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InteGRATion into
GRATeFULLness
Singing&Sounding keeps me Sound
When I'm afraid, I trust in you
| 2007_04_10 |
lyrics:
Bible Psalm 56 |
tune: Christa-Rachel Bat-Adam August 1986 when my mobile home parked at Kfar Truman on the field of a family which trained dogs- also my dog Maya |
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When I'm afraid, I trust in you, what can flesh do to me, walking to-and-fro before God's eyes in the light of life. In God I trust , I'll not be afraid, what can Man do to me, walking to-and-fro before God's eyes in the light of life. |
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"....Manifestation is meant to be
a playground
where being and doing are fun..."
[Godchannel,
Second Interview with the Folks]
Since Mika's thread has reached
SongGame 2007_03_17,
I've been creating a more comprehensive composition than before:
Not only a sculpture made up of Mika's personal, individual being ~ playing
~ living
but a composition of the major experiences of her family - on this planet
- at this time.
April 15, 2010 [4th page]
The 46th anniversary of my and Mika's father's immigration to Israel
and the 19th birthday of Jonathan, my daughter Ronnit's firstborn
and Elah, my eldest grandchild, playing the main role in a sad show.
[See "sursis
pour l'orchestre - orchestra on probation" , October 2009
at the bottom of the entry page to the AUschwitz-BirkenAU
Retreat in November 2003]
Elah's Performance "Orchestra under Condition"
at Beit-Zwi on April 15, 2010
the 46th anniversary of my and her father's immigration to Israel 1964.
In the hallway photos of the real persons were exhibited;
Fanya Fénelon, played by Elah, and Alma Rosé, the niece of Gustav
Mahler
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My first picture - the train (Elah is to the
left) - was taken by error with a flash. This, of course, was not allowed
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When we drove Elah home to her mother's, she informed
us:
"The entries of the Nazis must always be improvised!
We - the actresses of the inmates - should never know,
where the blows and other tortures would come from.
I am lucky , if I'm not killed and carried away as a corpse,
as "happened" to one of us during one of the performances.
When I expressed my absolute shock, she agreed with
me:
"Yes it develops some criminal attitude,
but if the Nazi actors' words and actions would be in the script,
we "inmates" would no longer feel anything and not really play."
I still couldn't understand, why the audience should
be unaware of this.
"They, too, should not be sure of what to
expect, in order to FEEL!"
See the scene below, which shows, what was improvised with Elah/Fanya ...
2 days later, during my Shabbat phone-talk with my
friend Yanina,
a holocaust survivor who has never really healed from that terror,
which is now induced in those young Israeli actresses artificially,
had an inspiration , why this "rule of the game"
was necessary:
"It makes those actors understand,
that in the fitting situation every human being can become a monster!"
"Yes", I said,
"this is true.
But this demands, that the audience should be informed of this rule!"
Immanuel: "I am
in the second plane, Boeing 777 
From
a video, which I discovered already at 2 PM when Immanuel was
just leaving the airport
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The
next day I sent Immanuel images which I had cropped from the video together ! with images from Elah's performance and asked more questions: 
Immanuel answered:  |
Alma Rosé, the capo and conductor, talks to Fanya/Elah
The SS-Woman with the "orchestra", Alma behind
her, Elah to the right
6 days later: Elah's father in the second Boeing of the air-show of El-Al on Independance Day
The Kapo Sarah, not Jewish, but imprisoned because she dealt
on the Black Market,
has the priviledge of more and better food, while her inmates practice music
 Fania (Elah) with the conductor-Capo Alma Rosé, and with the SS-woman |
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Always someone is standing next to the door to warn.
In this case it is the Polish capo who warns, that an SS-man will enter
On this day, the monster turns against Fanya and her friend
(both half-Jews):
Fanya's friend has to hold the monster's hat and feel his pistol on her forehead.
If Fanya whom he commands to sing "Madame
Butterfly" will not do well, then ...
Alma, the conductor, tries to befriend Fanya/Elah.
Here she ask for a massage against her headache
The SS-woman demands from Fanya to teach her a lullaby,
since she has "adopted a sweet little blonde boy" as her own,
who has difficulties falling asleep.
Elah had asked me already months ago to teach her a lullaby,
So I taught her, what
I sang to her father, when he was little,
and what I sang in
the Childrens' Block
at the AUschwitz/BirkenAU Retreat in Nov. 2003
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S'hot der windl sich gestillt, |
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The wind has calmed down now Do not fear you destiny, Whoever knows of trouble and pain, |
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Elah later said: |
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Immanuel - to the right - was visible on the news in
Channel 2 and Channel 10, when the director of El-AL was talking on April
20, 2010, the Day of Independence
It is said - in the English article above - that in
Fanya Fenelon's book "the orchestra women are often depicted as laughing
hysterically over gruesome sights"
See, how the inmates "sleep", while Alma,
who'll soon die a mysterious death, talks to Fanya/Elah
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My answer to a letter from Karin Guth, the
wife of Michael, my late brother Eberhard's
son, who was sent to "Fort
Rucker" in Alabama by the German army, May 2, 2010, Liebe Karin, Weil also in Siegfried Guth's Enkel Generation in
jeder der drei Familien ein Flieger ist (Wolfgang zumindest als Hobby),
moechte ich Euch diesmal an einem Ereignis teilnehmen lassen, das
mich stolz machte. Du siehst die Bilder... Nach Jahren des Versuchs, mit seiner unglaublichen
Kreativitaet auf dem Gebiet der Multimedia, auch genuegend Geld zu
verdienen -um den Konsumgeluesten (ich richte!) seiner und seiner
ersten wie zweiten Frau nachzukommen - hat er dann - vor , glaube
ich, 5 Jahren die sehr schwere Ausbildung zum El-Al Piloten begonnen,
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Immanuel's Boeing 777
See another composition of Elah's show on the one hand and her father's show on the other hand
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Continuation of Mika's
"Heaven-on-Earth" , in March 2010, on the Song page of April
11, 2007 |