“I know!” shouts Tamo* (aged 10): “It’s Jewish writing!” “It’s called Hebrew—Hebrew writing” Mia (aged 10) corrects him. She knows the term because her best friend comes from Israel. She has seen letters like this before, at her friend’s house. Alexander (aged 34) chuckles. He works at the Jewish Museum and is giving a group of primary schoolchildren from Berlin a tour of “The Creation of the World,” our current temporary exhibition. On display are historical manuscripts and artful illustrations. → continue reading
Preparing for the Educational Program on the Exhibition “The Creation of the World”
As a part of the educational program accompanying the exhibition “The Creation of the World: Illustrated Manuscripts from the Braginsky Collection” we’re offering the workshop “But the Snake was Craftier…” about telling and passing down stories from generation to generation. Since very few of the schoolchildren who will participate in the workshop can read Hebrew, we’ll be looking closely at the illustrations. In addition to portrayals of David with the harp and Adam and Eve in the manuscripts, our program looks at the megillot, or Esther scrolls, with their illustrations. Six scrolls have been unrolled to their full length for the exhibition.
Before we take participants in to see the exhibition, a guide will tell the story of Esther. During this conscious act of listening, each person generates pictures in his or her own mind’s eye. Afterwards, the group visits the exhibition and looks at the Esther scrolls with a magnifying glass to re-discover the scenes they’ve heard about.
To prepare for this workshop, we consulted a storytelling expert. Ten museum employees met with Prof. Dr. Kristin Wardetzky to practice storytelling under her tutelage. The first chairwoman of the Society for the Art of Storytelling, Prof. Wardetzky also founded the storytelling department at the Berlin University of the Arts’ theater education department.
Our two-day workshop with Prof. Wardetzky enthralled us all. → continue reading
The financial crisis of 2007 had an impact both on the countries of Western and Eastern Europe. The złoty may still glitter but it has long since ceased to be the “golden coin” Polish currency was originally named for. Unemployment and stagnant economic growth, rising real estate prices and declining purchasing power have put the brake on Poland’s economic recovery. The Netherlands has likewise been in recession for years. Declining competitiveness, private debts, state-subsidized home ownership, the low retirement age and the expensive health care system have fed uncertainty and repeatedly paved the path to success for the Freedom Party of the populist xenophobe Geert Wilders.
This downward spiral in state treasury and personal funds led a couple of Polish resp. Dutch wheeler-dealers to scrape the barrel for a bilateral business model. Crafty Dariusz Woźniok and his fly-by-night Dutch client somehow managed to get their hands on infantrymen’s photos from the Second World War—whether as thieves or buyers it is impossible to say. Maybe they were embittered by the fact that no share in the tidy profits made from material goods ever came their way, from the export of Polish geese, strawberries, potatoes and beetroot, for example, or of Dutch cheese and tulips. Maybe they hatched their business plan in an Amsterdam coffee shop and had simply smoked one hash pipe too many. Whatever the case, they figured: “It was a sure bet that snapshots of ghettos and so-called ‘Jewish actions’ in early 1940s Poland could be sold off as ‘Holocaust-ware’ to Jewish Museums—so why not make the most of an historic windfall?” → continue reading