Jordan Gelfeld has connections. As a docent at the Illinois Holocaust, his grandfather, Mark Gelfeld, was able to get this grandson in for a sneak peek at the museum's new virtual-reality exhibit. And the experience was nothing short of powerful.

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"You can read about the Holocaust in books, but with this, you really feel like you're there with 'George,' " said the Glenbrook North High School sophomore, referring to a story about a survivor. "Even though you are sitting there in your chair, it feels like you're in the camp, surrounded by the other prisoners."

Through the magic of multi-sensory virtual reality and Surround Sound, the headset strapped around his head brings the entire experience to life: the cattle car emptying its exhausted, terrified cargo onto the Auschwitz ramp; the inside of the barracks with no way out; the barking dogs, shouts of the captors and cries of the victims.

Organizers at the Illinois Holocaust Museum chose International Holocaust Remembrance Day on Jan. 27 for the official rollout of their new cutting-edge virtual-reality Holocaust experience, titled "The Journey Back."

With 360-degree life-sized projections, once inside the 3-D environment, the participant controls their own view of reality, interspersing contemporary footage with memory sequences, and giving the sensation of being on-site with two Chicago-area survivors sharing their stories.

The What: The museum is presenting two films in its new virtual reality theater. "A Promise Kept" tells the story of Fritzie Fritzshall. As a young teen, she made a vow to the other 599 women imprisoned with her in a slave-labor sub-camp of Auschwitz that, if she survived, she'd never let their fates be forgotten.

Returning to Auschwitz with the film crew more than 70 years later, she said: "Standing here today I hear voices. I see people. I feel hunger. I feel cold. I am in the place of death."

At night, one woman might start a song or a prayer, and the others would chime in quietly. "But mostly we shared recipes – gefilte fish, kugels, roasts," Fritzshall told the camera. "Our stomachs were growling from hunger, but we had to live in a pretend world."

Slabbed with 10 other women on a bunk, "I remember my aunt Bella putting her arms around me and whispering, 'Tomorrow will be better; let's just live through the night and you'll see, tomorrow will be better.'" Sadly, her aunt did not survive.

The other film, "Don't Forget Me," takes viewers on a journey back to Auschwitz, Mauthausen and Ebensee concentration camps with George Brent, who was also a teen when his family was taken from their Hungarian home as his friend happily took his bicycle and neighbors emptied out their home.

Nor can he forget the terrifying trip to Auschwitz, where he soon learned "what the two buildings with large chimneys with smoke and fire and a terrible smell" were about, and the rigors of Mauthausen where many men's backs were broken carrying huge boulders from the quarries up the "staircase of death," while others gave up and leaped to their deaths.

Although Brent knew his mother and brother had been killed on arrival at Auschwitz, he never knew his father's fate till a year after liberation when the Red Cross located him in a tuberculosis clinic in Germany.

The Why: "We need to learn all we can from Holocaust survivors while they are still here," museum CEO Susan Abrams said. "The knowledge we gain from their pasts influences our futures and informs the way we interact with the world. And there is truly no better way to learn than to virtually tour the Holocaust sites today with a survivor to see them from their point of view."

Expecting thousands of visitors to experience the virtual reality tour of the camps each year, the museum has plans in the works to share the program with other museums equipped with the virtual-reality technology, in addition to universities and, down the line, schools and individuals as well.

"'The Journey Back' brings to life the moving testimony of two survivors at the locations where they experienced the worst of humanity, and that experience inspires an understanding of our common humanity," Abrams said. "And time is of the essence for growing such understanding. We're swimming against a tide of rising anti-Semitism, and other forms of hatred and bigotry. As the Holocaust recedes into the past and most of the survivors have passed away, this is an important moment for this kind of personal, powerful experience."

The Who: Not only can survivor Brent not forget the image of desperate men jumping to their death from the quarries of Mauthausen, but now neither will the viewers of "Don't Forget Me."

After his reunion with his father, Brent made it to Chicago in 1949 and was soon drafted into the US army to serve in the Korean War. Marriage, dental school, a practice, four daughters and eight grandchildren followed, and after he retired, Brent began telling his story in earnest, often to school kids visiting the museum.

"Seeing a picture of myself – a kid in my underwear – in a book of Auschwitz photos proved to everyone that it was real," said Brent who, at 92, has been telling his story for decades. "I can see the effect it has on the eighth-graders who come to the museum," he said, with most of the questions he gets from his young audiences about what became of his family and how he felt in the camps. Many youngsters also ask to see the numbers tattooed on his arm – and he shows them.

The Audience: Kelley Szany, the museum's vice president of education and exhibitions, said the multisensory nature of the virtual-reality experience is singular in the way it meets the challenges of creating an understanding of the lethal nature of hate in the minds and hearts of the next generation.

"From an educational standpoint, feeling that they visited the sites with Fritzi and George, shared their experiences and felt their feelings, it's a merger of technology and storytelling," she said. "As it's seared into their memories, and they begin to grapple with how to understand what they've learned here, it can ultimately make the world a better place."

The experience, adds Szany, is recommended for ages 12 and up, "who are usually mature enough cognitively and emotionally to be able to dive into the difficult aspects of this history."

The Backstory: When it comes to high-tech bringing Holocaust experiences to life and preserving them for future generations, in many ways, Steven Spielberg was the first to accomplish it on a grand scale. Beginning in the 1990s, a broad interviewer network collected more than 50,000 filmed testimonies of Holocaust survivors – and some witnesses, too (most of whom are since deceased); this collection is now known as the Visual History Archive and housed at USC Shoah Foundation. This massive project came on the heels of the 1994 Academy Award-winning "Schindler's List," whose profits seeded it.

Earlier Holocaust-related VR projects included "Lala," the partly animated short film created by USC Shoah Foundation with survivor Roman Kent. The story of the dog belonging to Kent as a child in Poland during the Nazi invasion was designed to introduce children to the Holocaust and can be viewed with or without a VR headset.

Another VR Holocaust milestone was 2017's "The Last Goodbye," also out of the Shoah Foundation. Following survivor Pinchas Gutter into Nazi death camp Majdanek, the short film records his experience as the only member of his family to emerge from the Holocaust alive.

And that same year the Illinois Holocaust Museum was among the first institution to use hologram technology developed by USC Shoah Foundation, which invites visitors into a "conversation" with a survivor. Each time a question is asked, one of some 2,000 answers the survivor recorded is played, mimicking a live Q&A.

At the museum's Abe & Ida Cooper Survivor Stories Experience, for instance, this hologram program also featured Fritzshall, who spent 40 hours over five days recording 2,000-plus answers.

"It stirred up a lot of the memories that I didn't want to think about anymore, that I thought were hidden," she said at the time.

Still, added Fritzshall, who passed away last summer, "I am glad that I did it, I am so glad that it is going to be left in this museum as a teaching tool, for all the young people who come here. Maybe they will talk to their parents and grandparents and talk to the next generation; this is what I'm hoping today."

But using this technology on such sensitive topics can take some getting used to. "At first, I was a little bit skeptical; I was raised in a generation when we took it for granted that survivors come into our schools to talk to us," said Sara Brown, who managed post-secondary education programming for USC Shoah Foundation before joining CHHANGE (the Center for Holocaust, Human Rights & Genocide Education) as executive director. "It never occurred to me that we were in the sunset stage, the last generation who would hear their stories in person."

That is, until she stepped into the field of Holocaust education, she notes: "Then I began to see it's up to us to keep the survivors' voices alive into the future."

The development of such modern technology for conveying such painful, and almost unbelievable, experiences, Brown said, "allows us to meet moderns, especially adolescents, where they're at, through powerful experiential learning."

But she also conveys a warning: "Though I firmly believe these meaningful encounters are the future of Holocaust education, they need to be done right. Presenting it as shock-and-awe can do real harm, especially to children."

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Wojciech Soczewica, director-general of the Auschwitz-Birkenau Foundation, who was in Chicago last week to test drive the museum's new VR exhibit, agrees. "It's a very personalized experience," he said, "giving the viewer the chance to not only listen to the survivors' tragic histories and to walk along with them in the concentration camp, but to see how they managed to survive and kept the promises they made."

In fact, they're mid-stream in creating a VR program at the Auschwitz-Birkenau site, he adds, featuring a virtual reconstruction of the camp in 1944, when it was in its murderous peak, to be used by anyone with a VR headset, including in classrooms. "We're doing it to tell the story of evil in the Shoah and build momentum against it," adds Soczewica. "With the survivors passing away, this is how to transmit their voices and their emotions."

But even as they leave the world, "the survivors are still our master teachers," stresses Brown. "They had the courage to share their painful experiences with us so, as Eli Wiesel said, we must now be their witnesses; we owe that to them. To train the next generation that, when they see hate, to be upstanders and not bystanders."

"Their stories have to be kept alive with the goal of inspiring empathy," affirms Abrams. "To create a world where 'never again' is a reality."

As for Jordan, he said "it's so crazy that I'm the same age George was then. I can't even imagine what that would be like."

If all his fellow students at school experienced the exhibit, what might the impact be?

Jordan replies that "if their thinking is prejudiced, this could make them more curious about what happened then and open up their eyes."
And, to give the survivor the final word: "I've gotten a great deal of satisfaction that I can still tell my story," Brent said. "With this new technology, now that there aren't too many of us left, it can help extend the understanding of what we went through into the future."

Reprinted with permission from JNS.org.

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The Nir Galim Holocaust museum, located south of Tel Aviv, is a testimony of what a dedicated group of Holocaust survivors can achieve through a burning desire to share their experiences with future generations.

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With virtual tours, use of social media and first-hand accounts by survivors, the museum – known as The Testimony House – opens its doors to thousands of visitors every year, especially youngsters. 

Rachel Rosenman is the director of the museum, although she was working with youth long before she took over The Testimony House. 

"I was born and raised in the Nir Galim moshav, and at the age of 30 started a career outside the settlement," she told Israel Hayom. "For years, I worked as a creator and screenwriter of children and youth programs on television. I remember when I was a screenwriter I would sit during meals and consult with my children on what to speak about to the youngsters. This riddle – how to reach the youth and children – is an ever-changing one and the solution must be dynamic because youngsters constantly change."

Q: Is that when your connection to the Holocaust began?

"One time I brought my mom to share her story as a little girl in the Holocaust. That was the first time she shared her story, which she went on to tell many times. It is also based on my background – from a childhood in which parents who survived the Holocaust did not speak about what happened, and raised their children in complete silence. We saw the numbers tattooed on their forearms, but never dared ask and they never shared.

"As a child, I flinched at commemorating Holocaust Day, which was too threatening. Things began to surface when my children were assigned by their schools to create family trees. They asked my parents many questions and so they began to share. As a rule, as soon as survivors shared their stories, they realized that one day there would be no one left to tell them. That is how The Testimony House was established in the 1990s. This house turned into an educational center to teach about the Holocaust, especially young people, but also security officials and the general public. The height of every visit is the conversation with Holocaust survivors who share their stories."

Q: With modern learning disorders, such as ADHD, how does the center educate teenagers about the Holocaust? 

"It is a great challenge to keep them connected to such a dramatic and significant event in the Jewish history. Someone suggested allowing them to enter The Testimony House with their phones and use special apps. I was against it, because I explained the moment they take out their phone, we lost them. That is why our approach is to disconnect from the external disturbances and to connect them to the experience."

Q: What does that look like in action?

"For example, every year the Righteous Among the Nations were spoken about, and deservedly so. But there were also many cases when Jews saved Jews, and received less attention. Several years prior, these stories began to be emphasized, mostly from a place of making the youth understand that we did not go like sheep to the slaughter, because there were Jews who saved Jews. It gives one a sense of pride.

"We also stress the aspect of a ray of light in the darkness, without the stories about the atrocities but an emphasis on the things that gave strength to the Jews that survived this hell. The youngsters connect to these stories and it causes them to walk away with a sense of uprightness, with a feeling of strength as a people and as individuals."

Q: And what do survivors say about the work of The Testimony House? Is there any criticism? 

"For the most part, we receive support. For example, about half a year ago when we brought a wagon that used to transport Jews to concentration camps. The wagon was displayed in the garden of The Testimony House, and even though there was some criticism, most of the survivors saw a value in people entering the wagon and attempting to connect to what they felt during the Holocaust. This is a generation of extraordinary strength and focus of preserving the memory of the Holocaust, especially among the youth."

Q: Nevertheless, you do use some technological means, like the eva.stories Instagram page, which also garnered some criticism. 

"With regard to the Instagram page, it was done properly and with the necessary sensitivity. It speaks to teenagers whose language is technology, and it connects them better to the memory of the Holocaust," Rosenman continued.

"As for other technological means, a few months ago we filmed a guided tour in Poland – of the Auschwitz-Birkenau camp – that will be screened with virtual reality glasses. The tour is identical to the one given in Poland, with an experienced tour guide of ours. After the virtual guided tour, they remove the classes and go into a room that is designed as the Birkenau platform, where they learn about the prisoners' day-to-day lives. 

Nevertheless, "I have come across less successful ways to use social media, in my opinion. For example, everything related to the memory of the Holocaust. Holocaust survivors were filmed on TikTok and I think it portrays them in a disrespectful manner. One thing that we insist on is being respectful, and not disrespect when it comes to the Holocaust. Yes to using technology, but with wisdom, respect and decency."

Q: Can the virtual tour be just as impactful and emotional as the one in Poland? 

"I know there's a lot of debate about the Poland tours. In general, I support them but they, of course, require proper preparations. But in the coronavirus era, there have been changes. Not everyone will travel, both due to financial and emotional reasons. The alternatives to a Poland tour are increasing exponentially. This can be a substitute for a four-day tour that tells the story from the Holocaust until the establishment of the Jewish state in 1948, and we go through monuments of the museum and learn the stories. For those who do not make it to Poland, this is a worthwhile alternative. 

"I think traveling to Poland is not suitable for everyone, not even every school, and therefore great alternatives must be prepared in Israel for those for whom the tour is not an option, for whatever reason. It is important for me that specifically schools with at-risk youth experience this, specifically the teenagers that might connect to this less."

Q: Do the school children who come to participate in the tour have basic knowledge of the Holocaust?

"Most of them are 14-year-olds, and their connection to the Holocaust is through their great grandparents, who survived. The goal is not to make them connect to the Holocaust as a historical event."

Q: Does time affect the way the Holocaust is remembered? 

"Last year on Holocaust Day, more than 3,000 participants came to The Testimony House memorial event, mostly youth, and the number increased each year. They come because they feel connected – not to the speeches, but the emotional stories. 

"Part of the renewedness is expressed in the fact that there are no boring events, because that is the scariest thing for youth in terms of the Holocaust – boring events. They want to feel and connect."

Q: Which display in the museum do you find impacts them the most?
"The personal stories that reach a special place in them, what survivors felt during the selection process, how it felt to say goodbye to their parents and never see them again. How do I know that a survivor just finished sharing his or her story? I hear listeners clap when the speaker is done, and then they take pictures with the survivors, as if they were celebrities."

Q: With different political streams affecting the Holocaust narrative, how does the museum make sure it stays objective? 

"I don't think objectivity is the real issue. The Holocaust is a tragedy that happened to the Jewish people, and is unique to the Jewish people, and we pass it on to those close to us. I know some museums in Israel and in the world seek to send a message of 'remain humane so that this never happens again.' But a universal approach denies the generations-long antisemitism and the right of the Jewish people to a state of their own. We support the approach that the Holocaust is a unique event in the history of humankind."

Q: Where is the line between the memory of the Holocaust and absolute truth? This question comes up, for exampe, when it comes to the number of Holocaust victims, with most researchers agreeing that it was 6 million, although this is not an absolute fact. 

"Preserving the memory is crucial. The moment they tried to make new narratives, there were cases of Holocaust denial. Six million Jews were killed is a number that was determined, and there is no need for new narratives on the matter. Our goal is to tell what happened, how it happened, what process led to it and how we are making sure it won't happen again."

Q: But absolute facts matter long-term. In a few years, someone might bring new facts challenging our subjective memory. 

"This has already happened in the past. There was always someone who tried to rewrite our history. I don't know, for example, how many people will listen to the testimonies in the trial of [Nazi perpetrator] Adolf Eichmann in the future. It is a difficult task that requires being consistent. This battle is bound to be fought in the future, and the more time goes by, the harder it will be. That is why connecting the youth is so important, so that they will not get swept up by the deniers."

Q: Poland recently passed a law that restricts the rights of Holocaust survivors or their descendants to reclaim property seized by the country's former communist regime. Do you think this shows that with time, the memory of the Holocaust and the pain of the atrocities diminishes? 

"We don't get involved in politics at the Testimony House. We have a different goal. We condemn on social media if there are inappropriate statements, but do not engage in debates or controversies. We try to be as stately as possible," Rosenman said.

Q: In your opinion, what does the government need to do in order to preserve the memory of the Holocaust? 

"Allocate a budget to Holocaust institutions that host tens of thousands of young people every year, and not leave the museum begging for support. Without governmental support, which is minimal, we will not be able to carry out this task, which is among the greatest ones of our education today." 

Q: Going back to the wagon you mentioned, how do the visitors react when they step in?

"They are moved. They stand in reverence. Bringing it to Israel was a challenging task. I found out in the middle of the night that a museum in Germany was putting it up for sale. I decided that we should buy it, and did so before other museums in Warsaw or Florida that also wanted it. 

"It involved a lot of bureaucracy, commissions, approvals. Customs Control wanted approval from the Transportation Ministry. I had to explain to them that the vehicle has not been ridden in over 80 years. 

"In the end, we succeeded in getting it to the museum, and today it stands on railways donated by the Israel Railways. There are only 23 such original wagons around the world. When it was installed with a crane, several Holocaust survivors watched on and were moved. Everyone had memories of the wagons."

Q: Like what? 

"My father said he was transported to Buchenwald in a wagon. Everyone was weak and hungry after the hard labor and the grueling death march, and many died in the wagon. Because of the overcrowding, those who survived had to arrange the dead on the side of the wagon and sit on them." 

Q: What does it feel like to have this wagon under your responsibility?

"Terrifying. There are surveillance cameras and sometimes I look at footage in the middle of the night to make sure everything is ok. It's scary, but we protect it for future generations.

"I believe that everything that the survivors went through we pass on to generations after us. A part of the establishment of our state began there, and when we learn and remember what happened there, we will have no doubt as to why we are here today, in the State of Israel. That is the survivor's message that we must always remember."

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Managed by Michel Assayag, Oazis is working in collaboration with BGN Technologies, the technology transfer company of BGU.

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The six startups – NeuroHelp; Panacea; 3D-Green; Flanimus; Testory; and MirageDynamics – will be featured on Zoom from 1 p.m. to 3:30 p.m. (Israel Time) via this Zoom link.

Prof. Carmel Sofer, Chairman of Yazamut360 said, "The Oazis accelerator enables BGU's leading researchers to broaden their understanding in business-related aspects and in translating the knowledge developed in the labs into business initiatives. In addition, the accelerator helps the researchers find partners for establishing companies and promotes the conversion of outstanding research into successful startup companies."

CEO of BGN Technologies Josh Peleg added, "Oazis is a unique initiative in the Israeli academic landscape, and an important tool for accelerating the conversion of innovative applicable research originating from BGU into startups that will develop innovative products. It is noteworthy that since the beginning of the year we recorded a 30% increase, compared to the corresponding period in 2019, in the number of patent applications based on research from BGU."

To register for the event, follow this link.

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