The Founding Contexts of Kibbutz Museums and the Case of the Mishkan Museum of Art, Ein Harod
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GALIA BAR OR THE FOUNDING CONTEXTS OF KIBBUTZ MUSEUMS AND THE CASE OF THE MISHKAN MUSEUM OF ART, EIN HAROD Abstract by the few who were ‘obsessed with the idea.’ ”2 Thus, This article surveys the circumstances in which kibbutzim built for example, the establishment of the art museum at museums between the 1930s and the 1960s. It focuses on the Kibbutz Ein Harod in the late 1930s was explained two largest kibbutz movements and their divergent attitudes by the vigorous activity of the charismatic local art- to the founding of museums, to art, and to the role of artists ist Haim Atar (1902–1953), (fig. 1) who conceived, in society. In particular, this paper examines the case history struggled for, and finally succeeded in establishing the of the first art museum to be built in a kibbutz—at Ein Harod, museum. In her study on Israeli museums, Kol-Inbar the birthplace of the largest kibbutz movement, the Kibbutz identified such “obsessed” individuals among the first Meuhad. This movement envisioned and promoted a “city/vil- and second generation of founders of museums in lage” form of habitat where agriculture and industry, manual Eretz-Israel, and the conclusions of her study are in line and intellectual labor could co-exist. The article’s analysis of the social construction of space shows how the dynamic with the spirit of the Zionist ethos that informed these network of diachronic and synchronic contexts structures museums. In her study she described the dynamics of the potential meaning of a particular museum, its status and how museums were established as parallel to the way eventually, its fate. Zionism as a whole came to be realized, from an idea to a deed that “was borne on the shoulders of the pioneers Keywords who built this country from nothing, with an abun- kibbutz, museum architecture, art, Jewish art, Ein Harod, col- dance of impetus, devotion, ideals and sacrifice of the lections, Israel, Diaspora individual for the collective.”3 The generally accepted narrative of museum history in Israel as initiatives of a Museum-Building and the Paradigm solitary pioneer echoes a prevalent Zionist narrative of of the Dedicated Founder the heroic individual overcoming numerous obstacles. Yet, history bears out a different story. In two diver- It is an interesting fact that Israeli museums were first gent museum-building projects in Israel, that I consider established in kibbutzim at an earlier stage and on emblematic of broader trends, it appears that in the a relatively broader scale than in the urban centers. absence of a supportive local public context, all the Between the 1930s and the late 1960s, more than 50 efforts of a dynamic individual, even one “obsessed museums were established in kibbutzim—mostly with the idea,” were not sufficient for the establishment museums of nature and archeology, but also several and sustainability of a museum. The first example, of art museums and museums for Holocaust research.1 an “obsessed individual” with a vision is Abba Kovner Discussion of the phenomenon of museum-building (1918–1987), a charismatic poet and thinker, who man- in kibbutzim has often centered on the actions of a aged to implement his ideas but not as he envisaged dedicated founder. In a pioneering study on museums them fully. Kovner had been one of the leaders of the in Israel before 1948, Yehudit Kol-Inbar, the admin- Vilna Ghetto uprising, and during much of his life he istrator of the Museums Department at the Ministry engaged tirelessly in drawing up plans for museums. of Education and Culture from 1972–1994, wrote that Kovner’s lifelong wish was to establish—within the the founding of museums in Israel “was determined framework of his movement, the Kibbutz Artzi of 2 Yehudit Kol-Inbar, The History of the Museums in Eretz-Israel 1 See Yehoash Biber, A Guide to Museums in Israel, (Jerusalem: Before the Establishment of the State, as an Expression of the Zionist Ministry of Culture and Education, 1966), (in Hebrew). Vision (MA thesis, Jerusalem: The Hebrew University, 1992), 167. (in Hebrew). 3 Ibid. © Koninklijke Brill NV, Leiden, 2016 IMAGES Also available online—brill.com/ima DOI: 10.1163/18718000-12340058 2 Galia Bar Or | DOI: 10.1163/18718000-12340058 Fig. 1. Haim Atar beside one of his self-portraits, 1930s, photograph. (Courtesy of the Archive of the Mishkan Museum of Art, Ein Harod). The Founding Contexts of Kibbutz Museums | DOI: 10.1163/18718000-12340058 3 Hashomer Hatzair—a museum that would focus on Kurczak, a comrade of Kovner’s in the ghetto uprising the heritage of the Zionist youth movements, their and a member of another Hashomer Hatzair kibbutz, sources (Jewry and Judaism), and their resilience dur- Ein Hachoresh, complained: “It is maddening that we ing the Holocaust period. During the 1950s Kovner are the only movement that doesn’t have a memorial began planning such a museum, which he wanted to site.”5 The historian Dina Porat observed “the puzzling establish in the movement’s center for studies Givat disparity between the fervor with which the leaders of Haviva. Kovner sought to develop an innovative way the Kibbutz Artzi spoke about the heroism of the Jew- of translating content into visual displays, different ish resistance fighters during the Holocaust and their from the method of documentation and reconstruction incessant dithering about establishing a memorial site.”6 that had been employed in the Ghetto Fighters’ House The Ghetto Fighters’ Kibbutz, on the other hand, (Kibbutz Lohamei Haghetaot) and at Yad Vashem. 4 offers a more successful model in establishing a Yet, unfortunately, Kovner did not realize his dream of museum on kibbutz grounds. Yitzhak Cukierman building a museum at his dream site in his kibbutz com- (Antek) (1915–1981) was one of the leaders of the War- munity and his kibbutz movement. Kovner kept trying saw Ghetto Uprising, and a friend of Kovner’s. Both of to realize his project for the rest of his life, frequently them arrived in Palestine in the same period. Only a changing its form (he drew up sixteen alternative plans few years later, in 1949, he was among the founders of for a museum). As history would have it, over the years, both the Ghetto Fighters’ Kibbutz and of the institute many of his ideas were implemented in museums for Holocaust documentation and commemoration, the that were built in Israel and abroad (on his initiative Itzhak Katzenelson Holocaust and Jewish Resistance or that of others), but he died in 1987 without having Heritage Museum, which is still known as the Ghetto been able to implement his vision at his movement’s Fighters’ House Museum (fig. 2). The establishment of center in Givat Haviva. Soon after his death Rozhka this museum became possible not only because of the Fig. 2. The inauguration of the new building of the Ghetto Fighters’ House Museum, 1958, Israel, photograph. (Courtesy of the Ghetto Fighters House Museum’s photo archive). 4 Kovner said the displays at the Ghetto Fighters’ House and at 6 Ibid., 314. On the diverse positions of the three large kibbutz Yad Vashem were “a collection of horror scenes” dispersed sche- movements on the question of settling the survivors of the Holo- matically in various galleries. See Plan 1961, Givat Haviva Archive caust (whether to disperse them among the movement’s kibbutzim 3.10.7–40:2 (in Hebrew). or to establish a kibbutz of their own) and also on the subject of 5 Kurczak was referring to the memorial site of the Ihud Hakev- memorialization, see Adi Portuguezi, The National, Political and utzot Vehakibbutzim movement at Kibbutz Tel Yitzhak, established Social Characteristics of Hashomer Hatzair members of the Moreshet in 1971, and incorporating a museum, a library, and extensive Group 1963–1973, MA thesis (Ramat Gan: Bar-Ilan University, 2003), educational activity. See Dina Porat, Beyond the Material: The Life 27 (in Hebrew). of Abba Kovner (Tel Aviv: Am Oved, 2000), 327 (in Hebrew). 4 Galia Bar Or | DOI: 10.1163/18718000-12340058 initiatives of an individual “obsessed with the idea”—in ods of mobilizing collective endeavor, and its own this case Cukierman—but first and foremost because characteristic life-style. The differences between the the particular kibbutz movement that he belonged movements are discernible in matters such as the to (the Kibbutz Meuhad) considered it important to building of monuments, the production and use of include the memory of the Holocaust and the revolt posters, the publication of books, the propagation of into its system of symbols. The movement’s decision memory narratives, and the founding of museums. to hold an annual assembly at the museum building to To some extent, these variant movements shared commemorate the Ghetto fighters was avant-garde, pre- some ideas about the form that museums should take. dating the Knesset’s 1953 resolution to mark an annual For example, natural history and archeology museums Holocaust and Heroism Remembrance Day by two years. were established in all four major kibbutz movements. The idea of linking the Holocaust Remembrance Day The proliferation of museums of nature and archeol- with the uprising was conceived by the Kibbutz Meu- ogy in kibbutzim may be explained by the spirit of had movement’s leadership who, in the same symbolic the time: archeology became a meaningful tool for spirit, had earlier set the groundbreaking ceremony for the project of nation-building. Circles were formed to Kibbutz Lohamei Haghetaot on the sixth anniversary of study local archeology as a form of “Knowledge of the the outbreak of the Warsaw Ghetto Uprising. Land” (‘Yediat ha-aretz’), and local excavations yielded From these two examples, it seems then that insti- collections which were exhibited and which gradually tutional, ideological, political and social contexts are grew into museums.