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Title A name given to the resource Audio Guide for <em>Women's Voices for Civil Rights</em> Subject The topic of the resource Legacies of Slavery Home Front Workers Veterans Immigration Description An account of the resource This audio guide includes an introduction and descriptions of each of the exhibit's eight panels. Creator An entity primarily responsible for making the resource Museum of History and Holocaust Education Source A related resource from which the described resource is derived Kennesaw state University Publisher An entity responsible for making the resource available Museum of History and Holocaust Education Date A point or period of time associated with an event in the lifecycle of the resource February 9, 2022 Contributor An entity responsible for making contributions to the resource Adina Langer Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource <a href="https://historymuseum.kennesaw.edu/exhibitions/traveling/womens-voices-civil-rights.php" target="_blank" title="Women's Voices for Civil Rights" rel="noreferrer noopener"><em>Women's Voices for Civil Rights</em> exhibit</a> Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Type The nature or genre of the resource Sound Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Before the War During the War After the War African Americans American Indians children civil rights civil war https://meethistory.kennesaw.edu/files/original/d763912152aa8c18cde84be0fe6b5630.mp3 4594eaa93127973929dd44ad6d677e4b https://meethistory.kennesaw.edu/files/original/d3de397bfc2ca2893f48f508e817ac37.mp3 1aadb795c906f5af688e1f7afc55fa2b https://meethistory.kennesaw.edu/files/original/c9b9ad3f41a9e4e1ebbf356f5455bdae.mp3 f67c7848341e374879fefb38468cbebb https://meethistory.kennesaw.edu/files/original/16c586f04332138585ce31e126541bca.mp3 3540d5fee653132f72bdfa7b7ad26aa6 https://meethistory.kennesaw.edu/files/original/bb64e77ead8915de9bff2b4a516346b5.mp3 3f3956a39a2adbe9e8ec048fc6fa6940 https://meethistory.kennesaw.edu/files/original/478b121408c7e3851044c86b891d50be.mp3 6ecc031b9a961e5cb06ce217ac5b03b6 https://meethistory.kennesaw.edu/files/original/b390c98909f495e82e8c2c8e34f15a8c.mp3 490ff28a5a27ec07fd68fcb9e156cc2c https://meethistory.kennesaw.edu/files/original/4805dc4d87c11f5c9bce00d5a42f1184.mp3 e7c814c31b5acd73cc0ca14d992b9998 https://meethistory.kennesaw.edu/files/original/87e8fabfdf75945bc5fb3c4feb7bc24a.mp3 04fd50eee8cbc210db8794d033358ee4 https://meethistory.kennesaw.edu/files/original/b9167c3923231955181134b0b36e402c.mp3 3de79e72a912cced1a1b45c31c126e44 https://meethistory.kennesaw.edu/files/original/35a2526f1fc21ed6ac585f9b56ac5ec9.mp3 abdfed8e8c9e297f2460da806d621e1a https://meethistory.kennesaw.edu/files/original/0c2b5a16d027fd89d43d8f7993810d57.pdf 585a7112004c866f5d99f123b30bb9c1 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Any written text transcribed from a sound Words, Music, Memory: (Re)presenting Voices of the Holocaust Is a ten-panel traveling exhibit. The design of the panels includes black title text on a purple background with a ribbon of five parallel orange lines running from the top of the panel, down and to the left of the title, above the subtitle from left to right, and then down the right side of the panel all the way to the bottom. The main body of each panel includes white text on a teal background and a captioned image and qr code on a purple background with a pattern of concentric ovals formed by light purple dots. Panel One: The title of the panel is Words, Music, Memory The subtitle is (Re)presenting Voies of the Holocaust. The letters r and e of re are enclosed in parentheses. The main body of the panel begins with a quotation. Quote: Memory has its own language, its own texture, its own secret melody, its own archeology and its own limitations; it is up to us to rescue it and save it from becoming cheap, banal, and sterile. End Quote. – Elie Wiesel, Days of Remembrance Ceremony, U.S. Holocaust Memorial Museum, 2003 Beneath the quote, the main body text reads: Commemoration is a process that involves witness, preservation, interpretation, and performance. This process calls upon human creativity, commitment, emotional connection, and contemporary context. Literature, music, and performance work together to open a window across space and time for generations to connect with one another. Yet, none of this would be possible without the words themselves. Writers choose to document their experiences for an imagined reader in the future. Their writing—whether poetry, diary entries, or memoir written later—bears witness to their unique place and time. Then, through readers, translators, archivists, composers, performers, and audience, it is transmitted and transformed. Each person along this chain breathes new life into the words. The result is living memory. In this exhibit, you will meet eight writers. Here, you will encounter their words and follow the links along the chain of commemoration. We hope you will emerge inspired to forge your own link in that chain that connects the past with the future. Beneath the main body text, there is a collage of color images of memorial spaces captioned: Physical memorials to the Holocaust work as a visual and spatial metaphor, often attempting to create a sense of the enormous scale of loss, disruption to the human landscape, and resilience of the Jewish people.Notice the techniques used in the Memorial to the Murdered Jews of Europe in Berlin, Wall of Remembrance at the United States Holocaust Memorial Museum in Washington, D.C., and the Garden of Stones by Andy Goldsworthy at the Museum of Jewish Heritage in New York, NY. Courtesy Bill Cunningham, Library of Congress, CMKalina, and Meg Stewart Moving from left to right, top to bottom, the images include a field of stone plinths with a city skyline in the background at sunset; a leafless tree coming out of small hole in a large stone; a view of four stones with leafy green trees rising from them; a group of ten stones with small trees rising out of them; a close-up of a field of stone plinths of differing sizes on cobblestone, with trees growing among them; and an interior image of a room with a very high ceiling, three visible walls covered entirely by framed portraits of individuals and groups with a doorway leading into a dark hallway beyond. Beneath this collage of images is the black logo for Kennesaw State University Museums, Archives, and Rare Books, Museum of History and Holocaust Education. The logo consists of an interlocking K and S outlined in black. Beside the logo is a QR code captioned: Connect here to access a digital gallery guide for this exhibition. Panel 2: Franta Bass Beneath the title is a bulleted list of biographical details including the following: • Born in Czechoslovakia, 1930 • Wrote in Theresienstadt Ghetto, 1942–1944 • Died in Auschwitz, 1944 • Poetry published in I Never Saw Another Butterfly anthology, 1994 Beside the list is a color illustration of Franta Bass as a young boy with dark hair parted on the side, light skin with rosy cheeks, and warm light-brown eyes. The boy is wearing a blue sweater over a white shirt with a purple tie. The artistic style is mostly realistic but includes some visible brushwork and a depiction of light on a gray background behind the portrait consisting of concentric lighted circles. Illustration by Julia Guevara. Beside the portrait is a poem: The Garden A little garden, Fragrant and full of roses, The path is narrow And a little boy walks along it. A little boy, a sweet boy, Like that growing blossom. When the blossom comes to bloom, The little boy will be no more. Words by Franta Bass, translated from Czech by Hana Volavková To the right of the poem is an image of the book cover for I Never Saw Another Butterfly: Children’s Drawings and Poems from Terezin Concentration Camp, 1942-1944. Expanded Second Edition with a Foreword by Chaim Potok. The book title is placed in a tan box with scalloped edges overlaid on one of the children’s drawings featured in the book. The drawing depicts a small village of tan-colored houses with red roofs set behind high walls, surrounded by green fields. The image is captioned: This collection, compiled by art historian Hana Volavková and first published in 1994, inspired choral works, plays, and song cycles, including "I Never Saw Another Butterfly" by Lori Laitman. Beneath the image caption is a QR code captioned: Connect here to learn more about Franta Bass and how his poetry was preserved, published, and performed. Panel 3: Selma Meerbaum-Eisinger Beneath the title is a bulleted list of biographical details including the following: • Born in Czernowitz, Romania, 1924 • Wrote in Czernowitz, 1939–1942 • Died in the Michailowka labor camp, 1942 • Poetry published in Harvest of Blossoms: Poems From a Life Cut Short, 2008 Beside the bulleted list is an artist’s portrait of Selma Meerbaum-Eisinger in which a female figure with closed eyes and her left hand supporting her cheek seems to emerge from a swirling purple mist. The figure has dark hair plaited into two braided buns on either side of her face and a white blouse with a black neckerchief. Illustration by Martha Hemingway. To the left of the portrait is a poem: : Lullaby Sleep my child, my comfort mine, / Sleep, and be done with your crying. / You see, in sleep all the world is yours, / So what's the sense in crying? Shut your eyes tight and at least sleep well, / Hear how the woods blow wild! / In sleep no hatred, no insult you'll get, / In sleep you're not feeling the cold. Sleep, my dear one, and smile meanwhile, child, / The river will sing you a song. / Sleep on, as the wind will be singing of joy, / Of lovely spring that's in bloom. Sleep on, my gold, and forget that which hurts, / Forget how gloomy's the day. / The night becomes bright when dreams take you up, / So sleep, my life, sleep away. Words by Selma Meerbaum-Eisinger, translated from German by Florian Birkmayer and Jerry Glenn To the right of the poem is an image of sheet music for the first song, “Lullaby” within “In Sleep The World Is Yours” song cycle for soprano, oboe, and piano, commissioned by Music of Remembrance, Minna Miller, Artistic Director, by Lori Laitman. The sheet music includes the first eleven bars of the song with piano accompaniment at the bottom and lines for oboe and soprano above. The words “Sleep my child, just fall asleep, please sleep and don’t cry anymore. Just.” are written along the soprano line. The sheet music is captioned: Notice how the translation of the poem is slightly different in this setting by Lori Laitman, 2013. Courtesy Classical Vocal Reprints Below the caption is a QR code captioned: Connect here to learn more about Selma Meerbaum-Eisinger, how her poetry was preserved, published, and included in a song cycle by Lori Laitman. Panel 4: Anne Frank Beneath the title is a bulleted list of biographical details including the following: • Born in Germany, 1929 • Wrote in Amsterdam, 1942–1944 • Died in Bergen-Belsen, 1945 • Diary published in Dutch, 1947, French and German, 1950, and English, 1952 • Translations in more than 70 languages as of 2021 Beside the list is a color illustration of Anne Frank as a young girl with dark blue-black hair, dark green eyes, pale skin, and a slightly buck-toothed smile. Anne is wearing a dark velvet dress with a starched collar and appears in front of a purple-hued background. Illustration by Julie Guevara. To the left of the illustration is a diary entry which reads: November 8, 1943: “I see the eight of us in the Annex as if we were a patch of blue sky surrounded by menacing black clouds. The perfectly round spot on which we're standing is still safe, but the clouds are moving in on us, and the ring between us and the approaching danger is being pulled tighter and tighter. I can only cry out and implore, ‘Oh, ring, ring, open wide and let us out!’” Words by Anne Frank, translated from Dutch by Susan Massotty To the right of the diary entry is a color stil from Anne No Nikki, 1995. Courtesy Madhouse. The image shows the figure of Anne in profile, seated at her writing desk in the room she shared in the “Secret Annex.” Anne is covering her face with her hands, her diary open in front of her. The walls of the small room are decorated with magazine pages and photos of movie stars, and light gently diffuses through the curtains that cover the window at the back of the room. Right beside the desk is a tiny bed covered with a green blanket. Another bed, neatly made with a checkered coverlet is directly behind Anne’s chair. Below the image is a QR code captioned: Connect here to learn more about Anne Frank and how her diary was preserved, published, and adapted for new audiences through dramatic interpretations including Anne no Nikki, a Japanese animated film with a classical soundtrack, first released in the United States in 2020. Panel 5: Eva Heyman Below the title is a bulleted list of biographical information including the following: • Born on the border of Hungary and Romania, 1931 • Wrote in Romania, February–May 1944 • Forced to live in Oradea Ghetto, May 1944 • Died in Auschwitz, October 1944 • Diary published, 1988 Beside the bulleted list is a color illustration of the seated figure of a girl, dark hair plaited into two braids. Her face is mostly obscured in a brownish fog. She is seated with one arm resting on her knee and one resting under her chin. In the foreground of the image, the front wheel and handlebars of a bicycle appear. Illustration by Martha Hemingway. To the left of the image is a text panel with two diary entries. April 7, 1944:"Today they came for my bicycle. I almost caused a big drama. You know, dear diary, I was awfully afraid just by the fact that the policemen came into the house." May 1, 1944:“Aha, that’s why we’re allowed outside only between nine and ten, because we’re being taken to the Ghetto. Dear diary, from now on I’m imagining everything as if it really is a dream. We started packing exactly those things and exactly in the quantity that Agi read in the notice. I know it isn’t a dream, but I can’t believe a thing. We’re also allowed to take along bedding, and right now we don’t know when they’ll come to take us, so we can’t pack the bedding. I’m busy all day making coffee for Uncle Bela, but Grandma drinks cognac. Nobody says a word. Dear diary, I’ve never been so afraid.” Words by Eva Heyman, translated from Hungarian by Moshe M. Kohn To the right of the text is an image in which the shape of a smartphone appears in the left with the words Eva.Stories What if a Girl in the Holocaust Had Instagram? The phone appears to be transparent, overlaid over a scene in a park with bear trees in which a girl wearing a blue berret and matching coat with a fur collar looks off to the left of the image. A yellow star has been sewn onto the right breast pocket of the coat. A color gradient from yellow to orange to pink to purple spreads across the entire image from left to right. The image is captioned: Eva.Stories promotion from the Webby Awards, 2020. Courtesy Monday.com Beneath the image caption is a QR code captioned: Connect here to learn more about Eva Heyman and how her diary was preserved, published, and adapted for new audiences through the creation of Eva.Stories, an Instagram video series premiered in 2019. Panel 6: Krystyna Zywulska Beneath the title is a bulleted list of biographical details including: • Born as Sonia Landau in Łódz´, Poland, 1914 • Taken to Auschwitz as a political prisoner under the assumed identity Krystyna Zywulska, 1943 • Wrote poetry in Auschwitz- Birkenau, 1943–1944 • Liberated, 1945 • Published memoir, I Survived Auschwitz, 1946 • Died in Dusseldorf, Germany, 1993 To the right of the list is a color illustration depicting a young woman with light skin and a bright toothy smile. Her light-brown hair is swept into a wavy up-do. She is wearing a bright green button-down top and the background behind her is bright yellow. Illustration by Julia Guevara. To the left of the illustration is a poem: Soldiers I do not need millions / Just paper and a pencil. / (And poetry, above all poetry.) / Letters are the only soldiers we need. An alphabet of warriors standing / Shoulder to shoulder. / Do not forget us when you get older. / An alphabet of warriors / Like us, standing Shoulder to shoulder / Threaded with the marrow of memory / Into lines of defense. / Shoulder to shoulder. / Do not forget us when you get older. Words by Krystyna Zywulska, translated and adapted from Polish by Gene Scheer To the right of the poem is a still image depicting a woman wearing a red dressing gown seated at a desk beside a recording machine. The woman has her mouth open wide to sing and her arms raised, hands beside her face. Behind her three people look on: a man dressed in a striped shirt with an upside-down pink triangle sewn on the left breast pocket and two women wearing headscarves and dresses with sweater-vests. A lighted lamp appears in the foreground on the left. The image is captioned: Opera star Caitlin Lynch (seated) portrays Krystyna Zywulska,with ghosts from her memories of Auschwitz in the San Francisco premiere of "Out of Darkness," 2016. Courtesy Music of Remembrance Beneath the image caption is a QR code captioned: Connect here to learn more about Krystyna Zywulska, how her poetry and memoir were published, and how her story of survival, along with that of Gad Beck, inspired composer Jake Heggie and librettist Gene Scheer to create the opera "Out of Darkness: Two Remain." Panel 7: Shmerke Kaczerginski Beneath the title is a bulleted list of biographical information including: • Born in Vilna, Poland, 1908 • Wrote in Vilna 1929–1941 and Vilna Ghetto 1942– 1943, Paris, France, 1946– 1954 • Published the collection Songs of the Ghettos and Camps, 1948 • Died, airplane crash in Argentina, 1954 To the right of the list is a color illustration depicting a man with a receding hairline and gaunt features, looking out and to the left. He appears to be in a sun-dappled forest, surrounded by a pinkish fog. Illustration by Martha Hemingway. To the left of the image is a poem: Yid du partizaner (Jew, You Partisan) From the ghetto prison walls— In the free forests, Instead of chains on our hands I hold a new gun. On the exercises my friend Kisses my neck and shoulders, With the gun I haven’t just today Sturdily grown up. We lack something in numbers. Boldness we have of millions, In hill and valley we destroy Bridges, troop trains. The fascist becomes shaky, Doesn’t know where or when— A storm arises from under the earth— Jewish-partisans. Words by Shmerke Kaczerginski, translated from Yiddish by Lawrence Berson To the right of the poem is a color photo of a man playing a grand piano and a woman in front of him, playing a cello. The image is captioned: Laurence Sherr's cello sonata performance at a 2016 Kristallnacht commemoration concert. Inbal Megiddo, cello, Jian Liu, piano, Wellington, New Zealand. Courtesy Laurence Sherr Beneath the image caption is a QR code captioned: Connect here to learn more about Shmerke Kaczerginski, how he wrote and collected poetry and songs from the Holocaust, and how his efforts inspired vocal and instrumental compositions alike. Panel 8: Nelly Sachs Beneath the title is a bulleted list of biographical information including the following: • Born in Germany, 1891 • Fled Germany for Sweden, 1940 • Wrote in Germany and Sweden, 1920–1970 • Published first poetry collection, In den Wohungen des Todes (In the Houses of Death), 1946 • Awarded Nobel Prize in Literature, 1966 • Died in Sweden, 1970 To the right of the list is a color illustration depicting an elderly woman with short, wavy white hair with pinkish highlights. The woman has pale, lined skin with pink cheeks and light-brown eyes. Her lips are light orange. She is wearing a bright pink sweater and a pearl necklace. The background behind her is deep blue. Illustration by Julia Guevara. To the left of the image is a poem: The candle that I have lit for you The candle that I have lit for you Speaks quakes with the air of flame language, And water drops from the eye; from the grave Your dust distinctly calls to life eternal. Oh exalted meeting place in poverty’s room. If I only knew, what the elements mean; They strive to understand you, for everything points always To you; I can do nothing but cry. Words by Nelly Sachs, translated from German by Sabine Smith and Laurence Sherr To the right of the poem is an image of a 20 Euro Silver Nelly Sachs Commemorative Coin, minted in Germany in 2016, honoring the 125th anniversary of the legendary Jewish poet's birth. Courtesy Coin Week The coin has the words Nelly Sachs 1891-1970 written along the bottom and Kommt Einer von Ferne written along the top. The imagery on the coin depicts five rows of barbed wire with a small bird perched on the third row looking off to the left. Beneath the image of the coin is a QR code captioned: Connect here to learn more about Nelly Sachs, how she wrote and published her poetry, and how her work inspired numerous musical compositions by Lori Laitman, Laurence Sherr, and more. Panel 9: Elie Wiesel Beneath the title is a bulleted list of biographical information including the following: • Born in Romania, 1928 • Deported to Auschwitz, 1944 • Liberated from Buchenwald, 1945 • Wrote in France, 1945–1955 • Published memoir, Night, in French, 1958, and English, 1960 • Died in Manhattan, New York, USA, 2016 To the right of the list is a color illustration depicting a middle-aged man with a deeply-lined face, looking off to the right. The color palette is mostly shades of blue and purple, and the figure of the man seems to swirl and meld with the dark background toward the bottom of the image. Illustration by Martha Hemingway To the left of the illustration is an excerpt from Wiesel’s memoir, “Night” “Never shall I forget that night, the first night in camp, that turned my life into one long night seven times sealed. Never shall I forget that smoke. Never shall I forget the small faces of the children whose bodies I saw transformed into smoke under a silent sky. Never shall I forget those flames that consumed my faith forever. Never shall I forget the nocturnal silence that deprived me for all eternity of the desire to live. Never shall I forget those moments that murdered my God and my soul and turned my dreams to ashes. Never shall I forget those things, even were I condemned to live as long as God Himself. Never.” Words by Elie Wiesel, translated from French by Marion Wiesel To the right of the memoir excerpt is a promotional image for the "Night Holocaust Project," an international collaboration that premiered with a concert in Russia in 2019. Courtesy thenightholocaustproject.com The image consists of black and white images of two men positioned so that they are looking toward each other. The man on the left is Elie Wiesel, depicted with pale skin, high forehead, large ears, and bushy-eyebrows over deep-set, thoughtful eyes. The man on the right is Leib Glantz, depicted with a half-smile over a clean-shaven chin, his dark hair neatly combed. In the background of the image a choir can be seen singing. The words The ‘Night’ Concert A Stand Against Hate! are printed in white and yellow in the center of the image. On the left are the words The Words of Elie Weisel and on the right are the words The Music of Leib Glantz. Below the image is a QR code captioned: Connect here to learn more about Elie Wiesel, how he wrote and published his memoir, Night, and how it was adapted for new audiences through the creation of the "Night Holocaust Project." Panel 10: Conclusion Beneath the title, separated by the orange parallel line motif is the subtitle Lasting Language. Beneath the subtitle is a quotation: Quote. Only one thing remained reachable, close and secure amid all losses: language. Yes, language. In spite of everything, it remained secure against loss. But it had to go through its own lack of answers, through terrifying silence, through the thousand darknesses of murderous speech. It went through. It gave me no words for what was happening, but went through it. Went through and could resurface, 'enriched' by it all. End quote. – Paul Celan, Romanian Holocaust survivor and poet, acceptance speech for the Bremen Literature Prize, 1958 Beneath the quotation is a block of text: We all live in our own historical moment. From that unique vantage point, we can learn from the past. Through representation, we can honor the lives of witnesses to the worst of human cruelty and to the best of human care and resilience. What words have persuaded you? What music has moved you? What performances have captivated you? What stories do you long to tell? We hope this exhibit will motivate you to find your voice and share a story, whether that story is your own or one you connected with through empathy. You can help expand the web of connections across space and time through the creative process. As a writer, artist, composer, performer, producer, or supporter, you have the power to inspire others to hear the voices of the past. Those voices call on us to work to realize a better future. Beneath the text is a color image depicting the words World Premier on a red background, printed from bottom to top on the left. In the middle of the image are the words Music of Remembrance Ensuring That The Voices of Musical Witness Be Heard with trademarks superimposed over a collage of images consisting of a black and white figure of a Japanese girl with downcast eyes, standing in front of a pile of suitcases. To her left is an archway consisting of three horizontal beams supported by two columns with Japanese characters inscribed into their surfaces. Beyond the archway is a black and white image of mountains superimposed over a bright blue sky. Branches of trees with yellow ginkgo leaves appear in the foreground of the image both to the left and upper right of the archway. The image is captioned: Music of Remembrance was founded in 1998 to remember the Holocaust through music. In addition to honoring Holocaust-era artists, it has commissioned more than 30 new Holocaust-inspired works by today’s leading composers. These include the works by Lori Laitman and by Jake Heggie and Gene Sheer featured in this exhibit. The organization’s mission reaches beyond the Holocaust to address the experience of others who have faced persecution or exclusion because of their faith, ethnicity or sexuality. The image above represents the 2018 multimedia work Gaman, recalling the wartime internment of Japanese Americans. Courtesy Music of Remembrance Beneath the image caption is a QR code captioned: Connect here for suggestions about how you can participate in the chain of commemoration as a writer, interpreter, performer, or supporter of the arts. See attached pdf document for German language transcription. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data mp3 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) About 35 minutes long. Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 128 kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Audio Guide for <em>Words, Music, Memory: (Re)presenting Voices of the Holocaust</em> Subject The topic of the resource Holocaust Survivors Description An account of the resource This audio guide includes an introduction and descriptions of each of the exhibit's ten panels. Creator An entity primarily responsible for making the resource Museum of History and Holocaust Education Source A related resource from which the described resource is derived Kennesaw State University Publisher An entity responsible for making the resource available Museum of History and Holocaust Education Date A point or period of time associated with an event in the lifecycle of the resource September 17, 2021 Contributor An entity responsible for making contributions to the resource Adina Langer Florian Armbruster Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource <a href="https://historymuseum.kennesaw.edu/exhibitions/traveling/words_music_memory.php" target="_blank" title="Words, Music, Memory exhibit site" rel="noreferrer noopener"><em>Words, Music, Memory (Re)presenting Voices of the Holocaust </em>exhibit </a> Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English German Type The nature or genre of the resource Sound Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Before the War During the War After the War https://meethistory.kennesaw.edu/files/original/f53c7c6950180d01285d6b615870301b.mp3 eae6442d3c8526249a6eade0a9f8367b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Introduction Creator An entity primarily responsible for making the resource Adina Langer Source A related resource from which the described resource is derived Audio Guide for W<em>orld War I: The War That Changed the World</em> Publisher An entity responsible for making the resource available Museum of History and Holocaust Education Date A point or period of time associated with an event in the lifecycle of the resource January 14, 2020 Contributor An entity responsible for making contributions to the resource Adina Langer Rights Information about rights held in and over the resource All Rights Reserved Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Type The nature or genre of the resource Sound https://meethistory.kennesaw.edu/files/original/f429f4c9f53c2c43cb0a67f637f61829.mp3 4180510594e53fd69e434efc6ef5f71b 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https://meethistory.kennesaw.edu/files/original/127dcc248ad4249da559e120d35eaddf.mp3 e429b4c40ace6c3bfc288f2481abb2dc Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data mp3 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:44:42 Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 194 MB Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Audio Guide for <em>World War II: The War That Changed the World</em> Description An account of the resource This audio guide includes descriptions of each of the exhibit's ten panels as well as the accompanying gallery guide. Source A related resource from which the described resource is derived Kennesaw State University Publisher An entity responsible for making the resource available Museum of History and Holocaust Education Date A point or period of time associated with an event in the lifecycle of the resource November 1, 2019 Contributor An entity responsible for making contributions to the resource Adina Langer James Newberry Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource World War II: The War That Changed the World Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Type The nature or genre of the resource Sound Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant During the War Creator An entity primarily responsible for making the resource Museum of History and Holocaust Education Accessibility Audio Guide World War II https://meethistory.kennesaw.edu/files/original/1b056e9cd0126608bfd6bceb7f92190f.jpg 0df99fda8240d824a1ebcbcc2e484e93 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data JPG Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Butterfly Room Subject The topic of the resource Holocaust Survivors Description An account of the resource The Butterfly Project was initiated by the Holocaust Museum Houston in 2001 to honor the 1.5 million children who perished in the Holocaust. The project's goal was to collect 1.5 million hand-crafted butterflies, one for each child victim. The program was brought to Kennesaw State University in the fall of 2005 by professors Natasha Lovelace and Charlotte Collins. We encourage all visitors, especially those with children, to create a butterfly and honor those who died in the Holocaust. When the project was completed in June 2008, KSU decided to continue to create art to memorialize those children lost in the Holocaust as well as those who continue to be affected by war and genocide. A selection of the butterflies, created by students and community members, were on display at the museum until December 2019. Creator An entity primarily responsible for making the resource Museum of History and Holocaust Education Source A related resource from which the described resource is derived Kate Daly Publisher An entity responsible for making the resource available Museum of History and Holocaust Education Date A point or period of time associated with an event in the lifecycle of the resource June 28, 2019 Contributor An entity responsible for making contributions to the resource Adina Langer Rights Information about rights held in and over the resource All Rights Reserved Format The file format, physical medium, or dimensions of the resource jpg Language A language of the resource English Type The nature or genre of the resource Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant After the War https://meethistory.kennesaw.edu/files/original/b8cd0fcb12521279b8201b4f416514e9.JPEG d6fe41823f964781b243d34049a73151 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Save One Life Subject The topic of the resource Resistance During the Holocaust Description An account of the resource This collection encompasses responses to a prompt in the <em>Save One Life</em> exhibition whereby visitors were asked to "write or draw something about the world that you are witnessing today that you think would be important for someone in the future to know." Creator An entity primarily responsible for making the resource Museum of History and Holocaust Education Source A related resource from which the described resource is derived Visitors to the Museum of History and Holocaust Education Publisher An entity responsible for making the resource available Kennesaw State University Date A point or period of time associated with an event in the lifecycle of the resource 2025 - Contributor An entity responsible for making contributions to the resource Visitors to the Museum of History and Holocaust Education Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource <a href="https://www.kennesaw.edu/marb/museum-history-holocaust-education/exhibitions/save-one-life.php" target="_blank" title="Save One Life" rel="noreferrer noopener"><em>Save One Life: Resistance During the Holocaust</em></a> Format The file format, physical medium, or dimensions of the resource Various Language A language of the resource Various Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daffodils at the Atlanta Botanical Garden Creator An entity primarily responsible for making the resource Adina Langer Subject The topic of the resource Holocaust Survivors Description An account of the resource Spring blooms remind me that life is refreshed anew every year. ID: White daffodil flower with yellow orange center facing forward on a field of green stems and leaves with a pathway and round green bushes in the background, interspersed with small pink tulips. Source A related resource from which the described resource is derived Museum of History and Holocaust Education Publisher An entity responsible for making the resource available Kennesaw State University Date A point or period of time associated with an event in the lifecycle of the resource March 16, 2025 Contributor An entity responsible for making contributions to the resource Adina Langer Rights Information about rights held in and over the resource All Rights Reserved Format The file format, physical medium, or dimensions of the resource jpg Language A language of the resource English Type The nature or genre of the resource Still Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant After the War flowers resilience