Uncategorized
For this unconventional Jewish organization, tradition takes a back seat to community
Despite a temporary boost after Oct. 7 — the so-called ‘solidarity spike’ — traditional Jewish community in the United States has been in decline for at least a generation.
Synagogue attendance, regular Shabbat practice, paying congregational dues — never have these seemed less appealing to more Jews.
This isn’t all that surprising. American Jewry is evolving — interfaith households are up, support for Israel is down — and the onus, to a degree, is on the Hillels and Jewish Community Centers and large metropolitan synagogues to respond to these changes.
Yet the growth of a group like Judaism Unbound, a digitally-savvy Jewish organization founded in part as an alternative to the mainstays of American-Jewish life, would seem to suggest that, in certain quarters, the usual offerings just aren’t cutting it.
What the organization’s members share above all, said Lex Rofeberg, its senior Jewish educator, is a failure to connect meaningfully with “classic Jewish institutions.”
Unbounders — Rofeberg’s somewhat hokey name for the group’s members — are on the fringes of Jewish community for several reasons: among them, political beliefs; accessibility; interfaith dynamics; or a perceived knowledge deficit. There are, for example, a disproportionately high number of converts and Jews from interfaith backgrounds in the organization.
Lisa Heineman, a professor of Gender, Women’s and Sexuality Studies at the University of Iowa, and a longtime Unbounder, told me over email that despite her repeated efforts to get involved with Jewish institutions, she “simply felt like an outsider — I didn’t know the rituals, couldn’t play Jewish geography, didn’t fit into the ethnic Yiddishkeit.”
For many Unbounders, distance from mainstream Jewish community is not just figurative, but literal. “There’s a ton of creativity off the beaten path,” Heineman wrote. “And Judaism Unbound has been alert to what we have to gain by listening to Jews in places like Iowa, Oklahoma or Mississippi — and by really integrating them into their conception of American Jewish life.”
An unconventional approach
Judaism Unbound — or the ‘Institute for the Next Jewish Future,’ the group’s lesser-used official name — has embraced what Rofeberg calls “digital-first” Judaism, the better to reach those Jews in far-flung locations. With occasional exceptions, most events take place online. “Digitally, you are able to reach everywhere,” Rofeberg said. “People who are ostracized, people who are marginalized in whatever ways, find us. We had a lot of success very quickly online in ways that could not have happened offline.”
The events themselves — in keeping with the group’s anti-institutional bent — are sold as a departure from tradition.
“To be a Judaism Unbounder,” Rofeberg said, “is not to presume that the status quo is eternal.” One recent program, for instance, explored books from the Apocrypha, the liturgical texts that, though hugely influential, were never accepted into the biblical canon. The ‘Apocrafest,’ as the event was known, was typical of an Unbound program: zany and experimental, deeply if unconventionally Jewish, and, in truth, a little intellectually demanding.
Another of Unbound’s principal offerings is the ‘UnYeshiva’, a virtual beit knesset of sorts that offers online classes on an increasingly sprawling suite of topics, such as ‘Genesis: People and Solidarity in Bereshit’; ‘Every Body Beloved: A Jewish Embrace of Fatness’; and ‘Jews and Revolution: Socialists, Anarchists, and Radicals in the Modern World.’
The ‘UnYeshiva’ debuted in 2021 and was so well-received that Rofeberg and co. added a longer certificate program for the especially dedicated. These can take up to three years to complete, and consist of four separate classes, followed by a so-called capstone project, which the organization’s website describes as “a unique expression of each student’s holy work in the world.”
Heineman’s capstone project was a day-long, genre-spanning workshop — art, text study, meditation — that invited participants to reflect on a “path to a meaningful Jewish future.” That Heineman had had a previous capstone proposal shot down, on the grounds that her idea was too conventional, captures Judaism Unbound’s animating spirit, its insistence that participants innovate and experiment.
This programming is, suffice it to say, atypical, not least when set against the broader American-Jewish landscape. “Our premise from the get-go,” Rofeberg told me, “is that it’s very hard for existing legacy organizations to drastically change what they do in ways that will reach a new constituency, when they also have their own constituency.”
Matt Perry, another UnYeshiva graduate, agrees. “If there’s one idea that I’ve noticed many participants perhaps share,” he wrote, “it might be the belief that a revolution is unlikely to emerge from within existing Jewish structures.”
UnBound, through the airwaves
For all the UnYeshiva’s successes, the organization’s most popular venture remains its first: its eponymous podcast, hosted by Rofeberg and, until very recently, Dan Liebenson, Judaism Unbound’s founder. (Liebenson has stepped back from the organization’s day-to-day affairs to focus on a new Jewish venture.)
Both Perry and Heineman came to Judaism Unbound through the podcast, which launched in March 2016, and has since been downloaded over 3 million times. Heineman compared its array of guests and topics to “entering Narnia.”
In an era of ideological insularity, guests have run pretty much the full gamut of serious opinion. To name a few: Sarah Hurwitz, Peter Beinart, Shai Held, Danya Ruttenberg, Hey Alma founder Molly Tolsky. “Week after week,” Heineman told me, “I’d discover a new book, a new musician, a new activist organization, a new online educator — all working on this incredibly exciting project of re-thinking and re-invigorating Judaism.”
Rofeberg, for his part, wasn’t always so satisfied with the podcast. For a while, he felt it was creating a kind of epistemic distance between hosts and listeners. “Other than listening to us and emailing us,” he said, “they weren’t able to really actively participate.”
In 2023, the organization hired Miriam Terlinchamp, an Ohio-based rabbi, as executive director. Rofeberg credits her with introducing a less top-down pedagogical vision, and today the group has “more spaces where our people can come up with their own experiments,” he said. It hosts monthly Shabbat gatherings — online, naturally — during which participants explore one prayer in depth. There’s also an annual Shavuot event, Shavuot Live, a 24-hour-long Zoom gathering that draws hundreds of Unbounders and generates lengthy discussions in the event’s chatroom.
“In every respect, we’re trying to broaden who Judaism Unbound is,” Rofeberg said. “We’re not dictatorial, right?”
A post-Oct. 7 boost
The organization has grown sharply, especially of late, precisely because it hasn’t changed all that much. It’s always been a little counter-cultural and vaguely transgressive; it’s long suggested that Jewish life has passed over vital constituencies; and it’s consistently held that “the oldest Jewish tradition,” in Rofeberg’s phrase, “is upending Jewish tradition.”
The salient difference recently — read: since Oct. 7 — is that more Jews have come around to that interpretation. “We’ve had a lot of people find our work in the last few years, because more people than before feel alienated from other organizations,” Rofeberg said.
Concern over Israel’s actions in Gaza certainly helps explain this shift. As Rofeberg conceded, Judaism Unbound welcomes anti- and non-Zionists “in a Jewish world that largely doesn’t.”
The organization doesn’t have an official stance vis-a-vis Zionism. (“We’re a space that does not define itself with any ‘ism,” Rofeberg said.) One of its more impressive accomplishments, in fact, is gathering together under a single banner, albeit a virtual one, Jews who would otherwise scarcely interact.
In short, Judaism Unbound is that often-invoked-but-harder-to-realize idea of a big tent, where different beliefs mingle freely but are held together by a set of unifying values. For many, therefore, it has been a refuge from the division that has lately defined much of organized Jewish life.
Yet, for Perry, it’s more than that. “Over time, and combined with other semi-aligned efforts,” he wrote, “it has the potential to transform the Jewish world.”
The post For this unconventional Jewish organization, tradition takes a back seat to community appeared first on The Forward.
Uncategorized
Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening
(JTA) — President Donald Trump announced in a post on Truth Social Saturday afternoon that a deal with Iran had been “largely negotiated,” despite saying earlier in the day that he was undecided on whether to agree to a proposal or resume strikes.
Trump described the deal as a “Memorandum of Understanding pertaining to PEACE” that was “subject to finalization” by the United States, Iran and other countries that participated in talks on Saturday. He noted that he’d “just had a very good call” with Saudi Arabia, the United Arab Emirates, Qatar, Pakistan, Turkey, Egypt, Jordan and Bahrain.
Trump said in his Truth Social post that, separately, he had spoken with Israel Prime Minister Benjamin Netanyahu in a conversation that “went very well.” There was no immediate statement released by the Prime Minister’s Office following Trump’s post.
“Final aspects and details of the Deal are currently being discussed, and will be announced shortly,” Trump added.
In the post, Trump said the deal would include the opening of the Strait of Hormuz, though a widely reported quote from Iran’s Fars New Agency, which is close to Iran’s Islamic Revolutionary Guard Corps, said that Trump’s assertion was “incomplete and inconsistent with reality” and that the strait would remain under Iranian control.
Trump’s announcement comes over a month since he unilaterally extended a fragile U.S.-Iran ceasefire in April.
The announcement did not make mention of Iran’s nuclear program or highly enriched uranium, which Trump has previously stressed must be included in a deal.
Trump’s announcement came hours after he told Axios that he was a “solid 50/50” on whether he would be able to make a “good” deal with Iran, or else “blow them to kingdom come.”
Trump also told Axios that Netanyahu was “torn” over the potential deal but rejected the idea that the Israeli leader was “worried” that he might strike an unfavorable agreement.
This article originally appeared on JTA.org.
The post Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening appeared first on The Forward.
Uncategorized
In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different
In the final, tumultuous years of the Weimar Republic, a succession of arch-conservative chancellors ruled by emergency decree rather than go through the Reichstag, the German parliament. Germany had become a democracy in name only, as reactionary power brokers steered the nation deeper into totalitarian waters, ultimately opening the door for Hitler.
As we approach our mid-term elections, America too is at a pivot point — with the burning question being whether Donald Trump’s grip on MAGA lawmakers can be broken so that Congress, feckless like the Reichstag of the late Weimar Republic, can resume its constitutional role as a check on the executive.
It’s a matter of life or death for American democracy as it nears its 250th birthday.
As Trump’s poll numbers tank while GOP lawmakers’ support for him endures, I find myself musing about the Weimar Republic and the self-immolation of its national legislature.
In the final months before they came to power on Jan. 30, 1933, Hitler and the Nazis were actually on the ropes. After they had become the largest party in the Reichstag in July elections a year earlier, two million Germans abandoned the Nazis in an election that November. Many Germans were less enamored of the Nazi leader, fatigued by a sense that the Nazis thrived on disorder. The spell seemed to be breaking. Does this ring a bell? Economics also played a role: Germany was finally emerging from the Great Depression.
But the German republic had already been brought to a breaking point by street fighting, political chaos, the Great Depression, and a coterie of arch-conservative power brokers who schemed and maneuvered to scrap Germany’s first democracy. They included Chancellor Franz von Papen.
Papen was unable to form a majority coalition after the July 1932 election because of huge gains by the Nazis and losses by other key parties, so he continued to govern by emergency decree with the consent of President Paul von Hindenburg, relying on the broad emergency powers of Article 48 of the constitution that had already hollowed out parliamentary rule.
More internal scheming resulted in Papen’s ouster after the November 1932 election. He was replaced by General Kurt von Schleicher, a master of intrigue. But Schleicher lasted only two months, as disagreements raged over whether to give Hitler a role in the government, and what that role should be. The reactionary schemers eventually reached a consensus: Let Hitler have the chancellorship but keep him in check by loading the cabinet with archconservatives like Papen. Once Hitler became chancellor on Jan. 30, 1933, it didn’t take him long to outmaneuver all of the other schemers, who became puppets of the Nazi leader instead of the puppet masters.
Germany’s political establishment — all but the Social Democrats and the banned Communists — ceremoniously handed the keys over to Hitler on March 23, 1933, when the Reichstag passed the Enabling Act, dismantling parliamentary democracy and giving Hitler dictatorial powers.
Which brings us to the question: Whither American democracy?
Under Trump, our Congress has been reduced to a shell of its former self, an American analog of the toothless Reichstag. As Trump has launched assault after assault on the pillars of American democracy — on the judiciary, on higher education, on free speech, our election system, the rule of law, and even on unflattering but true chapters in American history — Republicans have kept quiet, fearing Trump’s wrath and retribution.
But now there are glimmers of hope. Trump’s broken promises, self-aggrandizement, megalomania, corruption, utter indifference to everyday Americans’ economic suffering, and relentless catering to the country’s wealthiest are finally catching up with him. New polls put his approval rating at a dismal 37%. In a New York Times/Siena poll, just 28% of voters approved of how Trump is handling the cost of living, while only 31% approved of his war with Iran. Even Fox News had him at 39% approval. That same poll showed GOP support for Trump weakening considerably on his handling of the economy.
Economic pain is driving the collapse. The soaring costs of the war in Iran, Trump’s vanity projects, and his proposed $1.8 billion slush fund for the Jan. 6 insurrectionists, coupled with his push for lifetime immunity for himself and his family to commit tax fraud, have incensed voters who are already struggling to afford groceries, gas, housing and health care.
As Americans make impossible choices, the 47th president touts the glitzy White House ballroom he wants to build and his plans for an arch that would dwarf the Arc de Triomphe, all while prosecuting a war that has closed the Strait of Hormuz and driven up prices worldwide. The widening gap between Trump’s self-indulgence and the country’s hardship is finally producing something late Weimar never managed: a meaningful break in the habit of submission to an aspiring strongman.
The post In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different appeared first on The Forward.
Uncategorized
This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7.
Sid Klein has finally found his subject. More than half a century after he scrambled to pick a topic for his senior art project at Brooklyn College—and settled on exploring the porcelain curves of a toilet bowl in a 20-painting series—he’s discovered a purpose.
Klein, 78, took a five-decade hiatus from art between college graduation and retirement. He picked his brushes back up just a few months before the events of Oct. 7.
Upon hearing of the Hamas attacks, Klein processed the news with acrylics. Soon, he began looking back to the Holocaust. He felt compelled to render contemporary and historical victims of hatred on paper and ultimately take on the mantle of combatting antisemitism, not with words or weapons but with images.
“For the first time in my life, I’m so motivated in my art,” Klein told me over Zoom from his home in South Florida. “All of a sudden I went from, ‘I don’t know what I want to paint,’ to, ‘I’ve got to make a record of this so people can look at these paintings and see what does antisemitism naturally lead to.’”
Born and raised in Brooklyn, Klein noticed at a young age that he could depict objects in three dimensions. “I started drawing with Crayola crayons with paper that my mom would pick up [at] the local five and dime,” he said.
But his mother died when he was seven, leaving his father to raise three children on his own. Though they weren’t particularly religious, Klein said, he attended yeshiva. The extra-long school day helped his working single father make sure he was safe. Klein continued dabbling in art through elementary and high school.
The Holocaust was not part of his education, as far as he remembers, not at the yeshiva and not later in college, where he flitted from pre-law to economics to philosophy before settling on fine art. “I’d never been exposed to it,” he said. “I’d never seen the photographs. I consciously avoided the photographs.”
“I was living in this bubble so I could pretend that antisemitism did not exist,” he said.
He remained in that bubble through business school and a long career in marketing. During that time, “painting didn’t even cross my mind,” Klein said. “For 55 years, I focused on the business and totally ignored the art.”
It wasn’t until his career drew to a close that he thought he might try again. “I wanted to give it a try and see what was left,” he said. But he wanted to keep painting only if he had a worthy subject, which he found in the wake of the Hamas attacks.
“That murder affected me in a profound way,” said Klein, who has two sons and five grandchildren living in Israel. “I started painting in my mind what these 1,200 people would have looked like. And that was my return to art.”
The segue from the horrors of Oct. 7 to those of the Holocaust felt natural to Klein. “For me, all of those are one of the same. They’re all Jew hatred at different times in history,” he said. “The amount of evil in our world is just—I don’t know how to measure it.” There are endless tragedies, he said, “but I’m focusing on our people.”
Klein paints in a corner of the family room he’s designated as his studio. He regularly pores over hundreds of black-and-white photos taken in ghettos and camps, looking for his next subjects to call out to him.
In one photograph, he recalled, he saw lines upon lines of women and children, standing near cattle cars, waiting, exhausted. He distilled the scene to one row of imminent victims in “Innocents.” They’re “going to be taken to a gas chamber and they’re going to be dead in 20 minutes or a half hour, and they don’t know that,” he said. On the right, a boy tugs at his mother’s coat. The woman on the far left balances the small child in her arms alongside her pregnant belly. In the middle, another grasps a toddler’s hand. Their eyes implore the viewer to grapple with their fate.
Several of Klein’s Holocaust works were displayed earlier this year at the Gross-Rosen Museum in Rogoźnica in Poland, on the grounds of the concentration camp system of the same name, where an estimated 120,000 people were imprisoned and 40,000 died.
“As employees of a Memorial Site, we have constant access to disturbing historical photos and documents; these are undeniably important, but viewing the victims through the eyes of an artist is an entirely different, more intimate experience,” Bartosz Surman, who works for the museum’s education department, told me. Surman estimated that approximately 4,000 people saw Klein’s work there between January 27 and March 31. “For a Memorial Site located in a village of fewer than a thousand people, we consider it a significant success and a testament to the power of Mr. Klein’s work,” he said.
Four thousand miles away, “My Zaidy” hangs on the wall at the Dr. Bernard Heller Museum in downtown Manhattan as part of the exhibition “Proverbs, Adages, and Maxims.”
The man in the painting wears a star under his heart. The bright yellow patch and pearlescent and gold shimmer of his face contrast with the matte blue of his coat and hat. But turning the corner of the exhibition, it’s the eyes that catch you. “I left them blank, so you can put in his eyes, any eyes you want,” Klein said—his zaidy’s or yours or a stranger’s.
The eyes may be missing but the gaze is powerful, as though this old man, as he approaches his cruel end, is staring and saying, “Look at me. Do you see what’s happening? Why are you just standing there?”
“A lot of bubbes and zaides were exterminated,” Klein said, including his paternal grandfather. But the zaidy in the painting isn’t Klein’s, exactly, he said. He can’t recall ever seeing a photo of him. Instead, he painted another elderly man in a photo that struck him: This is what a zaidy selected for the gas chamber looks like. This is what Klein’s zaidy could have looked like.
“I decided I was going to do a painting, and fill that hole in my heart,” Klein said.
“There’s something very haunting about the hollowed, empty eyes,” museum director Jeanie Rosensaft told me over the phone. “We were very touched, because although [Klein] has not had a long resume of art production, we felt that the image that he provided was very compelling.”.
Klein is one of 58 artists in the exhibition, and his work will be included in a tour the museum is organizing following its New York run, which ends June 24. “We hope that he continues on this path,” Rosensaft said. “It’s really essential that art bear witness to the past and provide a bridge to the future.”
Seeing the pain
Klein’s next painting, he told me, was inspired by a photo of two small children, empty bowls in hand, begging for food.
“If I had more working space, I would make my paintings bigger,” said Klein, who says he hopes to one day create life-size portraits. “Right now you’ve got to get pretty close to see what the hell is going on,” he said. “I want size to be part of your experience seeing the pain.”
Spending his days sifting through Holocaust photos and painting its victims takes a toll. “When I paint, I become emotionally involved. But when it’s done, I listen to my music for a couple of hours, and that gives me the emotional strength to continue,” says Klein, who puts on Vivaldi, Mozart, or Brahms, for example. “After I do a painting, I need this music to settle my nerves.”
“Sometimes I say, ‘Klein, try something else!’” he said. But he can’t imagine abandoning his subject or newfound mission for any others. Which means he’ll need more of that music in the years to come, as might those viewing his paintings.
“A lot of my work is grotesque,” Klein said, and that’s intentional. “I want to shake you up.”
The post This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7. appeared first on The Forward.