taz.de
Graphic Novel Depicts Holocaust Survivor's Experiences
German comic artist Barbara Yelin collaborated with Holocaust survivor Emmie Arbel for four years to create a two-part graphic novel depicting Arbel's experiences, prioritizing ethical representation and historical accuracy while respecting Arbel's boundaries.
- What specific methods did Yelin employ to collaborate with Emmie Arbel and ensure the ethical and accurate representation of her traumatic experiences?
- Yelin's approach uses visual storytelling to navigate the complexities of representing the Holocaust, acknowledging the limits of imagery in capturing its full horror. By collaborating closely with Arbel and other experts, she strived for accuracy while respecting the limits of memory and the need to avoid retraumatization. The project highlights the challenges of representing trauma, especially when working with survivors.
- How does Barbara Yelin's graphic novel approach the challenge of visually depicting the Holocaust while respecting the survivor's emotional well-being and ensuring historical accuracy?
- Barbara Yelin, a German comic artist, created a graphic novel based on Emmie Arbel's Holocaust experiences, aiming to depict trauma through imagery rather than explicit descriptions of violence. The project spanned four years, involving numerous meetings and collaboration with historians to ensure accuracy while respecting Arbel's boundaries and emotional well-being. Two books resulted from their work.
- What are the potential implications of this survivor-centered approach to visual storytelling for future Holocaust education and remembrance projects, and for representing other historical traumas?
- This graphic novel project signifies a new approach to Holocaust remembrance, using art to explore the fragmented and subjective nature of trauma. By centering the survivor's experience, it acknowledges the limits of traditional historical narratives and offers a more empathetic and human-centered understanding. Future projects may adopt similar methods to represent other historical traumas.
Cognitive Concepts
Framing Bias
The framing centers on the creative process and challenges of depicting trauma through art. The artist's perspective and methods are prioritized. While the Holocaust is the subject, the focus remains on the artistic choices made in representing it, not a detailed account of the historical events themselves. This framing might inadvertently downplay the historical weight of the subject matter.
Language Bias
The language used is generally neutral and respectful. Terms like "unsagbares" (unspeakable) and "Monstrosität" (monstrosity) reflect the gravity of the subject, but are not presented in a sensationalist or manipulative way.
Bias by Omission
The interview focuses heavily on the process of creating the graphic novel and the collaboration between the artist and survivor, with less emphasis on the historical context of the Holocaust itself. While the Holocaust is the subject, the details about the specific events are limited, leaving some aspects of the historical context implicit.
Sustainable Development Goals
The graphic novel and exhibition aim to make the Holocaust and its impact more accessible and understandable to a wider audience, which can contribute to promoting peace, justice, and reconciliation. The project involved extensive collaboration with historians and experts, ensuring accuracy and sensitivity in portraying traumatic events. This meticulous approach is vital in preventing the repetition of past atrocities and fostering a culture of remembrance to build stronger institutions.