Wednesday, June 22, 2016

POLIN: Time Travel is Here!

 
POLIN: Museum of the History of Polish Jews
            Museums can mean and have meant many things, but I guess that the most general definition of it in contemporary terms would be, as the Encyclopedia Britannica puts it: “institutions that preserve and interpret the material evidence of the human race, human activity, and the natural world.”  Many are open to public view, and can exhibit everything from art to dinosaur bones, fire engines, famous baseball players or chocolate.  One that has recently opened in Warsaw, Poland (2013) completely blew my mind: POLIN, the Museum of the History of Polish Jews.  I made a one-day trip to Warsaw from Berlin a couple of weeks ago (it takes less time to fly between those cities than between Dallas and San Antonio), and spent my whole day there.  I should have gone for two and stayed over.

            The museum is very large and beautifully designed, and totally integrated into the digital age.  It is more than just a collection of artifacts, rather it is a journey, through digital magic, through a thousand years of Jewish history in Poland, and the core exhibition is laid out as a sort of directed maze through which you wander through time, with all kinds of mixed media evoking and explaining the historical trip, and simply gathers you in.
Map of the Core Exhibition Space


Tower of San Martín, Teruel
            I first became aware of it through an interest in vernacular architecture, especially two regional groupings of specific types of buildings made with inexpensive materials.  In each case, the building and certainly a lot of the architectural painted decoration was done by Muslims or Jews, both of whom shunned human representation. The building techniques were those of all kinds of buildings in their respective regions. One is a group of medieval churches in Aragon, Spain, built mainly in brick and ceramics in the 14th to 16th centuries, mostly by Muslim workmen with local materials.  Many of these survive, and their gorgeous decorations are undergoing thoughtful restoration.  The other was a group of wooden synagogues, built mostly in the 17th and 18th centuries by Christian and Jewish carpenters, in present-day Poland, Lithuania and the Ukraine, likewise beautiful and distinctive designs in wood, many of their interiors lavishly decorated with painted wildlife, plants and words.  None of these survive.  Many simply deteriorated over time, as Jewish populations dwindled or shifted; those that remained were destroyed during World War II—Nazi casualties along with the populations that attended them.
 
The Wooden Synagogue of Zabludow
            Fortunately, those that made it to 1939 were documented by Polish photographers, and in 1957, the Architects Maria and Kazimierz Piechotka published a wonderful book of many of the surviving ones, republished as Heaven’s Gates in English in 2003, reproducing the photographs and presenting plans and drawings too.  I was able to get the English edition a number of years ago in Krakow, and now it has been reissued as a paperback, but so far as I know, only available at the museum.  Also in 2003, an American architect, Thomas Hubka published a superb detailed study of just one of these buildings, entitled Resplendent Synagogue, dealing with the one at Gwozdziec.

Maria and Kazimierz Piechotka
            Hubka’s text was in inspiration.  It was decided to reconstruct the painted interior and exterior of the ceiling of the Gwozdziec synagogue as the centerpiece of the new Warsaw Jewish museum. The job was given to Handhouse studio in Massachusetts, under reconstruction specialists Rick and Laura Brown, who are neither Polish nor Jewish, but quite a number of the students from several  different countries participating in the project were. There were also Polish millennials who had never met real live Jews before.  They researched materials and construction methods, as well as the sort of paints used in the originals.  In 2013, their ceiling as well as the gazebo-like bimah (Torah-reading platform) was installed in the new museum as its centerpiece.

            It was to see that reconstruction that was my primary reason for making the trip, with a secondary one that my grandfather came from Poland (Brzeziny) and had spent time in Warsaw as well, before seeking better opportunities, first in England and finally the U.S.  The museum gave all my grandfather’s stories that I had heard in childhood context, and helped me understand the American Immigrant experience that shaped my parents as well. 

The Old Country, 1920's: No Thanks!
            Everything I had heard about the Old Country had sounded negative: poverty, ignorance and prejudice. The photos I had seen of impoverished Jewish towns, or shtetls, Fiddler on the Roof not withstanding, made it seem awful.  I was glad to be an American, and glad that my grandparents had come here, beyond the fact that if they had lingered behind, they would have been wiped out.  A trip  to Krakow several years back had been charming, but the pilgrimage to Auschwitz nearby pretty much convinced me to vow never to revisit Poland or anything Polish again. The discovery of the wooden synagogues book made me think that maybe there was something more, and the Museum changed everything.

Isidor Kaufman: Rabbi in Jablonow Synagogue
            To visit the core exhibition, you go downstairs and enter the labyrinth, beginning in the 14th century, when traveling Jews in the area were asked to leave their weapons at the synagogue door before entering (so resonant now)!  Winding through tentative beginnings—life for Jews, with no homeland to go to and no military clout was always dicey, since they were allowed in at the whim of the places they meandered through—into their gradual settling down both in cities and small towns. It was a precarious journey, but they managed to survive, into a short golden age in the 17th century under the relatively permissive Council of the Five Lands (four in Poland and one in Lithuania), when they had some autonomy.  They managed reasonably well (except for a rampaging Cossack massacre in 1648), mostly under direct protection of the Aristocracy, who employed them.  They kept their distinctive dress, customs, and regional jargon (later to evolve into Yiddish), and also to the professions to which they were restricted.  The grandest of the wooden synagogues were built then, and the Gwozdziec reconstruction takes pride of place in the museum as a symbol of that era. 

The Gwozdziec Reconstruction
The Gwozdziec original ceiling

            The museum beautifully evokes those times via models, artifacts, maps and recreated sounds (though mercifully no smells).  The visitor is channeled into ever-changing spaces, each devoted to a different aspect of daily life and larger religious and cultural events; lighting levels, spotlighting, and even the colors of the spaces evoking or explaining different topics.  Some rooms are large, such as the one with a model of 17th century Krakow; some are almost niches or nooks.  Drawers can be opened, revealing objects of significance.  For later times, there are photographs, newspapers and film footage.  In each room or gallery niche, the visitor is encouraged to look for and read texts and examine pictures and things that suddenly bring everything to a personal level.

            As the history becomes turbulent again, through Poland’s own tragic partitions and the waxing and waning of anti-Semitism from without and sectarian conflict from within, the spaces wind in on themselves. Marking the beginning of the secularism of the “Enlightenment,” they become somewhat more rectangular.  With the Yiddish literary movement, paralleling so many of the linguistic revivals of diverse ethnic European minorities at that time, I enter into more familiar territory: this was the culture of my grandparents.  Along with it came labor movements and protests, and for the first time, prominent participation by women.  It also explains the strong Socialist and Communist leanings of many American Jewish immigrants then (and residually, Bernie Sanders, who is from my generation). Unsaid but always present is the thought of where that culture might have gone if it hadn’t been so abruptly extinguished.
Alley-courtyard, Warsaw, 1920's

The Museum's street evocation
            A very tall corridor-like passage evokes a street in a Jewish neighborhood in a city: it reminds me of a photo of one such alley in Warsaw, though it’s actually based the prewar Zamenhofa Street, by the present museum (and a strategic place during the Warsaw Ghetto uprising); the museum street has real cobblestones.  But the light is eerie and gray, with indistinct figures projected at the end of  street, which leads into the very graphic, jagged and angular spaces of the Holocaust.Poland was particularly gruesome at this time, since all the major death camps were located within its borders.  The black ceilings seem lower here and low lighting adds to a sense of claustrophobia. I’ve been to many other Holocaust museums and Auschwitz too, but coming to it from the rest of this museum world, it is particularly poignant. 


            The postwar galleries are sort of anticlimactic, since there are very few Jews in Poland now, but having this big museum in Poland is at last a tribute to what was.  Though it’s gone, there’s a fascination there now to find this culture and treasure it s remnants by the Poles themselves.  When I was there, there were not only foreign tourists (including a bunch of elderly Israelis with their Hebrew-speaking guide), but large numbers of local visitors and groups of school children.  Maybe some day real Jews might even come back.

            One postscript: the realization that up to about a century ago, women were just as repressed here as they were in most places at that time.  During the time it functioned, I would have been banned from the glorious Gwozdiec prayer hall; women had to sit upstairs in a narrow space relegated to them, where they could enjoy the view through a four-inch slit cut into the wall that excluded them.
Thomas Hubka's reconstructed view of the women's section in Resplendent Synagogue


            And another Postscript: Hitler was rumored to have actually planned his own Jewish Museum in Prague: “The Museum of an Extinct Race,” displaying confiscated Jewish artifacts from destroyed synagogues and private homes, first from Bohemia and Moravia, later from all over Europe, as evidence of the total destruction he was carrying out (it did involve the survival and preservation of many of these objects). POLIN represents a dignified and thorough tribute to what Hitler wiped out, but affirms that Jews are hardly extinct!  Ha!

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For a brief article on the diverse nature of museums see The Encyclopedia Britannica Online.

For much more information, virtual visits and links for the Museum of the History of Polish Jews:

The two best books on wooden Synagogues are: 

Maria and Kazimierz Piechotka, Heaven's Gates. Wooden Synagogues in the Territories of the Former Polish-Lithuanian Commonwealth, Krupski I S-KAKrakow, 2003

Thomas  C. Hubka, Resplendent Synagogue.  Architecture and Worship in an eighteenth Century Polish Community, University Press of New England, Hanover, 2003. 

For a briefer treatment of wooden synagogues and links online see: 


For the ceiling reconstruction for the museum, see  http://www.handshouse.org/a-brief-history-of-polish-synagogues/  AND

For the world of Aragonese Mudéjar churches: http://www.aragonmudejar.com



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