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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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Arab parties are kingmakers, but will Israel’s Jewish leaders accept them?
(JTA) — JERUSALEM – Less than an hour after election night exit polls were published, Mansour Abbas, the leader of the Islamist Ra’am party, whose representation was predicted to almost double, declared: “We will translate this electoral power into an influential political force … we’re here — not on the sidelines.”
With all the votes now counted, Ra’am has indeed grown from five to eight seats, while the other Arab party, the Joint List, has received 11. Their combined unprecedented 19 seats out of a total of 120 in Israel’s parliament, the Knesset, now make the Arab parties a powerful force and one that could potentially break the political deadlock after neither the bloc led by Prime Minister Benjamin Netanyahu nor the opposition bloc led by Gadi Eisenkot have enough seats to form a governing coalition.
A record number of Arab-Israelis voted in last Tuesday’s election, signaling for the first time in Israel’s history that the country’s Arab public, which makes up around 21% of the general population, is demanding to be counted in Israel’s political process.
The question, now, is whether Israel’s Jewish political leaders — and the public they represent — are ready to accept them as legitimate partners in governing the country.
“The Arab parties managed to produce an historic turnout in the Arab community, a reflection of this population joining Israeli democracy and the democratic process, and their desire to see their issues being taken care of by the Israeli government and political system,” Yohanan Plesner, president of the Israel Democracy Institute, told the Jewish Telegraphic Agency.
“But while they performed phenomenally and beyond any expectation, it’s still too early to tell whether the massive expectations that led Israeli Arab voters to the streets will actually be met by a political system willing to respond to this desire,” he said.
The record voter turnout among Arab-Israeli citizens breaks with a decades-old tradition of shunning Israel’s political institutions in protest over the conflict with the Palestinians – many themselves identify as Palestinian citizens of Israel – and a feeling that whoever is in power will not truly address their needs.
After four years of a government dominated by far-right Israeli nationalists, however, Arab voters felt they had no choice but to step up, analysts told JTA. It was not only the inflammatory rhetoric and attacks on the Arab community by senior government ministers that drove up turnout to some 80% – compared to only 53.2% in the last election in 2022 – but also the outgoing government’s policies.
Minister of National Security Itamar Ben-Gvir, who prior to his political career was convicted for incitement to racism, has overseen mass demolitions of illegally built homes, especially in the Bedouin towns in Israel’s Negev region, and failed to address soaring crime rates in Arab towns.
Finance Minister Bezalel Smotrich has threatened to force the Arab population in Israel out of the land, outlining in September a plan to Judaize Arab-majority areas in Israel’s periphery. In one recent case, he even backed young Israeli Jews who set up an illegal outpost inside an Israeli-Arab town.
It is such moves, as well as multiple statements casting suspicion on Israel’s Arab sector, especially following Hamas’s Oct. 7, 2023, massacre in southern Israel, that ultimately pushed the community to vote en masse, according to experts on the Arab community. Many cast ballots for the first time.
“It was an existential fear,” said Michael Milshtein, head of the Palestinian Studies Forum at the Moshe Dayan Center at Tel Aviv University, who has researched political trends in Israel’s Arab community for years.
He pointed to a poll published following the election by Arabic-language newspaper Kul al-Arab showing that nearly 92% of Arab voters said that the main thing driving them out to vote was the fear of Smotrich and Ben-Gvir.
“It’s an almost unprecedented motivation,” he said. “But it can also be a formula for a cascade of expectations.”
Among those expectations now is that Israel’s majority Jewish parties that have promised change in the country – and promised to oust Netanyahu and his far-right partners – will include Arab parties or at least make use of this electoral momentum.
The political party Ra’am, which has roots in the Muslim Brotherhood, has already shown a willingness to join the government. The party, which focuses on social welfare issues and fighting crime, already broke down barriers in 2021 by joining former prime ministers Naftali Bennett and Yair Lapid in a government that briefly ousted Netanyahu.
For the Joint List, an alliance of three majority Arab parties focusing on socialist politics, civic equality for Arab citizens of Israel and Palestinian nationalism, joining an Israeli government or even providing it with a safety net from the outside is a big step.
All three parties – Hadash, a left-wing socialist party, Ta’al, a party promoting Arab civic rights and equality, and Balad, which represents pan-Arab nationalism – hold at their core the fight for Palestinian rights and national statehood.
Yet at least two of the parties, Hadash and Ta’al, have indicated a willingness to put some of their agenda aside in order to help change Israel’s current leadership.
“We are ready for political cooperation to form an alternative government that will present a genuine alternative and commit to a fundamental change in the current government’s racist policies,” Yousef Jabareen, head of the Joint List, said as votes were being counted on Thursday. “A government that will work to recognize the rights of the Arab public and end its exclusion, and that of its representatives, from the political system.”
However, Gadi Taub, a professor at Hebrew University of Jerusalem and co-host of the Israel Update podcast, called including such parties in Israel’s government “ridiculous.”
“These parties are anti-Zionist, they are against the very existence of Israel and some of them are direct terror supporters,” he said, referring to statements made by Balad’s leader Sami Abu Shehade after Oct. 7, which he later walked back.
“None of them will designate Hamas as a terror organization, even after Oct. 7,” noted Taub, adding that Israeli law should forbid parties that are openly against a Jewish state from running for parliament.
He pointed out that attempts to ban the Arab parties from running in this election were ultimately blocked by Israel’s Supreme Court, although Shehade did withdraw from the race. No other country would tolerate political leaders that “do not acknowledge the self-determination” of the country they live in, said Taub.
Including Arab parties in a government is something that was not even considered by Jewish or Zionist-focused parties until the offer came from Ra’am in 2021. In fact, there have only ever been two Muslim Arab ministers, Ghaleb Majadele, a member of the Labor Party, who served under former prime minister Ehud Olmert and Issawi Frej, from the Meretz Party who served from June 2021 to December 2022.
Three years after Oct. 7, when fear and mistrust of Arabs because of the attack remain high, the idea of aligning politically with Arab politicians who openly advocate for Palestinians is even more complex.
While Netanyahu and his coalition partners painted such a collaboration as an existential threat for the state in the lead-up to last week’s vote, almost all the parties in Eisenkot’s bloc, except for the Democrats headed by Yair Golan, also ruled out the possibility.
Mairav Zonszein, a senior Israel analyst with the International Crisis Group, said it was difficult to evaluate whether Israeli society as a whole was now ready for such political influence from Arab Israelis, but said the more pertinent question was whether Eisenkot and his political partners, Naftali Bennett and Avigdor Lieberman, were ready for it.
“This is pretty much their only option if they want to get rid of Benjamin Netanyahu,” she said. “The main question is how important it is for them to remove Netanyahu that they would be willing to compromise on something that they made a frontline issue?”
Zonszein added that even center-left former prime minister Yair Lapid, whom she characterized as pragmatic in every other way in his efforts to oust Netanyahu, has stated that he would not work with the Arabs.
She called lumping the entire sector together “outrageous.”
“It really defies the very notion of a democracy,” Zonszein said, accusing Netanyahu of dismissing “Palestinians just for being Palestinians, regardless of the fact that they are law-abiding citizens, that they pay taxes and are present in all aspects of the workforce.”
Throughout Election Day, the embattled Netanyahu published a stream of video clips declaring that Arabs were “flocking” to the polls. He told his supporters that if they did not want an Islamist state in Israel, then they’d better get out and vote for him.
Analysis by some fact-checkers has since revealed that many of the images Netanyahu used to scare his voters were in fact AI-generated fakes.
Tani Frank, director of the Shalom Hartman Institute’s Center for Judaism and State Policy, argued that the delegitimization of the Arab vote was one of the “focal points of the Likud campaign.”
“One reason for this is to weaken the ability of the change bloc to form a government with the support of, or reliance on, the Arab parties — specifically Ra’am and Mansour Abbas, who has already done so previously,” he said.
Frank said he believed that the willingness of Jewish Israelis to accept cooperation with Arab parties, especially after Oct. 7 and the Likud campaign, was extremely limited.
A few days before the election, a snap poll conducted by the Israel Democracy Institute found that “a clear majority of Israeli Jews opposed either Arab party playing a role in any government.”
While a majority of those on the left said that they would support a coalition of center and left-wing parties with the support or participation of the Arab parties, those in the center and right preferred another round of voting rather than forming a coalition with them.
Since the election, Netanyahu and his supporters have tried to cast doubt on the mass Arab turnout and on the legitimacy of the Arab political leadership. This has included accusations by members of his Likud party of voter fraud and foreign interference from Qatar, followed by statements Thursday from the Central Elections Committee that it was investigating foreign funding irregularities.
Netanyahu wrote in a post on X: “The elections in the State of Israel were stolen by Arab parties that support terrorism and the elimination of the Jewish state, through serious criminal offences involving bribery, threats, violence, forgery and the use of prohibited software to mobilize voters.”
Supreme Court Justice Noam Sohlberg, head of the elections committee, said on Sunday at a press conference with the country’s attorney general and the director of the Israel Security Agency, the Shin Bet, that the investigation into alleged foreign funding was serious and ongoing but would not change the results.
“Our position is that even if the suspicions are substantiated, this would not undermine the integrity of the electoral process or the election results as a whole,” he said.
On Saturday night, protests were held by both those against allowing Arabs into the government and those who believe it is the only way forward. A small group of those who are against such a move gathered in Tel Aviv chanting that Israel must not allow “terror supporters into the government.” Much larger groups of protesters in favor of a collaboration gathered around the country urging Eisenkot to take the step.
Mohamed Darawshe, a political analyst and director of strategy at Givat Haviva, a leading center educating for a shared society in Israel, said that if after the massive turnout on Election Day the Arab parties were not included in a change government, there would be great “disappointment.”
“If they are blocked from the right wing, that is understandable. But if their natural partners in Jewish society block them, they will end up turning their back on the whole political scene,” he said.
Darawshe said such a scenario would make Arab society unlikely to participate in such numbers in future elections.
“It will be like a vote of no confidence in the Israeli political system and complete disbelief in the promise that Israel can offer political equality as promised in the Declaration of Independence,” he said.
Political equality, Darawshe pointed out, is “not just allowing Arab citizens to exercise their equal rights on the day of the elections, but also to exercise their rights the day after the election, meaning allowing them to be part of the coalition and not to create a glass ceiling at representation in parliament.”
This article originally appeared on JTA.org.
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With a Kennedy Center honor under Trump, David Mamet enters his final, tragic act
There was a time when David Mamet being honored at the Kennedy Center wouldn’t have raised eyebrows.
His contributions to American theater and film transcend an affinity for four letter words (let’s call them “the F— Variations”). His tough-talking, desperate men gave splenetic voice to the indignities of a capitalist system in Glengarry Glen Ross, evolving sexual mores in Sexual Perversity in Chicago and, in a movie like The Verdict, the justice system.
Cut to 2026 and Mamet’s scripts are but an afterthought to his grievance. When he makes headlines now, it’s for his reactionary conservative streak and his role as a partisan in the culture war. Together with a run of flops, numbering a Harvey Weinstein #MeToo comedy and a Broadway show not even Al Pacino could save, his esteem has cratered among the liberal circles that once embraced him, and to which he once belonged but now prefers to eviscerate.
He has made the transition from dramatist to pundit, first at HuffPost, lately at The Free Press. Reading too much into Oleanna, perhaps, he has called teachers pedophiles on Fox News, written screeds on cancel culture and, a prerequisite for the Kennedys at this moment, praised President Donald Trump.
In the honor, there is a strain of tragedy. Mamet has strayed so far from where he started — what he called his “brain-dead liberal” era — that he makes perfect sense for this appointment, under a regime that tried to slap its leader’s name onto a tribute to a slain president meant as a bipartisan shrine to art. (Due to the Center’s closure amid turmoil and legal battles, the ceremonies will take place at the Capital One Arena, which is only too perfectly bleak.)
A younger Mamet would have looked askance at such a figure as our current Commander-in-Chief, a character who is on the make with all sorts of half-baked schemes. The Iran War may be his latest play on a Buffalo nickel.
It’s enough to make one wonder if we’ve been misreading Mamet all along. Are the men breaking-and entering to steal the Glengarry leads meant to be admired? Are the Hollywood sleazes in Speed-the-Plow aspirational? Is Al Capone the real hero of The Untouchables?
Perhaps the evening, which tends to include career retrospectives, will elucidate. But if the Kennedy Honors could once be said to be for closers, it may now be only for a particular kind of sellout.
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Why is Britney Spears studying Hebrew?
It’s Britney, Yitz!
Continuing a curious social media trend that has previously seen appreciation for the beards of chess-playing Chabadniks and the Zohar hidden among baby clothes, Britney Spears took to Instagram Sunday to post a Hebrew Book of Psalms and the Lekutei Amaraim, or Tanya, a Hasidic book of sayings.
The caption reads: “I’m extremely bored !!! Learning Hebrew reading right to left !!! Beautiful language !!!” (A previous caption, posted Sunday, was more cryptic, concluding “God speed little man !!! I love u !!!,” perhaps indicating the presence of a havruta or someone in her life who keeps his mitzvot.)
What exactly is happening here? Is Spears, like Marilyn before her and Sydney Sweeney now, about to dip her toe into the mikveh?
The best clue we have isn’t from Spears’ page, but from Israeli model Natalie Dadon, who tagged the “Hit Me Baby One More Time” singer in a selfie with the Tanya. “Finally, it’s possible to tell,” Dadon posted, in a gallery with Hebrew language news coverage of the posts. Dadon did not immediately respond to a request for comment.
Dadon’s social media presence involves Tanya study, which itself is a cornerstone to Lubavitch philosophy (so perhaps is connected to the Chabad chess players whose beards Spears so admired) and adjacent to Kabbalah.
Spears is no stranger to Jewish subjects. Around the time she locked lips with Madonna at the 2003 VMAs, she started, like so many others, to look into Kabbalah, as this handy timeline from Hey Alma notes. She has a Hebrew tattoo of letters that signify healing in kabbalistic texts and was apparently once attached to star in a Holocaust-time-travel-romance film called The Yellow Star of Sophia and Eton, which now that I’ve heard of it I will never shut up about.
She has credited Kabbalah with helping her through a difficult time in her life and has been spotted wearing a star of David.
But we should approach Spears’ dalliance with Judaism, now sandwiched on her Insta page between a call-out of her sister Jamie Lynn and a NSFW video of her dancing with a rose Emoji as a fig leaf, with some healthy skepticism.
Her Instagram bio currently reads “Pray Every Day” with a prayer hands emoji next to a Bible emoji with a cross. She’d still appear to be Christian — or, at the very least, waiting for the new iOS update with the Tanya emoji.
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