Голокост шпалерний клей. Халакост абіўны клей. Holocaust je tapeta pasta. השואה היא דבק טפטים. Holokausts ir fona pastas. L’Holocauste est colle à papier peint. די חורבן איז טאַפּעטן פּאַפּ. Holokaustas yra ekrano užsklanda pasta. Der Holocaust ist Tapetenkleister. Holokaust jest pasta tapeta. A holokauszt tapéta paszta. Holocaustul este pasta de tapet.

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That’s the answer given when twin sisters twenty years old, Yevgenia and Ksenia Karatygina, were asked on a Russian television game show “ What is the Holocaust? They conferred, searching memory for a clue. Running out of time the sisters made an innocent stab at the question “We think the Holocaust is wallpaper paste.”

They had no idea that this answer would bring them instant notoriety, embarrassment and infamy. “Video of the shocking scene was viewed hundreds of thousands of times online…” That’s how it was described in several publications: “shocking scene” — an appropriate description if the girls had said a curse word or torn off their blouse but shocking?

I find it disturbing, tragic, telling; the fault lies not with the girls.

The video saw 319,000 plus hits. Great PR for the game show, not so for the twins, Yevgenia and Ksenia. The girls got personal insults from replies on You-tube.  A “shocking” amount of anti-Semitism found expression on You-tube. On second thought, not so shocking.

Moisha Grozenberg 1 month ago
Tell me where to buy?
Mr Solomon 1 month ago
how low cost?
jeo jay 1 month ago
Yeah. Glue. Of the Jews.
vovka pistoletov 1 year ago
And why should they know what the Holocaust?!
TreuerRatibor28 1 year ago
I hear it’s a Jewish holiday!
Vad Vad 1 year ago
Read a very interesting book, and all will understand:
Jürgen Graf, “The myth of the Holocaust”
eukart 1 year ago
For example: Lampshades made of leather Jews
Glasses of beer out of their skulls!
MrTrifon73 1 year ago
A celebration
alexver31 1 month ago
The Holocaust – the glue. I agree.

According to an article in Radio Free Europe the incident “provoked a discussion about how the Holocaust is taught in the schools of the country whose troops (along with those of other former Soviet republics) liberated the Nazis’ largest concentration and death camp at Auschwitz in Poland.”

Mumin Shakirov, journalist, along with Holocaust Fund Chairwoman Alla Gerber interviewed Yevgenia and Ksenia on the Moscow studio “Radio Liberty”. For one thing they wanted to know if the twin’s answer was planned so to boost the ratings of the game show. It wasn’t. Asked about their studies, they replied that at the time we weren’t interested in school. I was writing poetry.  Now we are into music. Asked if they had heard of Auschwitz, Yevgenia said no, while Ksenia said: “It is something about some sort of civil war, I think.” This incident was significant enough for Shakirov to eventually film a short documentary on Yevgenia and Ksenia; his film is featured in this post.

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Yevgenia and Ksenia were born in a small village near Vladimir (Red Gorbatka). They finished primary school there studying sewing, painting, Universe Sciences, etc. They graduated from the Lyceum with an emphasis’s on humanities. They submitted documents to 3 universities and were accepted by all. Yevgenia graduated from the School of Music in voice and piano. Ksenia graduated from Moscow State Textile University. There might be some facts about their education that was lost in the translation but no doubt the twins are no dummies.

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When it comes to teaching the Holocaust to students in Vladimir Oblast, Russia there is for whatever reason no incentive or will to offer it. An oversight or intentional, it’s not in the lesson plan. The girls never heard the word Holocaust throughout all their years of schooling.

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If they read one poem written by a girl or boy their age who was imprisoned at the Theresienstadt ghetto/concentration camp and then to know the child’s murder by lethal gas at Auschwitz they would have known the answer.

If they saw one child’s watercolor painting who was imprisoned at the Theresienstadt ghetto/concentration camp and then to know the child’s murder by lethal gas at Auschwitz they would have known the answer.

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In October 2012, with financial support from the Polish Cultural Center in Moscow, documentary filmmaker and former RFE/RL Russian Service correspondent Mumin Shakirov took the sisters on an visit to the museum and memorial complex of Auschwitz-Birkenau in the Polish town of Oswiecim. It was the girl’s first trip out of Russia.

A short film, statement by Mumin Shakirov, titled  “Holocaust — Wallpaper Paste?”  It covers Yevgenia and Ksenia Karatygina experience at Auschwitz-Birkenau. Both were deeply moved by the experience. Yevgenia broke down into loud weeping as she stood in front of an enormous pile of children’s shoes. Ksenia wept through a showing of the Soviet documentary film “The Liberation Of Auschwitz.”

Soviet doctors carry young survivor out of building at Auschwitz main camp

Soviet doctors carry young survivor out of building at Auschwitz main camp

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Yevgenia wept as she stood in front of an enormous pile of children’s shoes.

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Ilya Altman, founder and chairman of the Russian Research and Educational center, once called Moscow “the world center for Holocaust denial.”*

In a speech at the American Jewish World Service, which has helped fund the center, the 52-year-old Altman recalled his own days as a student. He and others heard “12 lessons about the history of World War II and the major battles,” he said, “but we did not speak about the Holocaust and who killed Soviet Jews.”

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Many “ethnic Russians” resent any discussion of the Holocaust uniqueness to Jews when so many of their families also suffered tremendously during the war. They ask why Jews should be singled out or discussed separately, above and beyond all others. Some estimates put the number of Soviet residents killed during the war at about 20 million, a figure that may include the victims of not only the Nazis, but of Stalin’s labor camps. More than half the estimated six million Jews killed by the Nazis were from the Soviet Union.

Also there is a national guilt to be reckoned with. Like all massacres of Jewish communities in foreign lands, the Germans relied heavily on local collaborators; both to identify and round up Jewish citizens and to murder women and children.

The resistance to teaching the Holocaust appears to be melting, according to Alla Gerber, the center’s president and a former member of the Duma, the Russian parliament. She said that roughly 650 Russian schools have covered the Holocaust in some fashion.
“650 schools, whoopee!” Out of all the schools in Russia? For Gerber to cite this as an accomplishment indicates the degree of difficulty in getting the Holocaust taught in Russia.

Olga Glebova, an English teacher in Moscow tries to discuss the Holocaust as much as possible at the high school in which she works. Glebova said she has a ready response to colleagues who ask why she teaches such a horrifying subject: “I say because it’s real and that without understanding the past, you have no future.” Olga Glebova identifies herself as part of a distinguished and highly regarded class in Russia, hailing, she says, from “a very old, noble Russian family.” Like much of the country, she’s also Russian Orthodox, a faith whose leaders have often been at odds with Russian Jewry. 

Russia has no government program for teaching the Holocaust but there are several organizations that facilitate and provide programs and training for teacher and student.

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Learn: The Holocaust and United Nations outreach program
Holocaust Education in Russia Today: Its Challenges and Achievements

Learn:  The International School for Holocaust Studies
Free. These lesson plans cover some of the central themes of the Holocaust, detailing how they can be approached in the classroom.
For elementary school students (ages 9-12)
For middle school students (ages 13-15)
For high school students (ages 15-18)
Also available for individuals.

Learn: Coming of Age in the Holocaust
A free, interactive curriculum for middle and high-school students and their educators created by the Museum of Jewish Heritage—A Living Memorial to the Holocaust in New York in collaboration with Yad LaYeled – The Ghetto Fighters’ Holocaust and Jewish Resistance Heritage Museum in IsraelThe site features individual testimonies of thirteen people who were adolescents during the Holocaust and had some of the same concerns that young people today have. Students follow their stories through the survivors’ words, short video interviews, maps, pictures, a glossary, a timeline, and other instructional content. Students who read all thirteen stories will encounter the Holocaust through the eyes of youth their own age that survived it. Through these survivors they will explore the diversity of experience that took place. Also available for individuals.

Learn: Holocaust in Film and Literature, German 59 (1 thru 18)
Online
By Todd Presner – UCLA
Free; highly recommended for all.
Course Description:
German 59: Holocaust in Film and Literature is a course that provides insight into the History of Holocaust and its present memory through examination of challenges and problems encountered in trying to imagine its horror through media of literature and film.
About the Professor:
Todd Presner is Associate Professor of Germanic Languages, Comparative Literature, and Jewish Studies. His research focuses on German-Jewish intellectual and cultural history, the history of media, visual culture, digital humanities, and cultural geography. He is the author of two books: The first, Mobile Modernity: Germans, Jews, Trains (Columbia University Press, 2007), maps German-Jewish intellectual history onto the development of the railway system; the second, Muscular Judaism: The Jewish Body and the Politics of Regeneration (Routledge, 2007), analyzes the aesthetic dimensions of the strong Jewish body.

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Last Portrait: Art from the maw of hell and the soul of a Jew.

Works of art from the exhibition “Last Portrait” from the Yad Vashem Art Collection in Israel. The exhibit consist of nearly 200 portraits, all of them created by 21 artists

2artistssignaturesA compelling collection of portraiture from the Holocaust — but much more. They are a meditation by each artist, on the physiognomy of a human face and soul, a meditation of love for line, texture, shade, color, a meditation of a profound interpretation and esthetic, a meditation of artist and subject bound together for the moment to still the clamor of madmen, to postpone crazed citizens wielding hate and death bullets, to put on hold the creeping gallows of lethal gas.
That is their moment, each pleased with the other, subject and artist live, and will live-on, a union held there for us by what is expressed on paper in spite of and because of a random call to death in wait. There are survivors among both the artists and their subjects; there are those from each who did not. Included in this post are two of the 21 artists, both their art and their history. Meet and get to know Max Plaček and Arnold Daghani. If you appreciate art, if you’re moved by life’s commonplace heroes, their courage, their epic lives, except the invitation.

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Born in Kyjov, Austro-Hungarian Empire, in 1902.
Murdered in Sachsenhausen in 1944.

While he was still a boy, Plaček loved to draw and paint, as well as playing the violin. He studied law for a number of semesters, but left his studies to start working as an insurance agent, first in Banská Bystrica and later in Prague, where he married Trude Pollak. Following the German occupation in 1939, he was drafted for clerical work at the Central Office for Jewish Emigration in Bohemia and Moravia. In 1942, after a short period working as a forced laborer on the farm of the widow of Reinhard Heydrich, the head of the Gestapo, he was, in September 1942, deported to the Theresienstadt Ghetto. On December 18, 1943, he was transported to the “family camp” in Auschwitz. In July 1944, he was transported to the Sachsenhausen concentration camp, where he was murdered.

During his internment in Theresienstadt, Plaček drew almost uninterrupted. He drew hundreds of caricatures portraits in profile in a humorous style – figures of literary and cultural background from Czechoslovakia and other central European countries. Plaček added attributes to the portraits, such as books they had written and music they had composed. He made sure to note the date on each portrait, and had the sitter sign it. Some of the individuals portrayed also added a comment or a dedication to the artist. The large body of portraits reflects the human and cultural wealth of the inmate population in Theresienstadt; scientists, artists, musicians, actors, and intellectuals from a variety of fields.

The Yad Vashem collection holds more than 500 portraits by Plaček, drawn during the eight month period between May to December, 1943. The last portrait he drew was finished about a week before he was transported to Auschwitz.

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Born in Suceava, Austro-Hungarian Empire, in 1909.
Died in Hove, England, in 1985.

 In the late 1920s, he went to Munich and Paris, apparently to continue his art studies. He moved to Bucharest at the beginning of the 1930s and, due to his mastery of several languages, he worked as a clerk in an export firm. It was there that he changed his name from Korn to Daghani. In June 1940, he married Anişoara Rabinovici. A few months later, their home was damaged in an earthquake and they moved to Czernowitz. Following the German occupation in July 1941, Daghani was forced to work as a street cleaner. In October the couple were deported to the Czernowitz Ghetto, and in June 1942, they were conscripted for forced labor in Ladizhin. In August the couple were sent to the Mikhailowka Labor Camp in Transnistria, where the prisoners were compelled to repair the main road from Gaisin to Uman.

 In June 1943, Daghani was ordered to create a mosaic in the shape of the German eagle, for the headquarters of the August Dohrmann Company in the nearby town of Gaisin. About a month later Daghani and his wife escaped, and managed to reach the Bershad Ghetto. With the intervention of the Red Cross, they were released on December 31, 1943 and went to Tiraspol. In March 1944, they made their way to Bucharest, where they remained until the end of the war. In 1958, they immigrated to Israel. The Daghanis returned to Europe in 1961, eventually settling in England.

 When Daghani was deported to the Czernowitz Ghetto, a policeman ordered him to take his sketchbook and paints with him, suggesting that they might help him to survive. At Mikhailowka, Daghani used these art supplies to portray life in the camp and to paint portraits of the camp’s prisoners, officers and guards. He continued in the Bershad Ghetto, painting portraits of the internees, as well as scenes from the ghetto. After his liberation, Daghani dedicated his life to art and to writing his memoirs. Daghani’s portraits, their seemingly esthetic quality notwithstanding, constitute rare color testimony to the cruel and harsh reality of the prisoners’ lives.

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For the entire online Yad Vashem exhibit with
examples of the 21 artists click here.

For an exhibition catalogue, with nearly 200 portraits from the Yad Vashem Art collection, created by 21 artists click here.  

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