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Part 3 is a documentary that captures fragments of our visits to these sites.

My father revisits and re-enacts moments from his past, bringing long-suppressed memories to the surface. In one scene, inside a cattle wagon, he relives his journey to Auschwitz sixty-five years earlier, and seems to enter a trance-like state. The film also reflects my own questions and struggles with Jewish identity.

 

The photographic work was inspired by the philosopher, Theodor Adorno,

who argues that art must continue after Auschwitz. Its message is a hope

that humanity will continue to overcome its struggle with what Auschwitz

symbolises — the ongoing darkness in our world.

 

Dancing Auschwitz was driven by a desire to create a new language for engaging with the

Holocaust. I felt that many, especially younger generations, were becoming

desensitised to its story and images. I wanted to wake up the world to the lessons of genocide and to confront the dangers of prejudice and collective intolerance.

 

When questioned about the work’s appropriateness, my father said: ‘The

dancing was very important because today we are alive. We survived. We were

dancing to the song of survival. We also prayed for the dead at the camps before we

danced.’

 

My mother simply said: ‘We came from the ashes, now we dance.’