lady painting


Extracts from the Nov 2012 Journal

The Association of Jewish Refugees/British Academy Appeal

Enclosed with this month’s issue, readers will find a funding appeal issued jointly in the names of the Association of Jewish Refugees and the British Academy. It is now nearly 50 years since the two organisations were first formally associated, through the Thank-You Britain Fund, which the AJR set up in 1963 and which was so successful that it raised the sum of £96,000, principally from the refugees from Nazism who had fled to Britain. [more...]

Brave young people (review)

In the days before the Berlin Wall came down, the East Berlin Museum of German History on Unter den Linden displayed several anti-Nazi leaflets printed and distributed by the Herbert Baum group during the Nazi era. What the exhibit did not spell out was that this group was predominantly - though not entirely - Jewish. [more...]

Tripping up the conscience (review)

The need to acknowledge, remember and provide for continuing engagement with the history of the Holocaust has produced a lively culture of memorials, especially in the USA and Germany. The quality of these has, naturally, varied. Some of the largest and most prominent – the bare carcass of Daniel Liebeskind’s Jewish Museum in Berlin and Peter Eisenmann’s Memorial to the Murdered Jews of Europe (also in Berlin) – are marked by a high degree of abstraction and symbolism. They steer well clear of the flesh-and-blood human reality of the victims. [more...]

Letter from Israel

Any performance of Verdi’s Requiem anywhere in the world is a memorable event. I have heard it played several times and am invariably stirred, moved, uplifted and invigorated by the music, regardless of the standard of the performance. Hearing it played in Jerusalem under the title ‘Defiant Requiem’, commemorating the performance of the music in the Theresienstadt concentration camp under the baton of inmate Rafael Schächter, was something quite extraordinary for all those who heard it. But I felt that for me it had a special significance. The performance, which was given in the framework of the Israel Festival last summer, was the project of American conductor Murry Sidlin. In a bold move, the music was interspersed with readings describing the performance of the work in Theresienstadt and filmed accounts by camp survivors who had participated in the performance or attended it. [more...]

Letters to the Editor

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