On Why the Death of Stuart Hall Is a Loss for our Academy Programs
Stuart Hall, the renowned British cultural theorist and sociologist, passed away exactly one month ago, on 10 February 2014. His death prompted in us a deep sense of personal loss. His groundbreaking writings on cultural studies, in particular on racial inequality, were first translated into German in the mid 1990s—a time when people here were beginning to acknowledge the importance of racism as an issue.
Silent vigil of the Jewish Community at the Putlitz Bridge Deportation Memorial
Photo: Michael Kerstgens, Berlin Tiergarten, 1992
Hall’s approach incited a new discussion and coined a new vocabulary: until then, Germans in the Federal Republic had spoken of “Fremdenfeindlichkeit” (xenophobia), which they regarded as a marginal social phenomenon. Politicians and the media spoke matter-of-factly of society “reaching breaking point” when “the boat gets too full” owing to “Überfremdung.” The latter term denotes the state of ‘being overrun by foreigners.’ It is itself deeply racist and was accordingly voted Non-word of the Year 1993. “Being overrun” was presumed however to be explanation enough for the fire-bombings and other attacks then being carried out almost daily on asylum-seekers’ accommodation centers or immigrants’ apartments—and likewise for the hate campaigns, man-hunts, and pogrom-type riots erupting in Rostock, Hoyerswerda, and elsewhere, or the emergence of no-go areas in other towns and rural centers. In consequence, the law on asylum was altered in 1993 such that judicial opinion held it to have been “de facto repealed.” Therefore, anyone who wished to address the issue of racism as a structural phenomenon and thereby draw on theoretically sound academic sources had necessarily to turn to authors from England, France, the USA, or Canada—and repeatedly to Stuart Hall. → continue reading
The authors signing their book
© Jewish Museum Berlin
Alice Bota, Khuê Pham and Özlem Topçu recently presented their book “We, the New Germans: Who We Are and What We Want” at the Academy of the Jewish Museum Berlin. The three women, all journalists for the newspaper Die Zeit, discussed with one hundred guests what it means to be German in the 21st century. Before the event we asked the three authors a number of questions, including: “What inspired you to write this book?” They responded:
“We three are colleagues. We are political editors. And we are children of foreigners. But we find that despite being quite different, we share an outrage at those who would like to tell us who we are. By writing this book, we wanted to voice our concern, claim our identities and share our families’ stories. We wanted to demonstrate that immigrants’ stories are not necessarily about failure, and that broken and mixed family histories can in fact lead to personal success.” → continue reading
An Appeal for Recognition and Dignity
“We used to throw stones at her – we thought she was a witch.” With these words, a former resident of Rishon LeZion ruefully told me of her childhood encounters with the sculptor and doll maker, Edith Samuel. Edith wore her long, dark, European skirts under the searing Middle Eastern sun and suffered from a physical deformity. The daughter of a liberal German rabbi, Edith and her sister Eva were both artists who left their home city of Essen in the 1930s and immigrated to Palestine.
The pottery wheel belonging to Paula Ahronson, Eva Samuel’s business partner, is preserved in private hands and untouched since her death in 1998
© Jewish Museum Berlin, photo: Michal Friedlander
The Samuel sisters worked long hours, struggled to earn a living and did not gain the recognition that they deserved, during their lifetimes. The exhibition “Tonalities” at the Jewish Museum Berlin aims to bring forgotten women artists back into the public arena. It presents Eva Samuel’s works and that of other women ceramicists who were forced to leave Germany after 1933.
My search for transplanted German, Jewish women in the applied arts began many years prior to my encounter with the Samuel sisters. It was Emmy Roth who first captured my attention. Born in 1885, Roth was an exceptionally talented and internationally successful silversmith, who worked in Berlin. She immigrated to Palestine and fell into obscurity, ultimately taking her own life in 1942. Her male refugee colleagues, Ludwig Wolpert and David Gumbel, were appointed to teach metalwork at the Jerusalem New Bezalel School of Art in the late 1930s. They are feted in Israel today, whereas Roth is still completely unknown there. → continue reading