The new Holocaust Museum in Amsterdam
Zagłada Żydów. Studia i Materiały, No. 20 (2024), Pages: 746-754
Submission Date: 2024-11-06Publication Date: 2024-12-17

Abstract
107,000 of the 140,000 Jews living in the Netherlands, occupied by Nazi Germany since May 1940, were deported between July 1942 and September 1944 to death camps in Auschwitz, Sobibor, Belzec and Bergen Belsen. There were 5200 survivors. In the countries of Western Europe conquered by the Third Reich, this marks a tragic record both in percentage terms (76% of the Jewish community) and in absolute numbers. The National Holocaust Museum (NHM), which opened in Amsterdam in May 2024, has set itself the goal of comprehensively depicting the persecution and extermination of Dutch Jews, as the forms of commemoration that had previously been created were deemed inadequate. In pursuing this goal, the NHM's originators were guided above all by the idea of reaching a young audience, which in the Netherlands is multiethnic and multicultural and whose historical education in schools at all levels is vestigial. They opted for a chronologically guided narrative, unencumbered by details, but clearly showing the mechanism of the Holocaust: from the social exclusion of Jews by non-Jews, depriving them step by step of all their rights through the methodical plunder of property and forced labor, to the deportation to the Westerboerk and Vaught camps, and from there in cattle cars “to the East.” The NHM curators hoped that the exhibition would encourage visitors “to get involved and adopt a civic attitude.” That's why they focused on individual fates rather than abstract numbers, and entrusted the role of carriers of emotion to inconspicuous objects saved by a miracle, which are supposed to make visitors see loved ones in those to whom the objects belonged. The author reports on the solutions applied by the curators, pointing out the elements which, in her opinion, constitute the strength of the NHM and the high class of its exhibition, but she also shares her critical remarks and doubts about the effectiveness of the impact of the exhibition formula adopted by its creators on the most important target group of visitors for them, i.e. Dutch high school and university students.
Keywords
Arthur Seyss-Inquart , aryanization of property , Bergen Belsen , cultural genocide by Rafał Lemkin , Holocaust eduction , Jewish Cultural Quarter in Amsterdam , Holocaust museums , narrative museums , Nazi plunder of Judaica and cultural property , transit camps in Westerboerk and Vaught , Auschwitz , Sobibór , Bełżec , „Memorial of Names” by Daniel Liebeskind in Amsterdam , post-war attitudes toward the Holocaust in the Netherlands , Stolpersteine (memorial pebbles) , Holocaust in the Netherlands
References
Cohen Julie-Marthe, Lagerweij Mara, Dispossessed. Personal Stories of Nazi-Looted Jewish Cultural Property and Post-War Restitution, Amsterdam: Rijksmuseum, 2024.
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The National Holocaust Museum and the Hollandsche Schouwburg. Observe, reflect, act, red. Annemiek Gringold, Asjer Waterman, Zwolle: Uitgeverij de Kunst, 2024.
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