scholarly journals Only After The War Did I Find That All My Deaf Friends Had Died. Ryan, D. F., & Schuchman, J. S. (Eds.). (2002). Deaf People in Hitler's Europe. Washington, DC: Gallaudet University Press in association with the U.S. Holocaust Memorial Museum. 231 pp. Paperback. $24.95.

2004 ◽  
Vol 9 (3) ◽  
pp. 349-349
Author(s):  
A. Weisel
Keyword(s):  
Washington Dc ◽  
Deaf People ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
The U.S ◽  
Gallaudet University

Deaf People in Hitler's Europe: Conducting Oral History Interviews With Deaf Holocaust Survivors

2005 ◽  
Vol 27 (2) ◽  
pp. 43-52
Author(s):  
Donna F. Ryan
Keyword(s):  
United States ◽  
Oral History ◽  
Holocaust Survivors ◽  
The United States ◽  
Deaf People ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
Oral History Interviews ◽  
Gallaudet University

Deaf people living in Europe between 1933 and 1945 were mistreated, forcibly sterilized, incarcerated, and murdered by the Nazis. Their stories have been overlooked or underappreciated because of the complexities of communication and the difficulties historians face gaining access to those communities. This article describes the challenges faced by two United States historians when they interviewed deaf Holocaust survivors in Budapest, Hungary and during a conference, "Deaf People in Hitler's Europe," co-sponsored by the United States Holocaust Memorial Museum and Gallaudet University. It also raises general questions of adapting methodologies to facilitate "oral" history interviews for deaf informants.

The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction

2020 ◽  
Vol 17 (5) ◽  
pp. 478-495
Author(s):  
Bret Charles Werb ◽  
Maria V. Lebedeva
Keyword(s):  
Later Life ◽  
The United States ◽  
Political Prisoner ◽  
Washington Dc ◽  
Choral Works ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
Music Collection ◽  
Material Artifacts

Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that his fellow Poles and an international cadre of musicians, authors, and artistes created and performed while captives of the Germans. The collection he amassed during his final decades consists of hundreds of songs, choral works and instrumental pieces gathered from survivor memoirs, manuscripts, and multiple recorded interviews with former inmates. Approximately 70,000 pages of documentation encompass music-related artworks, biographical details of camp poets and composers, and copious additional corroborating material. Apart from providing an overview of the collection, the paper will discuss Kulisiewicz’s cultural and intellectual background in interwar Poland, and postwar career as a performer, activist and author. Music illustrations will be drawn from Kulisiewicz’s archive of sound recordings, including selections from his own series of autobiographical songs written in Sachsenhausen. A final set of musical examples demonstrates the collection’s utility as a resource for musicians and programmers seeking overlooked, yet revivable repertoire, and for composers inspired to create new works based on “rescued” music preserved in the Museum’s archive.

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