Hi-tech Dutch ID cards helped Nazis identify, exterminate Jews: What does that teach us about the ethics of technology & the choices we are making today?
I can, in part, blame my fascination for The Holocaust on reading too much of Leon Uris in my teen years. This fascination intensified on the trip to Berlin in 2014 and continues to be a theme of my explorations in Europe since. So this past weekend, on a loose limb on a Saturday morning, I decided to explore the Jewish Quarter in Amsterdam. The motivation was a listing for an exhibition titled Identity Cards and Forgeries: Jacob Lentz and Alice Cohn on the IAmsterdam page. On a recent trip to China, a PhD researcher had presented at a workshop we co-organized her preliminary research on documents and identity that mentioned the use of ID card forgeries to help migrants access services. That discussion played in my head, as much as the recent heated debate in India on privacy and misuse of information collected under the UIDAI project, popularly called the Aadhaar, which the Indian government is aggressively developing in the form of a universal identification system for the country. The Supreme Court of India is currently in the midst of hearing petitions that contend that the Aadhaar identification programme violates an individual’s fundamental right to privacy. A curious me arrived at the National Holocaust Museum and the exhibition did not disappoint!
Set in an oppositional format, the left half of the exhibition space showcased the work of Jacob Lentz who, as the head of the Dutch National Inspectorate of Population Registers, had been at the forefront of designing a highly secure and for the time hi-tech system of ID cards from 1936 onward. While Lentz and some of his colleagues seemed to have designed the system expecting every Dutch citizen carry an ID card, interestingly in March 1940, the Dutch government decided not to implement this system. Their reason? That it was contrary to Dutch tradition.
But of course the highly sophisticated, and virtually non-forgeable, ID card system was ready for the Nazi occupiers to use when the Netherlands fell to German forces post the bombing of Rotterdam in May 1940. The ID card system was brutally used by the Nazis to identify Jews (with a large J on the card itself), in order to initially curtail their civic rights and eventually deport them to concentration camps where they were largely exterminated in gas chambers. Lentz, as one of many bureaucrats who inadvertently aided the Nazi genocide, is cited as an example of Hannah Arendt’s famous Banality of Evil hypothesis, which highlights the absolute ordinariness of the human beings who perpetrate acts of evil merely by being complicit. Read in another way, one may say that the compliance of ordinary people under conditions of terror are sufficient to aid evil. Something we in India could keep in mind if we were ever to be on the scene of a horrendous rape, lynching or honour killing, all of which are alas becoming all too common!! I won’t go into the larger implications of the ‘banality of evil’ in the Indian context as manifested by, for example, widespread self-censorship in public life and social media in the face of a vindictive regime served by an army of online trolls. I have written on those issues before.
“The only thing necessary for the triumph of evil is that good men should do nothing.”
On the opposite side of the exhibit, was displayed the work of Alice Cohn, a German-Jewish graphic artist and member of the Dutch resistance who obsessively and often successfully forged these ID cards to help innocents escape. The work of the Resistance is marked by the very opposite of what I have discussed above, the involvement of ordinary people, often from the non-persecuted majority, in a commendable demonstration of altruism usually at considerable risk to themselves (on that note, check out this fantastic NatGeo piece on the psychology of altruism). Those stories reinforce our faith in humankind and at the end of the exhibition, I was left with a positive feeling despite the overwhelmingly “heavy” sense one has in a building that is dedicated to the memory of those persecuted and murdered during the Holocaust.
Alice Cohn’s story has a specific resonance with the history of the building that houses the Museum. One of her bravest acts was the use of a forged identity for herself to be able to walk into a creche, located next door to the Museum, and rescue the child of a Jewish couple who were her friends. The creche is where the children were kept before deportation, while the parents were crowded into the Hollandse Schouwberg, a theatre building on the other side of the street. The story is that Director of the non-Jewish School that was run in the Museum building, and the woman who ran the creche collaborated to smuggle out over 600 Jewish children to safety, out of the clutches of the Nazis and into foster homes where they grew up safe and sound. I held on to these stories of altruism even as I wept at the small but evocative collection of material artefacts from families who died in the Holocaust.
The Dutch Jews were concentrated in Amsterdam, and so this community was hit hardest by the Holocaust. About 107,000 Dutch Jews were killed in the concentration camps, some 5,200 survived while the Dutch Underground was successful in hiding 25-30,000 Jews and hence saving their lives. Among them were these 600-odd children who were aided by the school. Franz, the volunteer who narrated us the story, told us that though a few of the parents of these children did return from the concentration camps, they were “neither right in the body, nor in the head” and the reunions were almost as difficult as the separation. The impacts of extreme hatred and mass ethnic cleansing are often discussed in terms of death and annihilation. Sadly, in our world today, these words have become normalized. It would do us all well to remember that between living and dying are myriad states of pain and half-baked existence, the personal and social consequences of which are almost as unbearable.
The pall of the Holocaust hangs over Europe decades after. As the extreme conservatives rise over the continent and indeed the world, people worry and fret but alas, also forget. And evil has the chance to be banal again.
Remembering the poignancy of the ‘Fallen Leaves’, Judisches Museum, Berlin
Ah June! To be grounded while I could have been traveling the world…that isn’t a good feeling. But then, there’s nothing bad about it either. As much as travel is about moving around and seeing things in the flesh, it is also about making journeys of imagination, reliving past moments and recreating them for your own pleasure.
Last year in June, we were in Europe on an idyllic vacation. The city lover in me was taking my family through some of the most spectacular sites of urbanisation in the world- Amsterdam and Berlin. Traveling in these two cities has offered me some of the most poignant moments of my life. At 16, I remember visiting the House of Anne Frank in Amsterdam and being moved to tears by what I felt inside.
At 38, I had a similarly intense moment as I turned a corner inside the Judisches Museum in Berlin to be surprised by the spectacular work of art, Shalekhet or Fallen Leaves by Menashe Kadishman. I remember gasping in surprise as I saw before me a sea of faces cut out from sheet metal. Sad faces, agonised faces, screaming faces, horrified faces, faces of despair, blank faces, tortured faces…thousands of them right there before us stretching out to what seemed like infinity.
To put things in context, a visit to the Judisches Museum designed by architect Daniel Liebskind was on my to-do list. But I’d heard extreme reactions to the building and I didn’t know what to expect. This is a structure of blacks, whites and greys. It is stark and has used sheer walls of concrete to express a deep anguish over the fate that befell the Jews at the hands of Hitler and the Nazis. But what I liked most about the building were the unusual voids- triangular spaces, spaces out of proportion, spaces with giant cut outs, spaces of deep darkness and sharp pins of light, spaces that held me spellbound.
The Shalekhet occupied one such space, very very tall and extremely narrow, as if life and happiness was being squeezed out of it. I stood there spellbound. And then, the children started to walk out onto the fallen faces strewn on the floor. I remember making a sound of protest, reaching out to stop them. But they were following an older child and I soon realised this is what the artist intended. For us to hear the clanking of the metal as people walked over the faces of all those who suffered and died, to feel that tortured sound of being in chains, of being walked over, destroyed.
For some reason, the Fallen Leaves made me think of the innocent children all over the world who are victims of violence, not just war and terror, but also beaten inside their homes or emotionally abandoned.
We’re letting them down, I thought. A year later, I’m still stung by that thought.
Not a brick in this Wall: Profoundly affected by the Berlin’s history
Unmoved by Checkpoint Charlie, Udai marched off in the direction he had been told to, looking for tangible remains of the Berlin Wall. We found this spectacular piece of history just round the corner and along with it, an exhaustive exhibition about Berlin’s history starting from the early 1900s until after the World War II. I’m glad we came here that first day in Berlin as it helped set the tone for our experiences of the city.
To me fell the task of explaining the entire exhibit to Aadyaa. She can’t yet read, but she won’t be left out either! She patiently waited for me to read each panel and then listened to my translation. The exhibition (strategically set up amid the ruined foundations of one of the Gestapo’s important buildings and right alongside the Berlin Wall) affected all of us profoundly as it chronicled the peculiar circumstances behind the rise of the Nazi party in Germany. Against the backdrop of an economic slowdown, it seemed to be that the German people did not quite grasp the danger that was to come when they fell under the spell of Nazi thinking. The stark and totalitarian methods that Nazis used and the impacts of their fascism are hard hitting. It wasn’t the systematic extermination of the Jews that hit me so much because the Holocaust has been a significant part of fiction and non-fiction reading over the years. What really hit me is that the Nazis classified a whole bunch of people as out of the bounds of normal and these included the gypsies, the disabled, homosexuals and even the elderly and those with mental disorders. In their definition, a German had to not just be the correct race but also needed to be able-bodied citizens that contributed to their economy and power. One couldn’t help but see some parallels with some of the right wing talk around the world, not just in India where we have recently emerged battle-scarred after an emotionally exhausting election process (no, I’m not convinced about the ‘achhe din’ tag just yet!). The children’s reactions to this harsh narrative was notable. Udai was silent and thoughtful. Aadyaa’s interest and her clear identification of Hitler as the ‘bad guy’ both impressed and amused us.
We climbed up from the exhibition to finally walk alongside a section of the Berlin Wall. As an architect, I was taken aback by its thinness (it is built in concrete, hence the title of the post!). It appeared almost flimsy to me and yet must have been so formidably strong in the eyes of Berliners during the Cold War. The symbolism of the Wall makes visitors to it walk real slow. At intervals, you see holes in it, and its easy to imagine the crowds on either side tearing it down on the fateful November 9, 1989. It is an event I remember from my childhood, seeing the images on television and not quite grasping its full import. But now, seeing it in flesh and with the sun having come out and shining bright, I could appreciate a lot more. Most of all, the day’s experiences helped me admire the resilience of this amazing city and respect Berlin’s embrace of multiculturalism that I now understand as a way to counter its sordid, violent and divisive past.
More pics of The Wall ahead…