During her conversion to Judaism, Avigail found a profound personal connection to her work preserving Yiddish culture. Shortly after immersing in the mikveh, a ritual bath marking her formal entry into the Jewish faith, she recorded an excerpt from the diary of Gela Seksztajn, an artist who lived in the Warsaw Ghetto during World War II. This recording was made for a Yad Vashem exhibition at the Auschwitz memorial site.

Seksztajn’s diary, which survived the Holocaust hidden within the Ringelblum Archive beneath the Warsaw Ghetto, contained a poignant message. Anticipating that she and her family might not survive, she implored future generations to remember not only the destruction wrought upon Jewish communities but also the rich lives and artistic expressions that preceded this devastation.

Years later, while visiting Auschwitz, Avigail was struck when she unexpectedly heard her own voice reciting Seksztajn’s words throughout the exhibition. She described the experience as a moment in which Seksztajn’s message became a personal call to continue the work of preserving Jewish cultural memory.

Central to this effort is the recovery and performance of Yiddish melodies that survived the Holocaust. Each recovered song carries with it more than mere historical significance; it represents a voice that refused to fade despite the Nazis’ systematic efforts to erase Jewish civilization in Europe. These songs recount stories of love, humor, faith, resilience, and daily life, offering insight into a vibrant culture destroyed by genocide.

Efforts to preserve Yiddish music and other cultural artifacts are seen not only as acts of remembrance but also as vital endeavors to ensure the persistence of a heritage threatened by near annihilation. Through these songs, the memory of a lost world continues to resonate, allowing future generations to engage with the legacy of European Jewry before the Holocaust.