When I first heard that the Jewish congregation of Pinneberg is giving “church asylum” to a Muslim, I had to chuckle. The article about it in the online magazine Migazin put the words “church asylum” in quotation marks and used a picture of the dome of the synagogue on Berlin’s Oranienburger Straße – making the linking together of the three monotheistic religions appear intentional.
But now I heard from a friend that there’s a film about the Kiddush asylum at the Pinneberg congregation for a man from the Sudan, and I had to wonder why “church asylum” isn’t “synagogue asylum”.
The Kiddush is a blessing spoken over a goblet of wine at the beginning of a holy day, in order to sanctify the day. Church asylum, as I learned from the film, is actually about a sacred room that protects people who are under threat. The Jewish congregation in Pinneberg has one such room. And it is encouraging to hear – as the head of the congregation explains in the film – why they are using this space to protect a person, at least temporarily, from persecution.
Rosa Fava, director of the “Diversity in Schools” project
Canan Turan with her grandmother
© Adriana Uribe
In our series of events “New German Stories” we present different perspectives on the immigration country Germany. That immigrants from Turkey, Vietnam, Poland, India and Cameroon and their descendants have stories to tell is nothing new—the novel twist is, that they present them here as German stories. On Tuesday, 8 July, director Canan Turan will be a guest of the Academy of the Jewish Museum. In her film KIYMET, she tells the story of her grandmother, who migrated to Berlin from Turkey in the early 70s. We asked Canan three questions about her project:
How did the idea to make a film about your grandmother Kıymet come about? → continue reading
An Interview with Rabbi Reuven Yaacobov
Miriam Goldmann: How do you train a Torah scribe, a sofer?
Reuven Yaacobov: A sofer must first spend a few years studying at an Orthodox school, a yeshiva, where it is established whether or not he is devout enough for this role. Then he learns how to write a Torah. First, he studies the theory. There are rules ordaining who is allowed to write the five books of Moses, the Sefer Torah. For example, only men, not women, are permitted to write the Torah. Furthermore, the person in question must be an Orthodox Jew and lead an Orthodox life. Then there are rules determining which support a Sefer Torah should be written on, and precisely how it should be written.
You can watch a short video with Torah scribe Reuven Yaacobov here.
Once the sofer knows the theory, he begins to learn the letters that are used to write the Torah. A certain sequence of strokes must be followed to write each letter correctly. After learning this calligraphy the sofer starts on a Megillat Esther (Hebrew: Scroll of Esther) because this is the easiest of all the holy texts to write. After completing the Megillat he writes the texts of mezuzah and tefillin. If by then his calligraphy has become highly accomplished, he begins to write a Sefer Torah. According to Jewish tradition, a Sefer Torah must be written in the most beautiful calligraphy possible and in the best and most aesthetic way. → continue reading