2 10 41 https://meethistory.kennesaw.edu/files/original/96fbdfe8b3b19e9f68f29519dbd09329.JPG e944709e416256ea9b25679f459edfc8 https://meethistory.kennesaw.edu/files/original/6333885a5ee7dc6b4e3b47f73f6e5f13.JPG 2fc40a40669d151d16a99fdf4822582d https://meethistory.kennesaw.edu/files/original/cc800c9af4fcb66f6bedd7a113b322f5.JPG e0502645d2da92ece97e84895dc263d6 https://meethistory.kennesaw.edu/files/original/4dab8b6f79d888166a058a4fa38a0ac6.JPG 4a3e0ade82f8b1e4ada9f958c1ad328c https://meethistory.kennesaw.edu/files/original/d5ee38728ebec07751210a3f1064e14b.JPG 55888169a58a22c8940fc16d6bb9ff35 https://meethistory.kennesaw.edu/files/original/842fa37967ab638dc3e3006677723363.JPG 7b597f7b30de6eeb8480d5b3499332ef 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. 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 2011 Mosaic Tiles Subject The topic of the resource Holocaust Survivors Description An account of the resource Mosaic Tiles created by participants in the MHHE Summer Workshop in 2011. Creator An entity primarily responsible for making the resource Summer Workshop Participants 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 June 15, 2011 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 https://meethistory.kennesaw.edu/files/original/b56a870bb67276a06ff0ef5e69f2305b.JPG 6f42637f29d3f6771d679e3d10c95cd1 https://meethistory.kennesaw.edu/files/original/30ef2182344b465a8aad31cf848c3462.JPG 8850a1b95f55548e62822704934127b2 https://meethistory.kennesaw.edu/files/original/f5744e785412e1c457113f029c9da91d.JPG 7027763022f61423e737cdb0c5d7a3df https://meethistory.kennesaw.edu/files/original/fc6c4dc08d76a843249cca25de4e9b1f.JPG fdc833a8ef3d24e18376131dd62a6356 https://meethistory.kennesaw.edu/files/original/0b4d55fd4bccb5a9da0d087a5ca4c8a1.JPG 2a8a3d42f6eed4efe6de592b144f2e70 https://meethistory.kennesaw.edu/files/original/5a0d405eeeb666e954ef3677a5822903.JPG 0600efb47265cd6eb2a36634447dcfaf 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 Summer Workshop students installing mosaic tiles Subject The topic of the resource Holocaust Survivors Description An account of the resource Summer workshop students install mosaic tiles in the MHHE Butterfly Garden. Creator An entity primarily responsible for making the resource MHHE Summer Workshop Students 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 June 15, 2011 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 https://meethistory.kennesaw.edu/files/original/998218f9b718bd95c74af5b82fa061c2.JPG df8eed0da8fcef02cf8ef205911ea6ba 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 Summer Workshop Portrait, 2015 Subject The topic of the resource Holocaust Survivors Description An account of the resource Summer Workshop participants pose in the butterfly gallery at the MHHE. Creator An entity primarily responsible for making the resource MHHE Summer Workshop Participants 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 June 10, 2015 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 JPG 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/a58f7eccf6239f5dc2613082f0fc20b7.JPG ad1f7b0a91912eb838b615461928d2f8 https://meethistory.kennesaw.edu/files/original/85ebd525de65707e3d22ac6365de012e.JPG 77a245fbd9619d7a2614cf35e94684af https://meethistory.kennesaw.edu/files/original/5915435a8666c8019561e2868a7181ed.JPG ea99c0196b9fe1ad3f06c6cbbee07bde 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. 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 2015 Summer Workshop participants with their mosaic plates. Subject The topic of the resource Holocaust Survivors Description An account of the resource Summer workshop participants pose in the MHHE Butterfly Gallery with their plates. Creator An entity primarily responsible for making the resource 2015 Summer Workshop Participants 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 June 11, 2015 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 Language A language of the resource English https://meethistory.kennesaw.edu/files/original/f66c42cfb962f2f65585214e547abd73.pdf 795f8530d5ea1a9a130aea600a5e8089 https://meethistory.kennesaw.edu/files/original/e72ef4437abf6552db0b8890a0eccb12.png 008daf47f0c968f271a140333101d31a https://meethistory.kennesaw.edu/files/original/54736708daa2b0318a8386e5f1d90e8e.png 787ab475a3c6840d3ece9050015d0959 https://meethistory.kennesaw.edu/files/original/adb1ae5729f99f03847f403dc27dd24c.png 9965e922782dbf43b73650d246159faa https://meethistory.kennesaw.edu/files/original/cc7c9418a16b1f84466e8e6a120cb15c.png 0515e2f0b5a0016ebdd331014515b1f8 https://meethistory.kennesaw.edu/files/original/6440076c58b9ac28414a7ece1cda9b17.jpg ab35e423f4510c642755ce3a61946b04 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 How did new warfare technologies change the nation? Subject The topic of the resource World War II Description An account of the resource World War II spurred the evolution of a "military-industrial-complex" in the United States. Since the war, U.S. military spending has never dipped below three percent of GDP, which surpasses the world average. 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 2017 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 https://meethistory.kennesaw.edu/files/original/6ff992aa4ca58e4e0793ec7b37411919.jpg 15f71c7c36e1faaaf5bba6bc51a9308a 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 How did new warfare technologies change the state? Subject The topic of the resource World War II Description An account of the resource Wartime industry brought Georgia (and the Southeast) out of the Great Depression. Between 1940 and 1950, Georgia per capita income rose from 57 to 70 percent of the national average, outpacing nationwide growth. 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 2017 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 https://meethistory.kennesaw.edu/files/original/dd33af6e513cb357ee05998919e28b8b.jpg 35ea2e1f3cc6af5def2b018c2e292402 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 How did new warfare technologies change the world? Subject The topic of the resource World War II Description An account of the resource The atomic bomb, developed in secret and dropped on Japan by a B-29 in 1945, played a vital role in the Cold War with the USSR, which characterized the next four decades of the 20th century. "Mutually assured destruction" (MAD) was the prevailing doctrine during that time. 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 2017 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 https://meethistory.kennesaw.edu/files/original/c9ead530233cd1813ac4681c219fba09.jpg 143fc26563b843d918ca412446f97462 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 What was the impact of World War II on soldiers in the state? Subject The topic of the resource World War II Description An account of the resource Over 320,000 Georgians served in the Armed Forces, approximately 10 percent of the state's population. Serving in the military provided many soldiers with their first experience leaving Georgia and traveling abroad. In addition, soldiers from other regions traveled south for the first time for training. 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 2017 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 https://meethistory.kennesaw.edu/files/original/7b163282bc3cb05ee374926ea0f146cc.jpg 7f578eeb006ec6b50f44e40e6405ee08 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 What was the impact of world War II on soldiers in the nation? Subject The topic of the resource World War II Description An account of the resource World War II soldiers came home to a country primed for economic growth and social change. With technical training and higher education enabled by the G.I. bill, many World War II veterans could get better jobs. This, along with the perception that they had fought a just war, helped build their reputation as "the greatest generation." 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 2017 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 https://meethistory.kennesaw.edu/files/original/819a37e5186075660eaf47d2f4a5cf3f.jpg ab2fb3f23698553617b042c057716a46 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 What was the impact of World War II on soldiers in the nation? Subject The topic of the resource World War II Description An account of the resource World War Ii shifted power to the United States, which set up and maintained bases all over the world. U.S. troops continue to play a large role in global affairs, serving as trainers, fighters against terrorist groups, and peacekeepers in foreign conflicts. 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 2017 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 https://meethistory.kennesaw.edu/files/original/d8bd0531400e90f9a42d3f59833e13dc.jpg 742f5781a86c6f36830a6fd1b95728fd 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 How did World War Ii change women's lives in the state? Subject The topic of the resource World War II Description An account of the resource Women took on new roles during World War II that encouraged them to learn technical skills in agriculture, industry, medicine, or home manageent. women trained on Georgia bases for military auxiliary units such as the WACs, WAVEs, WASPs, and SPARs. 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 2017 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 https://meethistory.kennesaw.edu/files/original/dc358272b6f93e09c192f50355f61384.jpg 797656155f09e320f65bf07bd717d273 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 How did World War Ii change women's lives in the nation? Subject The topic of the resource World War II Description An account of the resource More than six million women joined the United States workforce during World War II. Although they were encouraged to return to traditional roles after the war was over, their efforts paved the way for increased opportunities for women in the second half of the 20th century. 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 2017 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 https://meethistory.kennesaw.edu/files/original/32fe23ae662314dd0fb90f50b78ff530.jpg f322fb39214433d0f19bf864c160c4a6 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 How did World War II change women's lives in the world? Subject The topic of the resource World War II Description An account of the resource Despite waging a war of resources, some nations failed to activate female workers during World War II. Historians have argued that the Axis powers lost the war partly because of this decision. since the war, women's roles have continued to vary significantly across cultures and locations. 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 2017 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 https://meethistory.kennesaw.edu/files/original/d7f0ad48a3bea2d713ca6cab8ff6b8a4.jpg 900b926d6353bdc35ead41454bd9e5d5 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 What did the end of the war mean for the state? Subject The topic of the resource World War II Description An account of the resource Unlike in other states, Georgia's voting age was 18, giving all veterans the right to vote and enabling them immediately to shape politics in postwar America. It would be thirty more years before the 26th amendment to the U.S. Constitution lowered the national voting age to 18. 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 2017 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 https://meethistory.kennesaw.edu/files/original/d91a6f9a72f0a05539ba67add31fd8d6.jpg 07e66bf628ecc87d65bc74ba2cf6d767 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 What did the end of the war mean for the nation? Subject The topic of the resource World War II Description An account of the resource Black veterans who had fought for democracy abroad were moved to fight for civil rights at home in what became known as the "double V" campaign. The Civil Rights Movement grew out of their initial efforts and inspired other significant social movements during the 20th and 21st centuries. 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 2017 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 https://meethistory.kennesaw.edu/files/original/6ad66988906a3b78c250a1e2c09c1328.jpg b3d3f0a914c2ddf2fc2dd096ecf60810 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 What did the end of the war mean for the world? Subject The topic of the resource World War II Description An account of the resource FDR first coined the term "United Nations" to describe a January 1, 1942, pledge by 26 nations to continue fighting against the Axis powers. On October 24, 1945, the United States, as we know it today, came into existence with a mission to prevent future world wars. 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 2017 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 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 Question Panels for Georgia Goes to War Subject The topic of the resource Home Front Workers Description An account of the resource Answers to questions posed in the Georgia Goes to War exhibit referring to changes happening at three levels: the state, the nation, and the world. 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 2017 Contributor An entity responsible for making contributions to the resource Adina Langer Zoila Torres Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource Georgia Goes to War: A Regional Perspective on the World War Ii Home Front Adobe Spark module Format The file format, physical medium, or dimensions of the resource pdf png 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 During the War Soldiers Women World War II https://meethistory.kennesaw.edu/files/original/56f6d46aea0ecdfeece47f6d7ba61850.pdf f1c2541f06e069583b076e71344d81c1 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 Newspaper Microfilm Physical Dimensions The actual physical size of the original image 16" x 20" 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 Newspaper Interactive for Georgia Journeys Subject The topic of the resource Home Front Workers Description An account of the resource Set of Georgia newspapers covering the death of President Franklin Delano Roosevelt on April 12, 1945 Creator An entity primarily responsible for making the resource Atlanta Daily World The Atlanta Constitution The Atlanta Journal The Brunswick News Rome News-Tribune The Southern Israelite Warm Springs Mirror The Abbeville Chronicle Source A related resource from which the described resource is derived University of Georgia Libraries Publisher An entity responsible for making the resource available Georgia Newspaper Project Date A point or period of time associated with an event in the lifecycle of the resource April 12-20, 1945 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 Georgia Journeys exhibit Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Type The nature or genre of the resource document 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 Presidents Roosevelt World War II https://meethistory.kennesaw.edu/files/original/5c98e29fdf884ce93ee6bb333a33640e.mp3 b358e7729383bd2868174e6f43396e37 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 the Tragedy of the St. Louis Introduction Creator An entity primarily responsible for making the resource Adina Langer 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 11/20/2020 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 Language A language of the resource English https://meethistory.kennesaw.edu/files/original/8f520ab4373844dcdea05d4291d68fcd.mp3 5112d2cee2a3bc9ff53ae2cd51ff6711 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 1 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/a702e58b93ba6813343afcb74111aebc.mp3 c1cf4d700db5817d7a18227ad59d5ea1 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 the Tragedy of the St. Louis Panel 1 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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 https://meethistory.kennesaw.edu/files/original/3adbc6926868c028ccc0d57a6d3db4c4.mp3 b1c705c9ea43021c1e8bb9b8dcc819df Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 2 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/8d6b1ca373a7eeacabba652d5c30cc86.mp3 a5a5c254f624dbf42c511371c92e4694 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 2 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/f6b89df5aafaa3a4567b97cf8e358e09.mp3 131e6f9865670b67ee1237882da8f005 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 the Tragedy of the St. Louis Panel 3 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/886f64f613711d3e7ba270756c66cf33.mp3 f202936efe57bb4e0bc9529dc86219f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 3 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/cb8d5b5578f0d7788310b09de989c8cd.mp3 73fa5f904e8f57c1a872bd2255006047 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 the Tragedy of the St. Louis Panel 4 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/1779ff37eeb73a39eec2fa8c2fe5241a.mp3 f1a77c1f21fe42c30bc5f0e49fd24905 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 4 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/731f6655d4a999807b78235c5bfb0e04.mp3 399a717d68eeb0e586d62e5cc2e69ca2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 5 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/0924e28bf3f546ab4c1d27e4ea5abbda.mp3 3d748ff9178d3e08d482c0ad5f64f393 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 5 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/bb8b7175320db15d391b0ba66843c7b0.mp3 3317bf575fe84e87475db2f13fd9258b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 6 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/3fbdea400839df6c06e6c33f78e6f99a.mp3 f78a05a65afa6b6bc9381d6e22ebc952 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 6 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/95e3cbeeaa5b0a5a4a0916a1ed5f7868.mp3 2a11c1577675448bb928d38bcd851822 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 7 Part 1 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/b8c754421bc38f0410b7459c970656f2.mp3 2f123b28f5c209ebed0f03daf8b4dbef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 7 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/ccb7fb2df14bbc7a7a15ed69ff454260.mp3 595f62c7e3f6a400f76a78137a1ff8a4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 8 Part 1 Creator An entity primarily responsible for making the resource Adina langer 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 11/23/2020 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/3a6c9d78c2e7405bbcc17d2a11cad3e2.mp3 e1a6ad9eed9e57213e47e5f2bbe00bb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Title A name given to the resource Audio Guide for the Tragedy of the St. Louis Panel 8 Part 2 Creator An entity primarily responsible for making the resource Adina Langer 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 11/23/2020 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/fc4f2e7d393a967f5c437f7faffccda9.mp3 cdf0701e303aa9cf904d026d8265d5a1 https://meethistory.kennesaw.edu/files/original/a31a3c60839cb494e1b14bb45a6a2553.mp3 d2a66b9a487ca4dd8670686b295ad0c6 https://meethistory.kennesaw.edu/files/original/ed1e99da7a93f82c6a6764cd7cbee461.mp3 5a324330534ec00477dc77af4f400e70 https://meethistory.kennesaw.edu/files/original/83af99b347ce7a7934923bfcae03cc43.mp3 2adf26752aab7e9ecd991e734998e2d4 https://meethistory.kennesaw.edu/files/original/0d39a5d467845eee078dd4866fc983bd.mp3 890851c4df0e25e482113c4499968cb5 https://meethistory.kennesaw.edu/files/original/5b0a935d58d8dd25d017cc126a781cc0.mp3 cb4ac397ee5f2c3ca2a0911c284895aa https://meethistory.kennesaw.edu/files/original/be2a93306271aa28af95404d13ea4340.mp3 947d7a8ad0fa53d6dbbd2f757a5571ea https://meethistory.kennesaw.edu/files/original/81b7de7f426e83d3507410158eb42629.mp3 7c7cd64c1604ef7776af139309c49bc6 https://meethistory.kennesaw.edu/files/original/525bbbb851b5fcf2beea86e929214687.mp3 5d205d3210a08f4dee56be1d0b01fdd3 https://meethistory.kennesaw.edu/files/original/d31145143631091242eac9a8f66bc7be.mp3 35d0e24a6a5f2044ef9f2ec55f1e9729 https://meethistory.kennesaw.edu/files/original/b359533fd9a32d09f74df45c5a6fe712.mp3 6bfe675c0151cc1dae8e1239be681805 https://meethistory.kennesaw.edu/files/original/c6bf7a00ee2214cabfc325eb776a6b43.mp3 0acb619f9da73d60dc65229441a328cc https://meethistory.kennesaw.edu/files/original/c7c9208242f910c03612e42e4e4a28ad.mp3 1e16853aa97b958509930eec894b50ae https://meethistory.kennesaw.edu/files/original/b3163d2915ffab511f663227f125620f.mp3 004c15924c342eccfb96497d2028b6b7 https://meethistory.kennesaw.edu/files/original/6deb6ceefca4b0d0750f19adff489371.mp3 f4c98a2353daebdce5ee0e73b5dcf388 https://meethistory.kennesaw.edu/files/original/1d359173d45ae2e9544eae034956c362.mp3 4e528fa83f9b9eba6634131788977de9 https://meethistory.kennesaw.edu/files/original/cfdeb6c0449aba14a3eb47cfbd8b5cc7.mp3 4e528fa83f9b9eba6634131788977de9 https://meethistory.kennesaw.edu/files/original/49f9437af178c19b97fed1c9542866aa.pdf 8633d6d1c4153e0ea7ff91f3441ba54e 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 Audio Guide for The Tragedy of the St. Louis <h2>English:</h2> <h1>Introduction</h1> The following audio guide was created for The Tragedy of the St. Louis, an 8-panel traveling exhibit curated by the Museum of History and Holocaust Education. The exhibit, and the audio guide, is available in English and Spanish. <h1>Audio Guide for The Tragedy of the St. Louis, Panel 1:</h1> The Tragedy of the St. Louis. The top section of the panel features a black and white image of a large ship docked in a harbor. Flags are waving from the ship’s masts, and black smoke is billowing from the smokestacks of tugboats in the foreground near the large ship. The image is captioned: Postcard of the M.S. St. Louis luxury liner in Hamburg harbor, 1939. United States Holocaust Memorial Museum, Courtesy of Gerri Felder, Photo by Max Reid. The center part of the panel features an image of a brown leather suitcase. It is captioned:Carry-on suitcase used by a young German Jewish woman aboard the M.S. St. Louis, 1939. United States Holocaust Memorial Museum Collection, Gift of Anne Wascou. The main panel text reads as follows: The St. Louis tells a story of hope. In May 1939, more than 900 German Jewish refugees boarded a ship bound for Cuba. Despite Nazi hatred, they believed in a place that would value their humanity. The St. Louis tells a story of despair. The Cuban government refused to let the ship land. The United States and Canada refused to bend immigration rules. The ship returned to Europe. The St. Louis tells a story of persistence. Granted asylum in England, France, Belgium, and the Netherlands, almost three quarters of the refugees survived the war. Yet, a quarter perished in the Holocaust, making the St. Louis story a tragedy. The tragedy serves as a warning to the world as people continue to seek refuge from danger. The bottom section of the panel includes a sepia-tone studio portrait of a family. It is captioned: Karl, Hildegard, Ruth, Edith, Ilse, and Selma Simon, Germany, ca. 1930s. Courtesy Susan Heineman Berman. The text of the bottom section reads: The St. Louis story resonates across generations. For the Simon family, it was one episode in a saga that touches on the varied human drama of the Jewish experience. Follow the Simon family across these panels as they flee their home in Germany, hoping for a better life. Beneath this bottom section, the logo for Kennesaw State University Museums, Archives and Rare Books, Museum of History and Holocaust Education appears. It includes a gold-colored S entwined around a K with the rest of the text in white on the blue water background of the panel. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for the Tragedy of the St. Louis, Panel 2:</h1> The St. Louis in Chronological Context. This panel features a timeline with dates in the center and English text on the left and Spanish text on the right. There is an image at the center of the panel showing people walking in front of a shop on a city street. The German words Herrer Kleidung are visible above the entrance. The shop window has been broken, and there is glass scattered inside the open display area. The image caption reads: A woman and child pass a looted Jewish shop in Madgeburg, Germany after Kristallnacht, November 1938. Courtesy German Federal Archives Bundesarchiv, Bild 146-1970-083-44, Photo by H. Friedrich.. The timeline reads as follows: 1902: Cuba becomes an independent republic following the Spanish-American war and four years as U.S. protectorate. 1924: U.S. passes Johnson-Reed Immigration Act setting strict immigration quotas for countries in the Eastern Hemisphere. 1933: Adolf Hitler becomes Chancellor then Fuhrer in Germany; Franklin Roosevelt becomes President of the United States. 1935: Germany passes Nuremberg Race Laws which define Jews as non-ctizens and restrict their rights within Germany. December 24, 1936: Federico Laredo Bru becomes President of Cuba July 6-15, 1938: Evian Conference convened in France. Delegates from 32 countries discuss plight of Jewish refugees fleeing Nazi persecution, but only the Dominican Republic agrees to accept more refugees. November 9-10, 1938: Kristallnacht (Night of Broken Glass) pogrom perpetrated by agents of the Nazi government in Germany. November 15, 1938: British, Jewish, and Quaker leaders appeal to U.K. Prime Minister Neville Chamberlain to temporarily accept refugee children, leading to the kindertransport of almost 10,000 children. February 9, 1939: U.S. fails to pass Wagner-Rogers Refugee Aid Bill which would have helped German Jewish children. January-May 1939: 937 people book passage on the M.S. St. Louis, a German luxury-liner. Refugees hoping to wait in Cuba for U.S. visas also purchase landing permits from Cuban Director-General of Immigration Manuel Benitez Gonzalez. May 8, 1939: An antisemitic, anti-immigrant demonstration in Cuba helps convince President Bru to cancel the Benitez landing permits. Passengers are not informed. May 13, 1939: The St. Louis departs Hamburg with 931 refugees aboard, including four members of the Simon family, on a doomed journey, bound for Cuba and rejection. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for the Tragedy of the St. Louis, Panel 3:</h1> The Politics of Immigration There is a chart at the top of the panel showing a group of men depicted as descending in size across the page from left to right. The title of the chart is Foreign-Born Population in the United States in 1920, and each man is depicted wearing traditional clothing from his country of origin. From left to right, the chart is labeled: Germany, 1,683,298; Italy, 1,607,458; Russia, 1,398,999; Poland, 1,139,578; Great Britain, 1,133,967; Canada, 1,117,136; Ireland, 1,035,680; Sweden, 624,759; Austria, 574,959; Mexico, 476,676; Hungary 397,081; Norway, 363,599; Denmark, 189,051; Greece, 175,792; France, 152,792; Finland, 149,262; Holland, 131,262; Switzerland, 118,647; Asia, 110,586; Roumania, 103,007. The image is captioned: Illustration for an article about “an alien anti-dumping” bill in the Literary Digest, May 7, 1921, showing a graph of the foreign-born population in the U.S. in 1920. Courtesy Library of Congress. The main text of the panel reads as follows. World War I marked a rise in nationalism and xenophobia that only intensified with the start of the Great Depression in 1929. During the 1920s, nations passed restrictive immigration legislation, seeking to define their citizenry and assert their sovereignty. The United States withdrew from a period of expansionist foreign policy, and its neighbors, including Cuba, sought to define themselves as independent and distinct. The Great Depression led people across the world to seek new leadership, and to find people to blame for their economic hardship, including political opponents and “outsiders.” When conditions for Jews became intolerable in Germany, refugees were met with a toxic mix of antisemitism, anti-immigrant sentiment, and associations with both Communism and Capitalism. The bottom section of the panel includes a black and white photograph of two girls wearing identical flower-print dresses. They are standing next to a man who is holding the reins of a brown horse with a white nose. There is a fence in front of a group of brick buildings in the background. The photograph is captioned: Hildegard and Ruth Simon with their horse and his trainer, Cloppenburg, Germany, ca. 1930s. The girls were only 15 months apart in age. Courtesy Susan Heinneman Berman. The text of this section reads as follows: The Simon family was well established in Cloppenburg, Germany, when Hitler came to power in 1933. Karl Simon was a successful and well-liked cattle breeder and horse trader. His daughters attended a parochial school during the week and enjoyed carriage rides and ice cream after Shabbat services on Saturdays. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for The Tragedy of the St. Louis, Panel 4:</h1> Fleeing the Third Reich There is a black and white photograph at the top of the panel showing a group of frowning dressed in hats and coats being led through the streets of a town by soldiers in uniform. Some townspeople walk alongside the parade including two young women who smile at the photographer. The photograph is captioned: Members of the SA arrest Jewish men from Oldenburg, Germany, the location of the Simon sisters’ Jewish school, November 9-10, 1938. United States Holocaust Memorial Museum, Courtesy of Abraham Levi. In the center near the top of the main section of the panel is a reproduction of an Immigrant Identification Card from the United States Department of Labor. The card is pale green and includes a black and white photograph of a young man with dark hair and glasses, wearing a jacket and striped tie. The card indicates that the man was born on August 7, 1922, in Germany, is of German nationality and has brown eyes. The card also indicates that the man came on a steamer from Hamburg as an immigrant and arrived in New York on July 21, 1939. The card is signed by Manfred Heinemann as well as the immigrant inspector. The image is captioned: Manfred Heinemann was one of the lucky German Jews whose U.S. visa came through. Imprisoned in Dachau on Kristallnacht, he was released when his mother presented his emigration documents. He would go on to serve in the U.S. Army and then to marry Ruth Simon. 1939 Immigrant Identification Card courtesy Susan Heinemann Berman. The main text of the panel reads as follows: Kristallnacht, or the “Night of Broken Glass,” made rising anti-Jewish sentiment and the regime of violence and restriction in Germany impossible for the world to ignore. Jewish businesses were looted, Jewish homes were vandalized, and synagogues were left to burn. More than 100 Jews were killed, and 30,000 Jewish men were arrested and given an ultimatum: leave the country or lose everything. Yet, Adolf Hitler and the Nazis bet on the world’s indifference. The failure of the Evian Conference to find homes for Jewish refugees emboldened the regime to make its murderous plans for the Jews visible. Hitler believed that the world would maintain its immigration restrictions, even when faced with a clear and present danger. Overwhelmingly, he was right. The bottom section of the panel includes a black and white photograph of five young women standing arm-in-arm on a city street. It is captioned, Hildegard and Ruth Simon, second and fourth from left, with friends in England, ca. 1930s. Courtesy Susan Heinemann Berman. The text for the bottom section of the panel reads as follows: On November 10, 1938, Ruth Simon left for school and saw instead a burning synagogue. Back home she found her father arrested and her mother and sisters weeping in their vandalized house. Selma Simon could only send two of her children on the kindertransport to England, so she chose Ruth and Hildegard, her middle daughters. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for The Tragedy of the St. Louis, Panel 5:</h1> The Voyage A black and white photograph at the top of the panel depicts a group of passengers on the deck of a ship. The words St. Lois and Ham are visible on a lifeboat in the background. Three men of varying ages wearing coats and ties stand behind two young women and a man dressed all in white with a white cap. The young women are smiling and wearing sunglasses, snuggled together beneath a blanket. The photograph is captioned: Ilse and Edith Simon relaxing on the deck of the St. Louis with other passengers, may 1939. United States Holocaust Memorial Museum Collection, Gift of Reuben Babich. An image at the top center of the main body of the panel shows a black and white sailor’s cap with an insignia in the middle of a blue and white flag surrounded by sheaves of wheat. It is captioned: Cap worn by Gustav Schroeder, captain of the St. Louis. United States Holocaust Memorial Museum, Courtesy of Berbert & Vera Karliner, Photo by Max Reid. The main text of the panel reads as follows: Of the 937 passengers who left Hamburg aboard the St. Louis on May 13, 1939, all but six were Jewish refugees. They were the lucky ones who had enough money to purchase round-trip tickets, as well as landing permits from the Cuban government, even after the Nazis' efforts over the previous four years to strip them of status, property, and livelihood. They hoped for a brief wait in Cuba until their U.S. visa quota numbers came up. In the meantime, they looked forward to an enjoyable voyage. Captain Schroeder showed compassion for the refugees, informing his German crew to treat them with respect and dignity. Passengers were hopeful and well rested as they sailed into Havana Harbor on May 27. There is a black and white photograph in the center of the bottom part of the panel showing a group of people wearing hats and coats and carrying suitcases walking across the gangplank of a ship with the letters H-A-M-B clearly visible in white. It is captioned: Selma, Karl, Ilse, and Edith Simon board the St. Louis in Hamburg, Germany, May 1939. United States Holocaust Memorial Museum Collection, Gift of Reuben Babich. The text of the bottom part of the panel reads as follows: With Ruth and Hildegard safely dispatched to Dovercourt, England, and their father, Karl, returned from the Sachsenhausen concentration camp, the remaining members of the Simon family booked passage on the St. Louis. Edith and Ilse enjoyed ocean breezes and birthday parties, looking forward to an eventual reunion with their sisters in America. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for The Tragedy of the St. Louis, Panel 6:</h1> Refuge Denied A black and white photograph at the top of the panel depicts a crowd of women, children, and men smiling and waving while looking over the railing of a ship. It is captioned: Jewish refugees aboard the St. Louis returning to Europe in June 1939. Courtesy JDC Archives. A black and white photograph at the top center of the main body of the panel shows the low skyline of a city with cars on a street in front of a grand monument. Some of the buildings have domes and columns. There are people standing on a dock overlooking the water. The image is captioned: View of Havana skyline from the deck of the St. Louis, May 1939. United States Holocaust Memorial Museum, Courtesy of Fred (Fritz) Vendig. The main text of the panel reads as follows: Instead of a welcome gangplank, the passengers of the St. Louis were met with patrol boats that prevented landing. Cuban President Bru had invalidated all landing permits issued by his political rival, Manuel Benitez Gonzalez. Only 28 passengers were permitted to land. Supported by the captain, passengers teamed up with the Jewish Joint Distribution Committee (JDC) to negotiate on behalf of the refugees. After the Cuban government demanded exorbitant fees to admit the refugees, the St. Louis sailed north along the coast of Miami. A telegram sent to President Roosevelt failed to convince him to make an exception for the passengers. However, negotiators were successful in securing asylum in England, France, Belgium, and the Netherlands. The ship sailed back to Europe on June 6, 1939. There is a black and white photograph in the center of the bottom part of the panel showing two girls seated beside each other on a bench. They are both wearing white dresses with floral patterns and smiling. The older girl has her arm around the younger, and the younger girl has one hand in front of her left eye to block the sun. The image is captioned: Edith and Ilse Simon, aboard the St. Louis, May-June 1939. Courtesy Susan Heinemann Berman. The text of the bottom part of the panel reads as follows: Although they hoped to go to England, the Simon family was admitted to the Netherlands instead. Soon after, Edith was able to go to England as a nanny. From there she made it to the United States. Karl, Selma, and Ilse remained in the Netherlands. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for The Tragedy of the St. Louis, Panel 7:</h1> The Passengers There is a map at the top of the panel titled Hamburg-America Linie M.S. St. Louis. The map includes the east coast of North America and the west coast of Europe and Africa. Between the two coasts, the map shows the pathway of a ship with a double triangle and crown symbol marking locations on particular days from a May 16 departure into open ocean to a June 6 departure from Havana, Cuba, to a June 15 approach to the European coast. The bottom part of the map includes an inset image of a large ship with flags on its masts and the words Hamburg, May 13. - 1939- Antwerp June 17. The map is captioned: Map of the journey of the St. Louis, May - June 1939. Courtesy JDC Archives. Below the map is a pie chart entitled: St. Louis Passenger Survival Rates by Nation of Disembarkation. The pie chart is divided into five sections. Beginning at the top right and going clockwise, there is a blue section labeled: Belgium, 214 passengers. It shows that 60% were survivors and 40% were fatalities. The next section is colored orange and labeled: Cuba, 28 passengers. It shows 100% survivors. The next section is colored pink and is labeled: England, 289 passengers. It shows 100% survivors. The next section is colored green and labeled: France, 224 passengers. It shows 62% survivors and 38% fatalities. The final section is colored yellow and is labeled: Netherlands, 181 passengers. It shows 54% survivors and 46% fatalities. Beneath the pie chart is a caption which reads: Of the 937 passengers on the St. Louis, 931 were refugees. Divided among Cuba, England, France, Belgium, and Netherlands, 72% of the refugees survived the war while 28% perished. The bottom section of the panel includes a black and white photograph depicting a girl standing beside her father and mother in front of a brick building. The photograph is scratched or faded, blurring the lines between the three figures wearing dark clothing. It is captioned: Ilse, Karl, and Selma Simon in the Netherlands, ca. 1940-1942. Courtesy Susan Heinemann Berman. The text of the bottom section of the panel reads as follows: Ruth and Hildegard received a letter from their mother in 1943 in which she advised them to “be strong and work efficiently.” Ilse added a note in which she declared, “I am as tall as mother!” Only after the war did Ruth and Hildegard learn that their parents and younger sister had been murdered at Sobibor on May 21, 1943. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h1>Audio Guide for The Tragedy of the St. Louis, Panel 8:</h1> The Legacy of the St. Louis. A black and white photograph at the top of the panel depicts a young man in a white shirt and cap roller-skating across the wooden deck of a ship. A group of men and women stand and chat behind him. The photograph is captioned: Jewish refugee Georg Lenneberg roller skates on the deck of the St. Louis, May 13-17, 1939. United States Holocaust Memorial Museum, Courtesy of Fred Buff. At the top center of the main part of the panel, there is a reproduction of a child’s drawing of a ship. The ship has a black hull and white decks with a large blue anchor on its stern and St. Louis written in red on its bow. Flying above the ship are flags of various nationalities including Germany and Cuba. Written in yellow, red, and blue at the bottom of the picture are the words The German Ship St. Louis from Habana to Antw. The images is captioned: Drawing by 11-year-old Liesel Joseph in August 1939 after arriving in England following the forced return of the St. Louis from Cuba. United States Holocaust memorial Museum Collection, Gift of Liesel Joseph Loeb. The main body text reads as follows: The hope and uncertainty felt by the St. Louis passengers can be seen in the photographs they took of each other aboard the ship. They are smiling, dancing, roller-skating, auditioning to be neighbors and friends in a new world. To the people who followed their plight, they were real individuals with personalities and potential. Yet, to the nations where they sought solace, they were numbers beyond a quota. And that quota could not be changed, held fast by fears, distractions, and the inaction of politicians, erasing any traces of humanity.The story of the St. Louis reminds us that rhetoric and policy are powerful. For people seeking refuge, restrictive policies can have the power to end their lives prematurely. There is a color photograph in the center of the bottom section of the panel showing four smiling women in front of a window. A young woman stands on the left beside three older women with short hair and glasses who closely resemble each other. The image is captioned: Susan Heinemann Berman, Ruth Simon Heinemann, Edith Simon Babich, and Hildegard Simon Gernsheimer, 1990. Courtesy Susan Heinemann Berman. The text of the bottom section of the panel reads as follows: The three surviving Simon sisters cheered the end of World War II and sought the American dream. In 1947, Ruth married Manfred Heinemann. A year later, their daughter Susan was born. Now a resident of Kennesaw, Georgia, Susan Heinemann Berman has helped preserve her family’s legacy. The panels all include a blue water background at the top and bottom with a main section overlaid by shades of purple, and a bottom section overlaid in teal. English text appears on the left and Spanish text appears on the right. <h2>Spanish:</h2> <h1>Introducción</h1> La siguiente audioguía fue creada para La tragedia de St. Louis, una exhibición itinerante de 8 paneles curada por el Museo de Historia y Educación sobre el Holocausto. La exhibición y la audioguía están disponibles en inglés y español. <h1>Audioguía de La tragedia de St. Louis, Panel 1:</h1> La Tragedia del St. Louis La sección superior del panel presenta una imagen en blanco y negro de un gran barco atracado en un puerto. Las banderas ondean desde los mástiles del barco y el humo negro se eleva desde las chimeneas de los remolcadores en primer plano cerca del gran barco. La imagen está subtitulada: Postal del transatlántico de lujo M.S. St. Louis en el puerto de Hamburgo, 1939. Museo Estadounidense Conmemorativo del Holocausto. Cortesía de Gerri Felder. Foto de Max Reid La parte central del panel presenta una imagen de una maleta de cuero marrón. Está subtitulado: Equipaje de mano usado por una joven mujer judía alemana a bordo del M.S. St. Louis, 1939. Colección en el Museo Estadounidense Conmemorativo del Holocausto. Regalo de Anne Wascou. El texto del panel principal dice lo siguiente: E l St. Louis cuenta una historia de esperanza. En mayo de 1939, más de 900 refugiados judíos alemanes abordaron un barco cuyo destino era Cuba. A pesar del odio nazi, ellos creyeron en un mundo que valoraría su humanidad. El St. Louis cuenta una historia de desesperanza. El gobierno cubano se negó a que el barco desembarcara. Los Estados Unidos y Canadá se negaron a quebrantar las reglas de inmigración. El barco volvió a Europa. El St. Louis cuenta una historia de persistencia. Casi tres cuartas partes de los refugiados sobrevivieron a la guerra gracias al asilo otorgado en Inglaterra, Francia, Bélgica y los Países Bajos. Sin embargo, una cuarta parte falleció en el holocausto, convirtiendo la historia del St. Louis en una tragedia. La tragedia sirve como una advertencia para el mundo mientras las personas continúan buscando refugio ante el peligro. La sección inferior del panel incluye un retrato de estudio en tono sepia de una familia. Está subtitulado: Karl, Hildegard, Ruth, Edith, Ilse y Selma Simon. Alemania. Los años 30. Cortesía de Susan Heinneman Berman El texto de la sección inferior dice: The St. Louis story resonates across generations. For the Simon family, it was one episode in a saga that touches on the varied human drama of the Jewish experience. Follow the Simon family across these panels as they flee their home in Germany, hoping for a better life.La historia del St. Louis resuena a lo largo de las generaciones. Para la familia Simon, este fue un episodio de una saga que trata el diverso drama humano experimentado por los judíos. A través de estos paneles siga a los integrantes de la familia Simon mientras huyen de su casa en Alemania, esperando tener una vida mejor. Debajo de esta sección inferior, aparece el logotipo de los museos, archivos y libros raros de la Universidad Estatal de Kennesaw, Museo de Historia y Educación sobre el Holocausto. Incluye una S de color dorado entrelazada alrededor de una K con el resto del texto en blanco sobre el fondo de agua azul del panel. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 2:</h1> El St. Louis en el Contexto Cronológico Este panel presenta una línea de tiempo con fechas en el centro y texto en inglés a la izquierda y texto en español a la derecha. Hay una imagen en el centro del panel que muestra a personas caminando frente a una tienda en una calle de la ciudad. Las palabras en alemán Herrer Kleidung son visibles sobre la entrada. El escaparate se ha roto y hay cristales esparcidos dentro del área de exhibición abierta. La leyenda de la imagen dice: Una mujer y un niño pasan por una tienda judía saqueada en Magdeburgo, Alemania, después de Kristallnacht. Noviembre 1938. Cortesía del Archivo Federal de Alemania Bundesarchiv, Bild 146-1970-083-44, Foto de H. Friedrich La línea de tiempo dice lo siguiente: 1902: Cuba se convierte en una república independiente después de la guerra hispano- estadounidense, y de cuatro años como un protectorado de Estados Unidos. 1924: EE.UU. aprueba la Ley de Inmigración Johnson-Reed estableciendo cupos estrictos de inmigración para países en el hemisferio este. 1933: Adolf Hitler se convierte en Canciller y luego en Führer en Alemania. Franklin Roosevelt se convierte en Presidente de los Estados Unidos. 1935: Alemania aprueba las Leyes Raciales de Núremberg que definen a los judíos como no ciudadanos y restringen sus derechos dentro de Alemania. 24 de diciembre, 1936: Federico Laredo Bru se convierte en Presidente de Cuba. 6-15 de julio, 1938: La Conferencia de Evian se llevó a cabo en Francia. Delegados de 32 países dialogan sobre la difícil condición de los refugiados judíos que huyen de la persecución nazi, pero solo República Dominicana está de acuerdo con aceptar a más refugiados. 9-10 de noviembre 1938: Kristallnacht (La Noche de los Cristales Rotos). Matanza perpetrada por agentes del gobierno nazi en Alemania. 15 de noviembre, 1938: Los líderes británicos, judíos y cuáqueros recurren al Primer Ministro de Reino Unido, Neville Chamberlain, para que acepte temporalmente a niños refugiados, dando como resultado el Kindertransport, que es el traslado de casi 10,000 niños. 9 de febrero, 1939: EE.UU. no aprueba el Proyecto de Ley de Ayuda para Refugiados Wagner-Rogers, el cual hubiese ayudado a los niños judíos alemanes. enero-mayo 1939: 937 personas reservan su pasaje en el M.S. St. Louis, un transatlántico alemán de lujo. Los refugiados con la ilusión de esperar en Cuba la obtención de visas estadounidenses también compran permisos de desembarco del Director General de Inmigración cubano, Manuel Benitez Gonzalez. 8 de mayo, 1939: Una manifestación antisemita y antiinmigrante en Cuba ayuda a convencer al Presidente Bru de la cancelación de los permisos de desembarco de Benitez. Los pasajeros no saben nada al respecto. 13 de mayo, 1939: TEl St. Louis parte de Hamburgo con 931 refugiados abordo, incluyendo cuatro miembros de la familia Simon. Este fue un viaje con destino a Cuba condenado al fracaso y rechazo. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 3:</h1> La Política sobre Inmigración Hay una tabla en la parte superior del panel que muestra un grupo de hombres representados con un tamaño descendente en la página de izquierda a derecha. El título de la tabla es Población nacida en el extranjero en los Estados Unidos en 1920, y cada hombre está representado con ropa tradicional de su país de origen. De izquierda a derecha, el gráfico está etiquetado: Alemania, 1.683.298; Italia, 1.607.458; Rusia, 1.398.999; Polonia, 1.139.578; Gran Bretaña, 1.133.967; Canadá, 1.117.136; Irlanda, 1.035.680; Suecia, 624.759; Austria, 574,959; México, 476,676; Hungría 397.081; Noruega, 363.599; Dinamarca, 189.051; Grecia, 175.792; Francia, 152.792; Finlandia, 149.262; Holanda, 131.262; Suiza, 118.647; Asia, 110.586; Rumania, 103.007. La imagen está subtitulada: Ilustración para un artículo sobre un proyecto de ley “antidumping extranjero” en “Literary Digest”, 7 de mayo de 1921, mostrando un gráfico de la población nacida en el extranjero que estaba en EE.UU. en 1920. Cortesía de la Biblioteca del Congreso El texto principal del panel dice lo siguiente. La Primera Guerra Mundial marcó un incremento del nacionalismo y la xenofobia que se intensificó únicamente con el inicio de la Gran Depresión en 1929. Durante los años 20, las naciones aprobaron una legislación de inmigración restrictiva, buscando definir su ciudadanía y afirmar su soberanía. Estados Unidos se retiró un tiempo de la política exterior expansionista, y sus vecinos, incluyendo Cuba, buscaron definirse como independientes. La Gran Depresión provocó que las personas alrededor del mundo busquen un nuevo liderazgo, y encuentren a quien culpar de sus problemas económicos, incluyendo a oponentes políticos y a forasteros. Cuando las condiciones para los judíos llegaron a ser intolerables en Alemania, los refugiados experimentaron una mezcla tóxica de antisemitismo, sentimiento antiinmigrante y asociaciones con el comunismo y el capitalismo. La sección inferior del panel incluye una fotografía en blanco y negro de dos niñas con vestidos idénticos con estampado de flores. Están de pie junto a un hombre que sostiene las riendas de un caballo marrón con la nariz blanca. Hay una valla frente a un grupo de edificios de ladrillo al fondo. La fotografía está subtitulada: Hildegard y Ruth Simon con su caballo y su entrenador, Cloppenburg, Alemania. Los años 30. Las niñas se llevaban solo 15 meses de diferencia entre ellas. Cortesía de Susan Heinneman Berman. El texto de esta sección dice lo siguiente: La familia Simon estaba bien establecida en Cloppenburg, Alemania, cuando Hitler llegó al poder en 1933. Karl Simon era un exitoso y popular ganadero y comerciante de caballos. Sus hijas asistían a un colegio religioso durante la semana y disfrutaban de paseos en carruajes y helados después de los servicios de Shabat los sábados.. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 4</h1> Escapando del Tercer Reich Hay una fotografía en blanco y negro en la parte superior del panel que muestra a un grupo de personas con el ceño fruncido, vestidos con sombreros y abrigos, siendo conducidos por las calles de un pueblo por soldados uniformados. Algunos habitantes caminan junto al desfile, incluidas dos mujeres jóvenes que sonríen al fotógrafo. La fotografía está subtitulada: Miembros de las SA arrestan a hombres judíos de Oldenburgo, Alemania, donde se ubicaba el colegio judío de las hermanas Simon. 9-10 de noviembre de 1938. Museo Estadounidense Conmemorativo del Holocausto. Cortesía de Abraham Levi En el centro, cerca de la parte superior de la sección principal del panel, hay una reproducción de una tarjeta de identificación de inmigrante del Departamento de Trabajo de los Estados Unidos. La tarjeta es de color verde pálido e incluye una fotografía en blanco y negro de un joven de cabello oscuro y gafas, vestido con chaqueta y corbata a rayas. La tarjeta indica que el hombre nació el 7 de agosto de 1922 en Alemania, es de nacionalidad alemana y tiene ojos marrones. La tarjeta también indica que el hombre llegó en un vapor de Hamburgo como inmigrante y llegó a Nueva York el 21 de julio de 1939. La tarjeta está firmada por Manfred Heinemann y el inspector de inmigrantes. La imagen está subtitulada: Manfred Heinemann fue uno de los judíos alemanes afortunados que obtuvo una visa estadounidense. Preso en Dachau durante Kristallnacht fue liberado cuando su madre presentó sus documentos de emigración. El partiría para servir en el ejército de los Estados Unidos, y luego se casaría con Ruth Simon. 1939. Tarjeta de Identificación de Inmigrante. Cortesía de Susan Heinemann Berman. El texto principal del panel dice lo siguiente: Kristallnacht o la “Noche de los Cristales Rotos” provocó un creciente sentimiento antijudío y un régimen de violencia y restricción en Alemania imposible de ser ignorado por el mundo. Los negocios judíos fueron saqueados, las casas judías fueron vandalizadas y las sinagogas fueron incendiadas. Más de 100 judíos fueron asesinados y 30,000 hombres judíos fueron arrestados y se les dio el ultimátum de abandonar el país o perderlo todo. Sin embargo, Adolf Hitler y los nazis apostaron por la indiferencia del mundo. El fracaso de la Conferencia de Evian al no encontrar morada para los refugiados judíos incentivó a que el régimen hiciese visibles sus planes homicidas con respecto a los judíos. Hitler creía que el mundo mantendría sus restricciones de inmigración, incluso al enfrentar un peligro inminente. Abrumadoramente, tuvo razón. La sección inferior del panel incluye una fotografía en blanco y negro de cinco mujeres jóvenes de pie del brazo en una calle de la ciudad. Está subtitulado: Hildegard y Ruth Simon, segunda y cuarta desde la izquierda, como amigas en Inglaterra. Los años 30. Cortesía de Susan Heinemann Berman. El texto de la sección inferior del panel dice lo siguiente: El 10 de noviembre de 1938, Ruth Simon salió rumbo al colegio y en su lugar vio una sinagoga incendiándose. Al volver se enteró que su padre había sido arrestado y encontró a su madre y hermanas llorando en su casa vandalizada. Selma Simon solo pudo enviar a dos de sus hijas a Inglaterra en el kindertransport, así que eligió a Ruth y Hildegard, sus hijas del medio. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 5:</h1> El Viaje Una fotografía en blanco y negro en la parte superior del panel muestra a un grupo de pasajeros en la cubierta de un barco. Las palabras St. Louis y Ham son visibles en un bote salvavidas en el fondo. Tres hombres de diferentes edades con abrigo y corbata están detrás de dos mujeres jóvenes y un hombre vestido todo de blanco con una gorra blanca. Las jóvenes sonríen y usan gafas de sol, acurrucadas juntas debajo de una manta. La fotografía está subtitulada: Ilse y Edith Simon relajándose en la cubierta del St. Louis con otros pasajeros. Mayo 1939. Colección en el Museo Estadounidense Conmemorativo del Holocausto. Regalo de Reuben Babich. Una imagen en la parte superior central del cuerpo principal del panel muestra una gorra de marinero en blanco y negro con una insignia en el medio de una bandera azul y blanca rodeada de gavillas de trigo. Está subtitulado: Gorra usada por Gustav Schroeder, capitán del St. Louis. Museo Estadounidense Conmemorativo del Holocausto. Cortesía de Herbert & Vera Karliner. Foto de Max Reid. El texto principal del panel dice lo siguiente: De los 937 pasajeros que dejaron Hamburgo a bordo del St. Louis el 13 de mayo de 1939, todos excepto por seis eran refugiados judíos. Ellos fueron los afortunados que tuvieron el dinero suficiente para comprar los pasajes de ida y vuelta, así como también los permisos de desembarco del gobierno cubano, incluso después de los esfuerzos de los nazis por privarlos del estatus, la propiedad y el sustento durante los cuatro años anteriores. Ellos esperaban quedarse un periodo corto en Cuba hasta obtener su cupo de visas estadounidenses. En el entretiempo, esperaban con ansias un viaje agradable. El capitán Schroeder demostró compasión por los refugiados, informándole a su tripulación alemana que los traten con respeto y dignidad. Los pasajeros estuvieron esperanzados y bien descansados cuando llegaron al puerto de La Habana el 27 de mayo. inminente. Abrumadoramente, tuvo razón. Hay una fotografía en blanco y negro en el centro de la parte inferior del panel que muestra a un grupo de personas con sombreros y abrigos y maletas caminando por la pasarela de un barco con las letras H-A-M-B claramente visibles en blanco. Está subtitulado: Selma, Karl, Ilse y Edith Simon a bordo del St. Louis en Hamburgo, Alemania. Mayo 1939. Colección en el Museo Estadounidense Conmemorativo del Holocausto. Regalo de Reuben Babich. El texto de la parte inferior del panel dice lo siguiente: Con Ruth y Hildegard enviadas de manera segura a Dovercourt, Inglaterra, y con su padre, Karl, habiendo regresado del campo de concentración de Sachsenhausen, los miembros restantes de la familia Simon reservaron pasajes en el St. Louis. Edith e Ilse disfrutaban de la brisa del océano y de las fiestas de cumpleaños, esperando un futuro reencuentro con sus hermanas en América. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 6:</h1> Refugio Negado Una fotografía en blanco y negro en la parte superior del panel muestra una multitud de mujeres, niños y hombres sonriendo y saludando mientras miran por encima de la barandilla de un barco. Está subtitulado: Refugiados judíos a bordo del St. Louis volviendo a Europa en junio 1939. Cortesía de los Archivos del JDC. Una fotografía en blanco y negro en la parte superior central del cuerpo principal del panel muestra el horizonte bajo de una ciudad con autos en una calle frente a un gran monumento. Algunos de los edificios tienen cúpulas y columnas. Hay gente parada en un muelle con vistas al agua. La imagen está subtitulada: Vista de La Habana desde la cubierta del St. Louis. Mayo 1939. Museo Estadounidense Conmemorativo del Holocausto. Cortesía de Fred [Fritz] Vendig. El texto principal del panel dice lo siguiente: En lugar de tener una rampa de desembarco de bienvenida, los pasajeros del St. Louis encontraron botes patrulleros que evitaron el desembarco. El Presidente cubano Bru había invalidado todos los permisos de desembarco emitidos por su rival político, Manuel Benitez Gonzalez. Solo 28 pasajeros tuvieron permiso para desembarcar. Apoyados por el capitán, los pasajeros unieron fuerzas con el Comité Judío de Distribución Conjunta (JDC) para negociar en representación de los refugiados. Después de que el gobierno cubano exigió exorbitantes pagos para admitir a los refugiados, el St. Louis zarpó hacia el norte a lo largo de la costa de Miami. Un telegrama enviado al presidente Roosevelt no logró convencerlo de hacer una excepción con respecto a los pasajeros. Sin embargo, los negociadores tuvieron éxito al asegurar el asilo en Inglaterra, Francia, Bélgica y los Países Bajos. El barco partió de regreso a Europa el 6 de junio de 1939. Hay una fotografía en blanco y negro en el centro de la parte inferior del panel que muestra a dos niñas sentadas una al lado de la otra en un banco. Ambos llevan vestidos blancos con motivos florales y sonríen. La niña mayor tiene su brazo alrededor de la menor, y la menor tiene una mano frente a su ojo izquierdo para bloquear el sol. La imagen está subtitulada: Edith y Ilse Simon a bordo del St. Louis. Mayo-Junio 1939. Cortesía de Susan Heinemann Berman El texto de la parte inferior del panel dice lo siguiente: A pesar de que esperaba ir a Inglaterra, la familia Simon fue admitida en los Países Bajos. Poco después, Edith pudo ir a Inglaterra como niñera. Desde ahí, ella se fue a Estados Unidos. Karl, Selma e Ilse permanecieron en los Países Bajos. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 7</h1> Los Pasajeros Hay un mapa en la parte superior del panel titulado Hamburg-America Linie M.S. San Louis. El mapa incluye la costa este de América del Norte y la costa oeste de Europa y África. Entre las dos costas, el mapa muestra la ruta de un barco con un triángulo doble y el símbolo de una corona que marcan las ubicaciones en días particulares, desde una salida del 16 de mayo hacia mar abierto hasta una salida el 6 de junio desde La Habana, Cuba, hasta una aproximación del 15 de junio al Costa europea. La parte inferior del mapa incluye una imagen insertada de un gran barco con banderas en sus mástiles y las palabras Hamburgo, 13 de mayo de 1939, Amberes, 17 de junio. El mapa está subtitulado: Mapa de la travesía del St. Louis. Mayo–Junio 1939. Cortesía de los Archivos del JDC. Debajo del mapa hay un gráfico circular titulado: Tasas de supervivencia de los pasajeros de St. Louis por país de desembarco. El gráfico circular se divide en cinco secciones. Comenzando en la parte superior derecha y en sentido horario, hay una sección azul etiquetada: Bélgica, 214 pasajeros. Muestra que el 60% fueron sobrevivientes y el 40% fueron muertes. La siguiente sección es de color naranja y etiquetada: Cuba, 28 pasajeros. Muestra 100% supervivientes. La siguiente sección es de color rosa y está etiquetada: Inglaterra, 289 pasajeros. Muestra 100% supervivientes. La siguiente sección es de color verde y etiquetada: Francia, 224 pasajeros. Muestra un 62% de supervivientes y un 38% de muertes. La sección final es de color amarillo y está etiquetada: Países Bajos, 181 pasajeros. Muestra 54% de sobrevivientes y 46% de muertes. Debajo del gráfico circular hay un título que dice: De los 937 pasajeros en el St. Louis, 931 eran refugiados. El 72% de los refugiados sobrevivió a la guerra repartidos en Cuba, Inglaterra, Francia, Bélgica y Paises Bajos, y el 28% falleció. La sección inferior del panel incluye una fotografía en blanco y negro que muestra a una niña de pie junto a su padre y su madre frente a un edificio de ladrillos. La fotografía está rayada o descolorida, difuminando las líneas entre las tres figuras vestidas de oscuro. Está subtitulado: Ilse, Karl y Selma Simon en los Países Bajos. 1940 – 1942. Cortesía de Susan Heinemann Berman. El texto de la sección inferior del panel dice lo siguiente: Ruth y Hildegard recibieron una carta de su madre en 1943 en la que les aconsejaba “sean fuertes y trabajen eficientemente”. Ilse añadió una nota que decía “¡Estoy del tamaño de mamá!”. Solo después de la guerra Ruth y Hildegard se enteraron que sus padres y hermana menor habían sido asesinados en Sobibor el 21 de mayo de 1943. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. <h1>Audioguía de La tragedia de St. Louis, Panel 8:</h1> El Legado del St. Louis Una fotografía en blanco y negro en la parte superior del panel muestra a un joven con camisa blanca y gorra patinando sobre la cubierta de madera de un barco. Un grupo de hombres y mujeres charlan detrás de él. La fotografía está subtitulada: El refugiado judío Georg Lenneberg con patines en la cubierta del St. Louis. 13-17 de mayo de 1939. Museo Estadounidense Conmemorativo del Holocausto. Cortesía de Fred Buff. En la parte superior central de la parte principal del panel, hay una reproducción de un dibujo infantil de un barco. El barco tiene un casco negro y cubiertas blancas con un gran ancla azul en su popa y St. Louis escrito en rojo en su proa. Sobrevolando el barco hay banderas de varias nacionalidades, incluidas Alemania y Cuba. Escritas en amarillo, rojo y azul en la parte inferior de la imagen están las palabras The German Ship St. Louis from Habana to Antw. Las imágenes están subtituladas: Dibujo de una niña de 11 años, Liesel Joseph, realizado en agosto 1939 luego de llegar a Inglaterra después del retorno forzoso del St. Louis desde Cuba. Colección en el Museo Estadounidense Conmemorativo del Holocausto. Regalo de Liesel Joseph Loeb. El texto del cuerpo principal dice lo siguiente: La esperanza e incertidumbre sentida por los pasajeros del St. Louis puede apreciarse en las fotografías que se tomaron a bordo del barco. Ellos están sonrientes, bailando, patinando, haciendo “audiciones” para ser vecinos y amigos en un nuevo mundo. Para las personas que siguieron su difícil situación, ellos eran individuos reales con personalidad y potencial. Sin embargo, para las naciones donde buscaron consuelo, ellos eran simplemente números de un cupo. Y ese cupo no podía cambiarse, ni estar sujeto a miedos ni a distracciones ni a la inacción de los políticos, borrando cualquier rastro de humanidad. La historia del St. Louis nos recuerda que la retórica y la política son poderosas. Para las personas que buscan refugio, las políticas restrictivas pueden tener el poder de terminar con sus vidas de manera prematura. Hay una fotografía en color en el centro de la sección inferior del panel que muestra a cuatro mujeres sonrientes frente a una ventana. Una mujer joven se encuentra a la izquierda junto a tres mujeres mayores de pelo corto y gafas que se parecen mucho entre sí. La imagen está subtitulada: Susan Heinemann Berman, Ruth Simon Heinemann, Edith Simon Babich y Hildegard Simon Gernsheimer, 1990. Cortesía de Susan Heinemann Berman. El texto de la sección inferior del panel dice lo siguiente: Las tres hermanas Simon sobrevivientes celebraron el final de la Segunda Guerra Mundial y buscaron el sueño americano. En 1947, Ruth se casó con Manfred Heinemann. Un año después, nació su hija Susan. Actualmente reside en Kennesaw, Georgia. Susan Heinemann Berman ha ayudado a preservar el legado de su familia. Todos los paneles incluyen un fondo de agua azul en la parte superior e inferior con una sección principal superpuesta por tonos de púrpura y una sección inferior superpuesta en verde azulado. El texto en inglés aparece a la izquierda y el texto en español a la derecha. See attached pdf for German (Deutsch) translation. 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.) 24 minutes Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 34.8 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 The Tragedy of the St. Louis Audioguía de La Tragedia de St. Louis Audioguide für Die Tragödie der St. Louis Subject The topic of the resource Immigration Description An account of the resource This audio guide includes descriptions of each of the exhibit's eight panels in English as well as Spanish. Esta audioguía incluye descripciones de cada uno de los ocho paneles de la exhibición en inglés y en español. Dieser Audioguide enthält Beschreibungen zu jeder der acht Tafeln der Ausstellung in englischer und spanischer Sprache. 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 November 20, 2020 Contributor An entity responsible for making contributions to the resource Adina Langer Marianela Belloso Florian Armbruster Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource The Tragedy of the St. Louis La Tragedia de St. Louis Die Tragödie der St. Louis Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Spanish 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 Accessibility Audio Guide Immigration Ships St. Louis World War II https://meethistory.kennesaw.edu/files/original/863965189906265f350aa07001af5ff9.mp3 0c5bb3fd7b869242b0ec648960d670d0 https://meethistory.kennesaw.edu/files/original/ab48f9ad0be290f4d4097a3bdfbe7238.mp3 b10a700135956bf46cd2378f694fa1c2 https://meethistory.kennesaw.edu/files/original/efc50d8ee5c8caa7036473bd8ddbf436.mp3 45273cc1d9617c515bee8d80b7b57be8 https://meethistory.kennesaw.edu/files/original/28e1716181d6a31a8699e70a8e0d6d7c.mp3 2a7a361d5ebad348e58a5a6422fe0daa https://meethistory.kennesaw.edu/files/original/47fb239424fb33b3da3e5b092be33d99.mp3 03992baea90ee59c7ee29a6898e89e13 https://meethistory.kennesaw.edu/files/original/2c9d19a21e48a364a17e4668d0c1931b.mp3 8399bdde39481fa430576e5e40fd72f8 https://meethistory.kennesaw.edu/files/original/81554b1be09ce3a0ed94dc05e6ce6e68.mp3 cbcfe2000830cdc9448a971293f8efc7 https://meethistory.kennesaw.edu/files/original/76e610a5b2035675ff5fe6f80ef776ce.mp3 7f93059fc5ecf4b1c0be964b039b3eae https://meethistory.kennesaw.edu/files/original/8fb1c53ed57b8a4d77cc9badfd2ddb13.mp3 6a87c39fa62045ced15a0b458f5a1afb https://meethistory.kennesaw.edu/files/original/a675209a2ca731146b4793b4c71f8e36.mp3 d38604e0f29b1e5003dcd101c1ffd48d https://meethistory.kennesaw.edu/files/original/672cd8d6d0a5c5a827a46a04bb2d25ac.mp3 fa45ac2092ea48f1b75b1f09a5ceb9d4 https://meethistory.kennesaw.edu/files/original/5bbc7562cc3b166a6b805ed4eda264fa.mp3 bca724de4dd2d0a92102bec4b7b591df https://meethistory.kennesaw.edu/files/original/02e53304fa21b48bd71022791ab0b0eb.mp3 8543df1adcfc0b7bfb0b64232ec70c70 https://meethistory.kennesaw.edu/files/original/1f986c3afc3f0a00176f221d8c60480e.mp3 3c49f8b1e8ffb85c84ae96a75e9a2677 https://meethistory.kennesaw.edu/files/original/ad2abe3deae233170859dc5601e48e72.mp3 826b02451c7118959399fdb82cae1570 https://meethistory.kennesaw.edu/files/original/aa7cb11014a5773a54d01e11ca8bbc56.mp3 e10b3f9f32c4fc909d38f5b8f6999c4c https://meethistory.kennesaw.edu/files/original/443f49c3ec999d3ecc0a850dfc44c084.mp3 f2ed1fc31d37a60457fb959f79ca9630 https://meethistory.kennesaw.edu/files/original/10f07c8426a13aa69aeb865c8444845b.mp3 64217eef7ac99efb28c38be1f3512ad5 https://meethistory.kennesaw.edu/files/original/2c503cbb811cdbeb6c05100264da67ff.mp3 68ad3b232a76f55e49807fa85a2c9b5d https://meethistory.kennesaw.edu/files/original/526bc16769779aa94ea82478792df9b5.mp3 ead276713cab593e025c96485b35dfea https://meethistory.kennesaw.edu/files/original/aaa0f766e523aa3a384e91137cc9b644.mp3 b3922f0a7189d59d5844210ce4287423 https://meethistory.kennesaw.edu/files/original/721dc7352874f54753bf87d91ab32945.mp3 7fb49b191903c0c2b7e0cf9b425701f1 https://meethistory.kennesaw.edu/files/original/ee706b36ade60a9d857b7ce7dd5e2e7d.mp3 68972938931fbb4377d58ff143453b70 https://meethistory.kennesaw.edu/files/original/9ed7b0fd85b4cc705ee603345a0b51b7.mp3 da61b867945d4d711fa7201a610074dd https://meethistory.kennesaw.edu/files/original/ded077f411ddce714b652f3613a6b2f3.mp3 e7a0c2b0d78b47cf3324f2f3271431e3 https://meethistory.kennesaw.edu/files/original/c23f3e1154c3a848b53ce085650416bb.mp3 d132e679a7477dacb8d9c096cd66443e https://meethistory.kennesaw.edu/files/original/137fb003d3ccefd962409dcfe4403614.mp3 a8659e8134ee62a2ac96d4aec7de54e9 https://meethistory.kennesaw.edu/files/original/c3ff75ff28f05c1d9d53a1dd0a54d160.mp3 4c94a68cc11f3de8d4489a902dd14db7 https://meethistory.kennesaw.edu/files/original/9315e0d17363c9535387ea23525aff07.docx 077872aea1d4513a3a38d6c5d1a29c43 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.) 3 hours, 30 minutes Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 113 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 Anne Frank in Translation Subject The topic of the resource Holocaust Survivors Description An account of the resource <div class="element"> <div class="element-text">This audio guide includes descriptions of each of the exhibit's eight panels as well as the accompanying gallery guide.</div> </div> <div class="element"></div> 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 May 10, 2021 Contributor An entity responsible for making contributions to the resource Adina Langer Hanno Sellinger Rights Information about rights held in and over the resource All Rights Reserved Relation A related resource Anne Frank in Translation exhibit 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 Accessibility Audio Guide Holocaust Translation World War II 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 Words, Music, Memory: (Re)presenting Voices of the Holocaust 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">Words, Music, Memory (Re)presenting Voices of the Holocaust 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/df89a5ca8d080f75d859713a6045ff1e.mp3 7cf37f25056ae6d56d1b192b91f399c9 https://meethistory.kennesaw.edu/files/original/772f63e3153012c6b7ead1873d4cab0a.mp3 74aa21663ee39fda305827394761add5 https://meethistory.kennesaw.edu/files/original/aba9cd4e3685409f4bb3a7abbc83fa58.mp3 66883f900faa48506f7194d1bae9aeba https://meethistory.kennesaw.edu/files/original/6f69a095f806dd5a6cfb266a50d6f300.mp3 705c548a5c6be84fb393bb302c68cf7e https://meethistory.kennesaw.edu/files/original/f53ccdb666c98c1107a04795457b7f86.mp3 0d857e0af376171d1a5f1ff02dafbe43 https://meethistory.kennesaw.edu/files/original/f71e8913f5fa4b347f95025accc29ee8.mp3 99af8c1592c800c7e42016023961e90e https://meethistory.kennesaw.edu/files/original/8b692bbdf0a0b6fad6294247c31c5c76.mp3 3a31589ece94017805d54b3a821e6ff3 https://meethistory.kennesaw.edu/files/original/af3e26b6e063ac25d3fcb5ee0f091378.mp3 d5cef5372e264403385db2c86474091e https://meethistory.kennesaw.edu/files/original/e3ca0b7cfab7bfd0ff59fa31987c8384.mp3 756007238bdf981260d5dcbbbd25c16b https://meethistory.kennesaw.edu/files/original/79d92aeedd4851bebcb598ce833a6e41.txt 62807e1794fb743e0f53596b35d90d27 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 See attached word document. 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 40 minutes total. 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 Women's Voices for Civil Rights 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">Women's Voices for Civil Rights 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