Slovakia --1966 footage of synagogue & destruction of Bratislava Jewish quarter

By Ruth Ellen Gruber

Thanks to David Kraus, here is some extraordinary footage from Bratislava in 1966, showing the beginning of the destruction of parts of the Old Town, including the historic Jewish quarter, to make way for the construction of the New Bridge. There are some remarkable shots of the twin-towered, Moorish style synagogue before its demolition in the path of the construction.

Slovakia -- Rabbi Andrew Goldstein on Synagogues, Memory and Future

The Goldsteins and Maros Borsky in Samorin synagogue. Photo (c) Ruth Ellen Gruber

By Ruth Ellen Gruber

Rabbi Andrew Goldstein, who was on the recent trip in Slovakia to tour the Slovak Jewish Heritage Route, gave an eloquent sermon this week in his synagogue in London that evoked what we saw -- and raised  important questions regarding surviving sites of Jewish heritage and their place, role and future. These issues have been a continuing focus of this blog, and (of course) of anyone involved in the field. In 2009, a conference in Bratislava was devoted to these issues and formulated a series of "best practices" recommendations to consider when dealing with disused or abandoned Jewish sites.

Rabbi Goldstein is the chairman of the European Union for Progressive Judaism and has spent decades traveling and teaching in east-central Europe.

SLOVAK SYNAGOGUE SERMON

What do you do with a synagogue building that becomes redundant? What do you do if the community shrinks and can no longer support a congregation or the upkeep of the building?

I wonder if our friends at Harrow and Wembley Progressive spent long searching the Talmud to see what were their options: as you know they recently sold their building to a fundamentalist Christian church and moved in with Middlesex New...Reform synagogue. A brief look at the rabbinic sources says you can sell a synagogue if you use the proceeds to build another: which lets Harrow & Wembley off the hook, or for community benefit: which was certainly the case when North London sold their building. The Talmud says you may sell a synagogue on condition that its not going to be turned into a wash-house, a tannery, a bath-house or a toilet. What about a church?

It seems as if once a month you read in the Jewish Chronicle of an English synagogue being closed as its congregation dwindles and a number have become evangelical churches and increasingly mosques. Just think of the famous Brick Lane building that started out as a church, then an ultra-Orthodox synagogue and now a mosque. And I suppose we should recall that NPLS started out by using a former Primitive Methodist church as it first synagogue. The continued use of a redundant building for religious purposes seems appropriate, but often British shuls seem to be turned into blocks of flats or office buildings: at least I have not heard of a tannery or public convenience.

Sharon and I have just returned from a fabulous tour round Slovakia as guests of the Slovak Tourist Board, arranged by our friend Maros Borsky. The idea was to take journalists along the Slovak Jewish Heritage route that Maros has developed. Photographs of which we saw displayed in our Art Gallery a few weeks ago: we visited the actual sites, along with journalists from Israel, Hungary & Italy. The Israelis were all secular, yet seemed genuinely moved by Sharon singing Psalms in the empty shuls we were taken to.

Of course Slovakia is quite different from the UK....because the vast majority of its Jewish population was wiped out in the Holocaust. And of those of who survived, most left the country after the war with its take-over by the Communists or during the brief window of opportunity during the Prague Spring. Since the end of communism the community has dwindled further and those that have stayed have tended to move to the capitol Bratislava that nowadays has the only viable Jewish community in the country.

Unlike neighbouring Poland and Austria and Ukraine, unlike Germany, very few Slovak (or Czech) synagogues were actually destroyed during the Holocaust (sadly one of the few was in Spisske Nova Ves where our Slovak Torah comes from). The Communists, however, destroyed many buildings or used them for, often quite unfitting purposes: Bingo halls, markets, store-rooms: though so far I've not discovered a tannery. The Communists also destroyed the surviving Jewish community; and for all of these reasons there are hundreds of Jewish buildings and cemeteries in places, quite often in large towns, where there is not one living Jew residing.

What is the present day Jewish community to do with this vast number of Jewish sites? It cannot preserve and look after everything. Maros Borsky has persuaded the community leaders to concentrate on just a few buildings and cemeteries of special historic or architectural merit. Places that might have a long-term future, that might give evidence of the former glory of the country's Jewish community. Then Maros came up with the idea of a Slovak Jewish Heritage Route that tourists could follow to experience this treasure trove of Jewish beauty.

This was the route Sharon and I along with the 8 professional journalists followed a week ago.

To justify our trip, we too must attempt to get published articles encouraging others to visit Slovakia and, at least, seek out a few of the buildings on the route, and soon I must get down to write a few articles, so this sermon is a first attempt. Tonight, as a theme, I will answer the question I posed at the beginning: what is a fitting use for a redundant synagogue? For a fitting use is one of Maros' criteria as well as a local body able to guarantee a long term future for the building.

The Route starts in Bratislava where Maros is concentrating in converting the woman's gallery in the only remaining synagogue into an exhibition of Judaica from the collection of the community. Downstairs the sanctuary will remain for High Holyday services, the weekly minyan more comfortable in the small "Winter" synagogue. Presov, in the far east of the country, also has a historic Judaica collection in the gallery, though there is rarely a minyan to davven in, perhaps, the most fabulously decorated of all the shuls in the country. It stands in a compound that contains 3 other former synagogues, now used as office buildings. Further east is Bardeov where a tiny shul, a stieble indeed, is preserved exactly as it was when the last Jews were deported 70 years ago. The Orthodox synagogue in Zilina is also intact, though I was saddened to hear that services don't actually take place there: on Rosh Hashanah the tiny community meet in a nearby hall and reminisce - seemingly nobody to lead even a short service. A small exhibition in the women's section is visited by local school groups, but I was interested in a showcase with a selection of Table Tennis memorabilia: once Zilina the centre of the Jewish game. Trnava has two synagogues: one once Orthodox and Neologue and both have been turned into are galleries. The former expensively repaired with the vividly painted walls & ceiling restored to their former glory. The Neologue made safe, but left to remind visitors of its neglected state, a result of the destruction of its community, a reminder of the Shoah. I'm not sure which is the better state for a redundant synagogue found a new use.


The synagogue in Nitra is used as a concert hall and Sharon and I, on a previous visit, heard a children's concert there. Upstairs is Slovakia's official Holocaust memorial exhibition, and on the stairs a collection of prints of Nitra born Shraga Weil. Perhaps a perfect combination for a beautiful building, restored and looked after by the municipality: a reminder of the fate of its past worshippers and yet regularly used for inspiring music. Please God this will be the eventual fate of the magnificent building in Liptovsky Mikulas where we had one of the most moving experiences of our tour. One of our party, David Sivor had there had his Bar mitzvah, and in the now empty sanctuary recalled the event, and Sharon sang Psalms: the acoustics perfect; for a brief moment a reminder the large community that once worshipped in that place.

The future of the Jewish community in Slovakia is uncertain but, at least, through the inspiration of Maros Borsky, they now have a splendid Heritage Route that will long tell of the glory of the former community. Many other stories I could add, especially about our visit to the cemetery in Spisske nova Ves, our Torah town, where Dr Ruzena Kormasova and her High School students continue to research the history of the town's former Jewish community and look after the cemetery. But how appropriate that I tell my story on an evening where we include in our service the blessing of a baby whose mother, if not Slovak - is Czech. Thank God our congregation is thriving: perhaps it has always been like this in Jewish history: Jewish life in one country declines, but the Jewish people and Judaism lives on in places new.

Rabbi Dr Andrew Goldstein

19th August 2011....19th Av 5771

Slovakia -- Following the Slovak Jewish Heritage Route

Brooding sky over Bratislava's main square. Photo (c) Ruth Ellen Gruber

By Ruth Ellen Gruber

I arrived in Bratislava today, to spend the coming week going around the country on the Slovak Route of Jewish Heritage -- a  project  devised by my friend Maros Borsky, the leading expert on Jewish heritage in Slovakia. The author of the book Synagogue Architecture in Slovakia, Maros founded and directs the Slovak Jewish Heritage Center.

 I have been following the evolution of the Jewish Heritage Route from its very beginning. The Route now includes about 24 sites in all parts of Slovakia -- mainly synagogues and Jewish cemeteries. Each uses a common logo and each has a uniform plaque affixed to it, and each involves a partnership with a local body, such as a municipality, or a school, or local Jewish community, or another organization -- that, as a stakeholder, will work to make sure that the site is maintained and also used for educational purposes.

I have visited most of the sites in the past (and reported on some of them in this blog as well as in Jewish Heritage Travel and other writings).

Today we saw the modernist synagogue on Heydukova street, the only functioning synagogue to survive in the city. It was built in the 1920s for the Orthodox community and designed by Artur Szalatnai-Slatinský. It is a rather stark building, with seven pillars marking the street facade. The interior has some cubist elements and very interesting interior detail, including distinctive hanging lamps and a grille around the bimah that recalls gothic construction.

Photo (c) Ruth Ellen Gruber

Maros showed us the work being done in the women's section, where next year an exhibition of Bratislava Jewry will be installed.

We briefly visited the Museum of Jewish Culture, a branch of the Slovak National Museum that reopened in 2009 following the revamping of its original exhibition, which dated from 1993. Although I wish this institution well, I have to say that today's visit did nothing to dispel the disappointment I felt when I was here about a year ago.  The objects are arranged with little information about their history, provenance or significance. See my post from last September by clicking HERE.

Click HERE for information about travel and tourism in Slovakia.

Slovakia -- I find Bratislava's Museum of Jewish Culture disappointing

 These portraits of rabbis in the museum are prominently signed  but it is far from clear if those signed "Boruth A." were actually done by the Slovak painter Andor Boruth, who died in 1955 -- and it's really doubtful those signed "Szekely" were done by the Hungarian academic painter Bertalan Szekely. Yet there is nothng to identify the artists, the subjects, how and why they got to the museum collection. Photo (c) Ruth Ellen Gruber.

I paid a visit yesterday to the Museum of Jewish Culture in Bratislava, a branch of the Slovak National Museum that was reopened in 2009 following the revamping of its original exhibition, which dated from 1993, when the museum opened.

Alas, I found the new exhibit a big disappointment. The wonderful collection of ritual objects, everyday materials, textiles, artwork and more is laid out well -- but the items on display are exhibited with almost no contextual or other information about them: no information on the date, the provenance,  who donated the object, the place of origin; nothing  even on the artists and titles of paintings, even when these are known.

 Photo (c) Ruth Ellen Gruber

A collection of photographs of Slovak synagogues identifies the towns but omits even rough dates as to when the pictures were taken, not to mention the names of the architects, information as to when the synagogues were destroyed, etc etc etc. One item on display is a decorative paving stone rescued from the great Neologue synagogue next to the Cathedral, which was destroyed in 1969 when the old Jewish quarter was razed during construction of the New Bridge. But the stone just lies there, a decorated lump, without any explanation as to why it is included in the exhibit...

Nor, in a "symbolic Jewish cemetery" in the basement, an installation of fragments of tombstones, is there information provided as to which cemeteries the stones came from, or about the number of Jewish cemeteries around Slovakia. There is rudimentary information about burial practices, and a bit about inscriptions, but that's it.

What's more, no distinction is made between photographs and copies (such as that of a ketubah) and original objects. And some of the items that did have labels (albeit generic ones) were incorrect: it seem as if meal coupons issued by the American Jewish Joint Distribution Committee are identified as  certificates issued to guarantee kashrut!

All in all, it was very frustrating -- a sadly wasted opportunity.

Modern museum practice does not seem to have entered here: the only provenance shown was a label on an oil lamp bought in Israel guaranteeing that it was ancient. The objects shown could have come from anywhere: there was little sense of their connection with Slovakia, and even when this connection was presented, it was not elaborated.

The young woman who showed me around could answer only some of my questions -- she went somewhere to consult when I asked her who the artist was of a very lovely water color of a Jewish cemetery. (She found the name of the artist, but nothing more: other, Holocaust-related, works of his, too, are hung with no identification, as is a nice installation of collaged photographs of the Chatam Sofer memorial.)

She told me she informed someone on the design team about my concerns and said he assured her that labels were being prepared. But I have my doubts.