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Embracing their place on ‘the fringes,’ queer artists reimagine Jewish ritual garments for all bodies
(JTA) — Binya Kóatz remembers the first time she saw a woman wearing tzitzit. While attending Friday night services at a Jewish Renewal synagogue in Berkeley, she noticed the long ritual fringes worn by some observant Jews — historically men — dangling below a friend’s short shorts.
“That was the first time I really realized how feminine just having tassels dangling off you can look and be,” recalled Kóatz, an artist and activist based in the Bay Area. “That is both deeply reverent and irreverent all at once, and there’s a deep holiness of what’s happening here.”
Since that moment about seven years ago, Kóatz has been inspired to wear tzitzit every day. But she has been less inspired by the offerings available in online and brick-and-mortar Judaica shops, where the fringes are typically attached to shapeless white tunics meant to be worn under men’s clothing.
So in 2022, when she was asked to test new prototypes for the Tzitzit Project, an art initiative to create tzitzit and their associated garment for a variety of bodies, genders and religious denominations, Kóatz jumped at the chance. The project’s first products went on sale last month.
“This is a beautiful example of queers making stuff for ourselves,” Kóatz said. “I think it’s amazing that queers are making halachically sound garments that are also ones that we want to wear and that align with our culture and style and vibrancy.”
Jewish law, or halacha, requires that people who wear four-cornered garments — say, a tunic worn by an ancient shepherd — must attach fringes to each corner. The commandment is biblical: “Speak to the Israelite people and instruct them to make for themselves fringes on the corners of their garments throughout the ages” (Numbers 15:37-41) When garments that lack corners came into fashion, many Jews responded by using tzitzit only when wearing a tallit, or prayer shawl, which has four corners.
But more observant Jews adopted the practice of wearing an additional four-cornered garment for the sole purpose of fulfilling the commandment to tie fringes to one’s clothes. Called a tallit katan, or small prayer shawl, the garment is designed to be worn under one’s clothes and can be purchased at Judaica stores or online for less than $15. The fringes represent the 613 commandments of the Torah, and it is customary to hold them and kiss them at certain points while reciting the Shema prayer.
“They just remind me of my obligations, my mitzvot, and my inherent holiness,” Kóatz said. “That’s the point, you see your tzitzit and you remember everything that it means — all the obligations and beauty of being a Jew in this world.”
The California-based artists behind the Tzitzit Project had a hunch that the ritual garment could appeal to a more diverse set of observant Jews than the Orthodox men to whom the mass-produced options are marketed. Julie Weitz and Jill Spector had previously collaborated on the costumes for Weitz’s 2019 “My Golem” performance art project that uses the mythical Jewish creature to explore contemporary issues. In one installment of the project focused on nature, “Prayer for Burnt Forests,” Weitz’s character ties a tallit katan around a fallen tree and wraps the tzitzit around its branches.
“I was so moved by how that garment transformed my performance,” Weitz said, adding that she wanted to find more ways to incorporate the garment into her life.
The Tzitzit Project joins other initiatives meant to explore and expand the use of tzitzit. A 2020 podcast called Fringes featured interviews with a dozen trans and gender non-conforming Jews about their experiences with Jewish ritual garments. (Kóatz was a guest.) Meanwhile, an online store, Netzitzot, has since 2014 sold tzitzit designed for women’s bodies, made from modified H&M undershirts.
The Tzitzit Project goes further and sells complete garments that take into account the feedback of testers including Kóatz — in three colors and two lengths, full and cropped, as well as other customization options related to a wearer’s style and religious practices. (The garments cost $100, but a sliding scale for people with financial constraints can bring the price as far down as $36.)
Spector and Weitz found that the trial users were especially excited by the idea that the tzitzit could be available in bright colors, and loved how soft the fabric felt on their bodies, compared to how itchy and ill-fitting they found traditional ones to be. They also liked that each garment could be worn under other clothing or as a more daring top on its own.
To Weitz, those attributes are essential to her goal of “queering” tzitzit.
“Queering something also has to do with an embrace of how you wear things and how you move your body in space and being proud of that and not carrying any shame around that,” she said. “And I think that that stylization is really distinct. All those gender-conventional tzitzit for men — they’re not about style, they’re not about reimagining how you can move your body.”
Artist Julie Weitz ties the knots of the tzitzit, fringes attached to the corners of a prayer shawl or the everyday garment known as a “tallit katan.” (Courtesy of Tzitzit Project)
For Chelsea Mandell, a rabbinical student at the Academy of Jewish Religion in Los Angeles who is nonbinary, the Tzitzit Project is creating Jewish ritual objects of great power.
“It deepens the meaning and it just feels more radically spiritual to me, when it’s handmade by somebody I’ve met, aimed for somebody like me,” said Mandell, who was a product tester.
Whether the garments meet the requirements of Jewish law is a separate issue. Traditional interpretations of the law hold that the string must have been made specifically for tzitzit, for example — but it’s not clear on the project’s website whether the string it uses was sourced that way. (The project’s Instagram page indicates that the wool is spun by a Jewish fiber artist who is also the brother of the alt-rocker Beck.)
“It is not obvious from their website which options are halachically valid and which options are not,” said Avigayil Halpern, a rabbinical student who began wearing tzitzit and tefillin at her Modern Orthodox high school in 2013 when she was 16 and now is seen as a leader in the movement to widen their use.
“And I think it’s important that queer people in particular have as much access to knowledge about Torah and mitzvot as they’re embracing mitzvot.”
Weitz explained that there are multiple options for the strings — Tencel, cotton or hand-spun wool — depending on what customers prefer, for their comfort and for their observance preferences.
“It comes down to interpretation,” she said. “For some, tzitzit tied with string not made for the purpose of tying, but with the prayer said, is kosher enough. For others, the wool spun for the purpose of tying is important.”
Despite her concerns about its handling of Jewish law, Halpern said she saw the appeal of the Tzitzit Project, with which she has not been involved.
“For me and for a lot of other queer people, wearing something that is typically associated with Jewish masculinity — it has a gender element,” explained Halpern, a fourth-year student at Hadar, the egalitarian yeshiva in New York.
“If you take it out of the Jewish framework, there is something very femme and glamorous and kind of fun in the ways that dressing up and wearing things that are twirly is just really joyful for a lot of people,” she said.
Rachel Schwartz first became drawn to tzitzit while studying at the Conservative Yeshiva in Jerusalem in 2018. There, young men who were engaging more intensively with Jewish law and tradition than they had in the past began to adopt the garments, and Schwartz found herself wondering why she had embraced egalitarian religious practices in all ways but this one.
“One night, I took one of my tank tops and I cut it up halfway to make the square that it needed. I found some cool bandanas at a store and I sewed on corners,” Schwartz recalled. “And I bought the tzitzit at one of those shops on Ben Yehuda and I just did it and it was awesome.”
Rachel Schwartz stands in front of a piece of graffiti that plays on the commandment to wear tzitzit, written in the Hebrew feminine. (Courtesy of Rachel Schwartz)
Schwartz’s experience encapsulates both the promise and the potential peril of donning tzitzit for people from groups that historically have not worn the fringes. Other women at the Conservative Yeshiva were so interested in her tzitzit that she ran a workshop where she taught them how to make the undergarment. But she drew so many critical comments from men on the streets of Jerusalem that she ultimately gave up wearing tzitzit publicly.
“I couldn’t just keep on walking around like that anymore. I was tired of the comments,” Schwartz said. “I couldn’t handle it anymore.”
Rachel Davidson, a Reconstructionist rabbi working as a chaplain in health care in Ohio, started consistently wearing a tallit katan in her mid-20s. Like Kóatz, she ordered her first one from Netzitzot.
“I would love to see a world where tallitot katanot that are shaped for non cis-male bodies are freely available and are affordable,” Davidson said. “I just think it’s such a beautiful mitzvah. I would love it if more people engaged with it.”
Kóatz believes that’s not only possible but natural. As a trans woman, she said she is drawn to tzitzit in part because of the way they bring Jewish tradition into contact with contemporary ideas about gender.
“Queers are always called ‘fringe,’” she said. “And here you have a garment which is literally like ‘kiss the fringes.’ The fringes are holy.”
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Lively Yiddish Forward columnist Miriam Hoffman has died
The Yiddish writer, Forverts columnist, playwright and Yiddish lecturer Miriam Hoffman passed away July 29 in Coral Springs, Florida. She was 90 years old.
Hoffman was a talented storyteller, as seen in the 2017 Forverts video about her, one of ten episodes in its documentary series, Yiddish Writers Monologues. In the 55-minute clip, she describes in dramatic detail her family’s journey from Siberia to a forced labor camp to a displaced persons camp and finally, to New York. The video is in Yiddish with English subtitles.
In a book, also published in 2017, A Breed Apart: A Miraculous Escape from Russia, she tells her life story again, this time in English.
For many years, Hoffman penned a lively column for the Forverts, where she commented, often with biting humor, on certain character types in Jewish society she disapproved of — like American-born Jews snubbing their noses at fellow Jews who had recently arrived from Europe, something she experienced first-hand.
She also wrote about the blatant sexism she encountered in the 1960s and ’70s among the leadership of Yiddish organizations like the Workmen’s Circle and the Congress for Jewish Culture.
But other essays had a serious, softer voice, like the one she told about her decision as a young teen to suddenly cut off her curly locks in order to look more “American” — and how her mother reacted to her daughter’s “rebellion.”
She also hosted a popular Yiddish radio program on the Forward station WEVD.
Hoffman loved the Yiddish theater and began writing plays herself. She and fellow playwright Rena Borow wrote the book for the musical, Songs of Paradise, based on the biblical poetry of Yiddish troubadour Itzik Manger. The show ran at NYC’s Public Theater and the Shakespeare Festival in 1989, drawing a rave review from The New York Times. Her plays were also staged in Montreal and in several European countries.
For 23 years, Hoffman was a popular Yiddish lecturer at Columbia University. In 2011, she published a Yiddish textbook, Key to Yiddish, that included not only lessons in grammar, but also passages on Eastern European Jewish history, customs, songs and holiday content.
I was personally most impressed with her dogged determination to preserve Yiddish as a spoken language with younger generations. In the 1960s, while teaching at the Sholem Aleichem Shul 21, an afternoon Yiddish school in the Bronx, she and three fellow Yiddish cultural activists — educator Gella Schweid Fishman, pianist-composer Malka Gottlieb and artist Tsirl Waletzky — published a series of Yiddish children’s books through a publishing house they created themselves, called Oyfgang (Sunrise).
As Hoffman and Schweid Fishman told me years later, the mood in the Yiddish world then was so pessimistic, and the attitude towards women so dismissive, that none of the Yiddish cultural organizations — including the Workers Circle and the Congress for Jewish Culture — showed any interest in publishing the books.
But Hoffman and her colleagues didn’t give up. An example of this concerned a musical Purim play they wrote and published in 1968, “Purim iz a shpil aza” (“Purim is a time to play”). On the book cover it gives the male name Gavriel Tolyes as the author. But this was a pseudonym; the real author was Hoffman.
“We understood that no one would take our book seriously if they found out that four women published it,” Hoffman told me. “So we took my mother’s name Tolye, and came up with the name Gavriel Tolyes.”
Years later, Hoffman translated the Purim play into English where it was performed and made into a video. This time, the author’s name was her own.
Hoffman was born Miriam Shmulevitsh in Tobolsk, Siberia in 1936. In 1950, her family immigrated to the United States where she studied Yiddish pedagogy at the Jewish Teachers Seminary until 1957. Years later, she finished her bachelor’s at the University of Miami and received a master’s from Columbia University in 1983.
During the 1970s she and her husband Mendl and two young sons, Avrom (Avi) and Binyomin, lived in Israel for several years where she hosted the first Yiddish television program in the Jewish state, together with the popular comedian Shimon Dzigan.
Hoffman often said that one of her main goals in life was to help instill Jewish pride among Jews of all ages in order to stem the tide of assimilation. In 2015 she, along with her son — the renowned Yiddish actor, director and producer, Avi Hoffman — launched the Yiddishkayt Initiative, an organization dedicated to bringing Jews back to their roots through lectures and performances that portray Jewish values and cultural traditions. For Hoffman, this was exactly what she had been waiting for.
Miriam Hoffman is survived by her two sons, Avi and Benjamin, four grandchildren and one great-grandchild.
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Are you there Hashem? It’s me, Clara
“I can complain no more of what brutal tongue-abuse I suffered today. I have exhausted all manners of expression for my grievances.”
I wish I could tell you I don’t recognize those words. I wish I could say they were written by a beleaguered 19th-century governess, or a soldier in the Continental Army afflicted with gangrene. Unfortunately, they were written by me. The day was May 20, 2016. I was 12 years old and full of spite.
I am not sure what, exactly, provoked me that day (since I had exhausted all manners of expression for my grievances), but judging from other angry rants found in this deceptively cute, panda-covered journal, it probably had something to do with: A) My obsession with school, B) My enemies, let’s call them Kyle and Reese, C) My parents’ attempts to discipline me, and D) My conviction that the whole world was conspiring against me. These were heavy burdens for a sixth-grader to bear. Fortunately, the school year was almost over. Reform Jewish summer camp was just around the bend, and I was praying for change. Literally.
“God, if you can hear me, please let me have an amazing camp-experience,” I wrote a few weeks before the session started. “It’s my only escape.” Also, while I had His ear, could He make sure I got a really good part (preferably Belle) in the summer musical, Beauty and the Beast? The previous year, in Aladdin, I’d been relegated to some sadsack ensemble role that clearly did not make use of my incalculable dramatic potential. Please, Hashem!!
But God had His work cut out for Him.
During my first summer, I had established a reputation for myself as a puritanical hardass thanks to my clashes with the popular girls of Bunk 15. Let’s call them Samantha, Madison and Lindsey. Lindsey slept in the bunk bed next to mine, and every night she would amuse the other girls by pretending that she was singing Taylor Swift hits in her sleep. This enraged me. I hung up towels around my bed so I could silent-scream in private. Soon, the trio began to whisper that I was “gossiping” about them. I don’t think the counselors bought that story, though, since successful gossiping requires you to spread lies to many people, and I knew around three. I spent seven weeks in non-stop kvetch mode, writing pathos-ridden letters home, crying a lot, and making petty demands on God in a prior journal that I am scared to open. It got so bad that the camp director had to call up my parents on vacation.
Yet when the long-awaited last day came and my parents loaded up the car with all my musty-smelling camp stuff to take me home, something inexplicable happened: On my first night back in my own bed, I cried that I missed camp. Maybe I had been wrong all along! Send me back!
I don’t know how I got sucked back into another year. Maybe I’d been hoodwinked by ritual — the s’mores, the songs, the tie-dyed shirts, the crying around the lake as we promised to come back — or the fantasy that next year, I would finally be accepted. In any case, nostalgia had caused me to keep secrets from myself. “When does the memory keep secrets?” the Italian writer Alda Merini asks cryptically in her 1989 book Delirio amoroso, or Amorous Delirium, a collection of poems inspired by her experiences with love-induced madness. “When it forgets.”
I had forgotten, and now I was going to pay the price.
On my first day back, I arrived to find that all my complaining to the camp director had backfired: I’d earned an exile worthy of Napoleon, except instead of Elba, I was going to Bunk 20, where I knew nobody. I had no foes, and also no friends.
According to 12-year-old me, I spent the next seven weeks fighting back an unstoppable tide of hostilities. In reality, I probably spent just as much time swimming, kayaking, trying to play volleyball, hanging out with my new friends Lana, Hannah and Sabrina, painting clay pots, and pretending I wasn’t spending Shabbat services writing installments of a bleak tale called “Gertrude’s Life,” about a long-suffering Victorian girl with a mangled left leg. But 12-year-old me was fluent exclusively in “kvetch.” A couple of times a week, a cadre of rabbis with guitars tried to counteract my natural crankiness by teaching us key principles of Reform Jewish wisdom: Shalom (keeping calm), Tikkun Olam (repairing the world), and Hineini (present awareness). Unfortunately for the rabbis, I was too far gone. I had braces on my teeth and eczema on my skin, an intimidating combination of blood and steel.
You probably won’t be shocked to learn that I didn’t get Belle. Instead I got cast as something more fitting, the wicked crone who turns the Prince into the Beast to begin with. It seemed unfair to me that such an important catalyst didn’t have any lines, just menacing gestures. Later in the summer, our bunk went on a camping trip where I broke a glow-stick on myself and my sleeping mat, and I became convinced that I was going to die. I briefly developed “enamorous feelings” for a young fellow before concluding that “he was really into cursing and being a general idiot.” On the bus back from some field trip, a kid named J.T. said he wanted to kiss me, which was repugnant and secretly flattering.
And of course, I somehow still managed to scrap with my tormenters from the year before. On a visit to Bunk 18, the lair of my enemies and also a few friends, Madison told the counselors that she felt “uncomfortable” changing out of her swimsuit in front of me. For my part, I felt uncomfortable that she was framing me as a pervert.
Looking back on this journal, I may have had myself to blame for the isolation I spent so much time complaining about. How would anyone make friends with a 12-year-old nudnik who wrote things like “I had to go to the compost bin thrice during breakfast” and “I started off the morning by crying the equivalent of Taghaza, the city made of salt”? Even Job would not have had the patience.
One way or another, by summer’s end, I was ready to leave camp forever. Or so I claimed. “At the moment, our bunk is creating a plaque to commemorate the summer. Everyone’s laughing, sharing inside jokes I’ll never be a part of,” I wrote. “To be honest, I’m rather sick of this camp thing and going home in two days is perfectly fine with me. Camp days are too frivolous. I need something with which to occupy the mind.”
But if I wanted “something with which to occupy the mind,” I was about to get it. Two days later, I was back home. Camp was no longer tormenting me with its frivolity, and I missed it. Memory had worked its hazy rearview magic on my mind once again. I thought about my friends, about singing the evening prayer and swaying back and forth, about the wooden float we’d burned in the middle of the pond like a Viking ship to commemorate the summer. I thought about ice cream sandwiches. “It’s been so fun, and now it seems like it had all been a dream,” I wrote.
A day or so later, missing camp had become a dream, too. I never went back.
It’s been ten years since I was twelve. That time of life is increasingly dream-like. When I reread the cursed document that is my camp journal, I feel the misery. I feel it churn in my stomach sure as suspicious falafel. Yet in photos taken at camp, I see myself smiling, entwined with other girls, my braces glinting in the sun. I cannot tell which person is real. Both girls — the one in the journal and the one in the pictures — seem unknowable.
I don’t know if I’ll ever figure out what I really thought. Memory is made of such blobby, malleable stuff that you can’t touch it without changing it, reshaping it in some way. And since memories make up our “sense of self,” whatever that is, this must mean that we are constantly morphing, too.
The last thing I wrote about camp at the summer’s end was that it seemed like another life, “as if it had all happened to someone else.”
Maybe it did.
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Cornell condemns student’s viral antisemitic remarks, but won’t bar him from campus
(JTA) — Cornell University is condemning viral antisemitic remarks made by an undergraduate student who appeared on “Piers Morgan Uncensored” earlier this week, but the school’s president says no further action is planned against the student.
During his appearance, the student, Austin Franco, defended his statement in June that he did not want to work with Jews, saying that he did not like most of the Jews he had met. The remark was made in a private message that the company that received it publicized.
“As a university built on the solid foundations of our nation’s democratic freedoms, Cornell has an obligation to fiercely defend freedom of speech — even when we find that speech abhorrent,” Cornell’s president, Michael Kotlikoff, said in a statement issued late Wednesday, shortly after the Jewish Telegraphic Agency reached out to the school for comment on Franco.
“The student’s public comments invoked hateful generalizations and uninformed tropes with a long, ugly history of harm,” Kotlikoff said, adding that “antisemitism generally” is “detestable, ignorant, and fully at odds with the values of the Cornell community.”
Kotlikoff, who is Jewish, did not mention Franco by name in his statement, citing federal privacy law, nor did he specify which of Franco’s comments about Jews the school found objectionable.
His comments once again place Cornell on the front line in tensions over antisemitism at colleges and universities. The school reached a $60 million settlement with the Trump administration last year to resolve antisemitism claims and regain $250 million in funding that had been frozen over campus unrest in the wake of Hamas’ Oct. 7, 2023, attack on Israel.
Cornell was one of the earliest schools to face antisemitism allegations after Oct. 7, 2023, when a professor spoke at a pro-Palestinian rally and said he had been “exhilarated” by the Hamas-led attack against southern Israel, in which more than 1,200 people were killed and 250 taken hostage.
But the latest incident involving Franco had little to do with the subsequent war in Gaza until Tuesday, when the student told Morgan on his YouTube show that he objected to Jews in part because of Israel, which he deemed “a genocidal country.”
The controversy over Franco, a rising junior at the Ivy League university in Ithaca, New York, began in June when he wrote in an internship application that he was “not interested in working for a jew.”
His name and remarks were publicized by the Jewish co-owners of Handshake, the tech company to which Franco had applied for an internship, though Franco has claimed he’d already turned down an offer. His comments prompted online backlash — including from Leo Terrell, the Trump administration’s antisemitism czar, who posted dozens of times about the 19-year-old.
Franco has garnered significant support from the far right, including through a crowdfunding campaign initiated by a YouTuber who had previously drawn criticism for saying he hoped to see “another Hitler.” Franco’s comments to Morgan included positive references to “America First,” the Trump-led nativist movement embraced by the far right.
Cornell had announced it was opening an investigation into Franco when his comments were first publicized. He remained in the headlines after he was secretly filmed by an apparent sting operation led by Accuracy in Media, a right-wing activist group that has targeted pro-Palestinian students and university heads the group deems antisemitic on other campuses. Franco told a hidden camera interviewer connected to the group last week that the university’s investigation had amounted to little and that he would be returning to Cornell.
Asked by Morgan Tuesday to explain his beliefs, Franco said that a Jewish friend of his at Virginia Tech University, where he was enrolled before transferring to Cornell, “said we should genocide all Palestinians.” He named other “bad experiences with Jews” he claimed to have experienced in college, focusing on Jewish campus figures he said had “made things up about me,” and said Jews had “made my life a living hell.”
As Morgan pushed Franco to admit he was antisemitic, the student insisted he was not.
“Not wanting to be around Jewish people does not mean you don’t like them,” he said, adding that one of his exes “was half-Jewish.” He returned to Israel later in the conversation, chargingthat it is a Jewish-led “genocidal country” that insists upon “killing Palestinians and reporters and dragging America into wars abroad.” He concluded, “No, I am not going to want to associate with those people.”
“This is a common sentiment that is held,” Franco said. “If you think this is just me, you are completely wrong.”
Morgan, for his part, concluded, “You kind of made yourself unemployable.”
Franco is facing more immediate consequences, he announced on X on Wednesday. “My parents are kicking me out,” he tweeted, drawing offers of support from a handful of prominent far-right personalities.
Like many other schools that faced unrest after Oct. 7, Cornell has taken steps aimed at countering campus antisemitism while attempting to balance academic freedom concerns, in part as a result of its settlement with the Trump administration. The university commissioned an antisemitism task force and has undertaken several initiatives, including new campus climate surveys and stricter Title VI enforcement. It has also enforced a range of disciplinary actions against pro-Palestinian students.
But when it comes to Franco, one Jewish faculty member at Cornell theorized, the administration’s hands were tied.
“You sort of have to live with it,” Menachem Rosensaft, a visiting professor at Cornell Law School and former general counsel for the World Jewish Congress, told JTA. “He is engaging in obnoxious thought that is not harming anyone else.”
Rosensaft has been at the center of other antisemitism-related controversies at Cornell, including in 2024, when he prompted Kotlikoff to criticize another Jewish professor’s planned class on Gaza — an action that the school’s faculty union said was a violation of academic freedom.
In the case of Franco, Rosensaft argued that Cornell shouldn’t “turn him into a First Amendment martyr.”
But Rosensaft added that there could be grounds for discipline if Franco returned to campus and made harmful comments about Jews in the classroom or in other public spaces.
In 2025, Jonathan Greenblatt, the CEO of the Anti-Defamation League, praised Kotlikoff for what he called “a comprehensive approach to countering antisemitism.” An ADL spokesperson did not return a JTA request for comment on Cornell’s latest statement about Franco.
Franco himself has launched a second crowdfunding campaign to support his housing costs.
“I have reiterated that my parents do not share my views, and it seems they no longer wish to provide me with a home to live in,” he wrote in the description. “I know the road ahead will be difficult, but this is the path I chose. I could have lived a more conventional life, as my parents did, and perhaps in a different time I would have. However, that is not the world we live in today, and because of that, I chose a different path than most.”
This story has been corrected to reflect that the original comments Austin Franco made about not wanting to work with Jews were made in a private message rather than publicly.
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