Another Pittsburgh Post-Gazette Op Ed of almost a decade ago.
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Pittsburgh, Pa.
Monday, Sept. 25, 2006 |
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Weekend Perspectives: Berlin's surprising model
Jewish history is honored in the German capital
Saturday, July 22, 2006
By Rudolph H.
Weingartner
A recent visit to Berlin prompts me to
make a statement that I had never expected to utter: With respect to Jews,
the Berliners got something right -- on a matter, moreover, about which we
here in the United States might think a bit more clearly. Jews are
represented, so to speak, by two formidable Berlin sites.
The most recently completed (May 2005)
is Peter Eisenman's Memorial for the Murdered Jews of Europe, placed in the
very center of the city, next to the Brandenburger Tor and not far from the
Reichstag. The other is Daniel Libeskind's Jewish Museum, which opened in
2001 in a residential area of Berlin.
The paths toward the erection of these
two works were anything but smooth. In particular, the squabbling, sometimes
fierce, about every aspect of the Memorial -- design, materials, cost,
location and even just what it was to commemorate -- lasted for more than a
decade and a half. In a sense, it continues to this day since by no means all
of those who disapprove of the design or even of its purpose are reconciled
to its existence.
But I am by no means alone in my
admiration of Mr. Eisenman's achievement. Heinrich Wefing, a leading German
architectural critic, refers to it as a beautiful abstraction "that does
not dictate what its observer should think or experience, but is nonetheless
thoughtful and moving," while The New York Times' Nicolai Ouroussoff
wrote "how abstraction can be the most powerful tool for conveying the
complexity of human emotion."
What must not be ignored is the sheer
scope of the memorial: 2,711 steles of different heights spread over an
expanse measured in the most ur-American way, as having the size of two
football fields. If the paradigmatic individual memorial is the simple
tombstone, Mr. Eisenman's expanse of slabs is an appropriate cenotaph for 6
million.
The motto of the Jüdische Museum Berlin
across town calls for "two millennia of German-Jewish History." And
in a somewhat cluttered way, it emphatically lives up to that slogan. Its
numerous displays convey a wealth of information about the many and changing
roles that Jews have played in Germany.
As one descends from the starting point
at the top of Mr. Libeskind's edifice, one moves forward in time until one
reaches the lowest floor where information is provided both about the
Holocaust and the emigration of Jews to other lands, reinforced by the Garden
of Exile and Emigration just outside.
In two significant ways, Berlin got it
right, even if it took years of controversy and argument to get there. First,
by placing the account of the Shoah at the end of an elaborate overview of
those 2,000 years of the intertwining of German and Jewish societies that
basement exhibit is not one of mere victimhood but is reached by museum
visitors after having been elaborately informed as to who those victims were.
This horrendous period of history is
shown to have been both a murderous destruction of human lives and an attempt
to eradicate a significant part of human civilization. It takes a Jewish
museum to show that, rather than a Holocaust museum.
The second way in which Berlin got it
right is that it was sensitive to the tension between the institutional goal
of providing knowledge and that of fostering commemoration.
The didactic goal is indefinitely
complex. Museums use displays and documents, film clips and computer screens,
earphones and loudspeakers and ever more modes of communication to cram
masses of information and impressions into the heads of their patrons.
Alert visitors -- moving this way and
that, looking and listening here and there -- take in a lot. With luck, they
will remember a goodly fraction of what they have experienced, and with even
more luck, they will later reflect on what they have found out.
When all the stars are properly
aligned, then, the absorbed stream of information may lead to retrospective
contemplation. But a monument like Mr. Eisenman's has the power to do that on
the spot. Inducement to reflection and meditation is focused, monolithic,
immediate. By pressing different buttons from those multifaceted didactic
ones, a thoughtful monument evokes thought, then and there.
That, finally, brings me to our own
practices in the United States. To a degree, Washington's Holocaust Memorial
Museum serves both the didactic and the memorial function, though in the
latter role not as successfully as Israel's Yad Vashem.
But if we leave aside these major
establishments of world capitals, accounts about the United States are not
encouraging. The Israel Science and Technology Homepage reports that to this
date, we have created 23 Holocaust museums, not counting our little one in
Pittsburgh that didn't make it onto the list. If you put aside actual Shoah
sites, such as Dachau, Bergen-Belsen and Auschwitz, that is more than in all
of the rest of the world together.
By way of contrast, the same source of
information show there to be 24 Jewish museums in our land, while there are
57 in the rest of the world, not counting numerous museums in Israel.
Ours is the wrong ratio, a wrong view
of history, the wrong way to present the contributions of the Jewish people
to the world's history and the wrong way to commemorate the Shoah. We must
hold on to an inclusive meaning of Never Forget. Forget not what they did,
but remember, too, who they were to whom they did it. Let's stop building
Holocaust museums and create Jewish museums instead.
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