Jew with a coin (Polish: Żyd z pieniążkiem), "Little Jews" (Polish: Żydki),^[1] or Lucky Jew, are images and figurines of Jews holding coins. The practice is widely considered to be offensive or antisemitic.^[2][3]

History

Research by Erica Lehrer, who curated the Souvenir, Talisman, Toy exhibit at the Ethnographic Museum of Kraków, shows that while figurines of Jews existed in the past in Poland the contemporary figurines connecting traditionally dressed Jews with coins is recent. Prior to World War II, Jewish figures were present in Christmas and Easter rituals and in particular in the Emaus Easter market fair in Krakow. During the communist era in Poland figures of Jews at work as well as suffering in the Holocaust were available for sale in the Cepelia  [pl] ethnic art stores. ^[1] According to Bożena Umińska-Keff [pl], while Jews were connected to money in the past in Poland, the rise of the coin imagery in post-communist Poland is not coincidental as Jews have become associated with success in the West.^[1]

In 2017 Rafał Pankowski, co-founder of the Never Again anti-racism organization, condemned the sale in the Parliament of Poland of "lucky Jew" figurines as "deeply rooted in negative stereotypes". Following Pankowski's condemnation, the figurines were removed from sale from the parliament 's souvenir shop.^[4][5]

Ethnographic analysis

According to historian and sociologist Alina Cała, three point of reference stand out in the figurines. The first is reminiscent of figurines in the traditional Emaus Easter fair, the second is black magic, whereas the third is the traditional antisemitic caricature of Jewish moneylender which was exploited in Nazi and Polish iconography. However, whereas classical moneylender tropes often presented assimilated Jews the current Polish figurines present Jews in traditional Orthodox dress.^[3]

According to Polish anthropologist Joanna Tokarska-Bakir, the figurines fill a role similar to the a series of other domestic demons - in this case protecting Polish homes that were "purified of Jews". According to Tokarska-Bakir, the placement of the figurines in the hall to the left of the doorway is the same as the placement of old Slav ancestors. Tokarska-Bakir that given that Polish society has enriched itself as a result of the "disappearance" of the Jews, the custom is grotesque - a demonism transformed into a triviality. Turning to Sigmund Freud's Totem and Taboo, Tokarska-Bakir contrasts the Polish custom with totemic religion which is the product of guilty sons attempting to atone for the founding murder of legendary horde leaders. Cast in this manner, Tokarska-Bakir considers the grotesque practice as less irrational - the protection of the home by the Jew who was expelled from the home being a twisted sign of moral initiation.^[6]

According to literature researcher Bożena Umińska-Keff [pl], the stereotyping of Jews in Poland is widespread, particularly so in the church. Umińska-Keff sees in the imagery and superstitions surrounding the figurines all the basic elements of antisemitism, and sees the figurines as part of a wider tradition of antisemitic images in Poland (Jewish wizards, Jews making blood from children, Judensau, Żydokomuna, etc.). Umińska-Keff ties the current figurines to the dispossession of the Jews by the Germans and Poles during the Holocaust.^[7]

According to Haaretz, murdered Jews were a source of enrichment for Poles who charged high prices for hiding Jews and plundered Jewish property., as detailed in the book Klucze i Kasa. According to Haaretz, The association of Jews with money may have risen from this process.^[1]

According to Simon Wiesenthal Center director for international relations Dr. Shimon Samuels, superstition lies behind the figurines. According to Samuels these are used as good luck charms by football fans who then blame the Jewish figurines if their team loses. Samuels likens the figurines to a phantom limb, as while only 20,000 Jews reside in modern Poland, the stereotypical Jewish figurines serve as an item that may be "scratched".^[8]

References