One of Poland's most beloved films is a unique example of music uniting both Jews and gentiles in the immediate post-war period that would soon become very difficult to find anywhere else.

Capping off months of preparation, study and travel, the first group of USC Shoah Foundation Junior Interns returned to the Institute’s office in May to present their final thoughts on their participation in Auschwitz: The Past is Present program.

​At the academic symposium, scholars will discuss how music was used as resistance in a number of conflicts around the world. Tina Frühauf will instead focus on the very definition of “resistance” itself.

We have ample historical evidence that hateful words can be as dangerous as physical violence itself. German poet, Heinrich Heine said in 1821, “He who burns books will soon burn people.”

Montreal, March 23, 2015 – As the world marks the 70th anniversary of the end of World War II and the liberation of the Jews of Europe, the Montreal Holocaust Memorial Centre (MHMC) and Sarah and Chaim Neuberger Holocaust Education Centre in Toronto are proud to announce an historic agreement with USC Shoah Foundation - The Institute for Visual History and Education to have their testimonies integrated in the Visual History Archive as part of the Institute’s Preserving the Legacy initiative.

Auschwitz should never have existed, so why are we so keen to cling onto it? Would it not be reasonable to scrub it from the landscape, remove the very thought of what it represents from our minds, recognize it as the cemetery it is, then grass it over and leave the dead to rest in peace?  

Like many of you, I sat in front of my television on the evening of Friday, November 13, 2015 and watched in horror as news of the terrorist attacks in Paris flooded the airways. "Not again," I thought to myself. My heart ached for people whom I had never met and for a city and country thousands of miles away.

During her lecture as the 2014-15 Center Fellow of the USC Shoah Foundation Center for Advanced Genocide Research on Thursday at USC Doheny Memorial Library, Peg LeVine shared her experiences studying a unique form of violence during the Cambodian Genocide.

After watching testimony in the Visual History Archive, many students say they feel like they really “met” the survivors they watched. Véronique Mickisch actually did.

USC Shoah Foundation Center for Advanced Genocide Research, in collaboration with the USC Thornton School of Music, will be hosting scholars from around the world for two days of programming on Oct. 10 - 11 to highlight the use of music as a tool to resist oppression and spread awareness.

A testimony-based audiovisual resource for educators in Czech Republic, Poland and Hungary is now available online.

The conference included a night of films, an academic symposium and a concert, all exploring music as it has been used as a form of resistance to genocides throughout history.

“My father is Jewish.  My mother is Jewish. And I am Jewish.”  Those were the words I kept repeating to myself as I boarded my flight from JFK to attend the 70th anniversary commemoration of the liberation of Auschwitz-Birkenau.

The President of the Republic went on record to tell the prospective immigrants “nobody invited you here!” Refugees escaping from a murderous regime are regarded as agents of that very regime. Concerned citizens who never saw a refugee discuss them with great fear: refugees will take our jobs, kill our wives, rape our daughters. “We may take a few of those who can prove they are and always were Christians,” some interior ministry clerk declared.

The Visual History Archive contains 53,000 eyewitness testimonies to genocide and mass atrocities. What you might not know is that each testimony is indexed to the minute with over 62,000 keys words in the entire Archive. USC Shoah Foundation commemorates National Archives Month this November by participating in #AskAnArchivist Day on Thurs., Oct. 1, and sharing 10 more unique facts about the Visual History Archive.

During the weekend of October 10-11, the University of Southern California gathered international academics, musicians and members of the Los Angeles community for a symposium and series of events, collectively called Singing in the Lion’s Mouth: Music as Resistance to Genocide. Hosted by Professor Wolf Gruner of the USC Shoah Foundation Center for Advanced Genocide Research, and Professor Nick Strimple of the USC Thornton School of Music, the symposium, film screening and concert were also sponsored by USC’s Vision and Voices arts and humanities initiative. The following paragraphs are a reflection on the individual events that made up the weekend, and an exploration into the larger ideas raised in discussions over the course of the weekend.