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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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Colombian President Gustavo Petro sparks outcry over tweet reading ‘Heil Hitler’
(JTA) — Colombia’s outgoing president, Gustavo Petro, sparked fierce condemnation from Israeli and Latin American leaders after he tweeted the phrase “Heil Hitler” Sunday in response to an op-ed endorsing a candidate in the country’s upcoming presidential election.
Petro, a left-wing president in the final weeks of his term ahead of the country’s June 21 runoff election, posted the Nazi phrase in response to an op-ed supporting right-wing presidential candidate Abelardo de la Espriella.
Petro subsequently defended his use of the Nazi slogan, arguing that he was critiquing the language used by the op-ed’s author, which he said included “fascist phrases.”
His defense came after criticism from Israeli leaders and others who said the “Heil Hitler” comment was inappropriate.
Israel’s ambassador to the United Nations, Danny Danon, called on the Colombian leader to “come to your senses and apologize” before Wednesday, when he is slated to preside over a debate at the United Nations Security Council.
“President of Colombia, @petrogustavo, whatever is going on in your personal life, there are lines that must never be crossed,” Danon wrote in a post on X. “Using Nazi slogans is a disgraceful low from which there is no coming back.”
Israel’s Foreign Ministry also decried the post, writing on X that it was a “total loss of moral compass and an indelible stain on Colombia’s legacy.”
The episode comes amid shifting norms about the use of Holocaust analogies and language in political discourse. After being considered out of bounds for a long time, people on both the right and the left have increasingly shed those norms amid growing political polarization and extremism around the world.
The “Heil Hitler” post was not the first time Petro has landed in hot water for invoking the Holocaust. In the wake of Oct. 7, Petro drew backlash from Jewish and Israeli leaders for likening the actions of Israel to Nazi Germany. On social media, he has repeatedly called political rivals Nazis, including last month when he wrote in a post on X that Israel’s national security minister, Itamar Ben-Gvir, had behaved like a “true Nazi” after he posted videos taunting detained activists from a Gaza-bound aid flotilla.
In 2024, Petro also severed diplomatic ties with Israel, accusing the country of commiting genocide in Gaza, an accusation Israel has denied. Espriella, who was endorsed by President Donald Trump, has vowed to renew diplomatic ties with Israel.
On Monday, 24 Latin American lawmakers signed onto a statement condemning Petro’s rhetoric, warning that his repeated use of references to Naziism risked distorting Holocaust memory.
“The use of references to Nazism must not become a rhetorical tool to discredit political or ideological positions. Democratic leaders have a responsibility to promote a respectful public debate that is conscious of the weight of words,” the statement read.
The statement was initiated by the Coalition of Latin American Legislators Against Antisemitism, which is led by the Combat Antisemitism Movement. The signatories included lawmakers from Argentina, Brazil, Chile, Colombia, Costa Rica, Ecuador, Guatemala, Honduras, Mexico, Panama, Paraguay, Peru, the Dominican Republic and Uruguay.
Shay Salamon, CAM’s executive director of Latin American affairs, said in a statement that Petro’s invocation of the phrase reflected a “troubling record of antisemitic expressions and conduct” by the Colombian leader.
“When a leader uses the authority of his office to stigmatize the Jewish people or trivialize their historic suffering, silence is no longer an option,” Salamon said.
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Israel looms large as Maine heads to the polls in Graham Platner’s Senate primary
(JTA) — As Graham Platner wrapped up his campaign for the Maine Democratic Senate nomination Tuesday, he ended it the way he began: by taking aim at AIPAC, the pro-Israel lobby and political funder.
The Democrat’s first online ad, released in August, boasted that, unlike his competitors, he would never get AIPAC’s endorsement because he believed Israel had committed genocide in Gaza. Last week, he suggested that AIPAC funding meant his Republican opponent was “bought and paid for by Benjamin Netanyahu,” drawing allegations of antisemitism from a range of Jewish groups.
Along the way, Platner has courted multiple rounds of controversy over Israel and Jews. And in the race’s final days, new reports about Platner’s past behavior toward women have fueled anti-Israel rhetoric among some of his supporters — and further splintered Democratic support for the oyster farmer and political neophyte whose spirited run for office has alarmed many Jewish leaders.
Now, Mainers are heading to the polls with Israel and antisemitism allegations looming large.
Platner, 41, ran as a populist promising to inject progressive energy into a Senate race where both the incumbent Republican and the establishment Democratic pick, Gov. Janet Mills, are in their 70s. (Mills suspended her primary campaign as Platner soared in polls, but she remains on Tuesday’s ballot.) In an election cycle when anti-Israel rhetoric is surging on the left, Platner — who has Jewish extended family, including a stepbrother who lives in Israel and works on Israel policy issues for the Foundation for Defense of Democracies — embraced the stance by making genocide accusations a key part of his stump speech.
That has earned him support in some corners. In a viral video from a rally over the weekend, a Platner supporter dismissed concerns about his tattoo of the Totenkopf symbol, a skull-and-crossbones image worn by Nazi concentration camp guards, which Platner tattooed over earlier this year amid criticism even as he insisted that he hadn’t known it was a Nazi symbol.
Then the supporter asserted that if Platner had a different tattoo, it would have been a dealbreaker for her: an Israeli flag.
“I don’t support genocide, and he doesn’t either, and that would show that he’s being inconsistent,” the woman told the New York Sun.
The exchange exacted disbelief from some. “Are you kidding me? A tattoo of the Israeli flag is worse than a Nazi symbol?” tweeted Democratic Rep. Josh Gottheimer of New Jersey, who is Jewish. “This should not be welcome in the Democratic Party!”
Pro-Israel donors have responded accordingly, shoring up the war chest of Republican Sen. Susan Collins.
“Susan Collins’s latest financial report just came out. A staggering one-third of her money raised this quarter came directly from AIPAC,” Platner tweeted on June 1. “Senator Collins is bought and paid for by Benjamin Netanyahu, and she votes accordingly.”
Collins has described herself as broadly “pro-Israel” but also recently provided a crucial vote for a measure to end the joint U.S.-Israeli war in Iran. OpenSecrets, the nonpartisan campaign finance information website, confirmed to the Jewish Telegraphic Agency that its analysis of public Federal Election Commission data showed that a third of donations to Collins in the previous quarter were gifts from individuals who used the pro-Israel lobby as an intermediary. Collins also received a small donation directly from the group’s super PAC.
Still, Platner’s tweet ignited sharp criticism for suggesting that AIPAC represented Israeli influence, rather than donations by American supporters of Israel.
The Anti-Defamation League said the remark “invokes classic antisemitic rhetoric” and added, “Such accusations call up the age-old dual loyalty trope that casts Jewish Americans as more loyal to Israel than their own country.”
The Nexus Project, an antisemitism watchdog that is more forgiving of some forms of criticism of Israel than the ADL, also criticized the tweet.
“The insinuation that the government of Israel is ‘buying’ or directly controlling any politician who receives AIPAC funding or any American political donor that donates through a pro-Israel conduit is reductive and wrong,” Jonathan Jacoby, Nexus’ president, told JTA in a statement.
Undeterred, Platner on Saturday again invoked AIPAC while going after a member of his own party: Democratic Sen. John Fetterman of Pennsylvania, a staunch Israel supporter. Fetterman had recently criticized Platner in harsh language, telling CNN, “When I was growing up, if someone had a clear Nazi tattoo on them, you probably could conclude that they’re a Nazi sympathizer.”
Fetterman, Platner said in response, had “become a stooge for AIPAC and the Republican party.”
Reached for comment on the phrasing of his AIPAC remarks, a Platner campaign spokesperson said, “Whether it’s private equity, billionaires, corporations, super PACs, etc., Graham is committed to getting money out of politics.”
Amid the mounting scandals, Platner met with Senate Minority Leader Chuck Schumer last week to shore up support for his candidacy among Democratic leaders. Speaking with reporters afterward, Schumer — who is Jewish, considers himself a leader on fighting antisemitism and had said he would support Platner’s campaign after Mills dropped out — repeatedly dodged questions about his confidence in Platner.
Some anti-Israel voices claim that the criticism reflects a conspiracy by Israel to prevent Platner from taking office.
“If you want a handy list of people who work for Israel, look at everyone criticizing Graham Platner now, especially Democrats,” the progressive influencer Cenk Uygur tweeted on Friday. “I get why Republicans want to tear him down. But Democrats attacking their own candidate only happens when they are ordered to do so by their handlers.”
His supporters, meanwhile, went on the offensive after a report in The New York Times cited multiple ex-girlfriends who said he had engaged in abusive and bullying behavior during their relationships.
The story featured as its most prominent voice Lyndsey Fifield, a Republican operative and former staffer at the conservative Heritage Foundation. In the article, Fifield claimed that Platner had known about his Totenkopf tattoo when he was dating her despite the candidate’s public insistence that he hadn’t recognized its Nazi origins. Platner had called his tattoo “my Totenkopf” while with her, Fifield told the Times, sharing a text in which she referred to the tattoo as a Nazi symbol before Platner said he was aware of what the tattoo represented.
Platner “has a Nazi tattoo on his chest,” Fifield texted her friends last summer, according to the Times. “It’s a Totenkopf … I will personally go campaign for Collins.”
Speaking to Maine’s public radio after the Times story ran, Platner denied Fifield’s claim. In another interview with MS NOW, Platner struggled to sort out the timeline of Fifield’s text to her friends about his tattoo, which occurred before he said he knew about the tattoo’s origins. Reached for comment, a Platner campaign spokesperson pointed to a previous interview the candidate held with JTA, in which he noted his “direct family connection to Judaism” and positive associations with Jewish religious tradition. Platner has also cast doubt on Fifield’s account, alleging that she is the sole source for reports about his knowledge of his own tattoo.
Reached for comment, Fifield told JTA by email, “I’ve been a vocal Zionist since college. I’ve been a proud conservative since then as well. Both of those things were true when I dated Graham.” Fifield is also close with the Jewish conservative commentator Bethany Mandel, with whom she formerly co-hosted a podcast.
To JTA, Fifield added, “If not being an antisemite is enough to fuel a mob of conspiracy theorists, it says something very dark about our culture.”
Some of Platner’s defenders have suggested the Times article was fueled by pro-Israel adversaries. Online, pro-Palestinian commentator Mehdi Hasan called Fifield “an anti-Palestinian racist and bigot,” sharing a tweet of hers in which she mocked the concept of “a Palestinian museum” and wrote, “What are their accomplishments, inventions, or other notable figures apart from terrorists and bombs made from the water pipes Israel gave them to pipe in free water for their people?”
Others have pointed out that the reporter who wrote the article, Katie Glueck, was co-president of Students for Israel at Northwestern University when the chapter won an “Activist of the Year” award from pro-Israel lobbying group AIPAC in 2009.
“The most shocking part of this story is that the NYT had a former AIPAC Activist of the Year (Katie Glueck) write a piece devoted to detailing unsubstantiated claims from a professional Republican activist (Lyndsey Fifield) on how a left Democratic Senate candidate who has promised to take on Israel (Platner) was a lousy boyfriend and sold it as a legit journalistic scoop,” tweeted Marcus Stanley, the director of studies at the Quincy Institute for Responsible Statecraft, an anti-interventionist think tank.
In a statement to JTA, a New York Times spokesperson defended Glueck’s participation in the article.
“Katie Glueck has covered politics for over a decade and is one of the best journalists in media at producing incisive coverage of candidates and campaigns,” the Times’ Charlie Stadtlander wrote in an email. “She approached this article about Graham Platner’s past personal conduct with the same independence she brings to all of her reporting.”
Stadtlander added that the Times stands behind its reporting “of the accounts from Ms. Fifield and the other women, who provided a revealing look at the behavior of a major candidate for the U.S. Senate.”
The drumbeat of criticism has tempered excitement among some Democrats about Platner and his potential to flip a Senate seat. Even California Rep. Ro Khanna, a leading critic of Israel in Congress, offered indirect criticism of Platner and his defenders on CBS News’ “Face the Nation” over the weekend, where he said Platner’s supporters shouldn’t go after his accusers and “should not attack the New York Times reporters who wrote this story.”
“I know those reporters. They’ve written things critical of me. That’s what journalists do,” Khanna said. “Our party doesn’t attack the press. Our party believes that you treat women with equality and respect in all aspects of their lives.”
Still, he continued to signal support for Platner, saying that “he’s taken accountability for that period of his life.” Khanna also spoke at a rally for Platner in Maine over the weekend.
While Platner does not have many prominent Jewish supporters in Maine, and has seen the Jewish Democratic Council of America pointedly withhold its own support of his bid, one of his most visible Jewish allies in the state says he will stand by him.
“I’m still very much in Camp Platner,” Steven Koltai, the chair of J Street Maine who helped organize a Passover seder with the Platner campaign, told JTA following the latest revelations.
Koltai suggested that Platner’s past behavior paled in comparison to the president’s: “Thanks to President Trump, the bar for public office in America has been set at a level that even a subterranean earth worm could overcome.”
Asked about Platner’s comments regarding Collins and AIPAC specifically, he signaled a degree of difference with his candidature: “Of all Senator Collins’s votes, her votes on aid to Israel are very low on my list of complaints about her voting record.”
Platner is expected to sail through the primary. Most recent polls suggest that he and Collins are running neck and neck heading into November.
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The Yiddishist Yeshiva is open for registration
ס׳האָט זיך לעצטנס געשאַפֿן אַ נײַער סאָרט לייענקרײַז דורך פֿייסבוק, וווּ מע לערנט תּורה אויף ייִדיש צוזאַמען.
אינעם לייענקרײַז, וואָס הייסט „די ייִדישיסטישע ישיבֿה“, לייענט מען חומש מיט רש״י — סײַ אויפֿן אָריגינעלן לשון־קודש סײַ אויף ייִדיש־טײַטש. „די גרופּע איז אָפֿן פֿאַר אַלע מינים מענטשן,“ האָט דערקלערט דער לינגוויסט און ייִדיש־אַקטיוויסט לייזער בורקאָ, וועלכער האָט אָרגאַניזירט די גרופּע. „פֿרויען און מענער, ייִדן און נישט־ייִדן, געי און ׳גלײַך׳. נײַע תּלמידים דאַרפֿן פֿאַרשטיין ייִדיש גוט, אָבער זיי דאַרפֿן נישט האָבן קיין תּורהדיקן הינטערגרונט.“
די גרופּע טרעפֿט זיך יעדן דינסטיק דורך פֿייסבוק. נאָך מער פּרטים אָדער כּדי זיך צו פֿאַרשרײַבן, שטעלט זיך אין קאָנטאַקט מיט בורקאָ, אויפֿן אַדרעס leyzertag@gmail.com אָדער דורך פֿייסבוק.
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