The U.S. Holocaust Memorial Museum: Personalizing History

Video Overview

Christina Chavarria, of the U.S. Holocaust Memorial Museum (USHMM)'s Education Division, introduces teachers to the museum. She highlights the importance of using individual stories and specific artifacts to make history live for students.

Video Clip Name
holocausttour1.mov
holocausttour2.mov
holocausttour3.mov
holocausttour4.mov
Video Clip Title
Introducing the Museum
Race and Eugenics
Obstacles to Flight
Teaching with Artifacts
Video Clip Duration
5:25
3:48
2:28
4:03
Transcript Text

Christina Chavarria: So just kind of look around. What feeling is evoked? Is there anything that might remind you of something? Or maybe nothing at all. Visitor 1: We were just taking [about] the stairs. Almost as if you can be kind of spread out, and then as you go up closer you have to bunch together to file in. I've never seen stairs that do that, it's weird. Christina Chavarria: Okay, that's true. And when you mention that I think of also the train tracks and how they're kind of elongated and they fade and they seem to become more narrow the further away they become. Anybody else have any thoughts about the architecture, the building? Visitor 2: I think it's overwhelming. It makes you feel small. Christina Chavarria: That's very true. That's a very good point. Because, like I said, going back to the importance of the individual in this history, one of the things that we do with teachers is that we really encourage that you translate statistics into people, that instead of focusing solely on the millions of victims or the thousands who may have died in one place, you take those individual stories and you pull them out using primary resources. Christina Chavarria: What the purpose of these cards do, especially in a teaching standpoint, is, again, they focus on the individual. How many of you have somebody who is not Jewish? Anybody have somebody who is not Jewish? Okay, who? Visitor 3: I have Lucian Belie Brunell. He's born to Catholic parents, he's a priest. Christina Chavarria: Okay, we have a priest. Anybody else have somebody who is not Jewish, somebody who is Roma? Disabled? Okay, how about does somebody have—how many of you have somebody from Poland? Germany? Austria? Italy? France? Denmark? The Netherlands? Greece? Yugoslavia? Okay, any other place that I did not mention? Visitor 4: Romania. Visitor 5: Lithuania. Visitor 6: Hungary. Visitor 7: Czechoslovakia. Christina Chavarria: So another purpose of these is for us to see the range of geography. That this did not happen solely in Germany, even though it began there. This did not happen only in Poland. That it spread geographically. It spread all the way into Northern Africa and other parts of the world were impacted, even if they were not occupied by Nazi Germany. Christina Chavarria: Look at the monitor. TV Documentary: "—called in by radio, said that we have come across something and we're not sure what it is. It's a big prison of some kind, and there are people running all over—sick, dying, starved people. You can't imagine it, things like that don't happen." Christina Chavarria: So as we go through, as I mentioned downstairs, I'm not going to point out everything to you, but there are certain elements that I want to point out because we will talk about them in the afternoon. This, in particular, I think is very striking for us as teachers, as social studies teachers, as teachers in the United States. You notice at the top it says, "Americans encounter the camp." We don't use the word in this picture—we don't use the word "liberation." Why not? You couldn't just walk out and go home, first of all. And liberation has that connotation of being free, and yet the obstacles that lay ahead for those who did survive will be so vast—the obstacles, the challenges, for the Allied forces and relief workers who come into the camps. So, we chose that word "encounter." And this was not, as we know now, this was not the first that we knew of the camps. It was the first maybe that we had seen of the camps with our own eyes, but we will see that. When you look at this history again we define it the years 1933–1945. Christina Chavarria: Where you all came in, we call that the Eisenhower Plaza. This quote up here that's on the side of the building, of the museum structure. Because if you look at it, I think this is an excellent quote to use with students because it takes us back to that theme of anti-Semitism and that theme today of Holocaust denial.

Christina Chavarria: I think as teachers here in the United States, the issue of race science, which was very popular in the United States, it was not only in Nazi Germany. If you look at your own states—if each individual state looks at its history—you can look and see the laws that were on the books regarding sterilization, regarding who could marry whom. So, again, looking at U.S. history, especially in the latter part of the 19th century and the eugenics movement and how this became so popular. And the whole notion of race, the definition of race, and categorizing people. This is very, very relevant. Christina Chavarria: What are the questions that your students ask when you're teaching this? How many of you have taught about the Holocaust? Visitor 1: They want to know why; they want to know how could this have started? They want to know, you know, why is Hitler so anti-Jewish, anti-Semitic? They want to know the root of it all. Visitor 2: They want to know, too, why they willingly were prisoners. You know, 7th grade, why, I would have not done this— Christina Chavarria: I would have fought back, right? And they did, that's a very good issue to bring up. They did, and we have to teach about resistance. One of the questions related to that is: Why didn’t they just leave? Why didn't they just pack up and go somewhere else? Well, again, the complexities of this history—don't avoid those questions when they ask you. Why didn't, why couldn't they just pack up and leave? We look at the Évian Conference, which is where we look at the failure of other nations to respond to the growing crisis in Europe. And this symbolizes that, this political cartoon. This appeared in the New York Times, July 3, 1938, just before the Évian Conference was to begin. So we can take this image and we can deconstruct this, and what do we see happening here? Visitor 3: The guy's at a stop sign with no place to go. Christina Chavarria: The stop sign is on what? Multiple Visitors: A swastika. Christina Chavarria: Every point, every direction ends with that halt—you can't, you can't go. And who is this person? Visitor 4: Non-Aryan. Christina Chavarria: Non-Aryan, presumably Jewish—the kippah. And what's on the horizon? The Évian Conference invited nations to attend to discuss the growing refugee problem. So 32 countries send representatives to this conference, but, yet, they're also told we're not going to ask you to take any more people in. So the conference was basically a failure before it even began because only one country stepped forward and said, "We're willing to take in more refugees than what we have on our quotas, listed as our quotas." Does anybody know what that country was, what that one country was? It's right down here. The Dominican Republic. This also revealed a lot of anti-Semitic thought from leaders of other nations. Some countries said, "We don't have a Jewish problem and we don't want to import one." Some said, "We're going through our own issues." And that's very true, because we've got to contextualize this from what happened in the 1920s, what happened in 1929, the economic—the Depression as well. But, yet, we also have to factor in anti-Semitic sentiments because who are these refugees? Well, they're mostly Jewish, they might take our jobs, they might take—we don't have money to support them.

Christina Chavarria: Looking at the whole idea of refuge, and the search for refuge, where do you go when nations have closed their doors to you? Where do you go? What kind of documentation do you need to get out of Germany? What documents do you need? What kind of money do you need to emigrate? These are all issues that you have to bring up with your students so that they understand why they were trapped in Europe. Christina Chavarria: This chart that we see here, this is the forced immigration chart that Adolf Eichmann's office produced to show how it was able to expel, within three years, most of Vienna's Jewish population. After the Anschluss, after Kristallnacht, this is when Jews in the occupied territories—Germany, Austria, parts of Czechoslovak—after Kristallnacht, they realized that they can no longer stay. Life is just not bearable any more; in fact it's dangerous now. In many cases, many of them actually bought visas to get out. Some countries made money, some diplomats made money selling fraudulent visas that turned out to be no good. And that is what happened with the voyage of the St. Louis. Out of the 937 passengers who were on the boat, almost—I think all but maybe six to eight of them were Jewish. They needed to get out, and Cuba was the destination of this ship, the St. Louis. It was owned by the Hamburg line, Hamburg America. They had acquired visas to go to Cuba, where they were planning to stay until their numbers came up to come to the United States. But before they reached Cuba, their visas were rescinded; in fact, many of them were fraudulent, only about 28 of them were actually valid. So when they got to Havana, they were not allowed to dock. Only those who had valid visas, which was just a miniscule number out of the over 900 those people were allowed to stay, and the rest could not get off the boat.

Christina Chavarria: Here you see newspapers from some of the major cities across the country reporting on the front page certain events that were taking place in Nazi Germany between 1933 and 1939. Right here, for example, the Dallas Morning News: Kristallnacht, November 1938, front page. This was not a secret. Christina Chavarria: This is called "The Tower of Faces." This is one thing I want to point out to you because—just take a couple minutes to look around at the pictures. This represents one shtetl, one Jewish community, in Lithuania. The little girl right here is Professor Yaffa Eliach, she lives in New York. She went back to this shtetl, Eishyshok, and she gathered the 10,000 photos, many of which you see here, and which we have online. Again, what this does, we look at the individual; we look at the victim not as a "victim," but as a vibrant human being. I think anything we teach, whether it's the Holocaust or any other topic that we're looking at in history, we have to look at the individuals. Christina Chavarria: This milk can is one of three milk cans that was used to bury documents and chronicles of life in the Warsaw Ghetto. And in 1950, two of the milk cans were excavated as well as the other metal boxes. Within them they found a very rich documentation of what life in the ghetto was like. Christina Chavarria: Actual barracks that are on loan to us from Poland, they are not replicas. Right over here we have a large-scale model of the process of going through the selection, going to the gas chambers, because we don't have any photos of the actual gassing, of course. Christina Chavarria: The diary, the quote, and the armband, take a look at that. The diary is the first diary that was donated to us by an American in captivity. Most of the diaries that we see they were written when they were in hiding or before they had to leave, but he was able to keep his diary while he was in the camp. It's also striking because Anthony Acevedo—he's not Jewish, in fact he's the son of Mexican immigrants. He is—we consider him to be a survivor, because of the fact that he went through a sub-camp of Buchenwald. Christina Chavarria: This is one of over a thousand citizenship papers that was found in somebody's attic in Switzerland. In a suitcase were these documents, these citizenship papers, issued by El Salvador that stated that the individuals who were named in the documents, whose pictures appeared on the documents were citizens of El Salvador, when in reality they were not—most of them were Hungarian Jews. This is 1944, Hungary is invaded in the spring of 1944 by Germany, and out of about 500,000 Hungarian Jews, over 430,000 died at Auschwitz in a very short period of time.

The Japanese American Exhibit and Access Project

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Photo, Seattle Post-Intelligencer Collection, Museum of History and Industry
Annotation

Internment experiences of Americans and Canadians of Japanese heritage in the Northwest during World War II are documented in this site, which features an exhibit that "tells the story of Seattle's Japanese American community in the spring and summer of 1942 and their four month sojourn at the Puyallup Assembly Center known as 'Camp Harmony.'" The internment camp section furnishes nearly 150 primary documents--including 12 issues of the "Camp Harmony Newsletter," 16 government documents, ten letters, 39 photographs, 24 drawings, a scrapbook, 20 newspaper clippings, and a 7,500-word chapter from the book Nisei Daughter that describes camp life. The site also provides archival guides and inventories for 21 University of Washington Library manuscript holdings relating to the internment and for 21 related collections; a 46-title bibliography for further reading; and additional information and documents related to Japanese Canadian internment. Valuable for those studying the wartime experiences and culture of interned Japanese Americans.

Densho: The Japanese American Legacy Project

Annotation

"Densho" means "to pass on to the next generation." In this quest, this website offers an archive of more than 668 oral histories presented in countless hours of video interviews on Japanese American incarceration during World War II. Materials also include approximately 12,000 historical photographs, documents, and newspapers. Visitors to this website should keep in mind that Densho is continually engaged in expanding its resources and adding more interviews, photographs, and documents, so be sure to check back periodically to discover new content!

Access to archival materials requires free registration. Once registered, users may select materials according to 32 topics, including immigration, community, religion and churches, education, race and racism, identity values, resistance, economic losses, redress and reparations, and reflections on the past.

Materials available without registration include lesson plans and information on "Causes of the Incarceration," "Civil Rights and Japanese American Incarceration," "Sites of Shame: Japanese American Detention Facilities," and "In the Shadow of My Country: A Japanese American Artist Remembers." The website also offers 90 multimedia materials providing historical context, a timeline, a glossary, and a list of related sources in print and online.

The Auto Industry Goes to War

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Sinclair gasoline ad, 1942, Did you say Walk?
Question

Did the U.S. manufacture of automobiles come to a halt during World War II?

Answer

Yes, it halted completely. No cars, commercial trucks, or auto parts were made from February 1942 to October 1945.

On January 1, 1942, all sales of cars, as well as the delivery of cars to customers who had previously contracted for them, were frozen by the government’s Office of Production Management. As a temporary measure, local rationing boards could issue permits allowing persons who had contracted for cars before January 1st to secure delivery.

President Roosevelt established the War Production Board on January 16, 1942. It superseded the Office of Production Management. The WPB regulated the industrial production and allocation of war materiel and fuel. That included coordinating heavy manufacturing, and the rationing of vital materials, such as metals, rubber, and oil. It also established wage and price controls.

All manufacturers ended their production of automobiles on February 22, 1942. The January 1942 production quota had been a little over 100,000 automobiles and light trucks. The units manufactured at the beginning of February would bring up the total number of vehicles in a newly established car stockpile to 520,000. These would be available during the duration of the war for rationed sales by auto dealers to purchasers deemed “essential drivers.”

Representatives from the auto industry formed the Automotive Council for War Production in April 1942, to facilitate the sharing of resources, expertise, and manpower in defense production contracting.

The auto industry retooled to manufacture tanks, trucks, jeeps, airplanes, bombs, torpedoes, steel helmets, and ammunition under massive contracts issued by the government. Beginning immediately after the production of automobiles ceased, entire factories were upended almost overnight. Huge manufacturing machines were jack hammered out of their foundations and new ones brought in to replace them. Conveyors were stripped away and rebuilt, electrical wires were bundled together and stored in the vast factory ceilings, half-finished parts were sent to steel mills to be re-melted, and even many of the dies that had been used in the fabrication of auto parts were sent to salvage.

The government’s Office of Price Administration imposed rationing of gasoline and tires and set a national speed limit of 35 mph.

By April 1944, only 30,000 new cars out of the initial stockpile were left. Almost all were 1942 models and customers required a permit to make the purchase. The Office of Price Administration set the price. The government contemplated rationing used car sales as well, but that was finally deemed unnecessary. The government estimated that about a million cars had been taken off the road by their owners, to reserve for their own use after the war.

In the autumn of 1944, looking then toward the end of the war, Ford, Chrysler, Nash, and Fisher Body of General Motors received authorization from the War Production Board to do preliminary work on experimental models of civilian passenger cars, on condition that it not interfere with war work and that employees so used be limited to planning engineers and technicians. Limits were also set on the amount of labor and materials the companies could divert to this.

During the war, the automobile and oil companies continued to advertise heavily to insure that the public did not forget their brand names. Companies also were proud to proclaim their patriotic role in war production, and their advertisements displayed the trucks, aircraft, and munitions that they were making to do their part in combat.

In addition, auto advertisements encouraged the public to patronize local auto dealers’ service departments so that car repairs could help extend the lives of the cars their customers had bought before the war. In the last couple of years of the war, the auto companies also used their advertisements to heighten public anticipation of the end of the war and the resumption of car and truck manufacturing, with advertising copy such as Ford’s “There’s a Ford in Your Future.”

Bibliography

John Alfred Heitmann, The Automobile and American Life. Jefferson, NC: McFarland, 2009. pp. 119-130.

James J. Flink, The Automobile Age. Cambridge: MIT Press, 1988. pp. 275-76.

Automobile Manufacturers Association, Freedom’s Arsenal: The Story of the Automotive Council for War Production. Detroit: Automobile Manufacturers Association, 1950.

The Origins of the Service Flag

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Digital Image, Service Flag (Edited), 27 Aug 2012, Blue Star Mother's of America
Question

Our church has a World War I service flag with 16 stars. One has a gold star. Two have gold crosses. What do the gold crosses mean?

Answer

Following America’s entrance into World War I, families of servicemen began displaying flags to show support for their sons and husbands fighting in France. According to the Blue Star Mothers of America Organization, the service flag was designed and patented by Army Captain Robert L. Queisser of the 5th Ohio Infantry, who had two sons serving in the war. (1)

The display of service flags became extremely popular during World War II.

Service flags were an indoor, wartime flag, generally about a foot in length and usually suspended vertically in a window for public viewing. Many of these flags were handmade from cotton or wool by mothers or spouses. Businesses and churches would sometimes display larger flags in order to recognize the service of employees or members. A blue star represented each family member in active service. In the event of a service member’s death, the blue star would either be covered or replaced with a gold star, sometimes surrounded by a laurel wreath. A gold circle signified distinguished service. Gold crosses set inside a blue star signified that a family member was wounded. A red star represented a captured or missing member. So it appears that your church’s service flag denoted 16 members serving in World War I, with one killed (gold star) and two wounded (gold crosses).

The display of service flags became extremely popular during World War II. One of the most well-known service flags served as a striking backdrop for a patriotic poster honoring the Sullivan brothers, all five of whom perished at sea with the sinking of the U.S.S. Juneau. Though the popularity of the service flag waned in the post-World War II years, it regained some of its popularity in the wake of 9/11 and the Iraq and Afghanistan conflicts, Today, the Department of Defense has specific regulations for manufacturing, selling, and displaying the service flag. For example, vendors must obtain a license to manufacture the flag; its ratio of length to width must be the same as the national flag, and display of the service flag at a residence is restricted to immediate family members and only during wartime.

For more information

Kerrick, Harrison S. The Flag of the United States: Your Flag and Mine. Columbus, OH: Champlin Publishing Company, 1925.

Institute of Heraldry, Office of the Administrative Assistant to the Secretary of the Army. “Frequently Asked Questions-Service Flag and Service Lapel Button.” Accessed August 21, 2012.

Bibliography
1Blue Star Mothers of America, Inc. “About the Service Flag.” Accessed August 22, 2012.