![]() She was a Jew of Austrian, Hungarian, Czech, and Polish ancestry. Lillian Rose Vorhaus was born on October 24, 1898, in Manhattan, New York City. It was renamed OrigamiUSA in 1994 and remains the nation's main origami organization, with many regional branches. In 1980, she and her colleagues established the non-profit sister organization The Friends of The Origami Center of America. She started informal lessons in New York City, dubbing the group "the Origami Center". ![]() In 1958, Oppenheimer and her art form received widespread publicity across the United States after The New York Times ran an article about her. ![]() She began corresponding with prominent figures in origami such as Akira Yoshizawa, and, with Lourie, began to teach it professionally. When she read Robert Harbin's Paper Magic (1956) in 1957, it changed her perception of paper folding (origami) from an isolated pastime to an art form in its own right. She only picked it up again as a hobby with her friend, Frieda Lourie, in 1953. In 1928, Oppenheimer entertained her sick daughter with a paper folding book. She adopted the Japanese word origami instead of the English paper folding, and the foreign term became established in the English language due to her efforts. Becoming a leading figure in the art form in her later years, Oppenheimer is credited with popularizing it in the United States. Lillian Vorhaus Oppenheimer ( née Lillian Rose Vorhaus, formerly Lillian Vorhaus Kruskal Octo– July 24, 1992) was an origami pioneer from New York City. Thus Jack’s love for, rejection of, and reunification with his paper animals mirrors his love for, rejection of, and reunification with his Chinese heritage.The Friends of the Origami Center of America (co-founder)ĥ, including William, Martin and Joseph Kruskal The letter inside Laohu reconciles Jack to his mother and his Chinese heritage: he writes the Chinese character for ai, meaning love, all over the letter, refolds the letter into the shape of a tiger, and tenderly carries it home with him. It explains his mother’s childhood in China and how, after Jack’s birth, he made her feel connected to the homeland and family she had lost. Laohu contains a letter that Jack’s mother wrote to him before her death. At the end of the story, Jack reconnects with his Chinese heritage through the intervention of his childhood paper tiger, Laohu. By boxing up his paper animals, Jack is figuratively “boxing up” his Chinese heritage to assimilate into American culture. In response, Jack demands his mother speak English and boxes up his paper animals. A neighborhood boy, Mark, calls Jack’s paper animals “‘trash,’” insults his mother, and subjects him to racist bullying. As he grows older, Jack pushes his Chinese heritage away. When he is young, he has an uncomplicated, positive relationship with both: he happily plays with the paper animals and speaks Chinese with his mother. Throughout “The Paper Menagerie,” Jack’s relationship to the paper animals tracks his relationship to his Chinese heritage. Thus, the paper animals literally travel between Jack in America and his ancestors in China. His mother then folds the letter into a crane, animates it, and sends it flying to her own parents’ graves. When Jack is a child, he helps his mother write letters to her dead parents back in China. The paper animals are an artisanal specialty of Sigulu Village, where Jack’s mother grew up in China she learned to make them and animate them with her breath from her own mother. In “The Paper Menagerie,” the paper animals that Jack’s mother makes for Jack symbolize his Chinese heritage.
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