This week's headlines alleging that Israel offered to sell nuclear weapons to the apartheid regime in South Africa in 1975, reported in a new book and a report in The Guardian, come at a particularly bad time for the Jewish state.
Whether in “The Nose” or his stop-animation,
artist William Kentridge’s work is unmistakably Jewish.
The Museum of Modern Art’s new retrospective of the work of the South African artist William Kentridge is organized around five themes. “Themes” is something of a misnomer, though, since the five sections of the show coalesce around what might more accurately be described as “distinct bodies of work.” Either way, several themes (and certainly more than five) recur in many sections, with at least one being very hard to ignore: Jewishness, an omnipresent feature throughout Kentridge’s oeuvre.
'Nowhere in Africa," Germany's Oscar entry for this year's best foreign-language film, tells the story of a Jewish family that flees Nazi Germany only to find sanctuary in a different kind of inhospitable terrain.
In the film, based on Stefanie Zweig's best-selling memoir "Nirigendwo in Afrika," the Reidlich family (Walter, Jettel and their daughter, Regina) find themselves isolated on a dusty farm in Kenya, besieged by locusts and even detained as resident enemies by the ruling British. Their dislocation nearly breaks the family apart.
A first-time visit to South Africa, newly free of apartheid in the mid-1990s, was an eye opener for Rev. Linda Tarry-Chard.
Rev. Tarry-Chard, minister for interfaith relations at Riverside Church on The Upper West Side, was shocked by the poverty and the still-inequitable living conditions she saw in the townships where many of the country’s black citizens lived.