SYRIA: Holocaust Memorial Day: How a Syrian Man Saved 527 Jewish Children from the Nazis

Moussa Abadi and his French wife Odette hid hundreds of children from the Nazis in homes, convents and orphanages across southern France.

A group of Jewish boys hidden at the Don Bosco school in Nice pictured with their teacher in September 1943. Memorial de la Shoah/Coll.Serge Klarsfeld

Andree Poch-Karsenti was not even three years old when her parents were rounded up at their home in the southern French city of Nice, on a quiet street above the Mediterranean Sea.

She escaped the clutches of the Gestapo, playing obliviously with her neighbour Jacques on the other side of the street.

Her parents and aunts would not survive the war, after being sent to concentration camps in Drancy and then Auschwitz.

But thanks to a clandestine network set up by a brave Jewish couple — a French doctor and a Syrian man from Damascus — Andree avoided the Gestapo.

Moussa Abadi was born to a religious family in the Jewish Quarter of Damascus in 1910. He attended a school run by French priests, which would fuel his eventual move to Paris in the 1920s.

When the Nazis invaded Paris in 1940, Moussa fled south, leaving the capital on a bike with one change of clothes.

He arrived in Nice, later to be occupied by the Italians, where thousands of Jewish families sought refuge. Damascus urged him to return home but he refused.

Moussa Abadi at his office in Nice in 1947. Memorial de la Shoah/Coll.Odette Abadi

One day, under a “postcard-blue sky”, Moussa saw a young Jewish woman being beaten to death by a French policeman on the seafront promenade.

While the Nazis ruled the north, the Italians kept the Jewish population relatively safe ― for a time.

But Moussa knew the Germans could push south. Even under the French authorities, round-ups in early 1942 sent thousands of Jewish families to their deaths.

Moussa later met an Italian priest who told him of Jewish children being massacred by the Nazis.

These two encounters pushed him to take the biggest risk of his life, alongside the woman who would later become his wife, Odette Rosenstock.

Odette Abadi pictured in 1947 or 1948. Memorial de la Shoah / Collection Odette Abadi.

Andree was one of the hundreds of children who were hidden by Moussa and Odette as part of the Marcel Network, established by the couple in 1943 after the German invasion of Nice.

Within a year, they saved 527 Jewish children with the aid of local families, Christian clergy and children’s homes. Many of them would be later honoured by Israel as one of the “Righteous Among the Nations” for their bravery.

Andree is now 82, and lives near Paris. But for decades, she knew nothing of the couple who helped her escape the Nazis.

“I knew that I was hidden with the Rous [family] and that my parents were deported, but I didn’t know the rest of the story. No one had spoken to me about it,” she tells The National.

Andree was taken in by her neighbours, the Rous, and hidden in a mountain village until the spring of 1944, when the Gestapo arrived to take on resistance members.

She was then taken back to Nice and put in a children’s home by Odette and Moussa.

It wasn’t until 1995 that fate would bring them together, when her brother came across a list of children hidden during the war.

Odette was looking for them. Andree called Odette and found the couple living not far from her home in Vincennes.

“They were an extraordinary couple, who led an extraordinary life,” she says.

“They could have gone into hiding but they decided to risk their lives to save children condemned to death. They are courage personified.”

The couple would meet with some of the hidden children later in life, gathering at restaurants in Paris and meeting their grandchildren.

On rare occasions, they would invite them to their modest apartment in the 12th arrondissement.

Odette, a French doctor from Paris, had met Moussa in 1939. After fleeing to Nice, she began working at a clinic for Jewish children on the Boulevard Dubouchage, where she would tell families: “If the Germans come, we can hide your children.”

They had no money and no connections. Both Jewish, they were at risk of deportation and death.

“Every morning when I drank my coffee with Odette, I didn’t know whether I would find her safe that evening, or even whether I would be alive,” Moussa later wrote.

He met the Bishop of Nice, Paul Remond, imploring him to help save children from the Nazis.

The bishop gave Moussa an office in his home, on the ground floor so he could escape if and when the Germans came.

It was here that Moussa made thousands of fake documents, baptism certificates and ration cards. In the garden, he buried files that would help reunite the children with their families at the end of the war.

Odette enlisted the help of local children’s homes and Protestant priests near the synagogue on Rue Dubouchage, who appealed to local families for help.

Armand and Eve Herscovici, hidden by the Marcel Network, pictured in 1943 or 1944. Memorial de la Shoah / Collection Odette Abadi

Children were taken to a “depersonalisation” house where they learnt their new identities, drummed into them before they were sent into hiding.

Some of them were so small they couldn’t speak French or understand why their names had changed.

Some children hidden together would take turns sleeping, terrified they would reveal their real identities as they slept.

“We had to teach them 10 times,” Odette recalled in an interview.

“They carried secrets that were too heavy for children,” Moussa said.

Daniel Czerwona-Jagoda was one child hidden by the network, placed in a convent at the age of five.

When the war ended, his father searched Nice for weeks by bike, looking for his son at each convent in the city.

He finally found his son thanks to a Polish nun.

“Yes, Daniel is here, but his name is now Daniel Blanchi,” she told him.

Now 84, Daniel wrote poetry later in life and signed it with three surnames — Czerwona-Jagoda, Blanchi and Chervonaz. The last he chose as an adult, fearing another war may break out.

“Odette and Moussa, I was really touched by what they did,” his daughter Sarah told The National.

She paid tribute to the couple and her father in a show inspired by his life and childhood memories, where “small children had to act like grown-ups. Little, by little, they had to change who they were because their lives were on the line”.

Despite his experience, her father has taught her to be positive, that you must always move forward, but his experience has stayed with him.

“There were little flashes,” Sarah says. “If we had to be quiet, we had to be completely quiet and still. It was as if it could endanger the whole family, that there might be a knock at the door.

“But there was always a reason, never a complaint. It was never negative.”

‘You owe us nothing’

The Catholic church gave Odette and Moussa false titles to allow them to escape arrest and visit children hidden across the diocese.

Odette would call on the children, posing as a social worker, while Moussa remained at the bishop’s office making documents.

Only two children hidden by the network were arrested, after their hiding place was betrayed.

Odette saw them on a bus, and was shooed away by one of the children when she realised they were surrounded by plain-clothes police.

She was arrested two days later and deported to Auschwitz.

As a doctor, she worked at the camp clinic and was privy to many horrors out of reach of other inmates, trying to save sick prisoners from being chosen by Josef Mengele, who was known as the “Angel of Death” for his experiments on prisoners.

Odette was later sent to Bergen-Belsen until the liberation.

Moussa was left in Nice to run the network alone, also evading capture by the Nazis. He started going to Catholic Mass at a different church every few hours to try to stay under the radar.

After the war, Odette would confess she fared better than Moussa, saying it was sometimes harder for those who were not deported.

Moussa and Odette told almost no one of their heroic efforts that earned them several of France’s highest honours.

Moussa went on to become a renowned theatre radio critic and wrote two books on Jewish life in a Damascene ghetto, while Odette rose up the ranks in medicine and later worked at a school for deaf children.

They refused to speak publicly until they were in their 80s, when the stirrings of Holocaust denial began in France.

“When we meet hidden children again, the question they ask most often is, ‘How can we thank you?’” Moussa told the French Senate in 1995.

“My response will be brief. You have nothing to thank us for, because you owe us nothing. It is we who are in your debt.”

Odette Abadi, left, Moussa Abadi and friend Betty Saville in Paris in 1994. Memorial de la Shoah / Collection Odette Abadi

Moussa kept in contact with his family from Syria, visiting his cousin in Argentina where he confided in some family members of his wartime past but swore them to secrecy.

“I felt as impressed in the way one would if they spoke to Clark Kent. He was a superhero, a real superhero,” his cousin’s grandson Carlos told The National.

They only spoke about it because they felt they had to. He wanted to take it with him to his grave.”

Moussa’s health declined in the last years of his life, until he was almost blind. He died of stomach cancer in 1997.

Odette spent the last two years of her life collecting all of the documents, finishing the transcription of a book he dictated to her as his eyesight failed.

She died by suicide in 1999, writing that she had died along with Moussa.

“They were a couple of the kind we don’t see today,“ says Andree. “They loved each other. She did everything she could so his memory would endure. She always put him first.”

Andree now runs the “Friends and Children of Abadi” association, which serves to tell the story of the Marcel Network.

“Because Odette and Moussa had never said anything, no one knew about them. We want to continue their memory and that of the Holocaust. As long as I’m able, this is what I will do.”

source/content: thenationalnews.com (headline edited)

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Moussa Abadi at his office in Nice in 1947. Memorial de la Shoah/Coll.Odette Abadi

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SYRIA

SAUDI ARABIA Stages 1st Ever ‘Biennale for Islamic Art’ in Jeddah

Jeddah’s inaugural Islamic Arts Biennale celebrates the legacy of Islamic art in a place close to Makkah, the fountainhead and cradle of Islam.

Saudi Arabia witnessed a historic moment with the opening of the inaugural Islamic Arts Biennale, which presented historic and contemporary works of Islamic art from around the world.

On the evening of Jan. 22, the Western Hajj Terminal at King Abdulaziz International Airport in Jeddah was filled with crowds of people waiting in eager anticipation. This was not the usual throng of pilgrims that use the terminal each year to travel to Makkah for the annual Hajj pilgrimage, but one awaiting the beginning of another voyage — a metaphorical one into the realm of Islamic art through the first-ever Islamic Arts Biennale hosted by the Kingdom. 

The crowd gathered under the impressive canopies of the Hajj Terminal, designed by Skidmore, Owings & Merrill, which won the 1983 Aga Khan Award for Architecture.

The biennial event, which includes many newly-commissioned and never-before-seen works of art, marked a historic moment not just for Saudi Arabia and the Diriyah Biennale Foundation that staged the event, but for the legacy of Islamic art, which has witnessed hardly any large-scale international exhibitions since the 1976 World of Islam Festival in London.

Jeddah’s inaugural Islamic Arts Biennale celebrates the legacy of Islamic art in a place close to Makkah, the fountainhead and cradle of Islam, while forging a dialogue between the past, present and future through contemporary artworks by 60 established and emerging artists from Saudi Arabia and around the world, and with over 60 new commissions and 280 historical artifacts. 

The effect is illuminating, mystical and enlightening in that this biennial, like its theme “Awwal Bait” which means “First House” in Arabic, celebrates the beauty and heritage of Islamic art in the birthplace of Islam.

“The Islamic Biennale, staged in this location at the Western Hajj Terminal, has meaning and anticipation for the future,” Saad Alrashid, a leading Saudi scholar, archaeologist and one of the curators of the event, told Arab News.

“Jeddah is the gate of the Haramain and has a deep history. There is an accumulation of strata of civilization in Saudi Arabia and throughout the ages this area was the crossroads of civilization between East and West and up to the North. Staging the Islamic Biennale here presents to the world the idea of connection between all Muslims and everybody that comes and goes from Saudi Arabia geographically, historically and politically.”

In the same vein, the theme “Awwal Bait” explores how the Holy Kaaba in Makkah and the Prophet’s Mosque in Madinah aim to inspire Muslims both culturally and metaphysically to explore their sense of belonging and ponder the definition of home.

“At its core, the Biennale is about giving contemporary objects a home by giving them a lineage and giving historic objects a home by giving them a future,” Sumayya Vally, artistic director of the Biennale, told Arab News. 

“Seeing the Biennale come to life through the voices and perspectives of our artists has been profound,” she added. “Each of them has boldly and sensitively taken on the opportunity of this platform to contribute to an emerging discourse on Islamic arts that we hope will continue.”

Staging the Islamic Arts Biennale was the result of a global effort. More than 18 local and international institutions, including the General Presidency for the Affairs of the Two Holy Mosques, alongside artifacts loaned by other prestigious international institutions with an interest in Islamic Arts, such as Benaki Museum in Athens, the History of Science Museum at the University of Oxford, the Louvre in Paris and the Victoria and Albert Museum in London.

The Biennale was curated by a multi-disciplinary group of specialists, including Omniya Abdel Barr, an Egyptian architect and Barakat Trust Fellow at the V&A, and Julian Raby, director emeritus of the National Museum of Asian Art at the Smithsonian Institution in Washington, DC.

“It was challenging to find objects that have survived that were made in Makkah and Madinah,” said Abdel Barr to Arab News. “We searched within collections to see how we could create a conversation between historic objects while also keeping in mind the contemporary context and this was the most interesting part.”

Regionally, the Diriyah Biennale Foundation has secured loans for the exhibition from institutions such as the King Abdulaziz Library, the National Museum, King Faisal Center for Research and Islamic Studies and King Saud University — all in Riyadh — and Makkah’s Museum of Antiquities and Heritage, the General Presidency for the Affairs of the Two Holy Mosques and Umm Al-Qura University. From the wider region, works have been loaned from the Al-Sabah Collection and Dar Al-Athar Al-Islamiyyah in Kuwait, the Museum of Islamic Art, Cairo, and the Museum of Islamic Art, Doha, among others. 

The viewing experience is mystical, like a pilgrimage in itself. It begins in darkness with American Lebanese artist Joseph Namy’s commission “Cosmic Breath” presenting recorded calls to prayer from countries around the world played together, working as if in unison with the installation across the room by Saudi artist Nora Alissa, titled “Epiphamania: The First Light,” which depicts various black and white shots of pilgrims around the Kaaba shot impressively from beneath her abaya. Nearby is an Islamic astrolabe that is positioned towards Makkah. The trio of works mark the first example in the carefully curated show, demonstrating the dialogue generated from historic and contemporary Islamic works of art.

The structure of the Biennale is divided into four galleries and two pavilions that house artworks regarding daily Islamic rituals and Hajj. These sections intend to evoke both personal and collective emotions about the spiritual life of Muslims around the world. 

Large-scale, newly-commissioned works are found outside around the terminal’s expansive and evocative canopies, amid rays of sunlight and views of Jeddah that periodically include airplanes taking off high into the sky. The works outside communicate with nature and the Aga Khan award-winning architecture of the terminal itself.

Outside are also the pavilions of Makkah and Madinah, which present material from the Two Holy Mosques, Masjid Al-Haram and from the Hujra Al-Sharifa in Madinah. The focus here is on the initial journey that the Prophet Mohammad and his followers took from Makkah to Madinah to escape persecution. The objects on display, once again a mixture of historic and contemporary, shed light on the sense of universal belonging that ensues from the Muslim pilgrimage and journey home afterward.

Surrounding the pavilions are works by artists including Dima Srouji, Shahpour Pouyan, Moath Alofi, Reem Al-Faisal, Alia Farid, and Leen Ajlan. 

Of note is Bricklab’s architectural installation “Air Pilgrims Accommodation 1958” inspired by Jeddah’s historic Hajj housing, which Vally describes as a site that “gathered people from all over the world to stay in one place — a place for cultural production and trade.”

“The idea emanating from the works outside is for them to generate invitations for gathering, for discussion and exchange,” Vally told Arab News.

This is reflected in Tanzanian artist Lubna Chowdhary’s “The Endless Iftar” which is a 40-meter-long table inspired by rituals of eating and gathering from around the world during Ramadan.

Also positioned outside is “My Place is the Placeless” by Iranian London-based artist Shahpour Pouyan, presenting three large-scale differently colored architectural domes that represent the three major traces in the artist’s DNA after he took a test that revealed his origins go beyond his native Iran to include Scandinavia, Central and South Asia, and the Middle East.

“It’s about human interconnectedness in an effort to break down ethnic labels and identities,” Pouyan explained to Arab News. 

Like the other works on show, Pouyan’s work reflects not just on Islamic culture but on its universality, its ability to connect beyond the Middle East and offer a unifying force that goes beyond religion, nationality and culture.

As Alrashid states: “Islam is a communication of knowledge and culture.”

He added: “Since the 2030 Vision we sense that we are more welcoming just like the Makkans in the past welcomed visitors during Hajj.

“We are showing the whole world how they can enjoy Islamic art,” he said. “The Biennale is not just an exhibition or something from the past — it continues through culture, through integration with the multiculturalism of Muslims.”

Perhaps the most powerful theme of the exhibition is the idea of Islam and its art across the ages as a physical and metaphorical unifying element that continues to connect diverse cultures and people throughout the world. It is also a way, as Vally stressed to Arab News, “to define what it means to be Muslim from our own perspective, through our own art and culture to the rest of the world and to show how Islam has the power to unite us all, even non-Muslims, through its history, traditions and spiritual practices.”

source/content: arabnews.com (headline edited)

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Ka’bah Door made by Shaikh Mahmoud Yousuf Badr for King Abdulaziz bin Abdulrahman Al Saud in 1947. (AN Photo by Ali Khamaj)

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SAUDI ARABIA