I have to applaud Aryeh Bernstein for this idea. This blog has covered the first sparks of many Jewish movements before they were worth reporting by others. And looking back 10 years later, we can see how the debates of last decade are, largely, over. Intermarriage acceptance? Won. Independent minyanim? In every major city. (Come check out Selah in Seattle.) Pro-Israel, pro-Palestinian, pro-peace? Now a real force in Congress.
But what about Jewish “hipsterdom,” perhaps better expressed as the burst of hybrid Jewish arts, culture, music, creativity and expression in the early 2000s? Remember the early days of HEEB, Jewcy, JDub Records, Kavod House, the Jewish Fashion Conspiracy, and Storahtelling? Simultaneously, the first waves of philanthropy aiming to “fight” intermarriage washed ashore. Nine years ago (oh yes, nine) this community was debating the pros and cons of accepting “continuity” funding for our new ideas.
Just take this post back from December 29, 2005, by Dan Sieradski, “NY Jewish Week Knocks Jewish Hipsterism.” Said Sieradski,
All of the grant money available to Jewish cultural projects fall under the auspices of Jewish continuity — recently rebranded “renaissance & renewal.” These are merely euphemisms for getting Jews to shtup other Jews. It seems to be the only thing big-wig Jewish philanthropists find themselves concerned with, with the few exceptions of those focused on Jewish education and social action. In this climate, the only way for innovative Jewish projects to get funded is if they present themselves within the context of Jewish continuity. It’s a dirty game, but it’s the reality.
The landscape is different. Some of these initiatives stand tall: Hadar has spawned an successful institute, Mechon Hadar. And the field features notable graves: JDub Records (z”l). But the big picture matters more than the specific instances: emergent groups are institutionalizing into permanent features, displacing and replacing older ones. No accident that the very term “emergent” was coined by Jewish Jumpstart, whose Shawn Landres you can see there in the comments of Sieradski’s post.
Take a trip in the wayback machine and read it here.