Croatia -- Jewish Tours in Zagreb

By Ruth Ellen Gruber

I've just been contacted about a new program that provides Jewish heritage tours of Zagreb, Croatia. They are being conducted by the recently formed Rimon Center for Jewish Education in the city.

Take a walk through ages, starting at 11th century foundation of Zagreb, over to the 14th century and the first arrival of Jews to Zagreb, through the golden years of late 19th and early 20th century, when Zagreb developed rapidly, with Jewish community reaching it's peak - just before almost completely perishing in the Shoah.

Our tour includes visits to all the landmarks and sites of Zagreb, with detailed insight into history of Jews in Croatia and surrounding areas, and the revival of Jewish life today.

I expect to be in Zagreb in a few days, and will check them out!

The city's Jewish community has been split by some very bitter personal (and ideological) conflicts in recent years. But there is quite a lot to see Jewishly that -- I hope -- would not mean having to get involved in local spats....

Poland -- My Ruthless Cosmopolitan column from Bielsko Biala

Photo (c) Ruth Ellen Gruber

My latest Ruthless Cosmopolitan column, published June 1, was from Bielsko Biala, Poland and deals with the impact of perception, desire and demand on memory, particularly vis a vis the Jewish experience and Jewish heritage in Poland....

I'm posting the piece here, but will have more to say about B-B in a later post, with pictures from my trip.

Poland’s Jewish heritage is about more than just death

By Ruth Ellen Gruber · June 1, 2009

BIELSKO-BIALA, Poland (JTA) -- Outside the elegant theater in the city of Bielsko Biala in southern Poland, a billboard advertises an upcoming play. Stark letters spell out the title: "Zyd" -- Jew.

The lettering looks almost menacing, like scrawled graffiti, and I am a little taken aback.

But then I remember where I am.

This is Poland.

And the play, in fact, is an award-winning exploration of anti-Semitism and the power of stereotypes -- part of the endless continuing discussion here about the Jewish past, the Jewish present, and the long, complex and troubled relationship between Jews and Catholic Poles.

"There is no theme that Poles are more likely to discuss than Jews," the play's author, Artur Palyga told the Polish media. "It can be said that Judaism is our national passion."

"Zyd" deals with teachers in a provincial Polish town preparing for the visit of a former student, a Holocaust survivor who had attended their school before the Shoah, when Jews made up more than half the town's population.

Its portrayal of grassroots prejudice is graphic and sometimes grotesque. Indeed, the play came under fire in the right-wing press, and its premiere last year sparked protests.

Still, it won the main prize at a national festival of contemporary Polish drama for being "an honest, brave and theatrically precise attempt to settle accounts with the difficult Polish past."

The play is essentially about memory. In particular, it’s about the various uses to which memory is put, and how memory differs in the minds of different people considering the same past.

These issues have suffused much of my own work over the past two decades, as I have researched Jewish heritage sites in East and Central Europe and chronicled the Jewish experience in places were few or no Jews live today.

How are Jews and Jewish heritage remembered? Which Jewish places and personalities are incorporated into the local consciousness? How do local people choose to portray an important part of the population that was savagely removed, almost overnight?

I found Bielko Biala permeated with examples of how perspective influences memory.

They ranged from indifferent disregard to the kitschy commercialization of a "Jewish-style" restaurant called Rabbi, to an earnest attempt to acknowledge the contribution of Jews to the city.

Bielsko Biala was officially established in 1951 with the amalgamation of two towns on opposite sides of the Biala River, which for centuries formed the border between the Austrian Empire and Poland, and then the regions of Silesia and Galicia.

Before 1939, the population was divided among ethnic Germans, Jews and Poles, and the city remains a stronghold of Protestantism. The Nazis absorbed it into the Reich, and almost all the Jews were killed. After World War II, Poland took it over and expelled the ethnic Germans.

Only a small Jewish community lives here today, but Jews played a major role in local history. In the 19th century, Jewish industrialists helped build the city into a major textile center, and a local Jewish architect, Karol Korn, designed key buildings that still define Bielsko Biala.

Korn's grandest building -- the Moorish-style great synagogue -- no longer exists. Erected in 1881, it dominated the city's main avenue until it was blown up by the Nazis in 1939.

Today, a contemporary art gallery occupies the spot; a small plaque on an outer wall commemorates the destroyed building but says nothing about the community it once served.

There's a puppet theatre now next door, where the Jewish culture center once stood, and a courthouse occupies the former Jewish community building across the street. Its elaborate decoration, I was told, represents the seven fruits mentioned in the Torah.

The Jewish cemetery, whose red-and-orange striped ceremonial hall is another Korn design, is well maintained and designated a cultural monument. Among the tombs is a poignant memorial to Jewish soldiers who fell fighting for the Austrians in World War I.

All these sites, and more, are noted on Jewish heritage itineraries included in local guidebooks available at the tourist information office and the city museum. On sale in both places I found reproductions of old postcards portraying the synagogue in all its glory as a major pre-war landmark.

I have no way of knowing who follows these itineraries or purchases the postcards. But, at least for tourists, they clearly acknowledge the Jewish contribution to the town and set Jewish history and heritage here within the general matrix.

This marks a welcome contrast to the "Jewish heritage package" offered by one of the city's leading hotels.

Far from exploring the rich historic contribution of Jews here, its itinerary is simply a round trip to Auschwitz, with "sightseeing" at the memorial museum there, then dinner back at the hotel's restaurant.

Bielsko Biala is only 25 miles from Auschwitz. I would certainly urge anyone visiting the town to take a day and go there. But promoting a tour of the Nazis' most notorious death camp as a Jewish heritage package banalizes Jewish heritage and the Holocaust, and both ignores and insults the memory of the generations of Jews who lived here (and often prospered).

In Bielsko Biala, Poles have begun to offer up a more nuanced take on history -- Jewish and Polish. Unfortunately, however, hotel tourist packages tend to offer only what their clients demand. Jews should take the lead in demanding more.

Even in places where few or no Jews live anymore, Jewish heritage must not be equated with its destruction. Nor, indeed, should the centuries-old Jewish experience be defined solely in terms of death.

Prague -- Yet More Golemania....

Dinah Spritzer writes the latest in the NYTimes orgy of Golemania.....

The golem of Prague is part clay man, part robot (a Czech word of origin) of giant-sized proportions with Biblical roots imagined by 19th-century eastern European Jewish writers as a protector of Jews. It has also been commercially repurposed as souvenir, restaurant theme and museum exhibition.

A great read, as all Dinah's stories are, but again, it's not much different from 15 or more years ago.....The photo of a Golem souvenir stand in my 1994 book Upon the Doorposts of Thy House is almost identical....

I found the story Dinah wrote for JTA about the run-up to the 400th anniverary of the semi-legendary Rabbi Loew's death much more interesting than the pieces that have appeared in the NYTimes, with much more depth -- and real news.

Prague -- NYTimes Discovers the Golem

Menu, Prague. Photo (c) Ruth Ellen Gruber

One of the plusses, but also one of the pitfalls, of following certain phenomena for a long period of time is that you trace the development and look at what goes on today with that in mind. Dan Bilefsky of the New York Times has an article about the popularity of the Golem in Prague. It's a cute and lively article, pegged to the economic crisis that has hurt tourism in Prague (the Jewish Museum attendance fell by as much as 40 percent over the winter) as well as to the upcoming celebrations for the 400th anniversary of the death of Rabbi Jehudah Ben Bezalel Löw (or Loew), the great scholar whom legends recount as the creator of the Golem. But, like several other NYTimes pieces in the past couple years, it plows old ground.

The Golem, according to Czech legend, was fashioned from clay and brought to life by a rabbi to protect Prague’s 16th-century ghetto from persecution, and is said to be called forth in times of crisis. True to form, he is once again experiencing a revival and, in this commercial age, has spawned a one-monster industry.

There are Golem hotels; Golem door-making companies; Golem clay figurines (made in China); a recent musical starring a dancing Golem; and a Czech strongman called the Golem who bends iron bars with his teeth. The Golem has also infiltrated Czech cuisine: the menu at the non-kosher restaurant called the Golem features a “rabbi’s pocket of beef tenderloin” and a $7 “crisis special” of roast pork and potatoes that would surely have rattled the venerable Rabbi Judah Loew ben Bezalel, the Golem’s supposed maker.

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The Golem frenzy in Prague may be taking some new forms, but it erupted in the early 1990s, after the fall of communism opened the country up for tourism, for "things Jewish" and for the commercial infrastructure and exploitation spawned by the tourist demand.

I have written about this in some depth in both Virtually Jewish: Reinventing Jewish Culture in Europe and Upon the Doorposts of Thy House: Jewish Life in East-Central Europe, Yesterday and Today. The first section of Doorposts, published in 1994, is a lengthy examination of Jewish Prague, the history, the legends, and the concentric circles of Jewish experience, focusing largely on tourism and on which Jewish aspects were promoted touristically and which were ignored and forgotten.

In both books I described the Golem kitsch, the Golem figures on sale, the contrast between Rabbi Loew as a real scholar and as a mythical Golem-maker, the power of the Golem legend as part of Prague folklore, the Golem restaurant with its non-kosher dishes. In Doorposts, I have a photograph of Golems on sale that is very similar to the one in the Times. For some reason, the Golems on sale in post-Communist Prague have always been modeled on one cinematic version -- the way the Golem appeared in a 1952 Czech movie called The Emperor and the Golem: a menacingly massive and clumsy, almost headless form held together by bolts and a big belt.

In a previous post, I wrote about my friend in Budapest, the late Levente Thury, a ceramic artist who used the Golem motif in all his work. He, like many other artists and writers, was inspired by the Golem because of the implications of the myth: technology spiraling out of control, the foiled attempt to compete with God, the failure to manipulate the universe. "I would like to make things that are a mixture of spiritual and material," he told me. "That is the most important meaning of the golem. The body of the golem is material: clay, stone and earth -- the oldest materials. The message, the amulet, the spell" that brings the golem to life is the spirit. Levent's golems, I wrote in an article about him were compositions of faces, heads and other body parts.

All the parts are distorted to some extent, as if their emergence from the clay was halted before it was finished.

A hand grasps an armless torso. A baby's features form a beautiful face on one side of a partially modeled head. In some pieces, tiny golem figures emerge from larger, partial forms.

The expressions on the faces are serene but soulless. The eyes are unseeing.

There is no explicit violence in the compositions, but the elements of Thury's work are arranged in ways that can be eerie and disturbing -- as well as highly sensual.

"I make the surfaces a little bit raw -- raw human bodies, details of bodies," he told me. "I don't want to make a complete human body. I prefer to make parts."

"They aren't human people, but remembrances of the body," he added. "They have no soul, no wish. The owner, the maker, has to give a soul to them, give direction, like a computer program."

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Jewish Heritage -- New Resources

Old Jewish Cemetery, Roudnice nad Labem, CZ. Photo (c) Ruth Ellen Gruber

The Bratislava Seminar provided the opportunity for representatives of various countries to present new printed or web resources on Jewish heritage, and in particular new maps, brochures and other material related to Jewish tourism and itineraries.

I try to keep track of these, but I generally can't keep up with the amount of material being published.

I have listed some of the web resources that were highlighted at the conference in the links list and travel resources list on this blog.

Other material presented includes:

-- Jewish Sights in the Usti Region (Czech Republic)

A very elaborate package of high-quality illustrated brochure, CD and DVD detailing Jewish sights in northern Czech Republic, including Decin, Libochovice, Louny, Most, Roudnice nad Labem, Teplice, Terezin, Ustek, and Zatec. In all these places, Jewish heritage sites have been restored or are undergoing restoration as part of local heritage. The material was written by my old friend Jaroslav Klenovsky, one of the pioneers of Jewish heritage research in CZ, and produced with funding from the EU and Usti regional authorities.

Jaroslav was one of several Czech representatives at the Bratislava meeting. The Czech Jewish community, through its Matana property management organization, has been a leader in developing -- and implementing -- a viable longterm strategy in Jewish heritage site preservation and management. This has included forging partnerships with local civic and private bodies as well a foreign donors, and working out a strategy of restoration of Jewish sites for cultural use including Jewish museums. In addition, numerous publications have been issued. (By the way, I linked in a recent post to a downloadable new brochure guide on Czech Jewish heritage put out by the Czech Tourism Office. Since then, the link seems to have been removed, though the brochure still exists in print... the Czech Tourism web site now had a page with links to several Jewish sites around the county -- click HERE.)

-- "Permanent Yiddishkeit" -- Jewish Heritage Map of Belarus

-- Jewish Latvia -- Travel Guide

-- Slovak Jewish Heritage Route -- new brochures

Warsaw -- Useful (Downloadable) Jewish Travel Brochure

Panel on Jewish shtetl life from an open-air exhibition in Warsaw, 2008. Photo (c) Ruth Ellen Gruber

A very useful illustrated Jewish travel guide to Warsaw is available from the Warsaw tourism office. You can get the illustrated brochure at tourist offices there or download a PDF of it by clicking HERE. (The link takes you to the English/Polish edition -- there is also an edition in Spanish and Italian.)

The brochure, which features a picture of the Nozyk synagogue on its cover, was edited by Jan Jagielski of the Jewish Historical Institute -- one of most knowledgeable experts on Warsaw's Jewish history and heritage sites. Jan's an old friend. He was a pioneer in the documentation of Jewish heritage in Poland, and back 1990 he co-wrote a more detailed guide to Jewish Warsaw that I used extensively in my own work and travels.

The new brochure, published last summer, includes photographs and descriptions of 28 sites around the city and also includes links for Jewish organizations and information on Jewish cultural events.

Brightly colored, it is one of a series of new brochures on various aspects of Warsaw, all using the same general format.

My latest Centropa.org column -- another take on Bielsko Biala

The Jewish architect Karol Korn, who designed some of the most important buildings in Bielsko-Biala.

In my latest column on centropa.org, I visit Bielsko-Biala, Poland and describe the Jewish sites there -- focusing, among other things, on the buildings designed by the architect Karol Korn.

Much of the town is still somewhat rundown, with sooty grime obscuring the facades of elegant buildings. But restoration work has begun on some of the architectural gems that in the latter part of the 19th century won the town the nickname "little Vienna."

A Jewish architect, Karl (or Karol) Korn, in fact, was instrumental in shaping the urban landscape we see today -- so much so that a street in town was even named in his honor.

Korn, who lived from 1852-1906, designed many of the sumptuous mansions and apartment buildings that still line the city's main boulevard, ul. 3 Maja, and near by streets. Some of them show art nouveau, or secessionist, features. His used Italian and neo-renaissance touched for his own mansion, built on ul. 3 Maja in 1883 -- it incorporates a sculptural representation of Korn's emblem above the entrance: an arrangement of the measuring tools and other instruments used by architects and builders.

Korn also designed other important buildings, such as the elegant President Hotel and the central Post Office, that are landmarks on the avenues that spread out from Bielsko's medieval core of 14th century castle and arcaded market square.

His most elaborate building, however, no longer exists. This was the opulent, Moorish-style synagogue that dominated ul. 3 Maja until the Nazis destroyed it in 1939.

It was an imposing structure with two big towers, lotus domes, decorated cupolas, arched windows and a red and orange striped façade -- old postcards, on sale at the local tourist office, demonstrate that it was one of the city's most prominent attractions.
Today, a contemporary art gallery stands on the spot -- ironically this is where the performance art festival I was attending took place. It is marked by a small memorial plaque on an outer wall.

Next door, a puppet theatre stands on the site of the one-time Jewish school, and across the street is the former Jewish Community building. I was told that the carved decoration represents the various fruits mentioned in the Torah.

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