by Rokhl, at the Rootless Cosmopolitan blog, where you can find it cross-posted, along with much more stimulating writing about Yiddish, American Judaism and its discontents, and otherDynamic Yiddishkayt for the New Millennium. –aryehbernstein
The Washington Post brings us an interesting chart from the Pew Research Center. The chart tracks language presence in the United States from 1980 to today. Because Yiddish had the most stark decline between then and now (from #11 in 1980 to dead last today) the Pew chart is labeled The decline of Yiddish, the rise of Tagalog. Which, ok, is pretty accurate. The Washington Post’s headline, however, is How We Stopped Speaking Yiddish. Which isn’t just bizarrely non-descriptive of this charticle (the ‘How’ never comes up), it also speaks to the media’s love of a good ‘Yiddish in decline’ narrative.
For comparison, Greek was at #8 in 1980 with 401,000 speakers. Today it’s at #14 with 307,000 speakers. In 1980 Yiddish had 315,000 speakers and today around155,000. (By the way, I’m pretty sure this is an underestimate given the population explosion in the Hasidic world and how that explosion does not show up in official records.) Between 1980 and today both Greek and Yiddish dropped six positions.
So, why no tears for the dramatic decline of Greek? Italian? Polish?
While the Washington Post leads with the disappearance of Yiddish, Salon reprints Ross Perlin’s Jewish Currents piece on Yiddish on the Internet. Perlin, a Yiddishist living in New York, finds a thriving Yiddish world on line.
Ruben is an experiential Jewish educator living and creating in Brooklyn. He likes to dance. For more on this theme, see Jay Michaelson’s book, God in Your Body. (aryehbernstein)
Jewish tradition distinguishes between the written Torah and the oral Torah, but is their room to talk about Torah of the body as well? Specifically, does Judaism have something to teach us about dance and movement?
I began to seriously think about this question last fall, when taking a course on dance education at NYU. The class focused primarily on tribal dances from Uganda. It was fascinating to learn that most of these tribes have no written tradition. Their values were passed down from generation to generation, not through the written word, but through dance, song, and story telling. My first instinct was to contrast this to Jewish culture, which is so reliant on text. What are the benefits and drawbacks of each method? What are we able to transmit through text, that we are not able to do through dance, and what might be lost in the text that can only be captured through movement?
Then I thought about it a bit more. I grew up in a very Jewish home, but I didn’t look at a page of Talmud until I was 24 years old. Learning text was not a formative part of my Jewish education whatsoever. On the contrary, some of my most powerful Jewish memories are of my mother teaching Israeli folk dances in our community, and of a crazy horah experience when I first visited Tzfat at the age of 12. Even today, though I spend a lot of my time learning Jewish texts, my most uplifting and spiritual moments have involved dancing alone to niggunim in the park by my house, and once again, those Hassidic horahs, this time not in Tzfat, but in Crown Heights. More »
A couple of weeks ago, an email came over the Jewschool contributors’ listserv asking if anyone wanted to cover a SermonSlam taking place in my neighborhood. As someone who has enjoyed other kinds of slams in the past (poetry, story, and grand – IHOP, not baseball), I jumped at the opportunity. I’m still something of a Brooklyn newbie, having lived here for less than a year. So I want to fully own that my preconceived notions of what a SermonSlam might be were entirely colored by an outsider’s stereotype of Brooklyn hipster culture. Now, to be fair, I have lived here almost a year—it will be a year this Shabbat—and so I have been around long enough to know that most of the stereotypes about Brooklyn hipster culture are true. And I should have been tipped off by the fact that the event was being held at Congregation Beth Elohim (known in the neighborhood as CBE), a very large Reform synagogue that often plays host to community events, many of which I have enjoyed this year.
You see what I’m getting at, right? What I had pictured as a cool, vaguely underground event, perhaps in a dark room with a stage and a bar, turning words of Torah into performance art, was in fact more like a youth group program for young adults, held in a large, well-lit synagogue social hall, with the performers relying a little more heavily on the “sermon” than the “slam.” The only drinks were of the cola variety, and the evening was padded with games straight from my synagogue youth director playbook like Jewish Geography 2.0, affably executed by hosts Ben Greenfield and Samantha Kuperberg, who themselves seemed to have arrived straight from a summer on the staff of Camp Ramah.
BUT! And this is a big BUT! (I like big BUTs and I cannot lie…) I’m pretty sure if you went in to the event with fewer or different preconceived notions, you would have been thrilled. More »
I’ve been reading an array of obituaries and reflections on Mandela and his legacy since late Thursday night when I heard that he had died. When I had a chance to reflect on the news as I traveled from Jerusalem to Tel Aviv last night my thoughts turned to my parents and a shoe museum in Toronto, where I grew up. I also thought about why I came here in the first place.
When I was 13 years old, freshly Bar Mitzvah’d with an older teenaged brother spending weekends looking for fights with neo-Nazis, I first became aware that my mom was (and on some fronts still is) a politically active human being. She was a New York Jew of the baby boom generation, a Woodstock attendee, and she had, in those turbulent years of which I have no first hand knowledge, gotten involved in struggles for civil rights, against the war in Vietnam, and toward a feminist future.
Having recently gotten into the Dead, Snoop, and other musical accompaniments for my newly found enchantment with weed (which became the central destination for much of the bounty of my Bar Mitzvah gifts), I would proudly proclaim that my mom had been a “hippy” to my friends. When she was around to defend herself though, she would explain, slightly annoyed, “I was a radical, not a hippy”.
The death of Arik Einstein z”l highlights the jagged seam line where Israeli and Diaspora Jews meet. Or don’t meet. JJ Goldberg comments on this in the Forward and Liel Leibowitz rips the seam wide open in Tablet Magazine. Initially I laughed through my tears at Leibowitz’s in-your-face comments: I have nothing to say to you about Arik Einstein. I’m sorry to sound like a prick, but you wouldn’t get it…But then he went in an altogether different direction to where my own heart was headed.
So I will try to say something to you about Arik Einstein, as many were just recently commenting about what the loss of Lou Reed means to them personally. I never listened much to Lou Reed, but Arik Einstein’s music changed my life.
An Israeli friend from my Hashomer Hatzair group gave me Einstein’s 1971 album, Badeshe Etzel Avigdor (vinyl)in 1974 That album introduced many to the anthem of my generation – Ani Ve Ata. . Members of Hashomer Hatzair were singing it years before it became the go-to song for American Jewish tikkun olam projects. But other tracks on that album touched me more deeply in unexpected ways. The song about his own experiences in Hashomer Hatzair, HASHRIKA SHEL HATNUA placed people like my friends and me at the center of a rock star’s view of the world.
I was one of those marginalized, radical, intellectual but “bad” kids born too late to be part of the Jewish Catalogue crowd of DIY Jews but too early to belong to the Gen X reimagining of alternative Jewish community. In the mid-1970s, our idea of a good time waswatching Arik Einstein’s comedy Lool in tandem with Monty Python. How better to understand the absurdity in being Ber Borochov quoting socialist Zionist Jewish kids in mid-1970s north America?
Fast forward to November, 1995. Right after the assassination of Yitzhak Rabin, Einstein released “Zeh Pitom Nafal ָAleha” זה פתאום נפל עליה -. a public outpouring of sorrow and compassion for Rabin’s widow Leah. I imagine there are those who wish there had been such a song for Jackie when JFK was assassinated.
Arik Einstein seemed to create the soundtrack to which many of us living away from Israel healed from the restach (assassination) from miles away. An Israeli friend sent me Shalom Chaver, the 2 CD live recording of the Rabin memorial concert and, had it been on vinyl, I would have worn down the grooves. All of Israel’s great musical artists offered moving tributes to the slain Prime Minister at that long, poignant gathering. But, as the first disc opens with Einstein’s rendition of Aviv Geffen’s iconic lament, Livkot Lekha–(I am going to cry for you) and closes with his classic Uf gozal-(the little bird flies away) ,his iconic baritone voice was like a comforting embrace, enclosing the rest of the music.
Of course, Einstein induced laughter at least as often as tears. My friend Rabbi Leila Berner captured this in an e-mail, writing that “sometimes I cried so much when I listened to his songs…and sometimes I laughed so hard when he realized that (as Reinhold Niebuhr once said), “laughter is a no man’s land between faith and despair.” Arik gave us laughter when we couldn’t find our faith and when despair was an all too frequent visitor.”
Fast forward to Limmud Conference in the UK, 2008:
I invite a new Israeli friend to join me at a late night sing-along, but he was afraid it would be mostly English tunes he didn’t know. He want on tell me that it was the eve of Arik Einstein’s 70th birthday and he was afraid nobody in the room would understand. He was going to call it a night. I began to sing one of Arik’s silly songs, אני אוהב לישון-Ani ohav lishon (I love to sleep). My friend decided to come along. And many people there did get where he was coming from. Arik Einstein’s songs turned a random group of people, who ranged in age from around 16 to over 60 and who came from places as far flung as Stockholm and Cape Town, into a community celebrating the birthday of a cultural hero.
The beauty of it was that the songs surely meant something different to each singer. For me, it was much more than simple nostalgia. It spoke directly to the piece of me that feels alienated almost everywhere these days, as I feel that most of the Diaspora Jewish world seems to have split into two groups, neither to which I belong: the one for non- and anti Zionists, the other for center to right-wing Zionists. That night, Arik’s music brought me home for a short while.
My friend, the musician Stuart Rosenberg, remembers Einstein’s music like this: In 1971 I was 15 years old, away from home for six-month exchange program, living in an Israeli boarding school while studying Hebrew and working in the fields. That was the summer of Arik Einstein’s hit song Ani V’Atah…. Lying awake at night… with the aroma of night blooming jasmine in the air and the sound of Arik Einstein playing beneath my pillow, I was as far as I could be from my own bed, yet listening to those words I knew I was home. I eventually returned to the states, but forever after that summer that song and those words have been at my core, and, like the aroma of night blooming jasmine, it only takes a few notes to transport me back to those moments when I truly became who I am.
Another friend told me that she watched the memorial ceremony in Rabin Square. In my mind I immediately heard Arik Einstein singing about the night Rabin was assassinated, so I listend to Shalom Haver – .Then I played Einstein’s cover of the Geffen song, from the Shalom Haver album:
When we are sad, we go to the sea. / That’s why it’s salty. And it’s sad —That we can return borrowed equipment But it’s not possible to give back this longing…
Kosher supermarkets are curious sites of cultural consumption. And the upscale supermarket, Pomegranate, is no exception to the rule. Displaying a bag from Pomegranate is a visible social marker of Bourdieuian “taste”–a type of conspicuous consumption not found at KRM Kollel or other affordable kosher supermarkets in Brooklyn. As explained in a well-deserved critique published in The Forward about a David Brooks article in The New York Times, Pomegranate caters to the top 1% of the religious community.
After attending a Hasidic friend’s wedding recently, I wish to return to a song newly minted in the religious wedding circuit repertoire, “Ya’alili” (performed by the Chabad band, 8th Day), where the aisles of Pomegranate become a dizzying dance floor of choreographed Jewish multiculturalism:
I learned of the song when it was released two years ago. I’m partial to it, but not simply because a friend of mine dances in the music video. Its richness lies in its social commentary on the hybridity of form. The song plays with and against the blurring of Sephardi and Ashkenazi cultures. But as much as it plays with mixing and matching (as the chorus rings out: “tantz, tantz, chabibi”), it maintains distinct boundaries. The stanzas line up Sephardi and Ashkenazi cultures in the Structural grammar of a Lévi-Strauss diagram:
את החתן ספרדי/כלה נאה אשכנזי”
“רחל אמנו ספרדי, מאמע רחל אשכנזי
“The groom, Sephardi/the attractive bride, Ashkenazi
Straddling back and forth between moments of mimicry and of radical alterity, between convergence and separation, illuminates the contemporary tension of Sephardi-Ashkenazi relations. In the logic of multiculturalism in the reign of late capitalism, the video screams: “we have the freedom to both pray separately and to shop at the same upscale supermarket!”
Supermarkets peddle exotic goods. And so does the video. Supermarkets are, after all, secure, mediated sites of consuming other cultures. But the danger of mediation lies in what obscures. There is no actual contact between cultures performed in the transaction. It’s unidirectional. You can buy without reciprocation. And that’s precisely what happens in the music video. A caricatured image of Sephardi culture appears–for the pleasure and consumption of Ashkenazi eyes. The musicians we are to identify as “Sephardi” bear the trappings of the exoticized, Orientalized subject.
How Ashkenazim simultaneously reproduce hegemony while claiming to resist it–under the banner of Jewish “multiculturalism” (reframed in religious vernacular as achdus)–is a phenomenon I encountered while conducting preliminary fieldwork research in Uman (among friends at Chulent). A former professor and now mentor, David Roskies, recalls a conversation with noted academic of Hasidic historiography, David Assaf (in an article recently published in Bounded Mind and Soul: Russia and Israel, 1880-2010):
Assaf, our expert on all matters Hasidic, is not merely underwhelmed by what greets the visitor to Braslav, he is angered by the millions in profit made by the Braslaver from Israel who control the Rebbe’s grave and man, which attracts over 15,000 pilgrims a year. He scoffs at the sterile design of the tomb, so reminiscent of the fake tombs of Moroccan saints that make such a mockery of religion and Israel. Did we notice the name Israel Meir Gabi emblazoned on the wall outside? Gabai, the Johnny Appleseed of Hasidic grave sites, is a Braslav Hasid of Sephardi descent. Why, young Sephardim, Assaf protests, are so brainwashed by the Braslav notion of tikkun neshamot, the perfection of dead souls, that they show up at the Ministry of Internal Affairs to adopt an Ashkenazi surname (like Bernstein and Rabinvoich) and a Braslavian proper name (like Naftali, Nahman, Nathan)…
As described by one of my informants, a living Chabad oral history archive, “gullible” Sephardi baalei teshuva have become infantilized with the same white paternalistic “concern” as the colonial subject–an uncritical, superstitious mass who, already engaged in pietistic devotion at the hillulas of their revered Babas, can be led easily astray. In the recent sex scandal of the Breslev leader, Rav Berland, Sephardi baalei teshuva became scapegoated (among some) as the source of the problem. As Toyte Hasidim (lit. “dead Hasidim”), Breslevers do not follow a living rebbe or tzadik (in contradistinction to other Hasidic courts). Rebbe Nachman is, at least in theory, their one and only master; to unflinchingly follow a living tzadik comes at a cost. Berland’s scandal was displaced by some Breslevers onto the Sephardim Berland recruited, who in the optic of Ashkenazi hegemony, cannot be trusted to maintain the purity of Breslev’s status as Toyte Hasidim.
While problematic in its representation of Sephardim, “Ya’alili” engages in a subtle politics of refusal. As Hasidism becomes increasingly untethered from Eastern European culture and history, the invention of the “global Hasid” (to borrow the phrase of my friend, Zach Cohen) has emerged in its stead. And Rebbe Nachman has most curiously been re-branded as a universal symbol of devotion, which ultimately obscures historical reality and pivots Ashkenazi identity as unmarked and universal, Sephardi identity as marked and particular. But the video refuses this cultural hegemony. It marks Baba Sali as a “Sephardi” symbol, Rebbe Nachman as a “Ashkenazi” symbol. Because if all things were actually equal, quotes from the “Baba Sali” would be embroidered on white kippot the world over.
For further cultural analysis of Hasidic music, listen to the episodes 05 and 06 by Sol Fuerwerker and Sam Katz over at The After Life Podcast.
I hesitated before writing this. I didn’t want to even engage with the silly idea that “there is no occupation.” Unfortunately, that idea is finding more and more traction in main stream forums.
The Jewish Federations of North America (JFNA) General Assembly (GA) is set to begin in a week. It will be taking place in West Jerusalem at the national convention center. It is a place that sits just a few minutes’ drive from the occupation.
The Forwardhas already reported on the fact that the GA will not have any discussion on the occupation despite it purporting to be the place that inspires and engages current and emerging Jewish leaders” in order to tackle “the most critical issues of the day”. The Forward explains that Jerry Silverman, President and CEO of the JFNA, emphasized the GA’s focus will be on “’dialogue’ and ‘questions,’ particularly from young Jews, with no holds barred”.
This may seem like a positive step for the established Jewish community, so often seen as deterring analysis and open dialogue. Unfortunately it’s simply more of the same.
Apparently Silverman doesn’t want the occupation included in the content of the GA, because he doesn’t want to “get into the political arena”, but as The Forward reports, the GA has already entered that arena. There is a long list of events on political issues from Israel advocacy in the Diaspora to the separation of Synagogue and State in Israel. One speaker at the GA will be Knesset Minister Naftali Bennett who has said thoughtful things such as “When you were still climbing trees… we had here a Jewish state” and “I will do everything in my power to make sure that they [the Palestinians] don’t get a state.” A wide array of Israeli politicians will be there.
So a small group of Palestinians, Israelis, and Germans –all in their 30s–are having drinks in Malmö, Sweden with a bunch of Jews, Muslims, Christians and other people of all ages who don’t identify with any religion.
That is not a joke. It happened a few days ago. I was there.
The group was the ensemble cast of Third Generation: “work in progress,” a brilliant performance piece conceived by Israeli playwright and director Yael Ronen (who was also there) and developed as a joint project of Berlin’s Schaubuhne and the Habimah National Theatre of Israel.
At the start of the show, Niels Bormann appears alone in front of the curtain; dressed in grey sweatpants, a red t-shirt emblazoned with 3G in large black letters, and a kefiya. He introduces the play with one apology after another: He is sorry that the costumes are not more sophisticated, but the show was developed in the Middle East, not Europe. He is sorry for making that politically incorrect statement. He is especially sorry for the role that Germany played in the murder of so many diverse groups of people. He polls the audience;
“Are there any Jews here?” Many hands go up. He apologizes. More »
Thank you so much, Raffi, for continuing this conversation with me. I respect the thoughtfulness and passion that you bring to your relationship with Israel.’
I work very hard (as I’m sure you do) to ensure that my halachic practice reflects my values. I am not always successful, but I try. Text helps me explore what my values are, and how they define my practice. Both Masechet Pesachim and Rav Ovadyah Yosef’s teshuva give voice to what many American Jews have forgotten is a possibility: We can live religiously authentic, meaningful Jewish lives without a direct relationship with the modern state of Israel because our redemption is not about Israel.
American Jews and Israeli Jews are, simply, different. Look at central coming-of-age experiences: Non-Chareidi Israelis come into adulthood through military or national service, while (and this is a generalization) the American Jewish coming of age experience involves a college education. Religious American Jews subdivide based on praxis and attitudes towards gender, while religious Israeli Jews subdivide based on praxis and attitudes towards Zionism. With different sets of values, shouldn’t our halachic practice also be different? Neither geographic practice needs to be defined as better or worse. They’re just different. We can use differences in Ashkenazi and Sephardi halacha as a paradigm. Each community defined their practice based on their geographic and sociological norms. We can do the same. Israel should not dictate my religious practice, and vice versa. More »
Filmmaker Alexander Bodin Saphir presents on the rescue of the Danish Jews at OresundsLimmud 2013
On March 5, our almost-a-minyan who comprise the steering team of Limmud Oresund 2013 was holding the penultimate meeting prior to our second annual Limmud day of Jewish learning and culture. Over 160 people had pre-registered, and we were concerned about logistics: Would there be enough space for a Limmud that had doubled in size since last year? Had we ordered enough food for lunches and snacks? Did Folkuniversitet, an adult education school that was again openomg its facility to us free of chage, have a room large enough for all participants to close out the day together with singing, learning, thanking the volunteers, and tasting the cholent made during a morning session?
When Hava Nagila: The Movie played the Boston Jewish Film Festival last year, I rolled my eyes and opted out of what I assumed would be a twee, cloying tribute to the ubiquitous anthem to American Jewish vapidity.
But when, three weeks into my relocation to New York City, a friend asked me if I wanted to take his second ticket to see it at the Museum of Jewish Heritage, I tried to stifle my skepticism in favor of a night out in my new home.
I was prepared for a nostalgic campfest, and while there was an element of that, the film was also surprisingly moving and educational. I even got a little teary-eyed during the segment with Harry Belafonte. I was surprised to learn the film was created by the team behind the excellent Hannah Szenes documentary, Blessed Is The Match. Director Roberta Grossman and producer Marta Kauffman said that after they completed their Szenes film, both women’s daughters asked them to work on a happier project – hence “Hava Nagila.” And while this is a happier film, it doesn’t shy away from a number of challenging questions about Jewish engagement, the Israel/Diaspora relationship, and the blooming and wilting of various strains of Jewish culture.
The movie begins a national roll-out this week. If it’s playing near you, check it out.
I recall chatting with one of my favorite singer-songwriters, composer, musician and poet Alicia Jo Rabins in a Mexican joint in Chicago after a Golem show a few years back, right after the big market crash. I asked what else she was working on, and she started talking about a project revolving around Bernie Madoff. I (and I’m sure many others) suggested she apply to the 6 Points Fellowship, which happily saw the merit in her and her work. The resulting project has finally reached its debut moment. Rabins’ new full-length song cycle, A Kaddish for Bernie Madoff, at Joe’s Pub in New York City on Thursday, November 8th and again on the 15th. Details after the jump. More »
Tomorrow night is to be the first of many Jewish events unlike anything ever seen before.
The reason: it’s explicitly secular, and therefore explicitly Jewish.
Let me explain.
Tomorrow night is the premier event of Oholiav (oh-HO-lee-AV), a “meeting place” where the secular art and pop worlds come into contact with Jewish values, philosophies and narratives.
That’s abstract. Let me break it down.
Jewish culture and secular Western culture share some basic values: don’t murder people, stand up for what is right, be a good person.
When you look into some of those deeper details though, the wide range of Jewish views on gender roles, on human rights, on politics, on the importance of spirituality, are very likely to differ from that which we have to come to know in the secular world.
So, where are these points of tension, and where are those moments of harmony?
Oholiav examines secular culture through the pop culture—films, YouTube videos, singles, albums, TV shows, Broadway musicals, plays—and the world of art—literature, art galleries, dance. In pinpointing those moments when values are espoused in the secular world, or stories are told or beliefs are “preached” in the secular world, Oholiav compares these moments with their Jewish counterparts.
Does Dinner For Schmucks parallel the Jewish value of hospitality towards guests (hakhnasat orehim) or slam the door on the face of the ideal? Does Francisco Goya’s “The Disasters of War” series serve as a reprimand of oppression, unconsciously echoing Jewish discomfort with militarism? Do these elements perhaps meet somewhere in the middle? Perhaps the twain shall never meet? (Not to mention, the Jewish people rarely hold similarly with only one point of view on anything.)
At 7 PM, in celebration of the art openings, we’ll gather together on the 5th floor of the Kraft Center for special performances by OMG Poetry, Ezra Benus, Lori Leifer and ChEckiT!Dance; followed at 8 PM by a Q&A Talkback with questions from the audience, in conversation with Ellen Alt and with ChEckiT!Dance about both artistic and Jewish elements of their biographies and bodies of work.
Elul is a busy month for Storahtelling founder Amichai Lau Lavie. He’s returning from Israel, is knee deep in studies, and on Sunday he began his 3rd annual 40 day blog leading up to the High Holidays, Prepent! It should be a good read.
This comes on the heels of an announcement from the decade-old Torah ritual theatre company that it is restructuring and that Lavie alsos assume the Interim Executive Director role following Executive Director Isaac Shalev’s departure after just 18 months.
“This transition comes at a time of important growth and transition for Storahtelling. Isaac, the Board and the Executive committee have all agreed that the best interests of the organization are to scale back, spend time rethinking our capacities, programs, operation and scope of mission and vision rather than continuing in the same model.”
Programs will continue and High Holidays services will happen, but how the organization will survive long term? Like other darlings of the emergent Jewish sector, the organization has faced difficulties during the economic downturn.
Asked whether Tel Aviv had any “personal significance” to him as a choice of venue for Lollapalooza, Ferrell gazed as he struggled to give a non-committal response, “Let’s just say that I think that it’s a place that needs good music. It deserves it, it demands it, and so it shall be.” Elsewhere he has cited Tel Aviv’s geography, lack of an international festival or a curfew… Very nice, but is that all?
(ed note: Aryeh Bernstein comes from Chicago, lives in Jerusalem, and works for NY’s Mechon Hadar; last summer, under the moniker The Branding Iron, he independently released his debut hip-hop album, “A Roomful of Ottomans” with DJ OFn TISh (aka Ori Salzberg). He’s a friend of the blog and I loved this piece and he offered to share it with us- Ruby K)
I’m a teacher. In both formal and informal settings, I’ve always had a soft spot for “problem kids”. Well, a certain kind of problem kids, anyway – kids who considered rules optional, who showed up at what they wanted to show up at, whose laughter became more rambunctious and free the more their teachers emphasized the seriousness of the rules. I’ve had several students who were written off by all the other teachers as impossible, but with whom I actually developed my most meaningful relationships – kids who have a lot to say, kids whose clowning in boring or conformist contexts is an expression of the same curiosity and creativity as is their engaged participation in contexts that challenge them. These kids are so threatening to us teachers because they expose the weaknesses, fallacies, and mysteries we gloss over. They expose the ways in which we cover up our limits of imagination and our intellectual laziness with assertions of power and authority. When they do that, we, so steeped in our vulnerability and shame, or in our power trip, mistake their mockery of our chimerical power for disinterest in ideas or knowledge. We couldn’t be further from the truth. Sometimes the class clowns have the most to say. More »
Jewschool founder Mobius aka Dan Sieradski is part of the panel at this very interesting event at the 14th Street Y on “The Future of Jewish Culture.” A full press kit is here. A quick look at the panel shows it covers not only various sectors but geographies and aims to address a significant amount of ground in an evening:
“After a decade of flourishing Jewish creativity, major Jewish cultural enterprises are being forced to scale
back operations or close entirely. Using recent funding cuts as a springboard to examine the most pressing
issues facing new Jewish arts and culture, “Now What?” addresses:
New perspectives on American Jewish identity
Waning support for quality Jewish art and culture
Strategies for cultivating Jewish art and culture in the future”
May 15, 2012 7pm, 14th Street Y, 344 East 14th Street (between 1st and 2nd Ave.), New York, NY 10003
If you’re in the area and are interested, sign up here. Naturally, this is a subject that deserves and requires significantly more time than a single evening. The need to advocate for, plan and implement a national Jewish Cultural Policy could be the focus of a week long conference with representatives from major communal institutions and umbrella organizations, local presenting arms and various elements from artists and performers to independent organizations. It could also be a great panel to recreate at the General Assembly because the message points need to be heard by people who hold the purse strings and those who put the money in that purse
As someone who runs a Jewish cultural initiative, I’m very interested in this and am excited that its taking place. I’d be interested to know who’s attending and if any funders or folks from the institutional community will be within earshot. And of course, as a non-New Yorker, I’m glad to see there’s three other regional centers represented on the panel.
In the 1920’s, Soviet filmmaker maverick Lev Kuleshov demonstrated how the juxtaposition of distinct, isolated filmed images can suggest psychologically-charged narratives: for example, a shot of a relatively ‘neutral’ gazing face followed by a shot of a bowl of soup leads viewers to understand that the person in the first shot is hungry. This all-important editing technique in cinema routinely forces us to forge narrative meaning and continuity by connecting isolated images and scenarios. It takes a particularly gifted filmmaker to transcend and even reverse such a tendency in the process of creating dramatic tension.
Such a filmmaker is Joseph Cedar, who most recently directed the dark comedy Footnote. At the very start of the film, the audience is required to interpret the context—in this case, the induction ceremony of the Israeli Academy of Arts and Sciences scene—based on the face which confronts us, and not vice versa. Via a tight medium close-up shot, we are introduced to Uriel and Eliezer Shkolnik, a son and father situated side by side amidst the assembled crowd. We later learn that have both spent their professional lives as academics. Uriel ultimately disappears from the frame (as we soon learn, from the off-screen dialogue, to ascend to the podium and accept the honour of his induction to this society), but the camera remains fixed on the singularly disturbed visage of his father. As we watch Eliezer’s almost haunted, blank expression, which suggests a deeply repressed quiet fury, we also listen to Uriel’s acceptance speech, in which he relates an anecdote from his early childhood involving his father. Read or heard in isolation, the speech would most likely appear benign–even gracious. However, as we absorb the tortured, humiliated look of defeat fixed on Eliezer’s face as the camera gradually positions him in the frame’s center throughout this long take, and as we listen to the polite collective laughter punctuating Uriel’s clever moments of public oratory, it is nearly impossible to not interpret the son’s words as anything but the severest cruelty. More »