On November 1, 2024, the events of one of the largest festivals of Jewish non-formal education - Limud Ukraine -2024 - began in the city of Uzhhorod. Over a hundred participants and presenters from Ukraine and other countries of the world were united in one team for three days, which, under the conditions of military tests, sought to preserve the tradition of communication, transfer of knowledge and mutual assistance. It is symbolic that the motto of this year's Limud sounded like “The art of being a team”, because for many years Limud is a team in space and time that helps to see the light in the darkest times!

This year, Museum “Jewish Memory and Holocaust in Ukraine” was represented by the deputy director for scientific work, Dr. Yehor Vradii, and the researcher, Ms. Olena Ishchenko. In fact, they actually opened a series of educational events, presenting the Museum's mobile exhibition – “Holocaust in Ukraine: the regional aspect”. The uniqueness of the Ukrainian dimension of the Holocaust, the combination of all practices of total mass murder known at the time within the borders of one country, the terrifying scale of the Nazi genocide in Ukraine, etc. are a short thesis list of issues to which the materials of the exhibition are addressed. The speeches of our colleagues became a kind of starting point for a series of educational classes dedicated to the still relevant problem of understanding the historical lessons of the Holocaust. And the exhibition itself is available to all Limud participants and residents and guests of Uzhhorod during the three days of the festival.

The continuation of the search for answers to the question of the roots of the genocide was the lecture-conversation of Ms. Olena Ishchenko “Lena Riefenstahl's propaganda film “Triumph of Will” in the racial education of German youth in the 1930s.” The importance of the topic is actualized by the reality in which the modern world is, and especially our country, which is fighting for its own existence. How did L. Riefenstahl and her unconditional creative talent become tools of Nazi propaganda and the task of raising a generation of obedient perpetrators of genocide? What innovative techniques did the German director use, and most importantly, what meanings were embedded in the visual sequence? What is the thin line that separates the genius-artist from the criminal-propagandist? It is nice to note that our colleague's class gathered a large audience, and most importantly, it turned into an active dialogue.

The topics presented by the staff of the Museum in Uzhgorod are only a small reflection of the thematic and problematic series of the permanent exposition in Dnipro. So, if you are ready to ask questions about the past and yourself, we will be glad to see you among our visitors.