“Floating Melodies and Memories” of the Terezín Memorial

As Andrea Huyssen observes,1 since the 1990s the preservation of Holocaust heritage has become a worldwide phenomenon, and this “diffi cult heritage” has also led to the rise of “dark tourism.”2 Neither as sensationally traumatic as Auschwitz’s termination concentration camp in Poland nor as aesthetic as the forms of many modern Jewish museums in Germany and the United States, the Terezín Memorial in the Czech Republic provides a diff erent way to present memorials of atrocity: it juxtaposes the original deadly site with the musical heritage that shows the will to live.