This project allowed us to very easily see the difference in four survivors’ stories. We wanted to pick the stories at random in part to see how this would turn out just by chance. We were hoping for different stories, different camps, and different maps. And thankfully, those are the results we found. The stories of Mara Ginic, Henry Sperling, Lore Schneider and Miriam Eshel all began in Europe and then took a very unique path. Miriam and Henry spent time in Auschwitz and also briefly lived in Israel while Mara and Lore both escaped the Holocaust but in very different ways. We think that as a response to being displaced and losing your sense of community at such a young age reflects your search for a “home” and for finding yourself for the rest of your life. Miriam, Mara and Henry spent time searching for a place to settle down in after the Holocaust. Lore on the other hand, was more geographically stable once she found her place in the United States. All four stories tell the tale of young adults affected by the Holocaust. In our examples, you are able to see the effects (geographically and/or mentally) this horror had on them for the rest of their lives. Each had their own way of dealing with the tragedy, be it to work at the U.S. Holocaust Museum or to end one’s own life
By presenting their stories through a map it allows for the audience to visually see where the stories coincide and where they differ. It allows for the audience to see the overlap rather than to just hear about it. For us, it made each story more personal since it created a visual representation of their constant movement. It was very interesting to see how each survivor we chose had a different story and yet a similar enough theme. The Holocaust impacted their life, forever and always, and it not only impacted their thoughts and their nightmares but it affected how they related to other people and how they built relationships within a community. It changed what “home” meant because for all of them since they grew up not having one. This assignment gave us the opportunity to discover more of the aftermath impacts on the survivors and to see how one story is not representative of the Holocaust, nor do a few stories make one unifying voice. Each and every survivor is unique and each and every survivor has handled their post-1945 life differently. Not only can you learn from hearing their story but with this project you can also see a visual representation through their map.
Several studies have confirmed that geographic maps can facilitate the recall of related text, a phenomenon called the "temporal contiguity effect." *(See footnote) This way of learning information improves recall of facts, especially for visual learners. However, when learning about the Holocaust specifically, it's important to note the possibility of trivializing the emotional aspects of the historical events. While we feared that this way of learning about Holocaust stories could depersonalize Holocaust learning, we in turn felt for the most part a heightened connection with these individuals' stories, as we followed their paths on the individual level instead of considering the events as collective history. When we presented the story of Mara Ginic to the class, they as well responded that they felt more emotionally connected to her story because they were able to see and imagine the distance she traveled just in order to live. Our conclusion therefore indicates that "mapping the Holocaust" can and did succeed in helping us learn the facts of Holocaust stories without trivializing the linked emotional learning.
*(Crooks, Steven, David White, Sribhagyam Srinivasan, and Qingfu Wang. "Temporal, but Not Spatial, Contiguity Effects While Studying an Interactive Geographic Map." Journal of Educational Multimedia and Hypermedia, 17.2 (2008): 145-169.