Holocaust – Page 6

Toronto artist reclaims past

Yvonne Singer (photo by Ron Csillag)

As an artist herself, Yvonne Singer can well appreciate the esthetic merits of the open-air monument to Swedish Second World War hero Raoul Wallenberg that was unveiled last June at Churchill Park in Hamilton, Ont., in a ceremony attended by those whose families owed their survival to Wallenberg.

Though she has not personally viewed the installation, called “Be:longings,” Singer spoke admiringly of the 10 bronze-cast suitcases dispersed along a gravel path adjacent to the Hamilton aviary. She knows Simon Frank, one of the project’s three creators, and is aware that suitcases are a potent symbol of the Holocaust.

“I like the fact that the suitcases are scattered,” Singer, a well-established visual artist and teacher in Toronto, said in an interview over lemon tea in her sun-drenched kitchen. “I think the imagery and symbolism are very effective in conveying the idea of displacement and emigration.”

The old-timey valises evoke not just Wallenberg, Singer noted, but all victims and survivors of that terror-stricken era. The outdoor project is also “minimal, which I like. I don’t like public sculptures that scream at you or are clichéd.”

photo - Part of the “Be:longings” monument in Hamilton’s Churchill Park to Second World War hero Raoul Wallenberg — Part of the “Be:longings” monument in Hamilton’s Churchill Park to Second World War hero Raoul Wallenberg. (photo from Hamilton Jewish Federation via Hamilton Jewish News)

Singer connects to the installation on a whole other level. The 78-year-old resident of Toronto’s trendy Cabbagetown neighbourhood is Wallenberg’s goddaughter. She was born on his bed.

It’s a Hollywood-worthy tale that evolved over time, in a series of eye-popping twists, turns and coincidences – all amid Singer’s own personal voyage of self-discovery.

The backstory is its own blockbuster: The non-Jewish scion of a wealthy Swedish industrial and banking family, Wallenberg, then just 32, was recruited by the US War Refugee Board and dispatched to Budapest to assist and rescue as many Jews in the Nazi-occupied Hungarian capital as possible. He arrived in July 1944, just as the Nazis had finished shipping some 440,000 Jews from the countryside to Auschwitz. They and their Hungarian collaborators, the Arrow Cross militia, now set their sights on the Jews of Budapest.

Accorded diplomatic status, Wallenberg famously set off on a frenetic pace. He designed, printed and distributed thousands of the famous “Schutzpass” – an official-looking document that placed the holder under the protection of the neutral Swedish Crown. He also scoured the city for buildings to rent, finding 32, and crammed in as many souls as possible. The “safe houses” flew the yellow-and-blue Swedish flag and were declared protected by diplomatic immunity.

Known for his bluster and bravado (and for bribes using American cash), his greatest coup came when he reportedly persuaded Nazi commanders to call off the liquidation of Budapest’s Jewish ghetto, with its 70,000 inhabitants.

The number of Jews Wallenberg is said to have rescued peaks at 100,000. He is credited with saving more Jewish lives during the war than any single government.

By January 1945, the Red Army was laying siege to Budapest, and Wallenberg was taken into custody on allegations he was a US spy. He promptly vanished into the massive gulag system. A Soviet report in 1956 dryly noted he had died in July 1947 of a heart attack in Moscow’s notorious Lubyanka prison, but supposed eyewitness sightings and stories of contact with him from former inmates continued well into the 1970s.

A nine-year joint Swedish-Russian investigation, ending in 2001, came to opposing conclusions, with Moscow sticking to its story about Wallenberg’s 1947 death, and Stockholm stating that absent any proof, it was impossible to reach a conclusion about his fate.

In 2012, the diaries of a former head of the KGB, discovered stuffed into the walls of his Moscow home, stated there was “no doubt” that Wallenberg was “liquidated” in 1947.

But back to Singer.

On the night of Nov. 3, 1944, a desperate Tibor Vandor, who worked for Wallenberg as a courier and liaison to the underground, needed help for his wife, Agnes. She was in labour and had been turned away from Budapest’s hospitals, which barred Jews. Wallenberg allowed the couple to use his own room, while he slept in the corridor using his coat as covers.

The next morning, he was called in to see a dark-haired newborn girl. Asked by the grateful parents to name her, Wallenberg chose Nina Maria Ava (Nina was his half-sister’s name, Maria his mother’s). The couple changed the first name to Yvonne, and Wallenberg agreed to be the child’s godfather.

Singer knew nothing of this until she was 34 years old.

It was October 1979 when she read an article in the Toronto Star, reprinted from a US newspaper, about Wallenberg’s plight. The story included a reference to Singer’s unusual birth, taken from a Hungarian book on the Swedish hero written after the war. The baby with the Toronto connection, the parents, the godfather, were all there, mentioned by name.

When she read the piece, “I burst out crying,” she told the Star after contacting the paper. Her story spilled forth a week later in a large Saturday article headlined “Swedish hero saved my life: Metro woman.”

Singer is still struck by “the incredible coincidence of it all. Here I am in Toronto in 1979, reading the paper … it boggles the mind. I could have easily gone through life not knowing the story. Suddenly, I had a connection to this man, who sounds like he was fascinating.”

Her parents had not told her the story. And there was another missing piece of the puzzle: their Jewishness.

At war’s end, the Vandors went to Switzerland and Holland before settling in Montreal in 1949, where they shed their Jewish identities, doubtless seeking to blot out the legacy that had caused them so much pain. Tibor Vandor even became an elder in the United Church (Yvonne attended church until she was about 14).

Her parents never revealed being Jews. “I always pressed them for more information, and they always refused,” even following the revelations in the Toronto Star, Singer recalled. “They told me very, very little.” Their silence encompassed “anything to do with the war.”

Singer graduated from McGill University and went on to teach high school English and French. She married her husband, Ron Singer, a theatre director and educator, in 1966 and, because her Jewishness was unknown to her, converted to Judaism.

A few years later, a cousin in England recalled being a flower-girl at Yvonne’s parents’ wedding, which she said took place in a synagogue. The parents denied it, but Yvonne believed it.

Singer’s feelings of alienation as an immigrant child would evaporate on discovering that she had been born Jewish, whether the knowledge came from a cousin or the Toronto Star. “I felt like I’d come home, part of a history that goes back thousands of years. I no longer felt rootless,” she said.

The Singers moved to Toronto in 1971, where Yvonne later began a prolific art career in various media and teaching visual arts at York University. Raising three daughters and a busy life meant there was little time to get involved in the Wallenberg file, though she was pleased when he became Canada’s first Honorary Citizen in 1985 and when Canada Post issued a stamp commemorating Wallenberg a decade ago.

In 1997, even Queen Elizabeth heard Singer’s remarkable story. The artist was among the dignitaries in London when a bronze statue of Wallenberg was unveiled by the Queen. The two were introduced.

“The Queen listened attentively and I was told she was very interested in my story,” Singer said at the time. “It was a highlight of my life.”

It’s no surprise that Singer’s art has explored themes of identity, history and memory. The outsider status she felt in her early life “is what made me think about ways of expressing that, either through language or visual imagery. So, you go to what you know when you’re an artist.”

In 2016, the Swedish government declared Wallenberg officially dead, but, to Singer, that offered no finality. “From what I learned, the Swedish government is not exempt from blame for trying to get Wallenberg out. I cannot reconcile the fact that [Wallenberg’s family] could not exert any kind of leverage over the Russians to find out what happened to him.”

The title of godparent in Judaism is largely honorary, and Singer considers the godfather connection to Wallenberg an honour. “But I’m also very sad that I never met him,” she said. “I think he would have been a fascinating person to talk to. The story is just very, very tragic.”

The grandmother of nine sighed. Over the decades, the story for her was very personal, obviously, “and I was still processing it. Maybe I’m still processing it, for a long, long time.”

A version of this article originally appeared in the Hamilton Jewish News. It is reprinted with the author’s permission.

Victoria link to UK honours

More than 20 girls were rescued from Nazi persecution and brought to Tynemouth (photo from Summerfield family via BBC)

On Jan. 26, 2023, a blue plaque at a house in Tynemouth, a coastal town in northeast England near Newcastle, was unveiled. The marker recognizes the efforts of David Summerfield, the grandfather of Victoria, BC’s Henry Summerfield, to help rescue Jewish children before the Second World War.

David Summerfield’s undertaking was part of the Kindertransport, which, from late 1938, after Kristallnacht, to the declaration of war in September 1939, brought Jewish children to the United Kingdom.

“My grandfather ran a jewelry store in Newcastle. He was very well known and well thought of inside and outside of the Jewish community,” Henry Summerfield told the Independent. “He got a committee together and they raised funds and got a house in Tynemouth. In those days, they would not have boys and girls in the same house. Thus, they decided girls were more vulnerable and they would take them in.”

The house at 55 Percy Park provided lodging for 24 Jewish girls, aged 3 to 15, from Germany, Austria and Czechoslovakia. In total, nearly 10,000 children were brought into the United Kingdom during the nine months of the rescue operation.

“It was a terrible ordeal for the children because they were in a strange country and they were going to a city they had never heard of. They were not accompanied by any adults who could guide them,” said Summerfield. “A girl from Czechoslovakia was the worst off because did not speak either German or English.”

The local Jewish community in Newcastle needed people to care for the girls after they arrived, Summerfield said, and they managed to find two Jewish widows from Vienna who had fled to London: Paula Sieber, who had owned a cinema, and Alice Urbach, a well-known chef who also operated a cooking school.

Prior to the war, Urbach had written a popular cookbook, Cooking the Viennese Way, under a false name, because, as a Jew, she was not able to publish using her real name. In 2022, her granddaughter, historian Karina Urbach, published Alice’s Book: How the Nazis Stole My Grandmother’s Cookbook, which explored Alice Urbach’s story and the Nazi appropriation of her intellectual property.

“Because attempts to avert a war failed, the parents were never able to join their children,” said Summerfield. “Instead, Newcastle and the nearby area became a war zone subject to heavy bombing and out of bounds to enemy aliens, so the girls were moved across the country to a house at Windermere in England’s Lake District. There they remained under the care of the two matrons till the end of the war. They were educated in local schools.”

As reports started to come out about the death camps, the matrons tried to be strict about keeping the girls away from the cinemas, where newsreels were shown. One girl managed to sneak out, saw the news and returned to the house in hysterics. Most of the girls’ parents died during the Holocaust.

As the years passed, the girls finished their schooling and got training for various jobs. The whole enterprise was successful – the girls grew up, had careers and raised families. Some stayed in England, while others moved to Israel, the United States, Australia and New Zealand.

The BBC recently learned of the endeavour and broadcast a report about a reunion of the refugees, now elderly, and their lives. The reunion was attended by David Summerfield’s granddaughter, Judith Summerfield, and great-granddaughter, Alison Moore. There were previous reunions, in 1988 and 1999.

A six-episode BBC podcast was released earlier in the year, The Girls: The Holocaust Safe House, detailing the stories of those who lived at 55 Percy Park. The current owners of the house, who purchased the property in 2017, hadn’t known the historical significance of the address as a Kindertransport hostel.

The newly unveiled plaque at 55 Percy Park reads: “In 1939, this house was home to more than 20 girls fleeing Nazi persecution. They came here via the Kindertransport rescue effort and were cared for by the Newcastle Jewish Refugee Committee, as well as the wider community of Tyneside. Most of those housed here lost their parents during the Holocaust. The committee funded their care for over seven years.”

Below that inscription is a quote from Talmud: “Whoever destroys a soul, it is considered as if he destroyed an entire world. And whoever saves a life, it is considered as if he saved an entire world.”

A posthumous honour for David Summerfield has been proposed. His jewelry store, started in 1914, is still in operation.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Survivors a cautionary tale

On Oct. 29 at the Phoenix Theatre in Victoria, there will be a one-night-only performance of Wendy Kout’s play Survivors, which is touring schools this month. (photo by Peter Nadler)

In light of the success of last year’s pilot tour, the educational play Survivors is touring middle and secondary schools throughout Vancouver Island this month. And, with the support of the University of Victoria, there will be one public performance of the play this month: at the Phoenix Theatre, Oct. 29, 2 p.m. Last year’s public shows sold out.

Following the mistaken honouring in Parliament recently of Ukrainian-Canadian Yaroslav Hunka, who fought in a Nazi unit during the Holocaust, there should no longer be any doubt about the ignorance of the history of the Holocaust. This conclusion is further supported by the existence of monuments in Canada that honour Nazi veterans who were members of the Galicia division of the SS in Ukraine. Furthermore, Canada’s Governor General Mary Simon has apologized for the Order of Canada given to Peter Savaryn in 1987. Savaryn was chancellor of the University of Alberta and president of the Progressive Conservative Party of Alberta in the 1980s – he also served with the Waffen-SS, a voluntary Nazi unit in Ukraine during the Second World War.

A 2019 study done by the Azrieli Foundation, Yad Vashem, the United States Holocaust Memorial Museum and the Claims Conference revealed Canadians’ lack of knowledge of this period in history. For example: 62% of millennials did not know that six million Jews were killed in the Holocaust and 22% of millennials hadn’t heard or were not sure if they had heard of the Holocaust. Nearly one-quarter of all Canadians believe that substantially fewer than six million Jews were killed (two million or fewer) during the Holocaust.

History shows that when it comes to racist attacks and xenophobia, Jews are often the “canary in the coal mine.” Holocaust awareness and education could not be more timely or important. “We’re not just telling history,” said Survivors playwright Wendy Kout. “We’re telling history as a cautionary tale for the present and the future.”

Survivors explores hatred, the capacity to survive and thrive, and serves as a call to consciousness of the present challenges. Combining history with life lessons, the audience is guided through a time when hatred was normalized. The audience is both uplifted by the survivors’ triumphs and inspired to take action against present and future racism.

The play tells a chronological history of the Holocaust through the personal prism of experience, interweaving the stories of 10 Holocaust survivors, four of whom were still alive when the play premièred in New York in 2018. Though each has a unique story, all the survivors “went through this horror and came through the other side to build meaningful, contributing, beautiful lives,” said playwright Wendy Kout.

The Victoria production of Survivors will be touring throughout the four Western provinces for the next few years. For more about those tours and the organizations collaborating on them, visit jewishindependent.ca/theatre-that-educates and holocausttheatre.com. For tickets to the Oct. 29 matinée at Phoenix Theatre, go to eventbrite.ca.

– Courtesy Victoria Theatre Productions

A voice to Lithuania’s victims

Grant Gochin in J’Accuse!, which can be screened online as part of the South African Film Festival Nov. 2-12. (screenshot)

The award-winning film J’Accuse! is about the alliance between Grant Gochin, a Jewish activist for Lithuanian Holocaust truth, and Silvia Foti, the author of Storm in the Land of Rain, which reveals that her grandfather – Jonas Noreika – operated as a Nazi collaborator who ordered the massacre of thousands of Lithuania’s Jews. However, Lithuania continues to view Noreika as a freedom fighter because he fought against the Communists.

J’Accuse!, by filmmaker Michael Kretzmer, screens as part of the South African Film Festival, which runs Nov. 2-12, presenting more than 20 movies.

SAFF Canada brings together the combined histories and volunteer efforts of two in-person festivals – the Toronto South African Film Festival and the Vancouver South African Film Festival. When the pandemic hit in 2020, the organizations transitioned to one virtual South African Film Festival that could reach audiences across Canada. While most films are online, there are some in-person screenings and events in both Vancouver and Toronto.

photo - Silvia Foti in J’Accuse!, a documentary by filmmaker Michael Kretzmer — Silvia Foti in J’Accuse!, a documentary by filmmaker Michael Kretzmer. *(screenshot)*

The festival is part of, and raises funds for, Education without Borders, created in 2002 by local Jewish community members Cecil and Ruth Hershler.

“It is estimated that over 90% of South African Jews are Litvaks, [are] of Lithuanian descent,” said Cecil Hershler. “On a personal note, my maternal grandparents were born in Plunge. My grandmother, Ethel Sher, arrived on a ship in Cape Town in 1905 – she was 10 years old, she never saw her parents in Plunge again. On Ruth’s side, her paternal ancestors come from Riteva.”

More than 220,000 Jews – more than 95% of the prewar Jewish population – were murdered in the Holocaust. Kretzmer’s documentary exposes the scale and scandal of Lithuanian Holocaust denial by focusing on Noreika, who murdered as many as 14,500 Jews in the Plunge region in 1941. Gochin, whose family was murdered by Noreika, brought almost 30 legal actions against the Lithuanian government over more than three decades. In focusing on Noreika, the film also examines the role of the Lithuanian Genocide and Resistance Research Centre.

For tickets to watch J’Accuse! – the Vancouver Holocaust Education Centre is a community partner on the film – or any of the South African Film Festival offerings, go to saffcanada.ca.

– Courtesy Education without Borders

Jews and superheroes

Mark Leiren-Young (photo from Mark Leiren-Young)

From a neurotic gentleman who dresses like a bat, to a wise-cracking human spider, to a Super-Mensch appearing in the bulrushes, not to mention a green golem – it is impossible to escape the Jewish influences of comic superheroes, says Mark Leiren-Young, a creative writing instructor at the University of Victoria.

Put another way, Leiren-Young told the Independent, “It would be simpler to name the iconic comic superheroes who were not shaped by Jewish immigrants. It’s a very small list: Wonder Woman and Shazam. That’s it. That’s all of them.”

In his classes, Leiren-Young and his UVic students examine and analyze the origins of the classic superheroes, almost all of whom were created by Jewish immigrants in the United States. In the first half of the 20th century, these creators were working in comics at least in part because they were not allowed to get jobs in advertising or journalism at the time. In other words, Jews were permitted to do the low-class work that “proper people” would not consider.

Superman, Batman, Spider-Man, Green Lantern, the Flash, Dr. Strange and numerous others on the superhero roster were all products of Yiddishkeit, according to Leiren-Young, whose classes on the DC Universe and the Marvel Universe are among the most popular electives at the university.

“One of the things that fascinated me when I did a deep dive into this – all of these Jewish creators were creating characters who were not shy about their religion, though there were none who overtly identified as Jewish. For example, Spider-Man’s sense of humour is absolutely Borscht Belt humour. It is Stan Lee’s humour,” he said, referring to the character’s creator. “Now, you’re seeing the actor playing Spider-Man (Andrew Garfield) saying he just assumed he was a Jewish character. That’s how he reads.”

The perceived Jewishness of the early manifestations of comic superheroes was not lost on the Nazis. In 1940, a copy of Look magazine, featuring a two-page segment on how Superman would end the war, made its way to the desk of Das Schwartze Korps, the weekly publication of the SS, in Germany. The Nazis attacked Superman’s creator, writing, “Jerry Siegel, an intellectually and physically circumcised chap who has his headquarters in New York, is the inventor of a colourful figure with an impressive appearance, a powerful body, and a red swim suit who enjoys the ability to fly through the ether.

“The inventive Israelite named this pleasant guy with an overdeveloped body and underdeveloped mind ‘Superman.’ He advertised widely Superman’s sense of justice, well-suited for imitation by the American youth. As you can see, there is nothing (they) won’t do for money!”

The Nazis, led by Joseph Goebbels, their chief propagandist, were concerned about Superman’s sense of justice, Leiren-Young contends. The effects of the German invective against Superman and his creators carried over to these shores as well, with DC Comics being picketed by American Nazis in 1940.

“The creators of Superman were living in a Jewish section of Cleveland and were emphatically impressed with the idea of social justice,” Leiren-Young said.

The Superman-going-to-war spread in Look magazine preceded another daring Jewish-inspired comic – Captain America punching Hitler – that would be published in 1941, before the United States entered the war.

The Jewish creators of Superman and Captain America essentially were going to war and defining Hitler as the enemy before any American troops were involved, Leiren-Young explained.

“Captain America was created to punch Hitler. He looks like a nerdy Jew until he gets the super serum and then turns into the All-American Hero, which also created protests from the American Nazi Party. These were controversial because there were still so many Americans who were really not keen on the United States going to war,” said Leiren-Young.

Such imagery continued after the war. In the 1961 comic “The Death of Superman,” for example, the setting for the trial of Lex Luthor, Superman’s archenemy, strongly resembles the trial of Adolf Eichmann in Israel.

In another postwar Jewish connection, the scientist who invented Captain America in the comic series looks increasingly like Albert Einstein as the story progresses.

Leiren-Young developed an interest in comics at an early age, “raiding” his uncle’s collection after Shabbat dinners. “He had everything, but for me it was all about the DC Comics. I remember there were all sorts of different comics, but a lot of DC superheroes,” said Leiren-Young, who has more than 15,000 comic books in his collection.

In 2014, when Swerve magazine asked writers across Canada to name the most influential book they read as a youth, Leiren-Young responded, “I’ve written a few stories about how and why I fell in love with comics, but I never imagined that having a collection of 15,000-plus comics would launch my career as a television writer or become a job qualification for teaching certain university classes,” he tells his students.

Leiren-Young has written and/or developed animated shows for Netflix, BBC Kids, ABC, Teletoon and other broadcasters. He has also written for BBC’s live-action CGI superhero series Ace Lightning, and his other cartoon credits include scripts for ReBoot, Transformers: Beast Wars, RollBots, Class of the Titans and Pucca.

Beyond his classes and comics, Leiren-Young is a playwright, author, journalist, filmmaker and performer. The Hundred-Year-Old Whale, a film he wrote and directed, received the 2017 Writers Guild of Canada award for best documentary. His memoir, Never Shoot a Stampede Queen, won the 2009 Stephen Leacock Memorial Medal for Humour.

Leiren-Young recently gave a talk about comic superheroes at Victoria’s Congregation Emanu-El and hopes to address a Vancouver audience about the subject in the near future. His knowledge and enthusiasm for comics extends well beyond the confines of a standard newspaper article. He recommends Up, Up and Oy Vey by Simcha Weinstein, Stan Lee: A Life in Comics by Liel Leibowitz and Is Superman Circumcised? The Complete Jewish History of the World’s Greatest Hero by Roy Schwartz for further reading on the subject.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Theatre that educates

Wendy Kout’s play Survivors is based on 10 real-life stories of young people’s Holocaust experiences. (photo by Peter Nadler)

Last year, Victoria-based Bema Productions and the Victoria Shoah Project collaborated on a pilot project: a nine-performance tour to middle and secondary schools of Survivors, a Holocaust-themed play by Wendy Kout. The success of the tour, which reached more than 1,100 students and 500 adults in the Victoria area, has led the organizations to broaden their reach throughout Vancouver Island, Metro Vancouver and other Western provinces beginning this autumn.

“Following our pilot tour in Victoria, we were asked to cover the Western provinces, and I happily accepted the challenge,” said Zelda Dean, the director of the play. “We will be touring to 30 schools on Vancouver Island in October 2023. In the fall of 2024, we will tour on the Mainland and in Alberta. Saskatchewan and Manitoba will be toured in 2025 – 150 performances in total will be presented.”

Citing a 2018 Canadian survey produced by the Azrieli Foundation, Yad Vashem, the United States Holocaust Memorial Museum and the Claims Conference, the Victoria organizers offer compelling reasons why Holocaust education is necessary today, particularly (but not only) for youth. According to the survey, 52% of millennials cannot name a concentration camp or ghetto; 62% of millennials did not know that six million Jews were killed in the Holocaust; 22% of millennials haven’t heard or are not sure if they have heard of the Holocaust; and 23% of all Canadians believe that substantially fewer than six million Jews were killed (two million or fewer) during the Holocaust, while another 24% were unsure of how many were killed.

“I have been alarmed at the ongoing rise in antisemitism for some years and have been looking for a suitable educational play. I had previously produced a play by Wendy and loved her work,” said Dean, regarding the selection of Survivors.

The intention of the one-hour play, suitable for those from Grade 6 to adulthood, is to provide a vehicle to teach lessons from the Shoah to younger audiences. Based on 10 real-life stories of young people’s Holocaust experiences, the play hopes to enable students to recognize the short- and long-term causes and effects of prejudice, discrimination and, ultimately, genocide. It also aims to foster critical thinking and bring the importance of human rights and social justice advocacy to the forefront.

Survivors goes through the chronological history of the Holocaust by enacting the experiences of Jewish children and teenagers from Europe. The young cast of six professional actors portrays the survivors, starting at innocence and continuing through the terrifying rise and rule of bigotry, xenophobia and violence, before they immigrate to America.

The play includes the true stories of a teen who watched her boyfriend being taken away to a concentration camp, a girl who was separated from her parents and relocated to England through the Kindertransport and a boy whose family struggled to escape to China.

Dean credited the young actors in the production for their diligence and dedication to their parts. “I put a casting call out and was delighted that a large number of very skilled young actors tried out for the roles. Those who were cast were tasked with doing considerable research into the Holocaust prior to rehearsals starting,” she said.

Survivors was originally commissioned and developed by CenterStage Theatre in Rochester, N.Y., in 2017, when Kout was asked to write a Holocaust play about survivors who had immigrated to the city. Shortly thereafter, while watching neo-Nazis march in Charlottesville, Va., Kout expressed the feeling that she was not simply writing an historical play but also a “warning play.”

The Victoria production in November and December 2022 – which played in school auditoriums, theatres and libraries, and had four public performances – was the first international tour of the play. There are other tours currently on both coasts of the United States, with Kout, along with the New York company that developed Survivors, creating a documentary on how the play came to be.

“Sharing the history of the Holocaust with students provides an important historical example of the dangers of allowing hatred and intolerance to take hold within a society,” said former B.C. minister of education Rob Fleming about the Victoria tour.

Additionally, several students who saw the play offered their input concerning how the performance affected them.

“I want to continue to learn more about the Holocaust and people’s stories. I’ve read [Elie Wiesel’s] Night and seen this play but other than that I haven’t heard many personal stories, so I’d like to learn more,” said one.

“I learned once again that I should not judge others selfishly based on race, religion, appearance or prejudice, and I will try to [remember that] whenever I meet new people from now on,” contributed another.

The organizers are looking for financial support to fund the upcoming Western Canadian tours.

“Over $450,000 is required to offer this powerful educational play to so many students, and we are actively fundraising to individuals, corporations, foundations, etc. We are running a campaign inviting folks to sponsor a school in their area for only $500,” Dean explained.

For more information about the play and to contribute, visit holocausttheatre.com or email [email protected].

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Remembering Alex Buckman

Alex Buckman with students on the March of the Living. (photo from thecjn.ca)

Alex Buckman, a tireless stalwart for Holocaust education in British Columbia and a steadfast advocate for his fellow child survivors, died in Warsaw on April 21. He was 83. Buckman had been on a trip to Poland accompanying the Coast-to-Coast Canada March of the Living delegation.

Described by those who knew and worked with him as a caring and gentle person, Buckman was president of the Vancouver Child Survivors Group, served as treasurer of the World Federation of Jewish Holocaust Survivors & Descendants and had, in recent decades, spoken to thousands of students in the province through the Vancouver Holocaust Education Centre.

In his 2017 memoir Afraid of the Dark, Buckman wrote that he felt compelled to share his story as a Holocaust survivor for two reasons: “First, I want others to know the price of hate. Hate destroys the lives of innocent people. It breaks families apart and its effects are felt for a lifetime. Second, and most importantly, I share my story to honour the memory of my parents. Talking about our stories gives them a chance to live again and gives me the opportunity to remember them.”

Born in Brussels, Buckman was seven months old when Germany invaded Belgium on May 10, 1940. At age 2, his parents sent him into hiding, and he would find shelter in a dozen different non-Jewish homes over the course of the following two years.

Buckman was next handed over to Andrée Geulen, a 20-year-old teacher, for safekeeping. Geulen, who helped to save many other Jewish children during the Holocaust and was later named one of the Righteous Among the Nations, moved Buckman to an orphanage in the town of Namor.

Buckman’s parents would ultimately be sent to Auschwitz-Birkenau, where they perished.

Under the care of his aunt, Rebecca Teitelbaum (Aunt Becky), Buckman immigrated to Canada in 1951. They settled in Montreal. As a young man, Buckman got his first job as a cost accountant for the bakery and delicatessen at a Steinberg grocery store. He went on to attend night school before entering Sir George Williams University to obtain a degree in accounting.

In 1962, he married Colette Roy, and they embarked on what he called a “normal life.” Their son Patrick was born in 1964 and, in 1967, he took his family west to Vancouver, where Buckman found a job as a housing officer for the Canada Mortgage and Housing Corporation. The position entailed developing homes for Indigenous people across British Columbia.

“It felt so good helping people move into their own homes. It really changed their lives and I loved meeting and working with the First Nations bands. I felt connected to them,” Buckman would write.

Concurrently, he developed an interest in running, competing in both half and full marathons.

Buckman had made a previous excursion to Poland to join the March of the Living in 2010, which he described as one of the “most meaningful” trips of his life. Speaking to the students traveling with him at that time, he reflected, “What will happen when we will go home? How will we deal with injustice? How will we continue to do all the things we have to do? How will you continue the legacy? How will you remember? I know I will remember you always. We spent a week in Poland together. I don’t think I would have made if it wouldn’t be for you. Some people tell me I was there for them – but most of you were there for me.”

He would further ruminate on that trip to Poland in his memoir, writing: “We Holocaust survivors, accompanied by students from around the world, silently walked the three kilometres that separate Auschwitz from Birkenau in tribute to all the innocent lives that were ended there. I walked into the shower room/gas chamber where my mother once stood, her arms most likely tightly holding onto her sister, in 1943. I wept, surrounded by people who truly understood my loss.”

Prior to that trip, Buckman had avoided speaking about his mother’s experiences to, as he said, “protect the kids from the grim reality of the death camps” – not wanting to tell young people that up to 2,500 people were killed at a time in the gas chambers. “But after I had stood in her place, I decided her death deserved to be spoken about.”

During his talks to young people, Buckman would often share the story of the recipe book his aunt created in a dangerous and defiant act while a prisoner at the Ravensbrück concentration camp, where she held an office job at a Siemens factory.

As a means to keep her mind off the dire conditions at a concentration camp, Rebecca Teitelbaum would reminisce about the family meals she prepared before the war. One evening while working at Siemens, she found some brown paper that she concealed in her dress. Later, after stealing a pencil and scissors, she went to her barracks and started cutting the paper into the little squares onto which she would write her recipes.

Buckman held on to the recipe book and, at his speaking engagements, he would leave his young audience members with a copy of Aunt Becky’s gâteau à l’orange (orange cake). He would ask the students to invite their families to make the cake together and to share his story with their mothers, fathers and siblings.

As he detailed in the final section of his memoir, by bringing families together through the recipe and having them share his story, Buckman’s hope was to stop the spread of hate and honour the memory of his own family.

“As a group, we thrived in his care,” said Vancouver author and child survivor Lillian Boraks-Nemetz. “He was a great speaker and carried an important message to masses of students against hate, intolerance and bigotry. Alex is and will be missed by all. May his soul continue to watch over us. May he rest in peace knowing that he is loved.”

Buckman is survived by his wife Colette; son Patrick and his wife Elsi (née Towes); grandchildren Alexander, Jameson and Rachael; and sister Annie Kidorf. Patrick Buckman had accompanied his father to Poland for the March of the Living.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC. This obituary was originally published in the Canadian Jewish News, thecjn.ca.

Helping Jews globally

Candace Kwinter (photo from Jewish Federation)

“Tikkun olam,” said Candace Kwinter, Jewish Federation of Greater Vancouver board chair and Jewish Agency for Israel board member, about what drives her to donate so much of her time and energy both locally and globally.

“I feel it in my heart and soul to assist every Jew in the world who needs help in whatever way necessary,” said Kwinter, who is concluding her two-year term as chair. She will continue with the board as immediate past chair.

As board chair, Kwinter works alongside fellow volunteers and Federation staff.

“We provide our more than 30 partner agencies, including the day schools, supplementary Hebrew schools, Jewish Family Services, the Jewish Community Centre and more, with support, not only through funding but by bringing our partners together to collaborate and innovate to meet our community’s evolving needs today and in the future,” she said.

With the Jewish Agency, Kwinter attends the board of governors meetings twice a year; additionally, she sits on the agency’s aliyah, unity of the Jewish people, and antisemitism committees.

“With antisemitism on the rise and aliyah doubling because of Ukraine and Russia, the Jewish Agency has been extremely busy. We are working hard to connect Israelis to world Jewry and, from a local perspective, more Jews in British Columbia specifically,” she said.

According to Kwinter, the partnership between Federation and the Jewish Agency is vital because each can achieve much more by joining forces. She noted that it is the federation system across North America – not only the local federation – that partners with the Jewish Agency by financially supporting the agency’s work on the ground.

“The impact our community can make at an international level is so much greater when we work together,” she said. “Locally, Federation supports the Jewish Agency and the Joint Distribution Committee (JDC) with funding to assist world Jewry in aliyah, humanitarian needs and security concerns, as well as bridging the gaps between Israelis and world Jewry.”

Largely due to the global pandemic, needs have shifted during Kwinter’s time on both boards. “COVID changed everything. We all had to pivot when the pandemic hit and it created a lot of uncertainty,” she said.

Among the social consequences resulting from COVID-19 – locally, in Israel and around the world – have been increased food insecurity, a surge in mental health issues, inflation and isolation. In 2022, humanitarian needs were exacerbated by Russia’s invasion of Ukraine, thereby increasing the demand for aliyah.

“I am incredibly proud of the way our community responded and, because of the partnerships already in place with organizations like the JDC and the Jewish Agency, we were able to get people the help they needed quickly and effectively,” said Kwinter.

Concurrent with the European conflict, the Jewish Agency established Tzur Israel at the beginning of 2022 to unite the remaining Ethiopian Jews with their families in Israel, she said. “Once again, world Jewry came together to fund the aliyah segment – the Israeli government funds the entire absorption costs. I had the privilege of being on the first plane of Operation Tzur Israel last June, where we brought 179 Ethiopians to Israel. It was incredible.” (See jewishindependent.ca/israels-new-ethiopian-airlift.)

Kwinter’s love of Israel derives from a concern about antisemitism and the history of the Holocaust and a commitment to “Never Again.”

“To me, Israel represents ‘Never Again’ and gives me a sense of security as the homeland for every Jew in the world,” Kwinter said. “It is with great pride I speak of Israel and all it has achieved in the past 75 years. It is truly a beacon of tikkun olam and innovation, for all the world to benefit. It is a light among the nations.”

Kwinter holds 40-plus years of experience in financial services, including owning and operating her own financial services agency for 29 years, before selling it in 2017. She has been involved with Federation in various capacities and volunteers with the Jewish Community Foundation of Greater Vancouver, the Canadian Jewish Political Affairs Committee, and the Centre for Israel and Jewish Affairs, Pacific Region. She is president of the North Shore Jewish Community Centre / Congregation Har El, having also served as synagogue president from 2005 to 2007. From 2008 to 2011, she served on the Pacific Northwest Region of the United Synagogue of Conservative Judaism.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

This year’s book award winners

The fourth edition of the Western Canada Jewish Book Awards, presented by the Cherie Smith JCC Jewish Book Festival, culminated in a May 24 event at the Jewish Community Centre of Greater Vancouver at which the winners in six categories – fiction, non-fiction, memoir/biography, children and youth, poetry, and Holocaust writing – were announced.

Winning the Nancy Richler Memorial Prize for fiction was Simon Choa-Johnston for House of Daughters, a stand-alone sequel to The House of Wives. Based on the author’s family, this multi-generational family saga opens when Emanuel Belilios, a wealthy Jewish opium oligarch, suddenly leaves Hong Kong, and his junior-wife, Pearl, blames Semah, the senior-wife. Pearl kicks Semah out of the mansion where the polyamorous trio had lived and shuns everyone, including her daughter. This is a story of passions and regrets, wealth and survival, set in Eurasian Hong Kong’s high society.

In the non-fiction category, the Pinsky Givon Family Prize went to Alan Twigg, editor of Gidal: The Unusual Friendship of Yosef Wosk and Tim Gidal, a selection of letters between Israeli Tim Gidal, a pioneer in photojournalism, and Vancouver scholar and art collector Yosef Wosk. In the late 1920s, with his handheld Leica, Gidal was able to travel in interwar Europe, capturing rare images of Polish Jews prior to the Holocaust. Wosk first encountered Gidal’s work in a magazine in 1991 – the photo “Night of the Kabbalist” captivated him. Wosk was determined to meet the photographer and eventually did. The two became close and the letters – selected by Twigg from hundreds the friends exchanged over two decades – both memorialize Gidal as an artist, scholar, historian of photography and “hero among the Jewish people,” and also capture the essence of Gidal and Wosk’s friendship.

The Cindy Roadburg Memorial Prize for memoir/biography was given to Marsha Lederman for Kiss the Red Stairs: The Holocaust, Once Removed. In it, Lederman delves into her parents’ Holocaust stories in the wake of her own divorce, investigating how trauma migrates through generations. At the age of 5, Lederman asked her mother why she didn’t have any grandparents, and her mother told her the truth: the Holocaust. Decades later, her parents having died and now a mother herself, Lederman began to wonder how much history had shaped her life and started her journey into the past, to tell her family’s stories of loss and resilience.

Boy from Buchenwald by Robbie Waisman (with Susan McClelland) took the Diamond Foundation Prize for children and youth writing. In 1945, Robbie Waisman, then Romek Wajsman, had just been liberated from Buchenwald, a concentration camp where more than 60,000 people were killed. He was starving, tortured and had no idea if his family was alive. Along with 472 other boys, these teens were dubbed “the Buchenwald Boys.” They were angry at the world for their abuse, and turned to violence: stealing, fighting and struggling for power. Few thought they would ever be able to lead functional lives again, but everything changed for Romek and the other boys when Albert Einstein and Rabbi Herschel Schacter brought them to a home for rehabilitation.

The Betty Averbach Foundation Prize for poetry went to Tom Wayman’s Watching a Man Break a Dog’s Back: Poems for a Dark Time, which explores the question of how to live in a natural landscape that offers beauty while being consumed by industry, and in an economy that offers material benefits while denying dignity, meaning and a voice to many in order to satisfy the outsized appetites of a few. A cri de coeur from a poet who has long celebrated the voices of working people, the collection also grapples with why “anyone, in this era so profoundly lacking in grace, might want to make poems – or any kind of art.”

Rounding out the awards was the Kahn Family Foundation Prize for Holocaust writing, which was given to But I Live: Three Stories of Child Survivors of the Holocaust by Charlotte Schallié (editor) and illustrators Miriam Libicki, Barbara Yelin and Gilad Seliktar. But I Live is a co-creation of the novelists and four Holocaust survivors: David Schaffer, brothers Nico and Rolf Kamp, and Emmie Arbel. Schaffer and his family survived in Romania due to their refusal to obey Nazi collaborators; in the Netherlands, the Kamps were hidden by the Dutch resistance in 13 different places; and, through the story of Arbel, who survived Ravensbrück and Bergen-Belsen concentration camps, we see the lifelong trauma inflicted by the Holocaust. The book includes historical essays, a postscript from the artists and words of the survivors.

Each category in the 2023 Western Canada Jewish Book Awards was assessed by five jurors, in different configurations, from the following professionals: Linda Bonder, a retired librarian; Susanna Egan, professor emeritus of literature in English from the University of British Columbia; Dave Margoshes, who writes fiction and poetry on a farm west of Saskatoon; Norman Ravvin, a writer, teacher and critic living in Montreal; Rhea Tregebov, an author of fiction, poetry and children’s picture books, and a retired professor in the UBC Creative Writing Program; Elisabeth Kushner, a librarian and writer living in Vancouver; Karen Corrin, former head librarian of the Isaac Waldman Jewish Public Library at the JCC; Nicole Nozick, former executive director of the Vancouver Writers Fest and former director of the JCC Jewish Book Festival; and Anita Brown, who is working with the Waldman Library.

Daniella Givon, chair of the awards committee, introduced the May 24 event, sharing a bit about the awards and thanking all the sponsors and participants for the high calibre and diversity of the submissions. The winning authors then said a few words, and Dana Camil Hewitt, director of the JCC Jewish Book Festival, closed the proceedings with more thank yous, and an invitation for everyone to purchase and enjoy the books.

– Courtesy Cherie Smith JCC Jewish Book Festival

Düsseldorf returns painting

Wilhelm von Schadow’s “The Artist’s Children” (1830).

The German city of Düsseldorf reached an agreement recently with the heirs of Max Stern (1904-1987), a Jewish art dealer forced to flee the city in 1937, ending a long-standing battle over the ownership of a painting, according to The Art Newspaper, which first reported the deal.

The family portrait from 1830, “The Artist’s Children,” by 19th-century Romantic painter Wilhelm von Schadow, has been held by the city since 1959, when it acquired the canvas from a private collector. It was discovered when a researcher from the National Archives in Ottawa found it in a catalogue for a 1967 Düsseldorf Museum Kunstpalast exhibition, which listed the painting’s location as the Stadtmuseum. In recent years, the Max Stern Art Restitution Project, based at Montreal’s Concordia University, and the Dr. Max and Iris Stern Foundation sought to reclaim it, contending that Stern sold the painting under duress.

Founded in 2002, the Stern Project, headed by Dr. Clarence Epstein, is seeking to track down the 220 Old Masters and Northern European artworks that formed Lot 168 in the November 1937 sale at Cologne’s Mathias Lempertz auction house, known as Auktion 392. The paintings constituted the inventory of Düsseldorf’s Galerie Stern that Nazi officials forced him to liquidate at vastly discounted prices. As well as the 1937 auction canvases, the Stern Project is seeking to regain the paintings the art dealer left with Cologne shipping agent Josef Roggendorf, which the Gestapo confiscated in 1938, when Stern was already in Britain.

As part of the agreement, Düsseldorf handed over the portrait on condition that the municipality immediately buys it back. The terms of the settlement, including how much the city paid to re-acquire the artwork, were undisclosed.

In a press release, Düsseldorf mayor Stephan Keller said he was pleased with the “fair and just solution” between the parties and that von Schadow’s artwork “will remain in Düsseldorf.” He added that the painting will go on view at the city’s Museum Kunstpalast starting in August.

Stern took over Galerie Stern on Königsallee, which was founded by his father Julius, in 1934. By order of the Nazi government, the gallery was “aryanized” in 1937. Its inventory was sold at a forced auction for a fraction of its value.

Armed with a single suitcase stuffed with his remaining possessions, Stern fled to London that year. But, in May 1940, when Hitler’s invasion of Britain seemed imminent, Scotland Yard rounded up more than 2,000 German and Austrian citizens, mostly Jews, and incarcerated them as enemy aliens. Stern was sent to an internment camp on the Isle of Man.

Hearing that some detainees were being sent to Canada to free up soldiers guarding British camps, Stern volunteered to join them. In North America, he believed, he would be well-positioned to help his mother and one sister in Britain, as well as his other sister and her family in France. But Canada, where he was greeted by bayonet-wielding soldiers, was even less hospitable than Britain. As Stern recalled years later, “We had to stage a hunger strike to convince the Canadian authorities that we were certainly not Nazis but, on the contrary, anti-Nazi.”

Held in a camp first near Fredericton, N.B., and later in Farnham, Que., he was put to work cutting down trees. Still, he remained optimistic, thankful for the food, shelter, clothing, exercise and 20 cents per day in pay. He also welcomed the opportunity to teach. Twelve years earlier, he had earned a doctorate in art history, which he put to use in classes for his fellow internees.

Stern’s talent and positive outlook caught the attention of William Birks, scion of the Montreal jewelry family, who headed the local branch of the National Committee on Refugees. Birks was openly critical of Canada’s restrictive and antisemitic immigration policy, which he called “narrow, bigoted and very short-sighted.” He believed the government should have sent trade missions to Europe to recruit men like Stern, “not wait for them to seek and beg us.” In 1941, he sponsored Stern’s release and move to Montreal.

Needing a job and hoping to assist in Canada’s war effort, Stern looked for work in an airplane factory. When he was not hired, he turned to the thing he understood best – art. “You’ll starve,” people told him, but he was certain he could be successful as a dealer in Montreal, because he had spotted a void he knew how to fill. Most of the city’s galleries were pushing stuffy 19th-century European genre and landscape paintings. No one was promoting or selling home-grown works because, as he later explained, “Canada didn’t have any confidence in its own artists.”

Stern pitched his vision to Rose Millman, who had just opened a space on rue Sainte-Catherine called the Dominion Gallery of Fine Art. Impressed by his assurance and expertise, she offered him a job for $12.50 a week. Stern said he wanted $17.50 and her promise to make him a full-fledged partner once he built up her business by conquering Canada, as he put it, “by selling Canadian artists.”

Within months, he was mounting exhibitions by contemporary Canadian painters. Over the years, they would include John Lyman, Goodridge Roberts, E. J. Hughes, Stanley Cosgrove, Jean-Paul Riopelle, and others whose names he would play a pivotal role in establishing. Stern secured their loyalty and best work by offering them monthly retainers for an agreed-upon number of works, already an established practice in France, Britain and the United States, but not yet in Canada.

Stern’s first major coup came in 1944, when he visited Emily Carr, then 72, at her home in Victoria. She showed him a room packed with 300 paintings. Struck speechless by her talent, he asked if he could mount an exhibition.

Laughing, she replied, “You will not sell a single painting.” The recipient of critical praise, Carr had yet to enjoy commercial success. “If you let me choose the paintings,” Stern replied, “I think I can make it a perfect success.”

In 1947, Stern and his wife Iris became the sole owners of the gallery.

Following the defeat of Nazi Germany, Stern endeavoured to track down his confiscated paintings. His efforts were largely unsuccessful. He died childless in 1987, and left his estate to Concordia University and McGill University in Montreal, as well as Hebrew University in Jerusalem.

The three schools later founded the Max Stern Art Restitution Project to reclaim the estimated 400 artworks lost during the 1930s. To date, the project has recovered 24 pieces, including paintings by Otto Erdmann, Nicolas Neufchatel and Jan Brueghel the Elder.

The case of von Schadow’s “The Artist’s Children” proved to be particularly complicated due to questions of provenance. When the city of Düsseldorf acquired the portrait in 1959, it was hung in the office of the city’s mayor. Decades later, when the Stern Foundation filed a claim for the artwork, it pointed out that, in 1937, Galerie Stern allowed for the piece to be reproduced in a book about paintings of children. But Düsseldorf city officials pushed back, arguing that the book did not prove the gallery owned the artwork at that point. There was no evidence of the painting being surrendered under Nazi persecution, the city contended.

In 2017, a scheduled exhibition in Düsseldorf about Stern and the Restitution Project was abruptly canceled due to local opposition, leading to intense controversy. The city’s stance apparently softened following the 2020 municipal elections.

“We couldn’t prove that it was not a restitution case, so we, as the city government, recommended to the assembly that it should be restituted,” Miriam Koch, the Düsseldorf city official in charge of culture, told The Art Newspaper. “The big parties in the city council supported restitution.”

According to Lynn H. Nicholas’ 1995 book The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War, more than 140,000 pieces of artwork were looted under the Nazi regime. Most of them remain unclaimed.

Gil Zohar is a writer and tour guide in Jerusalem.