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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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Tidbits: Yiddish activist in Sweden receives royal medal
Tidbits is a Forverts feature of easy news briefs in Yiddish that you can listen to or read, or both! If you read the article and don’t know a word, just click on it and the translation appears. Listen to the report here:
סוסאַנע שנײַדערמאַן־ריץ, די אָנגעזעענע ייִדיש־אַקטיוויסטקע אין שוועדן און די פּרעזידענטקע פֿונעם שוועדישן צווײַג פֿון דער אַלוועלטלעכער ציוניסטישער פֿרויען־אָרגאַניזאַציע „וויזאָ“ — וועט באַקומען איינע פֿון שוועדנס העכסטע קיניגלעכע אויסצייכענונגען, „דעם קעניגס מעדאַל“, דעם 9טן סעפּטעמבער, אינעם קיניגלעכן פּאַלאַץ אין שטאָקהאָלם.
לויט דער אָפֿיציעלער באַשרײַבונג ווערט שנײַדערמאַן־ריץ אָנערקענט פֿאַר איר „ממשותדיקן בײַשטײַער צו דער מינאָריטעט־שפּראַך, ייִדיש.“ שוין צענדליקער יאָרן וואָס שנײַדערמאַן־ריץ קעמפֿט לטובֿת דעם אָפּהיטן די ייִדישע קולטור אין שוועדן.
שנײַדערמאַן־ריץ איז געווען איינע פֿון די פֿירערס בײַם פֿאַרזיכערן אַן אָפֿיציעלע אָנערקענונג פֿון ייִדיש ווי איינע פֿון שוועדנס נאַציאָנאַלע מינאָריטעט־שפּראַכן. צום סוף האָט די קאַמפּאַניע מצליח געווען. ייִדיש האָט באַקומען אַ לעגאַלן סטאַטוס און דערבײַ דערמעגלעכט אַז די רעגירונג זאָל העלפֿן פֿינאַנצירן דאָס אויפֿהאַלטן און אַנטוויקלען די ייִדישע שפּראַך און קולטור.
די אָנערקענונג ווערט באַטראַכט פֿאַר אַ ווענדפּונקט פֿאַר דער ייִדישער קהילה אין שוועדן, בפֿרט איצט ווען די זאָרג וועגן אַנטיסעמיטיזם וואַקסט פֿון טאָג צו טאָג בײַ ייִדן איבער גאַנץ אייראָפּע.
ייִדיש־אַקטיוויסטן זאָגן, אַז די אָפֿיציעלע שטיצע פֿאַר דער שפּראַך העלפֿט אָפּהיטן אַ וויכטיקן טייל פֿון דער ייִדישער קולטור־ירושה און פֿאַרשטאַרקט דעם אָנדענק פֿון ייִדישן לעבן אין שוועדן במשך פֿון דער געשיכטע.
צו זען דעם אַרטיקל אויף ענגליש גיט אַ קוועטש דאָ.
To see this article in English, click here.
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From a Catskills bungalow in 1969, you can almost see astronauts
Crickets chirp as the audience enters The Laura Pels Theatre. Tall grass rims the front of the stage, and home movies from summer resorts in the Catskills are projected on a screen. Mother and son wave hi from a lake, a boy swims laps and bubbies walk past in their swimsuits.
This is the setting of A Walk on the Moon, a new off-Broadway musical written by Pamela Gray and based on the 1999 film of the same name for which she wrote the screenplay. Inspired by Gray’s childhood summers in a “Borscht Belt” bungalow colony, the show depicts the life of a Brooklyn-accented Jewish family against the backdrop of the Apollo 11 moon landing, the Vietnam War and the Woodstock music festival.
The show opens on Pearl Kantrowitz (Talia Suskauer) looking out wistfully as she stands in front of her summer bungalow. Pearl, who became pregnant with her daughter at 16, is struggling with the concept of domestic life amid a decade filled with excitement and chaos. It’s nearing the end of the ‘60s, and she feels as though she had barely experienced it.
In contrast, Pearl’s husband, Marty (Max Chernin), is a TV repairman entirely resistant to change, even when it comes to the bakery where his “blackout” cake comes from. He’s only in the Catskills for the weekend though, leaving Pearl subject to her temptations for the rest of the week. These desires come in the form of Walker Jerome (Sam Gravitte), a hippie “blouse man” who plans to move to California. Before the curtain closes on Act I, Walker and Pearl begin an affair as a man lands on the moon — and are left to deal with the ramifications in the second act of the show.
Pearl’s journey of self-exploration parallels that of her teenage daughter Allison (Sophie Pollono), who is falling in love with Ross (Oscar Williams), a 16-year-old boy who describes himself as “Big Jewish Hendrix.” Allison, who first appears clutching a Joni Mitchell album, is a headstrong girl who speaks out against the state of the world in any way she can — she lambasts her brother’s cap gun and refuses to attend the colony’s 4th of July celebration. Ross is an aspiring musician who, though he admires the counter-culture singers of the time, is nervous to take tangible action of his own.
As the teenage couple discusses the changing world around them and finds connection over the music of Ross’ guitar, Pearl seeks to regain the teenage years that she lost, experimenting with marijuana, attending Woodstock and attempting to hide her affair from her children and her watchful mother-in-law, Lillian (Andréa Burns).
The moon landing means something different to each character: Allison views it as a U.S. invasion analogous to Vietnam, Walker is inspired by the potential it symbolizes, Ross considers writing a song about it. Though daily life is primarily filled with mah jongg games and visits from the knish man, this tiny colony isn’t immune from the tumultuous time period. Walker discusses his brother who is missing in action and Ross contemplates burning his draft card, singing with Allison about the need for change, lest the “candle in the wind goes out.”
Some plot elements are a tad heavy handed, such as when Pearl buys a tie-dye shirt and sings a song with Marty about it (he finds her shirt too new and different) or the Jewish wives’ discussion and ensuing song about Betty Friedan (“keep your book, cuz we ain’t ready”). The show also glosses over some things, such as how Pearl explains her whereabouts while she’s with Walker and who manages her responsibilities while the two of them are together.
The musical numbers, coupled with dances performed in colorful capris and mod dresses, concern forbidden love, Saturday nights in the Catskills and the momentous nature of the moon landing. While none is particularly groundbreaking, they are well-performed; Suskauer is a vocal standout.
However, these critiques don’t detract from the show’s mission to recreate the Catskills bungalows once prominent in Jewish consciousness. The wives get farputst for dinner; Pearl is said to be “schtupping” the blouse man; the loudspeaker announces that “Shimmy the Pickle Man” is coming to town. The set, a bungalow amidst a sea of trees, creates a nostalgic and intimate ambience supplemented by projected video of the moon landing, protests and napalm bombs.
Catskills colonies are now few, and Woodstock is only a distant memory. For a few hours, though, one can imagine what it’s like to be in the summer of 1969, and Neil Armstrong is about to walk on the moon.
The post From a Catskills bungalow in 1969, you can almost see astronauts appeared first on The Forward.
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In Israel’s astonishing new reality, voters expect Netanyahu to try to sabotage elections
Two extraordinary recent developments illustrate how politically unsettled Israel is in advance of elections this year: Supreme Court Justice Noam Solberg, chairman of Israel’s Central Elections Committee, publicly outlined the legal conditions under which elections could possibly be postponed during a national emergency, and former Prime Minister Ehud Barak warned that Prime Minister Benjamin Netanyahu might try to sabotage elections and have to be physically removed from office.
The fact that such scenarios are now being openly discussed by figures at the center of Israel’s democratic system reveals how close the country’s democracy is to a breakdown — and the country’s character to a fundamental change.
For decades, Israel prided itself on maintaining democratic continuity under impossible conditions. Through wars, terror campaigns, coalition collapses and corruption scandals, there remained an unspoken assumption that elections would occur and governments would leave office when they lost.
Now, for the first time in Israeli history, a substantial portion of the public fears that this assumption no longer stands.
“If Netanyahu tries to sabotage the elections, we will have no choice but to drive him out with sticks and stones,” Barak said, speaking in Hebrew on Israel Radio.
The astonishing thing: no one else on the program was astonished.
The unthinkable, now possible
The atmosphere surrounding the expected election, which must take place before the end of October, has become marked by increasingly apocalyptic rhetoric as Netanyahu faces negative polls. A poll by the Israel Democracy Institute found that 61% of Israelis believe Netanyahu should not run for reelection at all. Another poll found that 63% of Israelis fear for the future of Israeli democracy itself, while 56% said that internal divisions pose a greater threat to Israel than external enemies.
These are extraordinary numbers in a country historically defined by external security fears. Increasingly, many Israelis now believe the gravest threat facing the country is internal democratic collapse.
Justice Solberg’s remarks last week, which took place at a closed academic event and were reported later, added fuel to the fire.
Solberg, who is a conservative and considered politically sympathetic to Netanyahu, outlined six principles that would have to govern any decision to postpone elections, including a clearly defined plan for a return to normal electoral procedures.
Solberg emphasized that no election should be postponed merely because a crisis exists. Rather, authorities must demonstrate that the emergency has materially impaired the country’s ability to conduct free, equal and genuine elections. He concluded by expressing hope that Israel would never face circumstances requiring such a decision.
The fear that Israel is actually quite close to such a postponement cuts across much of Israeli society. I’ve heard it expressed by secular liberals, military veterans, former intelligence officials, legal scholars, journalists, centrist politicians, and even some conservatives who once supported Netanyahu enthusiastically. What unites them is the growing belief that Netanyahu now considers remaining in power to be an existential necessity — and that his radical base will back him no matter what outrage he attempts.
Yair Golan, former deputy IDF chief and leader of the opposition Democrats Party, has become one of the loudest voices warning that the danger is no longer theoretical. Golan warned publicly that Netanyahu’s camp could “sabotage, falsify, lie and intimidate” in order to remain in power. He also warned against attempts to alter election rules before voting takes place, and announced plans for extensive election monitoring operations to try to help safeguard the vote.
A decade ago, such statements from a senior Israeli political figure would have sounded deranged. Today, many Israelis hear them as sober preparation.
Inventing an emergency
Netanyahu’s current term, after a very close election in 2022, has been calamitous, starting with his hugely unpopular effort to eviscerate the judiciary, then continuing with the Oct. 7 Hamas massacre and a three-year multi-front war with unsatisfying conclusions. Most Israelis believe he extended at least one branch of the conflict, in Gaza, to satisfy ultranationalists in his coalition.
Which means there’s precedent for believing Netanyahu might invent or invite an emergency to further his personal goals.
One possibility is yet another external war, involving a manufactured escalation with Iran or Hezbollah, or in the West Bank, where radical settlers terrorize Palestinians while Israeli authorities look the other way. Another, and the most obvious, would involve a sudden change in the status of the Temple Mount — a goal toward which some far-right members of Netanyahu’s coalition have been agitating — or other combustible religious sites.
Any domestic route Netanyahu might choose would invite a direct confrontation between the executive branch and the judiciary over the legitimacy of democratic procedures themselves.
If the Supreme Court ruled against Netanyahu, many fear the coalition could refuse compliance outright. After all, Netanyahu has spent years seeding the idea that the Supreme Court — and also prosecutors, the attorney general, and the civil service — are liberal fronts which do not necessarily need to be obeyed.
Devaluing democracy
The columnist Ravit Hecht recently argued in Haaretz that significant portions of the coalition no longer merely oppose liberal democracy, but reject democracy itself.
As Netanyahu has increasingly aligned himself with these forces, Hecht wrote, he has adopted “more and more dictatorial characteristics,” leading to “real fear for the purity of the coming election or even that it will be held.”
At the same time, much of the right has mainstreamed conspiracy theories surrounding the Oct. 7 attack and the Gaza war. Because of the Netanyahu machine’s jackhammer agitprop, almost a third of Israelis now believe the “betrayal from within” theory in which Israel’s security services assisted Hamas on Oct. 7 to harm Netanyahu.
Figures such as Likud Knesset member Tally Gotliv have openly accused the Shin Bet, military officers, protest leaders, judges and the attorney general of betrayal or collaboration with Hamas. Instead of being marginalized, such rhetoric increasingly receives tacit acceptance from parts of the governing coalition.
Yediot Ahronot columnist Ben-Dror Yemini compared the phenomenon to the Nazi-era “stab-in-the-back” myth after World War I, which blamed Jews for Germany’s humiliation. Yemini warned that societies consumed by conspiracy theories eventually destroy trust in every institution capable of holding democracy together.
Given this level of agitation, it is fair to view Israel’s coming election as something far more significant than a contest between left and right or rival policy agendas. Increasingly, it looks like a referendum on whether the country remains the democracy it has always claimed — and largely managed — to be.
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