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.

Setting the Tone: Introducing Students to World War II

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Photo, American soldier with cattle dog. . . , 1941-1945, Flickr Commons
Question

I teach in the inner city. What's a good opening lesson for teaching World War II?

Answer

Any day 1 lesson—regardless of the topic—should align with and introduce goals, objectives, and essential questions for a larger unit of study. Using a backwards design approach to developing curriculum, creating individual lesson plans comes after you have determined what you want students to know and be able to do throughout the unit. A good day 1, therefore, necessitates a significant amount of planning beyond the opening activities. Some sample objectives and questions for a unit of study on World War II might include: Why, after the costs of World War I, did nations choose to fight another World War? Why were the civilian costs of World War II so much higher than World War I? Why were the allies victorious?

[. . .] creating individual lesson plans comes after you have determined what you want students to know and be able to do throughout the unit [. . .]

In addition to introducing the unit, you might consider using part of the first day to investigate what your students already understand—or misunderstand—about the war, introduce key vocabulary for the unit, or preview a timeline of events that you will be studying.

You could also focus an opening lesson on investigating the origins of the war. Activities for this approach might include a multi-media slide lecture on the long and short term causes of the war, an examination of primary documents such as the Treaty of Versailles, excerpts from newspaper reports on German, Italian, and Japanese aggression, or parts of important speeches made by world leaders in the years prior to the war.

Another approach is to begin by considering the significance of the war. To do so, you could examine some statistics that indicate the enormous human cost of the war, or introduce ways that the war fundamentally changed the United States and the world. On a smaller scale, ask students what their family history is with the war and whether the war holds any significance for their family’s story.

There is no shortage of lesson plans and curriculum materials for World War II online. PBS, for example, includes several lessons to accompany Ken Burns' critically acclaimed documentary, The War. The California Department of Education's Course Models contain background information and activities for each of the state's standards, including materials on the war. And, National Geographic’s Xpedition archive includes several lessons on the war. The quality of lesson plans posted online, however, varies wildly. Consider using our rubric for evaluating lesson plans to help you make your choice.

Explore these resources for inspiration, then make some choices. Good luck!

TAH Projects and the US Holocaust Memorial Museum

Video Overview

Christina Chavarria of the U.S. Holocaust Memorial Museum describes the many resources the museum can offer TAH Grant projects and her own perceptions on the value of the TAH Grant program.

Video Clip Name
LL_Christina1.mov
LL_Christina2.mov
LL_Christina3.mov
LL_Christina4.mov
Video Clip Duration
2:56
3:56
2:31
1:33
Transcript Text

During the course of the time that I've been at the Holocaust Memorial Museum, we've had quite a few calls from TAH grant directors who are bringing teachers to Washington who would like a tour of the museum, and sometimes they might ask for a short professional development session.

So this really piqued our curiosity and we began to think of how we could work more intentionally with the TAH program, and it led us to really look at our resources and how our resources support American history, because even though the Holocaust took place in Europe, it is also very much a story about the United States and American responses and how those responses inform a lot of what we're teaching in schools today and issues that we're dealing with here in the United States.

We ask what the theme of the grant is and if there's any particular focus that they are looking at within the grant. For example, we had one TAH project director telling us about the focus on President Roosevelt. So we worked with our historians, our Senior Historians Office; we also work with collections, to see what collections we have that support American history, and we also look at using our permanent exhibition because our permanent exhibition does have a focus on the United States and the role of the United States.

So we try to put in time, of course, for the teachers to see the exhibit, that's very important. and a session on how to teach about the Holocaust and if there is a direct focus within the grant, we can look at our senior historians office to support a lecture about some historical topic that's related to the grant.

We also encourage teachers to hear Holocaust survivors, their testimonies. We do have Holocaust survivors who are at the museum every day. And if we have a phone call and if the project directors make contact with us early on, we can arrange to have Holocaust survivors speak, and that's very important, because we are losing that generation. So while we still have our survivors with us we do encourage teachers and the project directors to incorporate Holocaust testimony in the visit.

The standards in the United States for teaching U.S. history are either very explicit on teaching the Holocaust, where they state responses to what was happening in Nazi Germany and what was happening in occupied Europe during that time—those are very explicitly stated in many states. But when you look at other themes, American response, foreign policy respond, the rise of fascism, American responses to fascism—if you look at American responses to dictatorships, all of these strands within the elements and standards are very much a part of what we focus on at the museum. It's a very natural fit.

Pretty much everything you will see at the United States Holocaust Museum fits in perfectly to support U.S. history teachers when you're looking at 20th-century history. And even the precedents that were set before. You can look at the 19th century, you can look at the role of antisemitism. There are so many elements. And then of course, today, focusing on our responses to genocides since the Holocaust—that is an incredibly important topic to our museum. And, so, we would encourage U.S. history teachers to look at American foreign policy in trouble spots in places like Darfur, in the former Yugoslavia, like Rwanda, and how we've responded to those situations, and how the Holocaust gave us this, I don't want to say opportunity, but it gave us this light on the subject that is still very much with us today.

Because our primary focus is on the victims and our survivors and their testimonies, but, for example, in working with a Teaching American History group a few weeks ago, I focused on some interviews with an African American athlete, John Will—John Woodruff, excuse me, who was a participant in the 1936 Berlin Olympics, and he speaks very eloquently about his experiences in Berlin in 1936, representing the United States and being proud to represent his country and his race and what he saw there and the euphoria of the crowds in reaction to his gold medal victory—also Jesse Owens, which is a story that many people know very well. And then when he returns home, he speaks about being excluded from the hall of fame, from the university where he, that he attended.

In looking at that, to show again what we do in a professional development is to show how expansive this history really is. And we use survivor testimony, we use witness testimony, we use liberator testimony. we also focus very much on photos and other primary source documents. And what we really want to do is to complicate the thinking of the teachers that come to us for professional development, to show that this history is so complex and so vast in its context from the years that it took place, but what happened in the years before, the decades and centuries before, and what's happening after.

June and July are very, very busy months for us and usually we're booked about a year before in our schedules, so I recommend to project directors that they contact us, perhaps in the fall, but as soon as they know that they want to come, they need to be in touch with us, and we will do our absolute best to get them in the museum—because that's very important and if there's time and if there's space and we're available to do so we would be very happy to provide professional development to them, as well.

And for groups that they cannot come to Washington, DC, we offer many resources offsite. First of all, our website is filled with archival material—our photo archives, for example. We also have exemplary lessons that have been tested by teachers and education experts, and they have been vetted for historical accuracy. We also have online exhibitions that contain collections that we encourage teachers to use for a more hands-on approach. More importantly, we have traveling exhibitions, and on our website, you can see a schedule of what exhibitions will be in certain venues around the country and when.

And from our standpoint, from the educational standpoint, we have a network of museum regional educators, our Regional Education Corps, and these are 30 educators who are deeply involved with our museum who are spread out around the country, and if you contact us in the Education Division, in the National Outreach for Teacher Initiatives branch, we can be in touch with our museum regional educators and they can work with a TAH project anywhere in the country to provide professional development even before a group comes to the museum, or after, or if they never come at all—we still have that on-ground support. We also have 246 museum Teacher Fellows around the country, one in each of the 50 states, and they are also resources whom we turn to to provide professional development in places where we're not able to go.

The value of Teaching American History is that it works so closely with a group of teachers and it provides sustainability, and sustainability in the career of a teacher is incredibly important. Sometimes you feel like you're alone as a teacher in your classroom, and when you have that network of support and it's ongoing and it's centered on a theme and a particular rational, that makes a teacher feel incredibly rewarded for having that experience, but more importantly that translates into student success.

And students will only benefit from a teacher having that kind of quality interaction with professionals around a sustained program that will keep them going. The network and the broad availability of resources in the form of other teachers and other grants and what is available online is astounding, and I hope that it continues, and I encourage teachers and educators throughout the country to look at this program, because it does sustain teachers, and if you sustain the teacher, the teacher can better sustain the student, so that that translates into success in the classroom for the student.

IWitness

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What is it?

IWitness is a free resource developed by the USC Shoah Foundation Institute to help students develop a deeper understanding of 20th-century history alongside digital and media literacies. It houses approximately 1,000 Holocaust survivor and witness testimonies and allows students to construct multimedia projects using the testimonies. Users need only an Internet connection; all of the tools—including an online video editor—are self-contained on the server and are compatible with both Macs and PCs.

Getting Started

In order to start using IWitness, click here and select “register.” Once registered, you will be able to create classes and generate access codes students can use to register.

Teachers are using IWitness as a way to integrate 21st-century literacies into a range of subjects.

Even prior to registering, the IWitness home page features a rotating group of curated clips. These short clips run less than five minutes and draw learners into compelling stories. Linked from the home page, the Browse All Topics page provides more clips from a breadth of topics to anyone visiting the site. Registered users are able to search among more than 1,000 full-length testimonies, then save clips from the testimonies for use in projects. Testimonies have been indexed to the minute with keywords. If, for example, students search for “music,” they will get a list of clips where the interviewee discusses music, and they can go right to the exact minute in which music is discussed in a testimony. Users also can narrow search results in various ways.

Once signed in, you should go to your “Dashboard” to get started exploring IWitness. From here you will notice videos located on the left side under “Connections.” The Connections videos will help you address important topics with your students: ethical editing of video clips, effective searching, and defining terms like “archive” and “testimony.” There is an Educators page designed to orient teachers to the site and highlight available resources. There is also a resource tab on the top of the screen with links to reliable information. For students and teachers alike, IWitness offers a Tool Kit, which can fly out from the right side of the screen. The Tool Kit provides users with quick access to their assigned activities, as well as to an encyclopedia, glossary, and note-taking tool.

IWitness has numerous activities you can assign to your students. More than 200 activities are available in several languages and cover an array of subjects from the Holocaust and genocide to cinema and media & digital literacy. Different types of activities present information in diverse formats and can be filtered for different age or subject levels. “Information Quest”, for example, focuses on a single survivor or witness of the Holocaust. Students listen carefully for information in testimony clips and then reflect on their learning by using, among other things, a world cloud tool. As an educator, you are also able to build your own activities for your students in IWitness with the “Activity Builder”. The additional resources offered on the “Resources” page provide bibliographies, glossaries, and timelines that may be useful when assigning activities for students to build or complete.

Examples
IWitness allows students to learn about . . . the 20th century while creating meaningful projects and making connections with their own lives.

Teachers are using IWitness as a way to integrate 21st-century literacies into a range of subjects, including social studies, language arts, media studies, psychology, and more. One history teacher built an IWitness activity so his students could compare and contrast the Hollywood portrayal of the Sobibor Uprising in film with how survivors of the event remember and describe it. Through his IWitness activity “Escape From Sobibor: Hollywood and Memory,” his students were able to use critical thinking as they watched testimony and compared it to the film, then select clips of that testimony to construct a more historical depiction of daily life in the concentration camp.

You can also use IWitness to help teach online etiquette and respectful dialogue skills. Within IWitness, students finish their activities by viewing and commenting on their classmates’ projects. This is a great way to spark conversation that can continue in IWitness through social-media-style commenting tools. Teachers are able to mediate conversations and communicate with students within the application. IWitness also provides reminders to students about good digital citizenship when communicating with their peers within the site. IWitness allows students to learn about important events in the 20th century while creating meaningful projects and making connections with their own lives.

For more information

Want to learn more about IWitness? See Teachinghistory.org's Website Review for more information.

Looking for more resources on the Holocaust? Teachinghistory.org has gathered website reviews, lesson plans, teaching strategies, and more on the Days of Remembrance of the Victims of the Holocaust spotlight page.

Organizing History Through Images

Teaser

In this lesson, students will organize photographs both chronologically and conceptually in order to construct a narrative of the Holocaust.

lesson_image
Description

Students organize photographs from the U.S. Holocaust Museum both chronologically and conceptually in order to construct a narrative of the Holocaust.

Article Body

In this lesson, students organize photographs in order to tell the story of the Holocaust and construct an evidentiary narrative that makes sense to them. The lesson does not include any “correct” ordering or organization of the photographs and instead encourages students to experiment with organizing them both chronologically and thematically.

This lesson also guides students through the process of revising conclusions based on the discovery of additional historical evidence. Students are given a definition of the Holocaust and asked to consider or revise the definition with each new photograph in order to illustrate how historical narratives change depending on the available evidence.

Reading and analyzing primary texts can often be a daunting task for students who struggle with basic literacy skills. However, because this lesson presents historical data in the form of photographs, it is an excellent way to provide all students with access to the historical process, and to support historical thinking with struggling readers or English language learners.

For more advanced or older students, the supplementary activity asks students to read and incorporate brief testimonies of survivors into their definition of the Holocaust.

Topic
The Holocaust
Time Estimate
2 Class Sessions
flexibility_scale
4
Rubric_Content_Accurate_Scholarship

Yes

Rubric_Content_Historical_Background

Yes
The lesson requires students to “read” photographs and write a detailed “definition” of the Holocaust.

Rubric_Content_Read_Write

Yes
Captions and dates for each photograph are included in the lesson. There are additional background materials available.

Rubric_Analytical_Construct_Interpretations

Yes
Students construct an interpretation of the Holocaust using photographs.

Rubric_Analytical_Close_Reading_Sourcing

Yes
Students closely “read” photographs and accompanying source information.

Rubric_Scaffolding_Appropriate

Yes
Some of the photographs are disturbing (as is to be expected given the lesson’s topic).

Rubric_Scaffolding_Supports_Historical_Thinking

Yes
A student worksheet guides students through the process of analyzing each photograph and helps them focus on relevant details.

Rubric_Structure_Assessment

Yes
Some general strategies for assessment are provided. Teachers will want to determine and communicate their criteria for assessment.

Rubric_Structure_Realistic

Yes

Rubric_Structure_Learning_Goals

Yes

U.S. Holocaust Memorial Museum

Article Body

The United States Holocaust Memorial Museum (USHMM) stimulates citizens to examine and confront hatred and to promote human dignity. The extensive archives, programs, educational outreach, and events are designed not only to teach history, but to promote thought about the continuing need for vigilance in preserving democratic values and individual freedom.

For Teachers includes an online workshop for teaching the Holocaust and several exemplary lessons for middle and high school educators with video, text, and handouts, as well as additional classroom and community educational resources. An Online Teacher Workshop: Teaching About the Holocaust includes video segments that anchor all Museum professional development presentations.

For Students offers a narrative introduction to the Holocaust and points students to supplementary materials, exhibits, and activities.

Online Exhibitions extend the reach of the museum archives and educational materials.

Collections and Archives offers a wealth of multimedia materials, digitized documents, photographs, and interactive maps.

U.S. Holocaust Memorial Museum Website

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Annotation

Interactive exhibitions and resources address the Holocaust and related subjects. The site is composed of five sections: education, research, history, remembrance, and conscience.

"Education" introduces the subject of the Holocaust and provides extensive bibliographies. "Research" contains a survivor registry and an international directory of activities relating to Holocaust-era assets. Searchable catalogs pertaining to the Museum's collections and library are easy to navigate to find artworks, artifacts, documents, photographs, films, videos, oral histories, and music. "History" includes the Holocaust Learning Center, with images, essays, and documents on 75 subjects, such as anti-Semitism, refugees, pogroms, extermination camps, and resistance. "Committee on Conscience" contains information on current genocidal practices in Sudan.