survivors

New exhibit at Uvic

Dr. Helga Thorson of the University of Victoria. (photo from uvic.ca)

The University of Victoria unveiled its Stories of the Holocaust: Local Memory and Transmission exhibit – a project that was part of a combined undergraduate and graduate seminar on Holocaust and memory studies – during an online launch on April 15.

The exhibit is the result of a collaborative effort. Ten community members, comprising Holocaust survivors and descendants of survivors, from Vancouver, Victoria and Salt Spring Island, were paired with 10 UVic students to present wide-ranging and diverse stories from the Shoah in a context both personal and relevant to future Holocaust education.

“Students worked one-on-one with a community partner to figure out the best way to tell each story. This, as they discovered, was no easy task,” said UVic professor Dr. Helga Thorson, the course’s instructor. The students had to learn new technological skills, go over an extensive reading list and develop interpersonal skills, which included “relationship-building and the ethical dilemmas that come into play when telling somebody’s story that is not your own.”

“The engagement and involvement of the 10 students, who took the class assignment seriously, will go a long way in helping us remember the Shoah and the story passed on by their community partner,” said Thorson. “Remembering the past also helps us reflect on the present and what this means for us in today’s world as we continue to grapple with antisemitism, racism and other forms of violence, hatred and injustice.”

Ireland Good, one of the students involved in the project, thanked the Jewish community members for “their courage and their trust in us to tell their stories and to create this exhibit. I have thoroughly enjoyed this experience,” said Good, “even with its low moments, as I am sure it is with all the other students.”

The stories represent varied experiences, including having hid in order to survive and having been sent to a Soviet gulag. They come from Hinda Avery, Lillian Boraks-Nemetz, Rudolf Deman, Ilserl Fränkel, Julius Maslovat, Micha Menczer, Isa Milman, Fred Preuss, Claire Sicherman and Hester Waas.

Maslovat was the youngest prisoner ever at Buchenwald, and he is the subject of a recent film, Why Am I Here?: A Child’s Journey Through the Holocaust. The day of the launch, April 15, had a special significance for Maslovat, as it marked the 76th anniversary of his liberation from Bergen-Belsen. He was just under 3 years old at the time.

“My story did not come to me in a neat package. There were people who knew parts of it and contributed. Other parts I had to dig out of archives in Israel, Germany, Sweden, Britain, Poland, U.S. and Finland. I have tried to tell my story by putting together the pieces like a jigsaw puzzle. This time, I have included material I have not spoken about before,” said Maslovat, explaining his contribution to the archive.

“Despite what people may think about Holocaust survivors writing their memoir or speaking about their experience, we are not navel-gazing,” said writer Boraks-Nemetz, who escaped from the Warsaw Ghetto and lived in hiding. “We who have stared into the abyss of the atrocity that was the Shoah can never erase it from our memories. When I speak about my experience, I always think of the survivors and the victims, of the injustice wrought by a madman who destroyed lives – lives of children, of my little 5-year-old sister, who was brutally murdered for being a Jewish child … of the 1.5 million children who needlessly died.”

Boraks-Nemetz continues to explore the personal and broader impacts of the Holocaust through recent works, the novel Mouth of Truth and a collection of poetry, Out of the Dark.

Dr. Richard Kool is the son of Waas, who hid in the Netherlands during the war. He spoke of the importance of conveying the story to future generations. “I’ve really understood that, as Hester’s child and the oldest of my siblings, I have a responsibility as a carrier of a message that helps me keep looking forward towards recipients, towards recipients who have more life in front of them than behind, recipients who may not even be alive yet,” he said.

“We, the survivors and their children, must look forward and consider the powerful message for future individuals and generations,” he added. “Messages that say, ‘Don’t wallow in despair, worry and victimhood, but act, now, to do what you can with the tools at your disposal and the people around you to help co-create a fairer, healthier, more just, more peaceful community and society.’”

To view the exhibit, go to omekas.library.uvic.ca.

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

Shoah education continues

Dr. Claude Romney speaking to students pre-COVID. (photo from Vancouver Holocaust Education Centre)

For many years, people dedicated to educating about the Holocaust and its moral lessons have been adapting to new realities. The declining number of survivors and the need to preserve their eyewitness testimony has necessitated innovative means of conveying these lessons to successive generations. As a result of these preparations, organizations like the Vancouver Holocaust Education Centre (VHEC) have been remarkably prepared to continue their work despite the limitations imposed by a global pandemic.

Dr. Claude Romney has been sharing her wartime experiences with younger audiences for several years. Her father, Dr. Jacques Lewin, was arrested in Paris at the end of 1941 and was among the first prisoners transported to Auschwitz. While Romney and her mother survived the war in southern France, evading numerous close calls, her father survived the most notorious Nazi camp because his skills were useful to the Nazis – he was a doctor who was put into service at the camp. Romney has researched and spoken about the experiences of her father and other “prisoner-doctors.”

Since the pandemic began, Romney has done two virtual presentations to schools and, while she wishes the talks could be in person, she is grateful that the technology exists to allow them to happen at all.

“I personally, and I think the other survivors who continue to talk to students online, have to be grateful both to the [Vancouver] Holocaust Education Centre and, of course, most of all, to the teachers who still get in touch and haven’t given up,” she said. “It’s something which could easily have fallen by the wayside. I think it’s very fortunate that teachers are dedicated enough to continue.”

A year and counting into the pandemic, Romney said the global upheaval could have led to lost opportunities.

“We feel there is some urgency because we’re not getting any younger,” she said. “It’s very important.”

The online events differ, depending on the audience. Some classes that are still meeting in person are set up so that the speaker sees the teacher but not the entire class. When classes are virtual, the speaker is one of many faces on a Zoom call.

“This would never have been possible for students 15 years ago, 10 years ago maybe even,” Romney said. “It makes a big difference because, of course, there are books and articles, but it’s not the same as hearing somebody tell their personal stories.”

While the survivor speakers are talking about their past, the lessons they aim to impart are for the present and future.

“I think it’s vital that the new generations know about what happened because it’s up to them to prevent this kind of thing from happening again,” she said. “And to understand that it’s vital to be tolerant of other people who may be different in some ways because they come from different cultures, different religions. It’s a cautionary tale really.”

Ashley Ross has been teaching a course in genocide studies at Aldergrove Community Secondary School for four years. She can attest that students make connections between the present and the past – and that relevance has been honed more sharply in the past couple of years.

“When I first started teaching it, it was very hard for them to understand the German context of that era,” she said, noting that she was challenged to demonstrate the “slippery slope” of hatred, fear and scapegoating. Sadly, students understand that phenomenon better than just a few years ago. “Right now, they are immediately seeing connections and understanding and seeing it play out in their current world.… More than ever, the lessons of the power of propaganda and the fear and the scapegoating are really resonating in our world. It’s through those historical lessons that we are better equipped to process what we’re currently facing.”

She maintains that the survivor speakers’ virtual events are every bit as powerful on the students as an in-person one. She even sees a benefit in the fact that, when they know they can’t be seen by the speaker, students may be more open with their emotional responses.

“Because the Holocaust survivor is only looking at my face rather than their faces, I find that it’s often more raw for the students. In a large auditorium, it doesn’t have that same personal impact,” said Ross, who has led a student trip to Europe that included a visit to Auschwitz.

Sharing firsthand accounts with young generations puts a human face to a part of history that is enormous in scope and perhaps remote in time from the perspective of a teenager.

“I think there’s a sense of honour to have a direct connection to this history that sometimes feels so far away,” she said. “It’s a reminder that it isn’t so far away. I think it’s really impactful to hear first-person accounts [about] something that can get so bogged down in huge numbers.”

photo - Dr. Ilona Shulman Spaar, education director and curator at the Vancouver Holocaust Education Centre — Dr. Ilona Shulman Spaar, education director and curator at the Vancouver Holocaust Education Centre. *(photo from vhec.org)*

Dr. Ilona Shulman Spaar, education director and curator at the VHEC, acknowledges that her team did not know what to expect when the pandemic began a year ago. At the same time, the remote delivery of programs and resources that was necessary due to COVID was something for which the centre was already prepared. Not only were Holocaust survivors and other educators delivering virtual talks to student groups in remote parts of British Columbia, a vast digitization process over the past several years has made much of the centre’s collections accessible online, including artifacts, documents, written testimonies and videos.

“In a way, that’s nothing new for us,” she said.

Some research requests saw an uptick as teachers encouraged students to undertake individualized projects – and because the revised provincial curriculum also emphasizes “self-directed learning.”

The VHEC also saw an increase in donations of artifacts and documents. This may be because people are spending more time at home and deciding to clean out attics and closets. Shulman Spaar also thinks people may have a little more time to read the communications they send to supporters, which often include appeals for family records and other items.

Echoing the Aldergrove teacher, Shulman Spaar thinks another factor for increased interest in the VHEC’s programs and resources may be due to current events. Political situations in the United States and around the world, the increased awareness of violence against minority communities and other topics in the news daily underscore the relevance of the organization’s work.

“Ultimately, we are an anti-racism-based Holocaust education centre,” she said. “If you look at what’s going on, it does seem very relevant at the moment.”

There were challenges in rapidly scaling the delivery of virtual programs to more groups. Docents, educators and survivor speakers had to learn the new technologies and adapt their messages to the medium.

Conversely, there have been silver linings. Some survivors who, for health or mobility reasons, could not present their testimonies in person have been able to do so virtually. As capacity has grown for delivering programs remotely, so have requests. The VHEC has welcomed invitations from other provinces, as well as schools in northern British Columbia and other remote parts of the province where survivors are unlikely to visit.

Moreover, said Shulman Spaar, some participants have commented that seeing survivors in their own homes, rather than on a stage, is unexpectedly powerful.

“It’s not the same as an in-person encounter,” she acknowledged, “but, also, hearing the speaker speaking from her or his living room, it’s a different intimate situation that happens. Yes, there is this screen still, but some students and teachers comment how they feel very close and it feels like an intimate encounter rather than being in a big hall and on a stage.

“It’s just different,” she said.

A moving documentary

A scene from the documentary Martha, in which director Daniel Schubert is given a more appropriate shirt by his grandmother, Martha Katz. (Courtesy NFB)

Two very different scenes in the National Film Board of Canada’s short documentary film Martha – which will be released on International Holocaust Remembrance Day, Jan. 27 – combine to highlight the joy and pain that is life. Directed and co-written by Daniel Schubert, a grandson of the film’s subject, Martha Katz, there is a funny and relatable interaction where his grandmother questions his choice of shirt for the filming and provides him with a more appropriate one. This lighthearted exchange contrasts with the heart-wrenching tour that Katz takes with her grandson through the Holocaust Museum LA.

Born in Berehove, Czechoslovakia, Katz is 14 years old when she’s taken to the ghetto, then to Auschwitz. Both of her parents and two of her brothers were murdered in the Holocaust; she, along with two other brothers and two sisters, survived the concentration camps. She speaks, with emotions near the surface, about some of her experiences. The documentary is a mix of seemingly spontaneous moments, while other parts are scripted reenactments or prepared questions being asked and answered.

“My original idea for the documentary,” Schubert told the Independent, “was to track Martha and her two sisters’ incredible journey together through the ghettos and, eventually, Auschwitz. After Auschwitz, they were even forced to work at a German bomb factory together in Allendorf, manufacturing the bombs. The fact that Martha and her two sisters managed to stay together and survive through all of the horrors of the concentration camps, to me, was a miracle. I thought that would make an amazing documentary.

“But, as we developed it at the NFB, we realized that a more traditional cinéma vérité documentary could be a viable way to tell her story, too. I did not know many of the facts beforehand, so many of the things she told me in the film came as a surprise. My grandmother and I have a warm and loving relationship and I thought, why not show that on screen as I find out all of these amazing things?

“The other thing about my grandmother,” added Schubert, “is she’s hilarious. She’s the classic Jewish grandmother and I wanted that to come across. I wanted this to also be a real picture of a grandmother and her grandson and how we naturally interact.

“We also decided that in between these cinéma vérité moments would be cinematic vignettes narrated by my grandmother herself. There were many more amazing things she went through, but, due to time constraints, I picked those stories.”

One of the stories is how, after the war, in Vienna, his grandmother met and married Bill Katz, who had been in a labour camp. The couple went to Winnipeg, with $200 they had saved up. They had two children – Jack and Sharon – and struggled financially. It was his grandmother who suggested they go into business for themselves. She went to night school, then saw an ad for a grocery store for sale – she bought it, learning on the job. There are some wonderful photos and video in this part of the film.

photo - Martha Katz saw an ad for a grocery store for sale – she bought it, learning on the job — Martha Katz saw an ad for a grocery store for sale – she bought it, learning on the job. *(photo from NFB)*

It was her goal in life for her two children to have whatever they wanted and she talks about her happiness at having had them. “We had to have a life again,” she says, stressing that this doesn’t mean she doesn’t think about the Holocaust all the time, because she does – “I hope it should never happen again. That’s all.”

“Bringing her to the museum was a bit of a tough decision, but she encouraged us to go,” said Schubert. “The intention was to see whether there was anything new that she and I could both learn about the atrocities committed. And, as it turned out in the film, there was; specifically, about the excruciating length of time the gas chamber took, in some cases, to exterminate those poor victims trapped inside, including my great-grandmother and her young son. Suffice to say, it took way longer than expected, and neither of us knew how long they may have had to suffer inside.”

It was for health reasons that Katz, who is now 90 years old, moved to Los Angeles.

“My grandmother suffered from chronic bronchitis since the war and, because of Winnipeg’s frigid winters, the doctors advised her to move somewhere warmer, or else her life could be at risk,” explained Schubert. “My grandfather’s brother lived in Los Angeles, so they helped them get settled there. They came to Winnipeg from Europe in 1948 and moved to Los Angeles in 1964.”

The 22-minute documentary is dedicated to the memory of Katz’s older sister, Rose Benovich. The statement at the film’s end notes: “Her courage in Auschwitz is the reason I am alive today.”

Justice slams the UN

On Dec. 9, the Honourable Rosalie Silberman Abella, a justice of the Supreme Court of Canada, delivered the inaugural Elie Wiesel Lectureship in Human Rights. (photo by Philippe Landreville)

The Honourable Rosalie Silberman Abella, a justice of the Supreme Court of Canada, last week delivered an emotional, scathing indictment of the world’s failures to live up to the promise of post-Holocaust human rights protections.

Abella, a daughter of Holocaust survivors who herself was born in a displaced persons camp in Germany, in 1946, delivered the inaugural Elie Wiesel Lectureship in Human Rights. She spoke Dec. 9 on the 72nd anniversary of the United Nations’ adoption of the Convention on the Prevention and Punishment of the Crime of Genocide and the day before the 72nd anniversary of the adoption of the Universal Declaration of Human Rights. The promise of those documents – and the justice represented by the Nuremberg trials of Nazi war criminals – has been betrayed and ignored, she said.

“These were the powerful legal symbols of a world shamefully chastened,” Abella said in the streamed virtual presentation. “But although Nuremberg represented a sincere commitment to justice, it was a commitment all too fleeting.”

As the West’s triumph over fascism gave way to conflict with communism, Germany transformed in the diplomatic imagination from an enemy conquered to a potential ally to be wooed, she said. Britain issued a communiqué to all Commonwealth countries to abandon prosecutions of Nazi war criminals.

“The past was tucked away and the moral comfort of the Nuremberg trials gave way to the moral expedient of the Cold War,” Abella said.

As the fight against communism eclipsed the fight for justice over past crimes, expedience led Western countries to welcome Nazi scientists and others to contribute to the military-industrial strategy – even as Jewish victims of Nazism, like Abella and her parents, sat stateless in DP camps.

To Abella, Nuremberg represented an acknowledgement of the failure of Western democracies to respond when they should have and could have.

“And so, the vitriolic language and venal rights abuses unrestrained by anyone’s conscience anywhere in or out of Germany turned into the ultimate rights abuse: genocide,” she said.

Some justice did in fact emerge in the aftermath of Nuremberg and remarkable progress has been made in some quarters, she said. “But we still have not learned the most important lesson of all – to try to prevent the abuses in the first place. All over the world, in the name of religion, domestic sovereignty, national interest, economic exigency or sheer arrogance, men, women and children are being slaughtered, abused, imprisoned, terrorized and exploited with impunity.… No national abuser seems to worry whether there will be a Nuremberg trial later because usually there isn’t. And, in any event, by the time there is, all the damage that was sought to be done has been done.”

Abella reflected on the preoccupation among jurists with the rule of law, noting that the atrocities of the Nazi era all took place legally under German laws. She said we should be focused on “the rule of justice, not just the rule of law.”

Itemizing the myriad genocides that have occurred since 1945, including ones happening now, Abella decried a lack of global will to confront atrocities before they occur.

“Clearly what remains elusive is our willingness as an international community to protect humanity from injustice,” she said, launching a broadside against the failures of the United Nations.

“It can hardly be said to have been the avatar of human rights we hoped it would be when it was created,” she said. “We changed the world’s institutions and laws after World War II because they had lost their legitimacy and integrity. Are we there again? Not so much because our human rights laws need changing, but because a good argument can be made that our existing global institutions, and especially the UN’s deliberative role, are playing fast and loose with their legitimacy and our integrity.”

She acknowledged the successes of some UN agencies, such as UNICEF, but lamented the body’s failures to meet its core objectives.

“The UN had four objectives: to protect future generations from war, to guard human rights, to foster universal justice and to promote social progress,” she said. “Since then, 40 million people have died as a result of conflicts all over the world. The UN eventually reacted in Libya and wagged its finger at Syria, but I waited in vain to wait to hear what it had to say about Iran, Venezuela and China, for example. Isn’t that magisterial silence a thunderous answer to those who say things would be a lot worse without the UN? Worse how? I know it’s all we have but does that mean it’s the best we can do? Nations debate, people die. Nations dissemble, people die. Nations defy, people die. We need more than the words and laws of justice. We need justice.”

Abella acknowledged the need to address climate change but suggested a moral climate crisis is upon us.

“We have to worry not only about how the climate is changing the world but how the moral climate is creating an atmosphere polluted by bombastic anti-intellectualism, sanctimonious incivility and a moral free-for-all,” she said. “Everyone is talking and no one is listening. We are rolling back hard-fought human rights for minorities, immigrants, refugees, workers and women.

Abella approached global justice through the eyes of a single family. Her parents were married in Poland on Sept. 3, 1939, the day the Nazis rolled over the border and as the Second World War began. Her parents spent four years in concentration camps. The brother she never knew was murdered at the age of two-and-a-half. The only survivors of her extended family were her parents and one grandmother.

“My life started in a country where there had been no democracy, no rights, no justice,” she said, struggling to maintain her composure. “No one with this history does not feel lucky to be alive and free. No one with this history takes anything for granted and no one with this history does not feel that those of us who are alive have a duty to wear our identities with pride and to promise our children that we will do everything humanly possible to keep the world safer for them than it was for their grandparents, a world where all children regardless of race, colour, religion or gender can wear their identities with dignity, with pride and in peace.”

Her own existence is a statement of the resilience of human hopefulness, she said.

“In an act that seems to me to be almost incomprehensible in its breathtaking optimism, my parents and thousands of other survivors transcended the inhumanity they had experienced and decided to have more children,” she said. “I think it was a way to fix their hearts and prove to themselves and the world that their spirits were not broken.”

Abella dedicated her lecture not only to Elie Wiesel, the late Nobel Peace Prize laureate, but also to Irwin Cotler, who introduced her prior to her presentation and who Abella called Wiesel’s “spiritual heir.”

Cotler, a former Canadian justice minister, is the founder and chair of the Raoul Wallenberg Centre for Human Rights, which sponsored the lecture along with faculties of law at McGill University and the Université de Montréal, the Lord Reading Law Society and the International Bar Association’s Human Rights Institute.

Cotler, who last month was appointed Canada’s special envoy on preserving Holocaust remembrance and combating antisemitism, noted that Abella was the youngest person ever appointed to the Canadian judiciary, at age 29.

“She was the first refugee ever appointed to the judiciary and she was the first Jewish woman ever appointed to the Supreme Court of Canada,” Cotler said, noting that he was the justice minister who nominated her to the highest court. “She has been a remarkable trailblazer. A quintessential Renaissance jurist, public intellectual, educator and judge.”

Among Abella’s recognitions, Cotler noted, are 39 honorary doctorates.

To watch the lecture, click here.

Honouring history amid virus

Leslie Vértes shares a family photograph. Vértes is one of the survivors featured in the Montreal Holocaust Museum exhibit Witnesses to History, Keepers of Memory. (photo from Montreal Holocaust Museum)

Collective memory has always played an important role in Jewish life and traditions. For thousands of years, Jews have celebrated holidays, mourned loss and memorialized history together as a people. And, most often, we have done so in person.

We say Kaddish as a community, celebrate a bris among a gathering of peers and family and come together every year to retell over dinner the story of the exodus of the Jewish people from ancient Egypt. The 20th-century philosopher and historian Isaiah Berlin noted, “All Jews who are at all conscious of their identity as Jews are steeped in history.” The late Lord Rabbi Jonathan Sacks expressed it another way: “Memory for Jews is a religious obligation.”

This past year has presented huge challenges for those institutions that strive to educate the public about history in general and, specifically, the Holocaust. During the pandemic, many museums and educational centres have been forced to choose alternative venues to connect with their members and the larger community. On Yom Hashoah and Kristallnacht, organizations across the world turned to recordings and interactive discussions in their effort to remind people that the Shoah’s messages remain relevant, even if their institution’s doors were temporarily closed.

Finding ways to continue that education and connection on a daily basis has required some creative thinking, said Sarah Fogg, who serves as the head of marketing, communications and PR for the Montreal Holocaust Museum. The museum, which was founded by Holocaust survivors, had been planning to launch a special photographic exhibit this year, highlighting the lives and wartime experiences of 30 survivors from the Montreal area.

“[The exhibit] was something that we had dreamt of for a really long time,” said Fogg. The museum had planned to narrate each of the stories visually using a triptych of personal images and the sharing of an artifact that the survivors had preserved: a father’s cap that he was required to wear at Auschwitz, a woman’s prayer book, an irreplaceable but tattered passport to freedom. But how could such stories be presented in the midst of a pandemic?

“The pandemic completely forced us to change, to rethink, to overhaul the plan we had for the exhibit,” said Fogg, who admitted there was a sense of urgency to the exhibit’s launch. Some of the speakers are now in their 90s and have already retired as volunteers. Plus, 2020 marked the 75th anniversary of the liberation of the concentration camps (and the 41st anniversary of the museum’s founding). This year, 2020, was the ideal time to launch the exhibit.

photo - Leslie Vértes — Leslie Vértes *(photo from Montreal Holocaust Museum)*

“[The online presentation] is the result of many brainstorming sessions where we discussed … how we could present this exhibit in a way that is different to other portrait exhibits that have happened around the world,” said Fogg. “And so, the ‘triptych’ as we have been calling it, the three photos, was really the result of wanting to showcase more than one portrait of the survivor and really wanting to showcase their uniqueness and their personalities.”

Fogg said it was in the middle of one of the photography sessions that the staff suddenly realized what was needed to translate this photographic essay to an online presentation. It was the survivors’ own accounts of why their personal artifacts held irreplaceable significance. It was also the story of how they had survived and how it had transformed them, once they began their new lives in Canada.

“So often when we talk about the stories of Holocaust survivors, the narrative tends to end when they leave Europe,” Fogg said. “But there is so much more to talk about.” Many of the survivors, who were children or young adults when they arrived in Montreal, went on to raise a family. All became volunteer speakers through the museum and other organizations in order to educate people about the Holocaust. Some became published authors and teachers. All, Fogg said, became inspiring leaders of their community.

photo - Margaret Newman Kaufman with her wedding photograph — Margaret Newman Kaufman with her wedding photograph. *(photo from Montreal Holocaust Museum)*

“If I had to summarize what the lesson or the inspiration would be for viewers, it’s resilience. I mean, not only are they incredible survivors who escaped the Holocaust, but they come to Canada, they build new lives, they start careers, they make families and they find happiness again. They are this embodiment of resilience.”

Taken on their own, the artifacts tell dozens of unique and often heart-rending stories about the Holocaust. But they are also testimony to the survivors’ remarkable ability to draw meaning, purpose and even beauty from the darkest of memories. Sarah Engelhard’s black-and-white snapshot tells the story of her first Passover in Canada. Ted Bolgar’s touching account gives renewed significance to friendship and the value of a precious tea set. Marguerite Elias Quddus’s last memory of her father, as he was arrested, is embodied in a bitter-sweet tale about his forgotten eyeglasses.

photo - Margaret Newman Kaufman displays her wedding rings — Margaret Newman Kaufman displays her wedding rings. *(photo from Montreal Holocaust Museum)*

Following the Second World War, Montreal became a second home for thousands of Holocaust survivors, some who saw it as a temporary port of refuge, and many who stayed to make it their home. The museum was opened in 1979 by members of the Association of Survivors of Nazi Oppression as a means to educating the public about the dangers of antisemitism and racism. More than four decades after its founding, the museum’s legacy still continues to be relevant, Fogg said. And, like the testimonies and artifacts that illumine these stories, the message it carries is an intensely human and important one.

“You know, we’re not talking about numbers or figures, we’re talking about Ted, Leslie, Liselotte and Daisy. These are real people that we love and care about and they are real people whose families and lives were torn apart by the Holocaust,” said Fogg. “And so, I think we can make a parallel to situations today, where real people are continuing to be impacted and devastated by genocide.

“I think what’s beautiful about the exhibit and working with survivors is that they are real people. What better way to understand history and especially difficult, complex and painful history than to hear it from such wonderful and caring and generous individuals,” she said. “They are the best educators and we are so lucky to learn from them, and we’re so lucky that they wanted to be a part of this exhibit.”

The museum’s effort to reach virtual audiences during the pandemic does appear to be working. Fogg said that, since its launch in September, the exhibit has not only been seen by viewers around the world, but has won three international awards for its visual presentation and design. The pandemic may have temporarily limited the world’s physical ability to connect, but it hasn’t stopped innovation or the heartfelt effort to care about others.

To see the Montreal Holocaust Museum’s exhibit, Witness to History, Keepers of Memory, visit witnessestohistory.museeholocauste.ca.

***

Montreal Jewish history in brief

The first Jews in the Montreal area were Sephardim serving in a British regiment. One was Aaron Hart, whose son would later be elected to the legislature to represent the Trois-Rivières area.

By the early 19th century, Ashkenazim from Eastern Europe had begun to trickle in and, by the early 20th century, more than 7,000 Jews had made their way to Montreal, most fleeing antisemitism in the Russian Empire and Europe. Many would arrive to find that prejudice and discriminatory policies weren’t exclusive to distant geography. The election of Ezekiel Hart to the legislature would later inspire a resolution to ban Jews from serving in office. It take another 60 years before a law would be enacted that would give Jews in Lower Canada the right to self-representation.

By the 1930s, Montreal’s Jewish population had increased to 60,000, making it the largest Jewish hub in the country. Many worked in the growing garment industry or owned stores and restaurants in the city. A smaller number moved to the country to become farmers and use skills they brought with them from the old country.

Distrust toward Jews and the growing number of Jewish refugees looking desperately for a new home before and after the Holocaust made immigration to Canada virtually impossible in the early 1940s. It took the efforts of organizations like the Canadian Jewish Congress to push for changes to immigration laws and open doors to refugee families. By the early 1950s, another 9,000 Jewish refugees eventually made their way to Montreal’s port. By the 1970s, those numbers had swelled again, reaching close to 120,000.

Today Montreal’s Jewish community is much smaller, for many reasons, including out-migration from the 1970s to 1990s. But the early Jewish pioneers, those who arrived in Montreal in the 18th and 19th centuries, are not only credited with building new businesses and opportunities for a growing city, but for planting the seeds for Canada’s diverse Jewish community.

Jan Lee’s articles and blog posts have been published in B’nai B’rith Magazine, Voices of Conservative and Masorti Judaism, Times of Israel, as well as a number of business, environmental and travel publications. Her blog can be found at multiculturaljew.polestarpassages.com.

Painting survivors, life

A portrait of Robbie Waisman, by artist Carol Wylie. Part of the exhibit They Didn’t Know We Were Seeds, at the Zack Gallery to Jan. 4.

Even via a wobbly Zoom-led tour, the impact of Saskatoon artist Carol Wylie’s portraits – nine of Holocaust suvivors and nine of residential school survivors – can be felt.

The title of the solo exhibit at the Zack Gallery until Jan. 4 is They Didn’t Know We Were Seeds. It is taken from the proverb: “They buried us … they didn’t know we were seeds.” And the choice of 18 portraits was deliberate.

“It was quite quick and early in the process I decided that 18 had to be the number,” said Wylie at the exhibit’s virtual opening Nov. 19, “because there’s so much darkness in the stories but there’s so much light and life in the survival… [T]here’s three of the Holocaust survivors who are involved with the March of the Living and to actually go back to the camps, to Auschwitz, and to make that walk when you were there; I can’t imagine the courage it takes. And they do it so that others are educated. That’s the rising above it and making something really powerful out of a black, dark experience.

“And I see the same thing with residential school survivors, like Gilbert [Kewistep] and like Eugene [Arcand], who spend so much of their time going around to schools and speaking in public about their experiences to make sure people are educated about that. And, again, reliving what they went through every time they tell it, I’m sure.

“So, the 18 and the connection to chai, to life, came really early in the process. It had to be 18, because that validation of life that these people represent … had to be present.”

The scale of the paintings was also chosen purposefully. “I want these portraits to take up space and to be very present and, for when you’re standing in front of them, to have them fill up your field of vision, so that you can’t wander past, uninterested and unengaged,” said Wylie.

The project started several years ago, she explained. “I saw Nate Leipciger speak at the Holocaust memorial service in Saskatoon and, it’s ridiculous, I’ve been [attending] for lots of years but, for some reason, that year, it hit me for the first time how elderly all these people are getting.”

The firsthand experience that is so powerful is soon to be lost, she said, and “I felt there was something that I had to do to help to preserve that.” And she would do it with the best tool she had, her passion and ability to create portraits.

“What I have learned over the years,” she said, “is that, when you capture the nuances of a person’s face, you really reflect who they are and much of their history and how they’re made up of that history. Even though it’s not like hearing a verbal story, it’s seeing a story in a different form.

“I started this idea to do a series of portraits of Holocaust survivors. And then, as I entered into it, little things started to pop up that were connecting the Jewish survival to the residential school experience. It started with a community seder at our local synagogue, where our rabbi, who is very forward-thinking, always has elements on the tables that recognize other groups … and, that particular year, he had made special mention of making sure that we understand – especially in Saskatchewan, where we have a really dark history of residential schools – the experience of the Indigenous people that we live with.

“And I started thinking, it’s not a parallel experience, but it’s an experience that is shared in terms of pain and suffering and then survival and rising above it…. And, because I live in Saskatchewan, this is part of the history of the land that I call home, that I’m a settler in, that this is a time of truth and reconciliation, it’s a time of trying to address these issues, so, as a personal step towards reconciliation, I can sit down, listen to the stories of some of these residential school survivors and bear witness to them and bring them in to be part of this project, so that they can converse through their portraits, as a group of survivors.”

It was only after making this decision that Wylie discovered that people like Vancouver’s Robbie Waisman – who is among those featured in the exhibit – were already meeting with residential school survivors to share ideas and experiences.

The project took about three-and-a-half years to complete. Waisman is the only Vancouver-based subject. “All the other Holocaust survivors were from Toronto, Edmonton and Saskatoon, and all the residential school survivors are from Saskatchewan,” said Wylie in an email interview with the Independent.

“I had to be really careful,” she noted at the exhibit opening. “There’s a very, very fraught history of non-Indigenous artists and non-Indigenous photographers representing Indigenous peoples and I knew I was stepping into this murky ground. All the way along, I had to keep asking myself questions about my own integrity around this, what are the reasons for why you’re doing this and does every single survivor that you talk to understand fully what this project is about and [are they] fully on board with it. At the end, I thought, if there are people who are criticizing it, that’s fine, but, I feel, after conversations I’ve had with many residential school survivors, that it’s more important that we raise this issue and more important that I make this step towards reconciliation than be fearful of doing something that maybe I shouldn’t be doing or that the art world might perceive that I shouldn’t be doing.”

When the work was completed, Arcand and Kewistep “smudged the work before it went off on its first exhibition. Then they gave me a smudge kit that I could use myself, if I wanted to, in the future. It was extremely meaningful to me; it was almost like they’d given it their stamp of approval, as well as imbuing it with these good graces and these good thoughts and this positive energy before the work went anywhere and anyone had a chance to see it.”

The exhibit has been shown in various places and will travel elsewhere after its time at the Zack.

Wylie’s general process in doing portraits is to speak with her subjects first.

“I think that, in order for the mask that we all wear in the world to protect ourselves, in order for that to drop, there needs to be time spent talking,” she said. “There’s this very strange artificial intimacy that happens when you’re sitting two feet – before COVID times – away from somebody that you’re drawing, and you’re talking and you’re looking intently at them…. So, I always wait until that couple of hours of conversation and visiting is over and then I pull out my camera.

“I need to work from photographs because I like to get a strong resemblance and I can’t have people coming back endlessly to sit for me…. But that’s when I take them, is after that time has been spent, that conversation has happened, and their mask has come down and they are open.”

The openness that is seen in the subject’s faces, stressed Wylie, “is not something that I put there, it’s something that they had. Seriously, I paint what I see… And that captures what they have, what they are, because it’s all within there, it’s all in their face.”

Given the caveat that there is something intangible about what makes a good portrait, Wylie said in an email, “I believe a portrait should bear resemblance to the subject. But, in addition, it should feel like the portrait is inhabited; like it contains the spirit of an individual. You often hear people comment about the eyes in a portrait following them. I think that’s the sensation of some element of the person, and not just their resemblance, being present. I also like to see evidence of the artist in the work in the form of brushstroke, colour choices, etc. This trace of the artist distinguishes a painted portrait from a photo.”

She described her need to create portraits as “a compulsion I’ve had since I was a child. Even then,” she said, “I drew people, made my own paper dolls. In my grad school investigations I discovered, I believe, that it’s because of a fascination I have with the mystery of consciousness, and the fact that we can never share another’s consciousness. We learn about ourselves through our interactions with others and these connections enrich our being.

“The face is a major part of how we communicate and is strongly connected to our identity,” she said. “Yet, we cannot see ourselves the way others see us, so there’s this mystery around faces. What do they hide? What do they reveal? How do you feel as ‘you’ wearing your face? How do I communicate as ‘me’ wearing my face? I am just never tired of painting a portrait, but am always excited when I begin a new one.”

The exhibit opening was hosted by gallery director Hope Forstenzer, who credited her predecessor, Linda Lando, for bringing this show in. The exhibit is open by appointment and via onlyatthej.com. A commemorative book, being prepared with Wylie’s help, is in the works, as well, said Forstenzer.

On Dec. 9, 6-8 p.m., the gallery is having a Zoom event with Waisman and Wylie, as well as Lise Kirchner from the Vancouver Holocaust Education Centre and Shelley Joseph from Reconciliation Canada. Readers interested in attending should email Forstenzer at [email protected].

Mother saved by flowing milk

The author as an infant with her parents Sarah and Mechel, and brother Hy, in Kazakhstan, where she was born in 1944. (photo from Reva Kanner Dexter)

A year ago, I attended the 31st Annual World Federation of Jewish Child Survivors of the Holocaust and Descendants, hosted by our own Vancouver Holocaust Education Centre. I have kept the story of my own Holocaust experience suppressed because it never seemed as tragic nor as diabolical as others’. Furthermore, because I was an infant, born in 1944, I did not think that I had the right to call myself a child survivor. However, attending the conference changed that perception.

I claim the dubious distinction of being in the one percent of children born of Polish parents who survived. As three million Jews of Poland were murdered, I feel very privileged.

Of course, the circumstance of my miraculous survival is due to several factors. First, my parents escaped Poland in September of 1939. Second, they were living close to the Ukraine border. Third, they had the essential skills and resilience to overcome many hardships.

My mother Sarah (daughter of Pinchus and Chana) and my father Mechel (son of Israel and Esther) were born and grew up in small towns in southeastern Poland. Krasnystaw and Izbica were 12 kilometres apart. Close enough for biking and walking between the two towns along the Wieprz River.

Typical of small towns in that region and era, Sarah and Mechel grew up poor. Sarah’s father was a barber, who taught her his skills as soon as she could hold a razor blade. Mechel’s father was a tailor who had taught him the art of sewing, also at a young age.

Sarah and my father had moved to Chelm after their marriage, and Sarah was already six months pregnant when the German troops invaded.

Mechel was a member of a Zionist/socialist club, so he got the news early that the Nazis had taken over the town – 1,500 young men were rounded up and shot. Rumours of castration created panic. Mechel took off by bike with some of his pals, telling Sarah he would be returning.

Sarah’s birth mother lived in Rovno, Ukraine, so she made her way alone across the border with the help of a Yiddish-speaking Russian soldier. She had the prescience to bring her barbering tools. Little did she know that trains and train stations were going to dominate her life from that night forward for the next six years.

Sarah and Mechel gave birth to their first child, Chaim (Hy), who an aunt testified was born in Rovno, while an immigration document states that he was born in Novosibirsk, Siberia. Memories do seem to play tricks when the brain is violently assaulted.

The Russians saw and seized the opportunity of so many Jews fleeing Poland into Ukraine. They tricked Jews by telling them that eastern Poland was now under Soviet rule and that they would be given safe passage back home.

It was a lie, a big one. The Jews were shoved into open cattle cars and sent to forced labour camps all over the U.S.S.R. Workers were required to keep the country running under the murderous hand of Stalin.

My parents and baby brother survived the train ride from Rovno or Kiev, which finally stopped in a logging camp on the banks of the Ob River, in Siberia. They realized immediately that their lives were only worth what their labours could produce.

I recall stories of wolves howling in the night and rats “as big as kittens” stealing their meagre rations while they slaved in the tundra in the day and tried to sleep in the frozen barracks in the night.

My father organized a strike – after all, they were in a communist country weren’t they? The demands for better working conditions were answered rapidly by rounding up the leaders during the night and incarcerating them in the Gulag.

Sarah had to fend for herself again. Even though she was freezing, undernourished and exhausted, she had an ample amount of milk flowing from her body. This was noticed by the commandant, whose wife had just given birth and could not nurse their sickly baby. Sarah was promoted from lumberjack to nursemaid.

As the two women became friends, Sarah got news that Mechel and the other men were still alive.

photo - A photo taken at a displaced persons camp in Germany, 1947. The author and her older brother, Hy, are in the centre, with their arms draped over each other — A photo taken at a displaced persons camp in Germany, 1947. The author and her older brother, Hy, are in the centre, with their arms draped over each other. *(photo from Reva Kanner Dexter)*

In June 1941, when the Nazis attacked Russia, the Soviets granted amnesty to the surviving Polish citizens. Poland and Russia became allies. The Jewish prisoners were released, only into a more dangerous predicament.

With Mechel’s leadership, the ragtag group of Jewish lumberjacks built rafts, trusting the river to lead them to safety. They navigated the Ob River by day, roping up by night.

During the night, the women would scramble up the banks, scavenging for food on adjacent farms. My mother told us that she dodged many bullets through the darkness. But the plan succeeded in getting them to a train station.

The next few years, they were underground, following trains, bartering at train stations, trying to regain health. Sarah would do pop-up barbering, thankful for her tools and endurance.

They finally made it to Czymkient, Kazakhstan, where Mechel got a job sewing uniforms for pilots at a pilot training academy. I was born in December 1944. Hope and optimism returned to our little family.

Of course, the story does not end here. Other chapters will emerge, as I continue to pull pieces of the survival puzzle together.

Thanks to the conference, I realize how important it is to keep searching for objects and recording memories, which return our beloved victims and survivors to us in spirit.

Reva (Rivka) Kanner Dexter has been a docent at the Vancouver Holocaust Education Centre since 2007.

A virtual Yom Hashoah

Toronto actor Jake Epstein hosted Canada’s online Yom Hashoah commemoration on April 20. (PR photo)

Days after many Canadian families celebrated Passover remotely using online platforms for virtual seders, Yom Hashoah was commemorated with a virtual ceremony that linked survivors and others across the country in an unprecedented, but deeply moving, program of remembrance and education.

The 27th of Nissan was set aside in 1951 by Israel’s parliament, the Knesset, as Holocaust and Heroism Remembrance Day. This year marked the 75th anniversary since the end of the Second World War and the end of the Holocaust.

Hosted live by Toronto actor Jake Epstein, the event, on April 20, featured prerecorded content from organizations across Canada and new footage broadcast live, including candlelighting from six locations across the country, among them the Vancouver home of Shoshana and Shawn Lewis and their children Charlie, Julian and Mattea.

In a recorded message, Prime Minister Justin Trudeau said Canada stands firm against antisemitism and with Israel and the Jewish people.

“The Shoah was undoubtedly one of the darkest periods in human history and these moments where we pause to remember matter, both to honour those who lived through these horrors but also to make sure these atrocities are never repeated,” Trudeau said. “Sadly, acts of antisemitic violence are more and more frequent today and Canada is not immune to this trend. For many Jewish Canadians, the rise in attacks is not only troubling, it’s downright scary. But, let me be clear, attacks against the Jewish community are attacks against us all. Let me be equally clear, Canada and Israel are partners, allies and close friends and we will continue to stand proudly with Israel. Attacks against Israel, including calls for BDS and attempts to single her out at the UN, will not be tolerated.… We will always condemn any movement that attacks Israel, Jewish Canadians and the values we share.”

The Yom Hashoah program also included recorded messages from Israeli diplomats in Canada and prerecorded musical components.

“During the war, music played an important role in lifting the spirits of ghetto inhabitants, camp inmates, as well as being used as a bargaining chip in negotiating small freedoms in the camps,” said Epstein.

Pieces were performed by the Toronto Jewish Chorus, participants in previous March of the Living programs and by shinshinim, young Israelis performing overseas duties after completing high school. Memorial prayers, El Maleh Rachamim and Kaddish, were offered by Cantor Pinchas Levinson of Ottawa.

Epstein, a grandson of Holocaust survivors, spoke of his family’s history, the good fortune of his grandparents’ survival and the resilience they showed in beginning a new life in a new land.

“Upon being liberated from the camps, survivors faced the inconceivable realization of the enormity of their loss,” Epstein said. “Recovery was a long road ahead. Survivors, like my grandparents, immediately searched for any other surviving family members, only to discover that they had lost everyone. And yet, somehow, they rebuilt their lives.

“My grandparents came to Canada through Pier 21 in Halifax before ultimately moving to Toronto. Even though they were free, the culture shock, the language, the difficulty in finding work, made life extremely hard. My grandfather, an architectural engineer in what was then Czechoslovakia, was lucky enough to find work as a bookkeeper for a lumberyard. My grandmother became a seamstress, working day and night, not only making clothing for customers, but making dresses for my mom as well. Somehow, they managed to connect with other survivors who became like family.…My grandparents’ story of resilience and adversity is a common one. They, like so many other survivors in Canada, raised families, found employment, learned new languages and contributed to Canadian society and Jewish communal life. Some even dedicated their lives, decades later, to speaking out against hate and injustice by sharing their Holocaust stories with students and the public.”

Survivors from across Canada, in video recordings, spoke of their liberation experiences and offered advice to successive generations.

Faigie Libman of Toronto recounted her moment of liberation.

“We saw a man on a horse, a Russian soldier, coming towards us,” she recounted. “He said he was a captain, that we are free. You cannot imagine the joy, you cannot imagine the exhilaration. I still see the picture in front of my eyes, women who could hardly walk, some were even crawling, pulled him down, they were kissing him, they were hugging him, and that day will always be in my mind – Jan. 21, 1945 – we were finally free.”

Sydney Zoltan of Montreal expressed concern about Holocaust awareness after the eyewitnesses pass.

“We, the youngest survivors, now stand in the frontline,” he said. “We often ask ourselves what memory of the Shoah will look like when we are gone. We depart with the hope that our fears are only imaginary.”

Another survivor asked younger generations to be vigilant.

“I want young people to remember, I want them to be politically aware, that their government should never preach hate,” said Elly Gotz of Toronto. “I want them to understand how damaging hate is to people.”

The commemoration, coordinated by the Sarah and Chaim Neuberger Holocaust Education Centre in Toronto, was presented in partnership with organizations across the country, including the Vancouver Holocaust Education Centre. Earlier the same day, a global Yom Hashoah memorial event took place from an eerily empty Yad Vashem in Jerusalem, again with video-recorded survivor testimony and messages from political, religious and civic figures.

Using past to improve future

Without interpretation, the world’s greatest art is little more than a lot of pretty pictures. Similarly, absent interpretation and thoughtful reflection, history is not much more than a litany of names and dates.

This month, we are marking many anniversaries. The end of the Second World War in Europe. The liberation of the last Nazi concentration camps. The beginning of Soviet-versus-Western tensions and proxy wars that lasted decades.

In some ways, we cannot begin to comprehend the Holocaust, or the world’s reaction to it, without reflecting on a different anniversary we mark this month. It was 60 years ago this week – May 11, 1960 – that Mossad operatives captured Adolf Eichmann, a prime architect of the Holocaust. The astonishing operation, which amazes observers even today with its bizarre twists and chutzpah on an international scale, stands out as a turning point in the way the world – Jews especially – view Holocaust history.

Holocaust survivors themselves understood the particularity of the Holocaust, while much of the world perceived the millions of Jewish lives lost as a part of the larger war casualties, not qualitatively different from the deaths of citizens of Dresden or Coventry or Stalingrad. It should need not be said that every human life lost is a tragedy. But, from the perspective of historical meaning, the murder of Jews, Roma, people with disabilities, homosexuals and others targeted for identities unrelated to the national conflicts, must be understood apart from the tragic consequences of war.

This is the consensus position today – that the Holocaust paralleled the Second World War but was substantively and morally different from broader contemporary events. This consensus emerged to a great extent from the Eichmann capture and trial.

Eichmann was living in Argentina, so confident in his security that, in retrospect, his subterfuge was minimal. Once tipped off, the Mossad had little trouble locating him.

Eichmann’s legendary defence, that he was merely following orders, was dismissed by the Israeli court. Whatever moral or military defence that argument posited was defied by the facts. Eichmann, according to eyewitnesses and documentary evidence, did far more than follow orders. He enthusiastically fulfilled directives beyond the letter or spirit of the command.

When the trial began, in 1961, it was said that one could walk through Tel Aviv and hear the proceedings on radio through every open window. The implications of the Eichmann trial for the world’s understanding of this history, and for Israeli and Jewish consciousness, was revolutionary.

Even among families that included survivors, or who had lost entire branches of the family tree, the historical context of the Holocaust was nebulous until this time. The small amount of survivor testimony that had emerged immediately after the war had largely dissipated, in part because the public did not want to face the most grotesque evidence of human depravity and because, in many cases, the survivors chose to sublimate their experiences and attempt to rebuild and move on with their lives.

It was only in the minutiae of the evidence at trial, the mind-boggling precision, industrial-style execution of diabolical plans and indescribable sadism of the Nazi war against Jews that people began to understand both the quantitative and the qualitative nature of the Shoah.

In addition to gaining insights into what their parents or other survivors might have experienced, younger Jews and Israelis intuited from the evidence a larger realization about their people. According to some historians, an idea persisted in the years after 1945 that the Jews of Europe had gone silently – “like sheep,” in the dehumanizing terminology too often employed – to their deaths.

Gaining an understanding of the inescapable precision and indefatigable determination of the Nazis to identify and murder every single Jew in their realm, younger Jews and Israelis came to know that their lost civilization did not go willingly. Indeed, among the earliest memorializations of the Holocaust – including here in Vancouver – were commemorations of the bravery and resistance of the Warsaw Ghetto uprising. The nuances of the historical record were enriched by this knowledge, with implications for the self-identity of Jews everywhere. The extent of the cataclysm was a result of the homicidal tenacity of the Nazis and their collaborators, not of the responses of their victims.

The Eichmann trial opened a floodgate. The contemporary era of Holocaust history, including survivor memoirs and public discussion of that time, really began then. A decade later, this new understanding led to a backlash of Holocaust denial and revisionism which, in turn, inspired yet more survivors to speak out to correct and add to the record.

Today, we struggle to keep this history alive and to challenge its diminishment and misuse. Even among well-intentioned people who would never mean to belittle this history, there is a tendency to invoke it in situations that by no measure are comparable.

Additionally, especially in Europe, public opinion polls reveal that there is a fatigue around the subject. In many countries, pluralities or even majorities say that too much attention is paid to the Holocaust. Incongruously, the same polls indicate that it is in countries where ignorance of this history is most pronounced that citizens contend there is too much focus on it. Try to square those results.

We always view the past through the changing lens of the present. We have seen transformations in the understanding of and responses to Holocaust history for 75 years now. One of the challenges of our generation and successive ones is to be active in addressing these changing perceptions and interpretations. Our desire to continue to delve into this difficult experience and our people’s enduring trauma cannot depend on other people’s ignorance or assessment of what’s considered “too much” or “too in the past.” Our obligation, as carriers of this knowledge and witnesses to the survivors, is to glean the lessons of the past that improve the future and help strengthen our community and our societies. We will continue to do this work and to honour our ancestors. And we will continue to share what we know to be true, as we search for ways to make “Never again” a reality.

Illustrating Holocaust stories

Gilad Seliktar, left, and Rolf Kamp in Amsterdam. They are drawing the last hiding place of Nico and Rolf Kamp in Achterveld, which was liberated in April 1945 by Canadian troops. (photo from UVic)

A University of Victoria professor is orchestrating an international project that links Holocaust survivors with professional illustrators to create a series of graphic novels, thereby bringing the stories of the Shoah to new generations.

Charlotte Schallié, a Holocaust historian and the current chair of UVic’s department of Germanic and Slavic studies, is leading the initiative, which connects four survivors living in the Netherlands, Israel and Canada with accomplished graphic novelists from three continents.

The project, called Narrative Art and Visual Storytelling in Holocaust and Human Rights Education, is supported by the Social Sciences and Humanities Research Council of Canada. Its aim is to teach about racism, antisemitism, human rights and social justice while shedding more light on one of the darkest times in human history.

UVic is partnering with several organizations in the project, including the Canadian Museum for Human Rights in Winnipeg, the Anne Frank House in Amsterdam and the Vancouver Holocaust Education Centre.

Many historians of the genre have argued that the rise of graphic novels as a serious medium of expression is largely due to the commercial success of Art Spiegelman’s Maus in 1986. Maus, the first graphic novel to win a Pulitzer Prize, depicts recollections of Spiegelman’s father, a Shoah survivor, with Jews portrayed as mice, Germans as cats and Poles as pigs.

Schallié told the Independent that the idea for the project came from observing the interest her 13-year-old son has in graphic novels and the appeal Maus has had among her students, who have continually selected it as one of the most poignant and memorable materials in her classes.

“Though a graphic novel, Maus could hardly be accused of treating the events of the Holocaust frivolously,” she said from her office on the campus of the University of Victoria.

As most survivors are now octogenarians and nonagenarians, the passage of time creates an ever more compelling need to tell their stories as soon as possible.

image - Barbara Yelin’s illustration of Emmie Arbel, now — Barbara Yelin’s illustration of Emmie Arbel, now. *(image from UVic)*

image - Barbara Yelin’s illustration of Emmie Arbel, then — Barbara Yelin’s illustration of Emmie Arbel, then. *(image from UVic)*

“Given the advanced age of survivors, the project takes on an immediate urgency,” said Schallié. “And what makes their participation especially meaningful is that each of them continues to be a social justice activist well into their 80s and 90s. They are role models for the integration of learning about the Shoah and broader questions of human rights protection.”

The visual nature of a graphic novel allows it to bring in elements or depict scenes that are not possible with an exclusively written work, according to Schallié. A person may describe an event in writing but leave out aspects of a scene that might add more to the sense of what it was like to be there at the time.

One of the survivors participating in the project, David Schaffer, 89, lives in Vancouver. He is paired with American-Israeli comic artist Miriam Libicki, who is also based in the city. The two met in person in early January so that Libicki could learn the story of how he survived the Holocaust as a child in Romania.

In 1941, Schaffer was forcibly sent with his family to Transnistria, on the border of present-day Moldova and Ukraine, by cattle car. There, they suffered starvation and were subjected to intolerable and inhumane living conditions.

image - One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer — One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer. *(image from UVic)*

“The most important thing is to share the story with the general population so they realize what happened and to avoid it happening again. It’s very simple. History has a habit of repeating itself,” said Schaffer.

Libicki, who was the Vancouver Public Library’s Writer in Residence in 2017, is the creator of jobnik!, a series of graphic comics about a summer she spent in the Israeli military. An Emily Carr University of Art + Design graduate, she also published a collection of essays on what is means to be Jewish, Toward a Hot Jew. (See jewishindependent.ca/drawing-on-identity-judaism.)

“The more stories, the better. The wiser we can be as people, the more informed we can be as citizens and the more empathy we can have for each other,” Libicki said. “Graphic novels are not just a document in the archives; they’re something people will be drawn to reading.”

image - Gilad Seliktar drew this sketch of Rolf Kamp — Gilad Seliktar drew this sketch of Rolf Kamp. *(image from UVic)*

The other illustrators are Barbara Yelin, a graphic artist living in Germany, and Gilad Seliktar, who is based in Israel. Yelin is the recipient of a number of prizes for her work, including the Max & Moritz Prize for best German-language comic artist in 2016. Seliktar has illustrated dozens of books – from publications for children to adult graphic novels – and his drawings frequently appear in leading Israeli newspapers and magazines.

Brothers Nico and Rolf Kamp in Amsterdam and Emmie Arbel in Kiryat Tiv’on, Israel, are the other three survivors who are providing their accounts of the Holocaust.

The books will be available digitally in 2022. A hard copy version of each book is planned, as well. When finished, the graphic novels will be accompanied by teachers guides and instructional material designed for schools in Canada, Germany, Israel, the Netherlands, the United Kingdom and the United States.

UVic hopes to match a larger number of survivors with professional illustrators in the future. To learn more, contact Schallié at [email protected]. You can also visit the project’s website at holocaustgraphicnovels.org.

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