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The Driver is Red | Animated Documentary Short Film | Short of the Week

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In your group blog, write a “lens essay” on the concept of "grievability."

"One way of posing the question of who “we” are in these times of war is by asking whose lives are considered valuable, whose lives are mourned, and whose lives are considered ungrievable. We might think of war as dividing populations into those who are grievable and those who are not. An ungrievable life is one that cannot be mourned because it has never lived, that is, it has never counted as a life at all. We can see the division of the globe into grievable and ungrievable lives from the perspective of those who wage war in order to defend the lives of certain communities, and to defend them against the lives of others—even if it means taking those latter lives."

—Judith Butler, Frames of War

Butler suggests here that it is war that divides populations into the grievable and ungrievable. How does Bauman’s claim differ? In what ways did this issue of grievability play itself out in the Holocaust with reference to the population your group read about? Do you see this issue of grievability playing itself out today? Note: You don’t all have to agree – in case of disagreements, transcribe or otherwise depict your conversation or the issues at stake. You can be creative in how you lay out your essay: you can write a dialogue if you want.

All Groups: excerpts from Zygmunt Bauman, The Uniqueness and Normality of the Holocaust.

Option 1 Mosaic of Victims, Persecution of Roma Links: 1, 2

Option 2 Mosaic of Victims, First Targets: Persecution of Disabled Links: 1, 2, Persecution of Afro-Germans Link: 1

Option 3 Mosaic of Victims, Persecution of Homosexuals Links: 1, 2

Option 4 Mosaic of Victims, Holocaust Denial Links 1, 2

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Read the Introduction

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Directed by Oscar winners Rob Epstein and Jeffrey Friedman, this shocking documentary fills a crucial gap in the historical record, revealing the full extent of the persecution of homosexuals by the Third Reich. These are stories of survivors, tortured by their memories, yet infused with a powerful will to endure.

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Designated Zoom Link (for office hours etc)

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Designated Zoom Link (for office hours etc)

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Meeting ID: 858 5886 0709

Password: Shoah

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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, conference, huddle, and training rooms, as well as executive offices and classrooms. Founded in 2011, Zoom helps businesses and organizations bring their teams together in a frictionless environment to get more done.

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Read: Eichmann in Jerusalem, Arendt (chapters: The Accused, Judgement Appeal and Execution, Epilogue and Eichmann excerpts)

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1. Read the following passage: "Sterilization of the black children had been discussed with members of the government. But, in addition to the problem of getting permission from the mothers of these children for such an operation, the central government was worried that news of such sterilization might become public. This would have adverse consequences not only for domestic, but also - and more seriously - for foreign, policy" (Pommerin)

Discuss May Ayim's concept of a "facade of tolerance". Discuss American law models through the lens of how they served as a basis for Nazi race law, and connect this back to the Whitman book from Week 2.

2. Selecting a passage from Showing Our Colours, discuss how contradiction (i.e. conflicting information) affects the concept of building narrative. Why is contradiction handled in this way?

3. Notice the nationalist themes of the poem We Need Colonies! (page 4). How does this compare to the themes of other sources we’ve looked at, like Conspiracy, that are also from a Nazi point of view?

4. We have looked at multiple examples of relevant art in this class - for example: Maus, degenerate art. Unlike these examples, the art found in Showing our Colours was created by the Nazis and is racially motivated. Discuss the differences between an art piece from this text and a piece we looked at previously.

5. Discuss the quote from Mein Kampf on page 10. Much of Showing our Colours describes the narratives built by the Nazis to influence public opinion. What considerations should this bring when looking at historical sources from the Holocaust period?

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All Groups Should Read Bauman's "The Uniqueness and Normality of the Holocaust"

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All Groups Should Read Bauman's "The Uniqueness and Normality of the Holocaust"

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The Uniqueness and Normality of the Holocaust.pdf

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Group 2: First Targets: Persecution of the Disabled and Afro-Germans

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Group 2: First Targets: Persecution of the Disabled and Afro-Germans

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Matthew Port Louis

Sourojit Mazumder

Kevin Zhou

Chantelle Diener

Anish Mukherjee

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Holocaust and Human Rights Small Group 3

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Researchers discover film footage from World War II that turns out to be a lost documentary shot by...…

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Read the Intro

and Chapter 1 on the Fascist tactic of creating a mythic past.

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1.     In your group blog, create a List of Recurrent Themes and Ideas that you can add to and refer back to over the course of the semester. What issues keep arising? What ideas or problems or questions call to you? [Add to this list every time you meet as a group. You may also want to keep track of other materials/movies/books that the materials we read remind you of. This will be helpful for the final project, which will be a comparative look at material we did cover in class and material we did not].

2.     Pick a passage from the reading that your group found thought-provoking. Discuss what spoke to you about that passage.

3.     Discuss the ways in which Whitman’s book extends, complicates, and/or problematises the conversation we began last week about utopias and dystopias and Bauman’s garden and weeds.

4.     Take a look at the following quote:

Yes it is true that segregation in the style of the American South did not matter all that

much to the Nazi regime—but that is for the simple reason that segregation was not all that

central to the Nazi program. The Nuremberg Laws said nothing about segregation. Their

concern, and the overwhelming concern of the Nazi regime of the early 1930s, lay in two other

domains: first, citizenship, and second, sex and reproduction. The Nazis were committed to the

proposition that “every State has the right to maintain its population pure and unmixed,” safe

from racial pollution. To that end they were determined to establish a citizenship regime that

would be firmly founded on racial categories. They were further determined to prevent mixed

marriages between Jews and “Aryans,” and to criminalize extramarital sex between members of

the two communities. (12)

Discuss the concept of purity in relation to the populations targeted by the Nazis.

5.     “It is here that some of the most unsettling evidence has been assembled, as historians have shown that Nazi expansion eastward was accompanied by invocations of the American conquest of the West, with its accompanying wars on native Americans. This tale, by contrast with the tale of eugenics, is a much more exclusively German/American one. The Nazis were consumed by the felt imperative to acquire Lebensraum, “living space,” for an expanding Germany that would engulf the territories to its east, and “[f]or generations of German imperialists, and for Hitler himself, the exemplary land empire was the United States of America.” In Nazi eyes, the United States ranked alongside the British, “to be respected as racial kindred and builders of a great empire” both were “Nordic” polities that had undertaken epic programs of conquest. Indeed as early as 1928, Hitler was speechifying admiringly about the way Americans had “gunned down the millions of Redskins to a few hundred thousand, and now keep the modest remnant under observation in a cage” and during the years of genocide in the early 1940s Nazi leaders made repeated reference to the American conquest of the West when speaking of their own murderous conquests to their east. Historians have compiled many quotes, from Hitler and others, comparing Germany’s conquests, and its program of extermination, with America’s winning of the West. They are quotes that make for chilling reading, and there are historians who try to deny their significance. But the majority of scholars find the evidence too weighty to reject: “The United States policy of westward expansion,” as Norman Rich forcefully concludes, for example, “in the course of which the white men ruthlessly thrust aside the ‘inferior’ indigenous populations, served as the model for Hitler’s entire conception of Lebensraum.” (10)

Reflect first on your personal experience learning about this moment in US History (in high school, etc). What was the lens through which you learnt about the imperative “Go West, young man” or the concept of manifest destiny? How does reading this quote help you name, understand, or otherwise “see” the lens through which you were taught to view this portion of history. Reflect on how this new data reframes that part of US history and your own education about it.

One of the recurring ideas we will come back to over the course of this semester is that the Holocaust isn’t just something that happened over there that we don’t want to happen here (or anywhere) in the future. The work of genocide prevention means uncovering hidden histories of genocide and atrocity that have gone and continue to go unrecognised and may be happening as we speak. Discuss in your group how the issue of how history is taught plays a role in preventing genocide. Discuss in your group how the whitewashing of history relates, if at all, to the denial of history and/or to utopian projects.

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Attendance: 5%
Participation: 5%
Group Blog Assignments: 30%
Group Presentation: 30%
Final Presentation 25%
Comments on Group Members' Presentations: 5%

Grading ScaleA+ (98‐100); A (93‐97); A‐ (90‐92); B+ (88‐89); B (83‐87); B‐ (80‐82); C+ (78‐79); C (73‐77); C- (70‐72); D+ (68‐69); D (63-67); D-(60-62); F (below 60)

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Ryan VandeWiele

Aspen Braun

Andrew Tobin

Maaike Niekerk

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Holocaust and Human Rights Small Group 2

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On the eve of Holocaust Remembrance Day, debate continued on how to best teach students about the largest mass murder in history.

After a Tennessee school board unanimously voted to remove Holocaust book "Maus" from its curriculum, elected officials, parent groups and national organizations reacted to the ban on social media.

Here's what we know about McMinn County School Board's decision.

Who wrote 'Maus'?

Comic artist Art Spiegelman's original version of " Maus" ran in his comic anthology RAW in 1980. The novel was adapted into a book in 1986 and Spiegelman won a Pulitzer for the book in 1992.

What is 'Maus' about?

The graphic novel follows Spiegelman's Jewish parents through their internment in Auschwitz in 1940s Poland. In the book, Nazis are portrayed as cats and Jewish people are shown as mice.

"I made it when there was no such thing as a graphic novel," Spiegelman told The Tennessean Thursday. "I was doing that to teach myself and share with others."

"It's a book that breaks through in a way that others can't," he said. "It allows an entry point for people. I just don't want it to be boxed in as only about the Holocaust or only about the Jews."

Why was 'Maus' removed by the McMinn County School Board?

The McMinn County School Board voted 10-0 to ban the book citing concerns over "rough" language and a nude drawing of a woman, according to meeting minutes posted to the district website.

The board decided to vote on the removal of "Maus" after members and instructional supervisors discussed the book's content. They considered if it was age appropriate, if it reflected the values of the district and the community and how to best teach students about the Holocaust.

After widespread national reaction to news of the removal, the McMinn County School Board released the following statement:

One of the most important roles of an elected board of education is to reflect the values of the community it serves. The McMinn County Board of Education voted to remove the graphic novel Maus from McMinn County Schools because of its unnecessary use of profanity and nudity and its depiction of violence and suicide. Taken as a whole, the Board felt this work was simply too adult-oriented for use in our schools.

We do not diminish the value of Maus as an impactful and meaningful piece of literature, nor do we dispute the importance of teaching our children the historical and moral lessons and realities of the Holocaust. To the contrary, we have asked our administrators to find other works that accomplish the same educational goals in a more age-appropriate fashion. The atrocities of the Holocaust were shameful beyond description, and we all have an obligation to ensure that younger generations learn of its horrors to ensure that such an event is never repeated.

We simply do not believe that this work is an appropriate text for our students to study.

What grade was 'Maus' taught in?

The book was part of McMinn County Schools' eighth-grade English language arts curriculum.

Where is McMinn County?

McMinn County is located in Southeast Tennessee. The county has a population 53,276, according to the U.S. Census.

Who is on the McMinn County School Board?

Here's who's on the board and what district they represent.

Sharon Brown: Chairman - District 5

Quinten Howard: Vice Chairman - District 1

Jonthan Pierce: Member - District 1

Denise Cunningham: Member - District 2

Mike Lowry: Member - District 2

Donna Casteel: Member - District 3

Mike Cochran: Member - District 3

Tony Allman: Member - District 4

Bill Irvin: Member - District 4

Rob Shamblin: Member - District 5

What did McMinn County School Board members say about the book?

Board member Tony Allman said he was concerned about scenes in the book where mice were hung from trees and children were killed. The book also depicts suicide.

"Why does the educational system promote this kind of stuff?" he said. "It is not wise or healthy."

Instructional supervisor and former history teacher Julie Goodin shared a different sentiment. Goodin said she believes the book represents the brutality of the Holocaust.

"There is nothing pretty about the Holocaust and for me this was a great way to depict a horrific time in history," she said.

Instructional supervisor Melasawn Knight pointed out that she taught several books with vulgar language and violence as a teacher, including "Bridge to Terabithia," "The Whipping Boy" and "To Kill a Mockingbird."

When was 'Maus' removed?

The McMinn County School Board unanimously voted to ban the book in a Jan. 10 meeting.

What did author Art Spiegelman say about the removal of 'Maus'?

Spiegelman thinks the board's decision was "absurd" and that the words in question are several mentions of "God d---" and the word "b----." He said the nude drawing depicts his mother's suicide, which includes a "dot for a nipple" and a bathtub filled with blood.

He sees the board's decision as part of a much larger picture of often polarizing debates over things like critical race theory, oppression and slavery.

"This is not about left versus right," he said. "This is about a culture war that's gotten totally out of control."

What parents are saying about the removal of the book 'Maus'

News of the removal of "Maus" from McMinn County School's eighth-grade curriculum sparked many debates, support and backlash.

ParentsTogether, a family advocacy group with more than 3 million members nationwide, issued a statement calling for a reversal of the decision.

"It is critical that we reflect upon the Holocaust with honesty and clarity, including in the ways we teach our children about one of history's biggest evils," Campaign Director of ParentsTogether Pulin Modi said in the statement.

"The decision by the McMinn County School Board is consistent with a disturbing trend of politicians and other officials attempting to whitewash history."
Reporter Rachel Wegner contributed to this report.

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What we know about the removal of Holocaust book 'Maus' by a Tennessee school board

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Here's what we know about the removal of Holocaust book 'Maus' by a the McMinn County School Board in Tennessee, including what led to the decision.

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Jack Granat

Andrew Myers

Adam Mateja

Dmitriy Shvydkoy

Adin Farmer

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Holocaust and Human Rights Small Group 1

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Sign your Group up for a Thursday Time Slot

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Sign your Group up for a Thursday Time Slot

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pick a work of "Degenerate Art" and discuss it

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pick a work of "Degenerate Art" and discuss it

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This week it was revealed that a huge stash of modern art had been found in a flat in Munich. Many of the paintings were considered "degenerate" by the Nazis, who staged an exhibition especially to ridicule them. Why did Hitler hate abstract art so much?

In July 1937, four years after it came to power, the Nazi party put on two art exhibitions in Munich.

The Great German Art Exhibition was designed to show works that Hitler approved of - depicting statuesque blonde nudes along with idealised soldiers and landscapes.

The second exhibition, just down the road, showed the other side of German art - modern, abstract, non-representational - or as the Nazis saw it, "degenerate".

The Degenerate Art Exhibition included works by some of the great international names - Paul Klee, Oskar Kokoschka and Wassily Kandinsky - along with famous German artists of the time such Max Beckmann, Emil Nolde and Georg Grosz.

The exhibition handbook explained that the aim of the show was to "reveal the philosophical, political, racial and moral goals and intentions behind this movement, and the driving forces of corruption which follow them".

Works were included "if they were abstract or expressionistic, but also in certain cases if the work was by a Jewish artist," says Jonathan Petropoulos, professor of European History at Claremont McKenna College and author of several books on art and politics in the Third Reich.

He says the exhibition was laid out with the deliberate intention of encouraging a negative reaction. "The pictures were hung askew, there was graffiti on the walls, which insulted the art and the artists, and made claims that made this art seem outlandish, ridiculous."

British artist Robert Medley went to see the show. "It was enormously crowded and all the pictures hung like some kind of provincial auction room where the things had been simply slapped up on the wall regardless to create the effect that this was worthless stuff," he says.

Hitler had been an artist before he was a politician - but the realistic paintings of buildings and landscapes that he preferred had been dismissed by the art establishment in favour of abstract and modern styles.

So the Degenerate Art Exhibition was his moment to get his revenge. He had made a speech about it that summer, saying "works of art which cannot be understood in themselves but need some pretentious instruction book to justify their existence will never again find their way to the German people".

The Nazis claimed that degenerate art was the product of Jews and Bolsheviks, although only six of the 112 artists featured in the exhibition were actually Jewish.

The art was divided into different rooms by category - art that was blasphemous, art by Jewish or communist artists, art that criticised German soldiers, art that offended the honour of German women.

One room featured entirely abstract paintings, and was labelled "the insanity room".

"In the paintings and drawings of this chamber of horrors there is no telling what was in the sick brains of those who wielded the brush or the pencil," reads the entry in the exhibition handbook.

The idea of the exhibition was not just to mock modern art, but to encourage the viewers to see it as a symptom of an evil plot against the German people.

The curators went to some lengths to get the message across, hiring actors to mingle with the crowds and criticise the exhibits.

The Degenerate Art Exhibition in Munich attracted more than a million visitors - three times more than the officially sanctioned Great German Art Exhibition.

Some realised it could be their last chance to see this kind of art in Germany, while others endorsed Hitler's views. Many people also came because of the air of scandal around the show - and it wasn't just Nazi sympathisers who found the art off-putting.

Fritz Lustig was a young Jewish apprentice who went along to see the works of art. He says "they didn't seem to mean very much - if they were portraits they seemed to distort the faces... if they were things, they seemed to be quite different from what the things really looked like - I mean the word degenerate seemed to me to apply".

The exhibition went on tour all over Germany, where it was seen by a million more people.

Some of the art was later burned by the Nazis, and for many of the artists this was only the beginning of very hard times ahead.

But Petropoulos says that for some, being banned by the Nazis turned out to have a positive side.

"This artwork became more attractive abroad, or certainly in anti-Nazi circles it gained values because the Nazis opposed it, and I think that over the longer run it was good for modern art to be viewed as something that the Nazis detested and hated."

Some of the artists featured in the exhibition are now considered among the greats of modern art.

Lustig, who later fled the Nazis to settle in England, now enjoys the art that he once thought was degenerate.

"Well, I have grown up since that - I was pretty young and I hadn't seen all that much art - I've changed my mind since then," he says.

"I can appreciate modern art much better now than I did then. It's not meant to be beautiful is it?"

Lucy Burns was reporting for Witness - which airs weekdays on BBC World Service radio. You can hear her report on degenerate art here.

Follow @BBCNewsMagazine on Twitter and on Facebook

The BBC is not responsible for the content of external sites.

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Degenerate art: Why Hitler hated modernism

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This week it was revealed that a huge stash of modern art had been found in a flat in Munich. Many of the paintings were considered "degenerate" by the Nazis, who staged an exhibition especially to ridicule them. Why did Hitler hate abstract art so much?

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Nyssa Aftab

Haley Maser

Jessica Pei

Dylan Riemen

Grace Alongi

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Holocaust and Human Rights Small Group 4

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You won't necessarily have heard of the works in the sample theses. I'm not worried about this. I am concerned that you understand the principles at stake. When it comes to "correcting" the theses, feel free to substitute different works.

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A World Without Bodies (legendado em português)

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1. How has the ethical ambiguity of eugenics experiments performed in T4 centers during WWII evolved in relation to the current-day debates around the ethics of assisted suicide?

2. Does the use of medical science developed from experiments at T4 centers during WWII cast a shadow on medical advancements it contributed to today? Discuss how this may affect the grievability of the disabled victims of these experiments.

3. Discuss the music used throughout. How did it contribute to the atmosphere of the film, did it make you feel any way or pay attention to the scenes being shown differently? Compare to the absence of music in Night Will Fall.

4. Discuss the scene in the film in which the empty gas chamber is overlaid with the image of the gas chamber full with people (14:25). What do you make of the humanness of the chamber? Why that picture?

5. Discuss the use of images of people with disabilities in the film. How does being able to see the victims of this genocide change the way you view the T4 centers?

6. The frame narrative of the film is a pilgrimage by a small family/friend group to Bernberg — the pilgrims include disabled children. What are the implications of including these children in the documentary? Discuss the implications of taking children to memorials of the Holocaust, more specifically, children who would have been potential victims. Should there be an age rating on teaching the Holocaust?

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GROUP PROJECT GUIDELINES

Students will give 1 group 30-minute presentation on a text or film.

Steps you need to follow:

Step 1: Set up a group meeting with the professor to brainstorm your approach to the text/film. [Any group that fails to meet with me before their presentation cannot hope to get a grade higher than a C]

Step 2: Draft your questions and email them to anelhe@illinois. I will suggest edits. [Failure to run your questions by me will mean you cannot hope to get a grade higher than a B.] Step 2 can also be Step 1 and Step 1 can happen after Step 2. Do not proceed to Step 3 before completing both Steps 1 and 2.

Step 3: Post your presentation by the end of the day on the day it is due. If you use google slides, be sure to set the permissions so that everyone in the class can access it.

Student presentations should consist of the following:

Introduction to the author or history of the work

Close reading of 3 short passages/scenes

3 discussion questions

Groups that respond to the presentation will  be challenged to come up with a thesis based on the presentation and their own responses to the discussion questions.

How to develop your presentation:

You need to prepare a) close readings of passages/scenes and b) questions to pose to the class.

Where to start?

Develop your reading:

Don't decide on a topic. Decide on PASSAGES/SCENES that interest you. Let whatever questions and observations you are going to make come out of the passage -- don't impose them on the passage.

Deciding what to say about the passage:

You could start by describing the passage in your own words. But remember: a description is NOT a close reading. It's paraphrase. Paraphrase can be useful for you in figuring out what you see when you look at the passage -- and what you don't see. A paraphrase is helpful because it helps you figure out what you find surprising about the actual words on the page. How does it NOT conform to your own description of it? The point of a close reading is not to give your interpretation in such a way that it makes reading the passage unnecessary. The point of a close reading is that over the course of unpacking the words on the page, the words begin to seem more vibrant and alive than they were before.

So if you're going to start with a description, maybe don't describe the content. Instead describe HOW the author is telling their story. Don't paraphrase WHAT they're saying, describe HOW they're saying it. Example: watch out for moments when the narrator switches tenses. First we were in past tense, now suddenly he/she is in the present tense. What do you make of this shift?

This link to how to write a close reading below advises that you begin not by paraphrasing but by annotating the text and it gives you an example of how to move from there to interpreting the words on the page. How to do a close reading

Make your Presentation:

Texts: Quote the full quote you will be speaking about.

Films:

Make your own clips rather than relying on what's available on Youtube.

on Mac: the newest OS system allows you to press: control, shift, 5. a bar will crop up at the bottom of the screen. you may need to use a non-Safari browser if recording things off of Netflix.

Develop your questions:

Your questions need to guide other groups' discussions. They should not be factual questions – it is not your job to quiz your classmates about what happened in the reading/movie. Give us some food for thought! Comparisons are always a good place to start.

Grading Rubric for the Presentations:

A+ = great questions, delivered to me and posted on time. exceptional and detailed readings of specific scenes that help us see works in a new light; thought-provoking, in-depth, well-rounded comparisons; helps us think about the questions of the course in a new/original way (not discussed often in class).

A = great questions, delivered to me and posted on time. good readings of scenes, well-evidenced with a lot of analysis of details from the scenes; thought-provoking comparisons. helps us think about the questions of the course (perhaps in ways we talked about in class).

A- = good questions, delivered to me and posted on time. offers readings of scenes that could be better-evidenced/more detail-orientated. good comparisons. helps us think about the questions of the course (perhaps in ways we talked about in class).

B+ = good questions. delivered to me late but posted on time / good presentation in class. OR: good questions delivered and posted on time but less robust dissections of scenes, comparisons are good but could be more fleshed out, tackles the overarching questions of the course.

B = questions needed work but were better after consultation with me/were late/presentation relied more on paraphrase/generalizations/plot summary than readings of scenes. comparisons are good. tackles the overarching questions of the course.

B- = questions needed work/were late/ contains more paraphrase/generalizations/plot summary/opinions than dissections of individual scenes, comparisons could be stronger, tackles the overarching questions of the course.

C+ = questions were unfocused even after revisions/were late/presentation contains more paraphrase/generalizations/opinions than dissections of individual scenes, comparisons are unclear, tackles the relevant questions of the course.

C = questions were unfocused even after revisions/were late/weren't sent, could contain factual errors, contains more paraphrase/generalizations/opinions than dissections of individual scenes, comparisons are unclear, presentation/question don’t adequately tackle the overarching questions of the course.

C- = lateness/failure to run anything by me/disconnect between questions and evidence/readings/overall themes of the course

D+ or lower = failure to communicate with prof/incoherent questions/presentation.

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Meet with your group. Discuss the questions; write responses in your group blog. We will hear the group presentation Thursday and discuss as a class.

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https://docs.google.com/presentation/d/1Hu48iDJvQjxzLug5xpSYEa7LZS1xC0d_Mvh9aw0t3jQ/edit?usp=sharing

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If you are interested in the question of how to teach children about genocide, consider investigating how museums have approached the topic.

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Close

Illinois Holocaust Museum & Education Center has exhibitions that help teach younger visitors about prejudice, discrimination, racism, and speaking out for what's right. The following exhibitions are recommended for ages 8 and up.

"I'll Have What She's Having": The Jewish Deli

More than a place to get a meal, the Jewish deli is a community forged in food. "I'll Have What She's Having": The Jewish Deli explores how Jewish immigrants imported and adapted traditions to create a uniquely American restaurant that served as a lifeline for Holocaust Survivors and refugees. Open through April 14, 2024.

Make A Difference! The Harvey L. Miller Family Youth Exhibition

Make a Difference! The Harvey L. Miller Family Youth Exhibition is a hands-on exhibition designed for children ages 8-12 and encourages leadership development, empathy, self-esteem, and positive decision-making.

Take a Stand Center

Four interactive galleries guide visitors through contemporary social justice issues, empowering and inspiring visitors with knowledge and tools to stand against hatred in all its forms.

Photo credits: Scott Edwards; Kathleen Hinkel; Emily Mohney; Robert Wedemeyer (Skirball Cultural Center)

9603 Woods Drive, Skokie, IL 60077

info@ilhmec.org

847.967.4800

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For Our Younger Visitors | Illinois Holocaust Museum

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We are dedicated to providing resources for individuals of all ages, including young children. Learn more about our available resources.

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https://docs.google.com/presentation/d/13lQxICM-876VxfFva9YHrnbSXS8NhJquVJT4C8RCjK8/edit?usp=sharing

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Outside Source: https://www.csustan.edu/sites/default/files/History/Faculty/Weikart/Darwinism-in-Nazi-Racial-Thought.pdf

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Andrew Myers

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https://docs.google.com/presentation/d/1Ii9__zBQO-_vDyItjc6rPOwHn-DTPe2J0JcHL2l5LvQ/edit?usp=sharing

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Matthew Port Louis and Sourojit Mazumder Final Presentation

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Matthew Port Louis and Sourojit Mazumder Final Presentation

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https://drive.google.com/file/d/140WoeUSdAtWcKoyg0QoDOlm-7IQclWOT/view?usp=sharing

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https://drive.google.com/file/d/1OCsDfLbbQlmcc9JIBMPGyAha-TzOtcob/view?usp=sharing

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GER199 Final Presentation - Nyssa Aftab.mp4

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lhttps://docs.google.com/presentation/d/1lIQqkJnvLDnSC3moukjSLT3ravaIlZrtosve-RIVT74/edit?usp=sharing

-->this is the link to the presentation used in the video