; U.S.-Canadian writer Tilar Mazzeo (Victoria); and a Holocaust survivor and poet, Vancouverite Lillian Boraks-Nemetz.

Promoting Korczak’s pedagogical ideas, as well as their effect on children’s education, is part of the mandate of the Janucz Korczak Association of Canada, which was founded in 2002. The president, Jerry Nussbaum, lives in Vancouver, as do fellow board members Goelman and Boraks-Nemetz.

“His work is very much alive,” said Goelman of Korczak.

The deadline to register for the UBC course is May 28: pdce.educ.ubc.ca/child-advocacy.

Recalling heroism, Holocaust

Holocaust survivor Rita Akselrod and Premier John Horgan at the Yom Hashoah commemoration that took place at the British Columbia legislature May 2. (photo by Pat Johnson)

The history of Jewish tragedy in the Holocaust – but also the heroism of Jews and non-Jews – was commemorated last week in moving ceremonies in Vancouver and Victoria.

Yom Hashoah, Holocaust Remembrance Day, occurred May 2 this year, coinciding with 27 Nissan in the Jewish calendar, the anniversary of the Warsaw Ghetto Uprising. A community commemoration convened by the Vancouver Holocaust Education Centre (VHEC) took place on the evening of May 1 at the Jewish Community Centre of Greater Vancouver. The following day, Holocaust survivors and others gathered in Victoria at the British Columbia legislature with the premier of the province and many elected officials in what has become an official annual commemoration.

Premier John Horgan assisted survivors and representatives of other targeted groups – people with disabilities, LGBTQ+, Roma – to light candles of remembrance.

“We need to remember that, if we do not stand together – Christians, Jews, Muslims, those who have no faith at all – if we do not stand together when hate raises its head, we will have failed not only those that have lost their lives so many decades ago in the millions, but folks who will come after us,” said Horgan. “We acknowledge the murders in San Diego and the tragic loss of life in Pittsburgh … in a synagogue there. We acknowledge the loss of Christian lives in Sri Lanka and the loss of Muslim lives in New Zealand. But, on this Yom Hashoah, we must always remember, in the presence of those who survived those horrors, that today we stand with you, tomorrow we will stand with you and forever we will remember the impacts of your lives and the consequences that you have lived for so many decades.”

Marie Doduck, a Holocaust survivor who lives in Vancouver, shared some of her life story with the audience at the legislature.

“Living in Brussels, Belgium, I was only three-and-a-half years old when my life was suddenly ripped apart and irrevocably changed by hate, by Nazism,” she said. “In 1939, our family, which was made up of 10 children – three were already married at the time with children of their own – were all separated by the scourge of war. We were all put into peril by the fact of our Jewishness – a crime under the rule of Nazis in Europe. We were marked for death by the accident of being born Jewish.”

She was hidden in a succession of non-Jewish homes and even in a Catholic convent.

“We had to run and to vanish in order to survive,” she said. “We became the children of silence. No talking, no crying, no disturbance – a blank mind with no feelings and no future. We lived only in the moment, felt nothing except hunger. Feelings like loneliness were a luxury. It was better not to feel. People and the world did not care. We were nothing – just Jews.

“This frightened little girl, Mariette, saw her beloved family disappear. My mother, Channah Malka, whom my firstborn is named after, and my brother, Albert, were deported to Auschwitz, where they were murdered. I saw my mother and brother being loaded into trucks…. That was the last time I saw either of them alive. Another brother, Jean, who was in the French Resistance, was hung by the Gestapo in the city square. Another brother, Simon, like hundreds of thousands, died three weeks after the war from the mistaken kindness of American and Canadian soldiers who liberated the camps and fed the fragile, thin and starving prisoners food that they could no longer digest.”

Like many survivors, Doduck’s experience is filled with close calls and fortunate near-misses.

“In order to survive, I jumped off moving trains and high buildings, was thrown into a sewer and was even hidden in a barn, where I took shelter in a bale of hay. I still bear the scar of being impaled by the pitch fork of a Nazi soldier searching there for Jews,” she said. “I lived mostly in darkness – literally – in dank cellars and other dark hiding places where the Nazis could not find me. When I returned to Brussels years later, I could not recognize the city in daylight, for my Brussels was a place of darkness.

After the war, Doduck immigrated to Canada as part of the War Orphans Project, the youngest of 1,123 Jewish children admitted to Canada in 1947 through an agreement between Canadian Jewish Congress and the federal immigration department.

“I arrived in Vancouver on Jan. 3, 1948, at age 12 and was taken in by a foster family,” said Doduck. “While I was warmly welcomed by the Jewish community and Canadian society – and grew up to be a proud Canadian – not everyone received a warm welcome when attempting to flee Nazi Germany. It was indeed the policy of many countries not to accept those seeking refuge.

“This is the important message that I share with students when I speak – that no society is immune to the dangers of discrimination and racism; and that we must work together to stand up when we see injustice in the world around us.”

B.C. Education Minister Rob Fleming, who emceed the event, noted the startling increase in antisemitic incidents in recent years and called for vigilance.

“Today also requires us to acknowledge the role that apathy and indifference played in enabling these atrocities to happen, the thousands of Jewish refugees turned away at our Canadian borders and the borders of other countries, the people who stood by and said nothing while their neighbours were hunted down in their homes because of their faith and identity,” said Fleming. “We come together to say never again.”

While mourning the atrocities, Fleming said, it is necessary to also remember the heroism of survivors and others who took the most dangerous risks to resist the dystopia of Nazism.

“They teach us that standing up for others, standing up for the values of tolerance and inclusiveness is how we can stop hate crimes, it’s how we can maintain and protect the peace that we are privileged to enjoy in our country.”

MLA Nicholas Simons played Kol Nidre on the cello to open the ceremony.

The evening before, the heroism of survivors was the topic of remarks from a member of the second generation. Carla van Messel, a board member of the VHEC, reflected on the lessons imparted by her father, Ies van Messel, who was a 5-year-old in Rotterdam, in the Netherlands, at the start of the war.

“Throughout my life, my father has demonstrated to me how to transform tragic memories into the strength to do good,” she said. “He taught my family that our Jewishness doesn’t make us evil or other and, therefore, by the same reasoning, neither should someone’s Germanness or Polishness or Arabness. He taught me that, if we don’t want something like the Holocaust to happen again, we have to continue to be better than the Nazis, and better than the nations who stood idly by. We have to actively protect all people … despite the history, despite the wounds, despite the deaths.

“As a second-generation survivor, I am energized by the examples of the survivors among us. They have inoculated us with their strength and resilience, with their will to turn bad into good. I want our survivors to know that they are leaving their memories, their essence, in good hands. Among the second generation are upstanding citizens of today’s very complicated world. They have taken the pain of their family’s personal history and transmuted it into the positive energy of tikkun olam. They continue to translate the hate of antisemitism into a hate of injustices: of racism, of bigotry, of sexism, of the demonization of otherness, of discrimination in all its many, many forms.”

The keynote address at Vancouver’s JCC was delivered by Lillian Boraks-Nemetz.

“Not a day passes when I don’t ask myself: Why did I survive when six million perished?” she said. “When 1.5 million [of the murdered] were children and, among them, my 5-year-old sister. And I survived. Why? When every European Jewish child was automatically sentenced to death by Hitler. I wonder: Was my survival a miracle? A twist of fate? The will of God? Why me?”

She detailed the series of close calls and fortunate happenstances that allowed her to survive, in part due to the persistence of her parents to do anything within their powers to save their two daughters.

The family was relocated into what would become the Warsaw Ghetto, sharing shelter with 20 other people in a three-room flat.

“Eventually, the ghetto grew more and more crowded – up to about 480,000 bodies in the small space of 1.3 square miles … with the lack of hygiene and medication, we were quarantined for typhus. Most of the boys and girls I played with died of the disease. Young children were dying on the streets; if not from illness, from starvation. Shabby and haunted people would simply pass by, powerless to help them,” she said.

“As 1942 approached, things got worse and worse. People out of desperation stole food from each other. I saw a woman carrying a bowl of soup when a man grabbed it. It spilled onto the pavement and the man fell to the floor licking the broth off the stones. All morality ceased to exist in an immoral, murderous universe of Nazi domination.”

As things in the ghetto deteriorated, Boraks-Nemetz’s parents bribed ghetto guards to allow young Lillian to escape. Her grandmother, who never entered the ghetto, had bought a little house in a nearby village, which she promised to give to a Catholic man who, in exchange, would let her live under his Polish name, ostensibly as siblings.

Boraks-Nemetz joined her grandmother and the man at the home.

“One night in the spring of 1943 we were outside in the yard, looking with horror at a blood-red sky above Warsaw,” she said. “We knew from a friend that it was the Warsaw Ghetto leveled to the ground by fire ordered by Hitler, after the courageous stand of the ghetto fighters against Nazi soldiers.”

Only after the war did she discover the fate of her sister.

“I found out that she was informed on by a Polish neighbour as a Jewish child and murdered by an unwilling Polish policeman who was commanded to do so, or else, by the Gestapo. The policeman found a ball lying on the street and threw it, telling my sister to run after it, then shot her in the back.”

While the Russians liberated her and her parents, Boraks-Nemetz said, the reality was not liberating.

“While adults worked to reestablish their lives, we children were left to grow up alone carrying the burden of experiences that nobody wanted to know about.… I was always told to forget and to let go by people who didn’t have a clue what was on my mind and in my soul. This was not a physical wound that results in a bruise or scab, which then falls off and mostly disappears. This was a branding on the Jewish soul with fire caused by man’s inhumanity to man, woman and child.

“It took me a long time after the war to realize myself as a human being who deserves to live and to be a Jew,” she said.

Philip Levinson, president of the VHEC board, introduced the procession of Holocaust survivors who lit candles in memory of the six million Jews murdered in the Holocaust. Cantor Yaakov Orzech chanted El Maleh Rachamim and survivor Chaim Kornfeld led Kaddish. Under music director Wendy Bross Stuart, violinist Nancy di Novo and the Yom Hashoah singers performed songs in Ladino, Yiddish and Hebrew. Sarah Kirby-Yung, a Vancouver city councilor, brought greetings from the city and read a proclamation. The evening ended as it does every year with the singing of “Zog Nit Keynmol,” “The Partisan Song.”