States and organizations around the country and the world have set aside April to be a month of genocide awareness, education and action against genocide.

Why April? Several genocides over the last century began in this month. The events leading to the Armenian genocide started in April 1915. The Cambodian capital of Phnom Penh fell to the genocidal Khmer Rouge regime in April 1975. Hutu extremists launched their plan to exterminate the entire Tutsi civilian population of Rwanda in April 1994.

April 1943 is also the month in which the few remaining Jews in the Warsaw ghetto rose in a desperate but heroic revolt against their oppressors. Yom HaShoah, Holocaust Memorial Day, was later established to commemorate those events, which represent unprecedented destruction but also courage, resilience and hope.

At the Center for Holocaust and Genocide Studies we see anniversaries as a valuable opportunity to advance scholarship and education. It is a chance to encourage students, educators and the broader community to deepen their understanding of past events and their sequels, as well as awareness of current manifestations of genocide and massive human rights violations.

Our programs in the next weeks reflect this mission. We started the month with an educational trip to the Bdote (Dakota for “where the rivers meet”) at Fort Snelling State Park, guided by scholar and teacher Iyekiyapiwiƞ Darlene St. Clair. Bdote is where the Dakota creation stories locate their origins, and also the site of internment, starvation and forced removal in the aftermath of the US Dakota War. “A place of genesis and genocide,” as one Dakota author eloquently put it. We will close this month of remembrance and awareness on Holocaust Memorial Day with a lecture by Sidi N’Diaye, who examines the role of hateful representations in the murders of Jewish neighbors during the Holocaust in Poland and of Tutsi neighbors during the 1994 genocide.

As we move through April, it is important to remember the quote from Holocaust historian Robert Abzug: “We must recognize that if we feel helpless when facing the record of human depravity, there was always a point at which any particular scene of madness could have been stopped.” In that spirit, this month we remember the victims of genocide and honor those who have worked tirelessly to stop it.

Thank you for supporting the work of the Center.

 

Alejandro Baer is the Stephen Feinstein Chair and Director of the Center for Holocaust and Genocide Studies. He joined the University of Minnesota in 2012 and is an Associate Professor of Sociology.

 

In February, the Center for Holocaust and Genocide Studies welcomed Pedro Correa Martín-Arroyo to discuss his research. Correa presented a lecture titled “The Spanish Paradox”, which examined the Spanish government’s policies towards the Jews, and how these were influenced by actors both within and outside the country.

2528819-168x168Pedro Correa Martín-Arroyo is currently the Diane and Howard Wohl fellow at the Jack, Joseph and Morton Mandel Center for Advanced Holocaust Studies (US Holocaust Memorial Museum); as well as PhD candidate at the London School of Economics. His doctoral research addresses the international management of the Jewish refugee crisis in the Iberian Peninsula and North Africa during World War II.

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esc-2016Eurovision Song Contest has served as a platform to strengthen both national and European identities and embrace diversity throughout every nation for over 60 years.  The show’s vast influence expands to an audience of approximately 180 million people all over the world. Its expansive reach has not only sparked the careers of various performers, it has also allowed for the television program to have social, political, and cultural influence.

The televised contest does have strict rules; songs that promote political messages are disqualified from entry.  In 2009, the song “We Don’t Wanna Put In” was the Georgian entry. The song contained negative political references to Vladimir Putin, the Prime Minister of Russia, and provided a critical Georgian perspective on the war between Georgia and Russia in 2008. Because of the song’s strong political message and references, the European Broadcasting Union ruled that the song would have to be rewritten or a new song would have to be chosen. Georgia did not comply with this ruling, and therefore withdrew from the 2009 Eurovision Song Contest.

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efef9762783e0a46f7211677ee95dda5_originalOn Saturday, February 20th the Italian Cultural Center of Minneapolis & St. Paul presented If Only I Were That Warrior as part of their annual Italian Film Festival followed by a moderated discussion. In the film, director Valerio Ciriaci examines Italy’s brutal attempts to colonize Ethiopia in 1935 through the lens of the 2012 erection of a monument dedicated to Rodolfo Graziani. The monument, located in the Italian town of Affile, reignited the tense politics surrounding Graziani’s involvement in the Italian invasion of Ethiopia and its legacy today.

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It has been more than 70 years since Japan’s 35-year formal occupation of the Korean peninsula ended, but issues of reparations and memory surrounding the crimes against humanity committed by the Japanese government during this time period are still contested. It is estimated that up to 200,000 women, mostly from Korea, were forced into sexual slavery during WWII. These young “comfort women” were abducted from their villages or persuaded to leave with the false promise of work, only to be imprisoned in comfort stations and sexually exploited by Japanese soldiers.

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2016-02-16_1410This is the second half of a two part interview with Dr. Adam Muller from the University of Manitoba. CHGS interviewed Dr. Muller after his November presentation on campus in which he highlighted the Embodying Empathy project, a collaborative project at the University of Manitoba that will bring Canada’s residential schools alive with an immersive digital experience.

If you’d like to get caught up, you can find the first half of the interview here.

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2016-02-11_1756In November, the Center for Holocaust and Genocide Studies welcomed Dr. Adam Muller from the University of Manitoba to discuss his upcoming project, which creates a virtual First Nations residential school.  Dr. Muller is part of the Embodying Empathy project, which seeks to create a digital immersive experience for educate visitors about the settler-colonial interactions at Canada’s residential schools. The project is also exploring whether immersive representations can bridge the empathetic distance separating victims from secondary witnesses to atrocity.

Dr. Muller is Associate Professor of English at the University of Manitoba (Canada). He specializes in the representations of war, genocide and mass violence, human rights, memory studies, critical theory, cultural studies, and analytic philosophy.

CHGS followed up with Dr. Muller to learn more about his innovative project. You can find a recording of the original presentation here.  This is part 1 of our conversation.

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CHGS is proud to maintain collections of art and historical objects that originated with founding director Stephen Feinstein’s work in Holocaust art. These collections include visual artworks, such as the paintings of Fritz Hirschberger, as well as historical objects, including postcards and badges from Nazi Germany.

CHGS has stewardship over these important pieces of history and artistic expression. Our goals are to care for these objects through best museum practices and extend their educational impact through physical and digital exhibition.

unnamed (2).jpgWe are collaborating with Deborah Boudewyns, UMN Art and Architecture Librarian, and instructor of a UMN course, Workshop in Art, in which students learn the skills of curating and exhibiting, using CHGS collections as the foundation of their work. These students will end the semester with an exhibition featuring CHGS art and objects, to be held in Wilson Library from April 29 – May 12, 2016, with an opening reception on April 29.

In an effort to keep our art collections vital we have migrated the CHGS owned exhibitions to the University of Minnesota Archive.

Our website, which includes resources in the study of Holocaust visual history, is being updated. Our imagery and art research is in the process of being made available online through UMN digital archives, enabling greater functionality, flexibility, and reach. We are working with the University’s physical archives to document CHGS history as we near our 20th anniversary in 2017.

unnamedIn 1999 Joschka Fischer, Germany’s Foreign Minister and a member of the Green Party with strong pacifist roots, used the phrase “Never Again Auschwitz” to support German military intervention during the Kosovo crisis. In 2005, at the main ceremony to mark the 60th anniversary of the liberation of the Auschwitz camp, Russian President Vladimir Putin praised the Red Army for “liberating Europe” (an assertion that obviously did not resonate positively among Poles). In the summer of 2014 Turkish President Recep Erdoğan slammed Israel for betraying the memory of the Holocaust by “acting like Nazis” during the operation against Hamas in Gaza. At the same time Israeli Prime Minister Benjamin Netanyahu invoked the Holocaust to warn the world of a nuclear Iran.

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4b07767d4cc171ce795ecfb8a1a41c3e-1.jpgSon of Saul is a film about a member of the Sonderkommando (Jewish prisoners forced to aid in the killing process and clean up) at Auschwitz.  What sets Son of Saul apart from most films that deal with the Holocaust is that it is not presented in a traditional narrative structure. Hungarian director László Nemes upon accepting his Golden Globe for Best Foreign Film said “over the years the Holocaust has become an abstract. It deserves a face.” Certainly he does this immediately as the camera never leaves Saul; we are either looking directly at his face in close-up or over his shoulder. We experience events with Saul as he goes about his work and later his self-imposed mission, the burial of a boy. The movie is a visceral experience — there is very little dialogue, and we only see and hear what Saul sees and hears.  Nemes gives us very little to go on, we know nothing about Saul’s past, who he once was, prior to landing in Auschwitz.  Saul is introduced to us as he emerges from a combination of mist, smoke and sound. We are immersed in a world that is out of focus and filled with a cacophony of sounds, some so sharp and real one turns to look for the offending speaker in the audience.  Nemes and his sound designer Tamas Zanyi, recorded over eight different languages speaking dialogue to create aural chaos, these layers of sound combined with the close-ups and long takes are intended to disorientate, forming a psychological experience with Saul. Nemes does not use any sentiment or melodramatic devices to tell his story. We never form an emotional bond with Saul as one might to other characters in other films on the Holocaust.
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