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» Elise Mirna Legziel

Elise Mirna Legziel

Country of departure: Libya

TRAME considers “country of departure” to be the North African or Middle Eastern country where the interviewee lived for most of their life before arriving in Italy, in accordance with the archival criteria adopted by the CDEC.

Country of birth: Libya

Year of birth: 1939

Age at arrival in Italy: 10 years old

She leaves the country of origin for political reasons

The arrival in Italy involved one or more intermediate stops

She arrives in Italy with family members

The map follows the movements of the interviewee, ending the year after their arrival in Italy
Portrait of Noemi Legziel holding her daughter Mirna. Benghazi, around 1941. Archives CDEC Foundation
Portrait of Noemi Legziel holding her daughter Mirna. Benghazi, around 1941. CDEC Foundation Archives

Elise Mirna Legziel was born in Benghazi in 1939, into a Jewish family with deep roots in Libya, but with historical ties to the Jewish communities of Livorno and Istanbul. In a context marked by colonial rule, the family embraced Italian culture while holding French passports, which they had acquired in the nineteenth century through their commercial relations with France.

Saul and Noemi Legziel with their daughter Elise Mirna Legziel. Tel Aviv, December 1942. Archives CDEC Foundation
Saul and Noemi Legziel with their daughter Elise Mirna Legziel. Tel Aviv, December 1942. CDEC Foundation Archives

Elise Mirna’s early years were marked by instability and uncertainty. Her birth coincided with World War II, which disrupted the country. The situation for Jewish communities worsened with the introduction of fascist racial laws, which imposed increasingly severe restrictions and discrimination. Adding to this were violent military clashes that turned Benghazi into a battlefield, as the city was repeatedly contested between Italian and British forces. This atmosphere of danger and instability forced the Legziel family to leave Libya in search of safety abroad. In 1941, the family followed the retreating British army to Egypt, staying first in an assembly camp in Alexandria, then in Cairo, and eventually moving to Palestine.

We lived in Tel Aviv, on Rehov Dizengoff, in a nice wooden shack

Elise Mirna Legziel: I was born at the end of 1939, just as World War II broke out. I know that in 1941, we fled Libya because the Germans were advancing, and the British were retreating toward Egypt. So, we followed the British. First, we went to Egypt, to Cairo, where we stayed for several months, and then to Palestine for nine months. We lived in Tel Aviv, on Rehov [Street] Dizengoff, in a nice wooden shack. Then we returned to Egypt, where my father contracted typhoid fever. After he recovered, we returned to Benghazi to see what had happened to our belongings and homes. We found our houses looted, but at least the buildings were still standing.

Mirna Legziel in the arms of a soldier from the Jewish Brigade. Benghazi, around 1945. Archives CDEC Foundation
Mirna Legziel in the arms of a soldier from the Jewish Brigade. Benghazi, around 1945. CDEC Foundation Archives

The Legziel family returned to Benghazi in 1943, after the Allies conquered Libya and the British occupation began. This period brought significant changes for the local Jewish community, supported by the arrival of Palestinian Jewish soldiers serving in the British army. These soldiers, along with international Jewish organizations like the Joint (American Jewish Joint Distribution Committee), played a crucial role in reconstructing the Libyan Jewish communities, providing aid to those in need and helping to reorganize social and religious life.

In addition to providing material aid, the soldiers organized educational programs, teaching Hebrew and promoting ‘aliyah (emigration to the Land of Israel) as part of the Zionist awakening. For a year, Elise Mirna attended a Jewish school that the soldiers had founded, but her parents later decided to enroll her in an Italian school, anticipating possible emigration to Italy.

Most of the Jews of Benghazi left in 1948

Elise Mirna Legziel: [My father] told us how ‘aliyah was organized because most of the Jews of Benghazi left in 1948, after the founding of the State of Israel, with the help of the Joint. Speaking of the Joint, I remember that after the war, when we returned to Benghazi and there was very little to eat, packages from the Joint would arrive with clothing and food: the famous Dutch Gouda cheese and cod liver oil, which all of us children were forced to drink. That horrible cod liver oil remedied many situations. I must say the Joint helped us a lot, as did the Sochnut [Jewish Agency]. The soldiers of the Jewish Brigade came to Libya to organize the mass aliyah of the Jews of Benghazi. I’m not sure how it was in Tripoli. They worked as quickly as possible because they understood that the longer Jews stayed there, the greater the risks they faced. Almost all the Jews of Benghazi left in 1948 —only two or three families remained, no more.

Jewish communities in Libya endured two devastating pogroms: one in 1945 and another in 1948. These events deeply affected the community and convinced many families, including the Legziels, to leave the country. In 1949, the family relocated to Italy, settling in Milan. There, Elise enrolled in the Jewish school on the Via Eupili, where she found a welcoming environment. Thanks to the support of her teachers and classmates, she integrated quickly and participated in the activities of Jewish scouting associations, which became an important touchstone in her life.

Related stories

How to read the data portraits
The data represented in the portraits include gender, age at arrival in Italy, decade of arrival in Italy, country of origin, reasons for departure, whether the journey included stops or was direct, and whether the person traveled alone or with family.

Gender and age at arrival in Italy

Female, age 0-9

Female, age 10-19

Female, age 20-29

Female, age 30-39

Female, age 40-49

Female, age 50-59

Female, age 60-69

Female, age 70-79

Female, age 80-89

Female, age 90-99

Male, ages 0-9

Male, ages 10-19

Male, age 20-29

Male, age 30-39

Male, age 40-49

Male, age 50-59

Male, age 60-69

Male, age 70-79

Male, age 80-89

Male, age 90-99

Decade of arrival in Italy

1940

1950

1960

1970

1980

Country of origin

Egypt

Iran

Lebanon

Libya

Syria

Tunisia

Reasons for departure from the country of origin

Politics

Economic

Study

Personal

Direct trip to Italy or with one ore more intermediate stops

Direct trip

With one ore more intermediate stops

She/He arrived in Italy alone or with family members

She/He arrived in Italy alone

She/He arrived in Italy with family members

What is a data portrait
A data portrait is a form of artwork that visually represents a specific set of data about an individual, rather than depicting their physical appearance like traditional portraits. Data portraits are subjective renderings that mediate between the artist’s vision, the subject’s data, and the audience’s interest (Donath et al., 2010).
Following this concept, the data portraits designed by Sara Radice specifically for the project TRAME allow for an understanding of a person through various data points, enhancing the viewer’s understanding of the subject beyond their physical appearance.

References and credits
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375-383. doi: https://doi.org/10.1162/LEON_a_00011.

The data portraits designed for this project draw inspiration from the data portraits projects designed by Giorgia Lupi, such as the physical installation “…Ma poi, che cos’è un nome?” for the CDEC Foundation at the Milan Triennale Museum in 2018 and the TED Data Portraits in 2017.

How to read the data portraits
The data represented in the portraits include gender, age at arrival in Italy, decade of arrival in Italy, country of origin, reasons for departure, whether the journey included stops or was direct, and whether the person traveled alone or with family.

Gender and age at arrival in Italy

Female, age 0-9

Female, age 10-19

Female, age 20-29

Female, age 30-39

Female, age 40-49

Female, age 50-59

Female, age 60-69

Female, age 70-79

Female, age 80-89

Female, age 90-99

Male, ages 0-9

Male, ages 10-19

Male, age 20-29

Male, age 30-39

Male, age 40-49

Male, age 50-59

Male, age 60-69

Male, age 70-79

Male, age 80-89

Male, age 90-99

Decade of arrival in Italy

1940

1950

1960

1970

1980

Country of origin

Egypt

Iran

Lebanon

Libya

Syria

Tunisia

Reasons for departure from the country of origin

Politics

Economic

Study

Personal

Direct trip to Italy or with one ore more intermediate stops

Direct trip

With one ore more intermediate stops

She/He arrived in Italy alone or with family members

She/He arrived in Italy alone

She/He arrived in Italy with family members

What is a data portrait
A data portrait is a form of artwork that visually represents a specific set of data about an individual, rather than depicting their physical appearance like traditional portraits. Data portraits are subjective renderings that mediate between the artist’s vision, the subject’s data, and the audience’s interest (Donath et al., 2010).
Following this concept, the data portraits designed by Sara Radice specifically for the project TRAME allow for an understanding of a person through various data points, enhancing the viewer’s understanding of the subject beyond their physical appearance.

References and credits
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375-383. doi: https://doi.org/10.1162/LEON_a_00011.

The data portraits designed for this project draw inspiration from the data portraits projects designed by Giorgia Lupi, such as the physical installation “…Ma poi, che cos’è un nome?” for the CDEC Foundation at the Milan Triennale Museum in 2018 and the TED Data Portraits in 2017.