Uncategorized
These NYC college students want to kickstart a Jewish arts renaissance
(New York Jewish Week) – On a mild Thursday evening in late March, some 100 people gathered at Kistuné, a hip café and bar in the West Village that’s associated with the French-Japanese “lifestyle brand” of the same name.
Sipping on custom-designed cocktails — like the Refusenik, a Moscow mule with a “resilient mix of vodka, ginger beer and lime” or the Tamar Collinsky, a Tom Collins reimagined and given “very possibly the name of someone you went to summer camp with” — guests mingled, discussing topics as varied as college classes, career choices and their favorite poetry.
Nearly everyone in the room was a Jewish artist or writer; the gathering was to celebrate the launch of “Verklempt!”, a new quarterly print magazine that bills itself as “The Magazine of Jewish Art and Literature.” The 75-page first issue is filled with paintings, photographs, drawings, poetry and fiction solicited from more than 30 Jewish artists around the country.
“We see the Jewish community as a place where people want to engage with fiction and poetry more seriously,” editor-in-chief Yoni Gutenmacher, a 24-year-old creative writing MFA candidate at Brooklyn College, told the crowd, which included two of his brothers and his parents. “This is a personal dream of mine so I’m very happy that it’s real.”
Specialty cocktails were on offer at the launch party of “Verklempt!” (David Gutenmacher)
The aim of “Verklempt!” (Yiddish-English slang for “overcome with emotion”) is to publish and amplify art and literature with a specifically Jewish lens — hopefully in a way that encourages pursuing art as part of a spiritual journey, Gutenmacher explained. A painting of a man praying with tefillin and tallit; a poem about Leopold Bloom, the Jewish anti-hero of James Joyce’s “Ulysses” and a collage of the Lubavitcher Rebbe and a drawing of a half-drunk bottle of Kedem grape juice all grace the pages of the first issue, whose theme is, fittingly, “On Creation.”
“I write fiction and I have a whole friend group and community in New York who aren’t Jewish, and if they are, they’re not really interested in religious or communal Jewish life,” Gutenmacher told the New York Jewish Week. “Then I have my Jewish life on the Upper West Side and all my friends from summer camp and school and everything else who are not really interested in engaging with high quality literature and art. At certain points in my life, I felt like I kind of have to choose.”
By working on “Verklempt!” he’s come to understand that those choices shouldn’t have to be so mutually exclusive, he said.
The journal is a project of Havurah (Hebrew for “fellowship”), an organization founded by two Modern Orthodox sophomores at NYU whose lofty but determined vision is to be the “bearer of a new Jewish renaissance” for young Jews in New York, according to their impressively designed website.
Founded by Daniella Messer and Eitan Gutenmacher (Yoni’s younger brother), Havurah aims to create a gathering place, a “kehila (community) of frum Jewish creatives” — both virtual and IRL — where Jewish artists can meet and mingle, make art, perform and share ideas about how all of those endeavors connect them to religious life. One of their goals, according to the “manifesto” on their website, is to “invigorate a generation of young Jews and restore the Jewish artistic impulse.”
While “Verklempt!” has wide-reaching aspirations — the artists they hope to publish can come from anywhere and be of any age — Havurah was founded to appeal to a hyper-specific community: young New York artists who are dedicated to being Jewish and Jews who are dedicated to being artists.
The idea arose during Gutenmacher and Messer’s freshman year of college in the winter of 2022. “I remember going to Israel over winter break, experiencing such an obvious realization that art and creativity is so integral to religious lifestyles,” Eitan Gutemacher, who is studying studio art at NYU’s Gallatin School of Individualized Study, told the New York Jewish Week. “But [at NYU] for example, in a lot of the artistic programs, if you’re a religious Jew, you are usually the only religious Jew in the classroom, and, more often than not, the only one in the department.”
“Daniella and I wanted to create a community of lively Judaism expressed in any artistic and creative way,” he added.
With funding from the Next Gen Inc., “a start-up style incubator” that’s a project of the World Jewish Congress and World Union of Jewish Students, Havurah pursues their vision through a variety of avenues, including real-life events and performances, such as art fairs, concerts and Torah study conversations held at bars, cafés, apartments and synagogues.
In addition to the physical journal, the organization’s high-design web site publishes essays, interviews, criticism, reviews and Torah commentaries, as well as “Sessions” for musicians, which are professionally mixed video tapings of live music performances similar to NPR’s “Tiny Desk Concerts.”
“When Eitan and Daniella approached us and told us about Havurah, we knew instantly they would be a great fit for our incubator,” Yoni Hammerman, senior manager of the NextGen, told the New York Jewish Week via email. “Their work, to build a university student-run art community, perfectly aligns with NextGen’s mission of amplifying and supporting the voice and the work of Jewish student leaders.”
The Havurah staff — all eight of them are volunteers — believe that their offerings are the first time people who are both deeply involved in their Jewish communities and in their artistic pursuits have had a definable place to gather and collaborate that celebrate both.
“It’s so simple that you’d think it would already exist,” said Yosef Itzkowitz, a 24-year-old artist and poet who has three drawings in the first edition of “Verklempt!” “Jews love writing and art, and love talking about writing and art,” so why not make it happen?” Itzkowitz got involved, he said, after Eitan Gutenmacher reached out via Instagram.
Of course, similar initiatives have and do exist — for example, the fiction journal JewishFiction.net publishes original and in translation work from Jewish writers around the globe, while CANVAS matches emerging Jewish multimedia artists with funders and grants. The Jewish Book Council puts out their literary journal “Paper Brigade” with art, interviews, essays and fiction, once a year.
On Tuesday, the inaugural Jewish Writers’ Initiative Digital Storytellers Lab showcased works by creators taking part in an eight-month fellowship supported by the Maimonides Fund. The work shown at Manhattan’s Rubin Museum included animation for Jewish kids, pop songs about women in the Bible and a podcast about the gay Jewish dating scene in Los Angeles.
According to Yona Verwer, founder of the Jewish Arts Salon — “a global network for Jewish visual art” that does regular programming in New York — while what the group is doing may not be “new,” one of the most exciting things about Havurah is how young its members are and how dedicated they are to the cause.
“Being geared specifically towards people in their 20s” attracts people who have to be “very enthusiastic and very into it,” Verwer said.
“It’s interesting to see this immense interest in Jewish arts” from younger generations, added Verwer, who started the salon in 2008 and now serves as an advisor for Havurah. “When I started the salon, it was something that a lot of people were not interested in. Things have really changed over the years and it’s great to see people so dedicated.”
Yoni Gutenmacher reads a poem at the launch party of “Verklempt!”, March 30, 2023. (David Gutenmacher)
As of now, contributors are unpaid, though there are hopes that the cover price of “Verklempt!” ($10) may help change that. “There’s a lot of places I see where you submit completely unpaid and it is completely not worth my time,” said Kim Kyne, a 32-year-old painter and sculptor from Los Angeles whose painting was in the first edition of the journal.
“What felt different about this is it feels like everyone’s all in it together,” she added. “Yoni and his brother are super humble and super young. What was really attractive to me about it is being connected with all these other Jewish artists in a way that I haven’t been before.”
Messer and the Gutenmacher brothers understand that the media and literary magazine worlds are very crowded spaces, especially in New York. But for now, they are embracing the heimish vibe and say they’ve seen, first-hand, just how many Jewish artists were looking for a space exactly like this. Submissions are already arriving for the next edition of “Verklempt!”, which is set to be published this summer, and according to Gutenmacher, he doesn’t recognize any of the names — meaning no repeats of last time, and no friends submitting as a favor.
“Of course, there are Jewish artists all over the world. But it feels different because it has more of a modern take and the younger feel,” Kyne said. “It feels like the beginning of a movement.”
—
The post These NYC college students want to kickstart a Jewish arts renaissance appeared first on Jewish Telegraphic Agency.
Uncategorized
In three centuries of Southern Jewish life in the Big Easy, no easy way to be Jewish
Returning: A Search for Home Across Three Centuries
By Nicholas Lemann
Liveright, 416 pages, $35
Nicholas Lemann’s Jewish life was negligible. Great care was taken to make it so.
His family not only celebrated Christmas, they skipped Hanukkah, a fact that created a small scandal in their Reform congregation in New Orleans, a shul that had confirmations instead of bar mitzvahs. His father was known to hide baskets of kippot at family weddings — including his own. The topic of Israel was never raised at home, a plantation-style house with the lofty name of Quercus, and as far as Lemann can recall, neither was the Holocaust. (Robert E. Lee, however, was rhapsodized in an elementary school poem Nicholas composed, and that his father recorded on a reel-to-reel tape recorder.)
“I knew almost nothing about the Jewish aspect, as opposed to the Southern aspect, of my family’s history,” Lemann, a staff writer at the New Yorker and professor and dean emeritus at Columbia Journalism School, writes in Returning: A Search for Home Across Three Centuries. Jewish was more the way others thought of the family than how they viewed themselves. Or so he thought.
Lemann’s book is his fifth and his most personal, reaching back in time to uncover how his aristocratic, well-established life in Louisiana was a relatively modern development following decades of assimilation.
It is a family portrait in a unique milieu — Faulkner and Robert Penn Warren meets Irving Howe’s World of Our Fathers — that follows the rough contours of the Torah: the original sins of slavery, Exodus and the conflicted push towards a promised land with political Zionism and a codification of life as Lemann reclaims tradition. It’s a compelling read, all the more so for how its personal investigation brushes up against American history.
Lemann’s great-great grandfather, Jacob, who arrived in Louisiana from Essenheim, Germany, advanced in part from the sale of human beings. He left the country with his family during the Civil War, and by the time he returned and acquired plantations from owners who defaulted on loans, Zionism was the talk of Europe and a four-letter word in their Reform German world, as the newly-monied congregants strived to partake fully in American life and not arouse suspicion. By the turn of the 19th Century, the genteel way the Lemanns walked through life served as a contrast to a wave of more devout, poorer Jews from Eastern Europe.
But within the narrative is a force of particularism that Lemann was late to investigate. His great-grandfather, Bernard, the first American-born Lemann, was sent to New York for religious instruction and, while in Europe during the Civil War, lived like almost no Jews on the continent had before, absorbing high culture while observantly Jewish.
The platform of the American Reform movement sought to sand down all markers of difference, defining Judaism as a religion not a race, but Lemann’s Harvard Law-educated grandfather Montefiore (named for the great philanthropist Moses Montefiore) had a longstanding friendship with liberal Supreme Court Justice Felix Frankfurter and testified before Congress to bring German children to New York City after Kristallnacht. Though he came of age in Jim Crow on a plantation, his advocacy extended to Black people, urging other lawyers to sign on to a statement urging the South’s compliance to the Brown v. Board of Ed decision. His relatively progressive politics are hard to divorce from his own awareness of his minority status.
“We can never hope to eliminate all bigotry,” he wrote Frankfurter. “(Look at the experience of the Jews for 5,000 years.)”
Lemann’s largest reckoning is with his father, Thomas, whose resistance to Jewish life likely came from his experience at Harvard after World War II, in the age of quotas, and the false presumption that his difference could be fully expunged in favor of full acceptance. (An irony noted by Lemann is the fact that the family may not have converted because the old families already knew them to be Jews.)
Despite the mammoth efforts of Thomas and his wife, Barbara, who grew up in New Jersey but assimilated splendidly to her husband’s Louisiana roots, Nicholas began to feel a “distinct tug in the direction of Jewishness” as an undergrad at Harvard.
“The way I was brought up, supposedly so liberated, so carefree about what it meant to be Jewish, actually amounted to a heavy burden to bear,” he writes.
The titular return, to a more conventional Jewish life, is in some ways an acknowledgement of futility.
“It looks to me now as if, all these years later, under a profoundly different set of prevailing standards, Jewishness still isn’t universalizable,” Lemann writes, reflecting on the recent turmoil at Columbia, where he was cochair of an antisemitism task force.
He has a rather dim prognosis for the Jewish future.“The old dream that there might be a completely easy way of being Jewish (at least in the way I have chosen to be Jewish) in the wider world seems once again to have vanished.”
Gone with the wind, one could say. But then if Lemann’s chronicle proves anything, it’s that difficulty — and not the pursuit of ease — may be what gives Jews our foundation. We need to remember who we are, because the wider world won’t forget.
The post In three centuries of Southern Jewish life in the Big Easy, no easy way to be Jewish appeared first on The Forward.
Uncategorized
‘No speaking Swedish here!’ — Yiddish Day in Lund University
דעם 26סטן פֿעברואַר 2026 איז אין לונד, שװעדן, פֿאָרגעקומען אַ „ייִדיש־טאָג“.
דער לונדער אוניװערסיטעט בשותּפֿות מיטן שוועדישן אינסטיטוט פֿאַר שפּראַכן און פֿאָלקלאָר („איסאָף“) האָבן אָרגאַניזירט אַ צונױפֿטרעף פֿון אַמאָליקע און איצטיקע לונדער ייִדיש־סטודענטן. ס׳רובֿ הײַנטיקע ייִדיש־לימודים בײַם לונדער אוניװערסיטעט װערן געלערנט אָנלײַן, אין דיסטאַנצקורסן. דערפֿאַר איז דער ייִדיש־טאָג פֿאַר עטלעכע אָנטייל־נעמערס געװען דאָס ערשטע מאָל װאָס זײ טרעפֿן זיך מיט זײערע שותּפֿים און לערערס מחוץ די ראַמען פֿון קאָמפּיוטער־עקראַן.
אַחוץ סטודענטן און רעדנערס, האָט מען אויך פֿאַרבעטן מאַמע־לשון־רעדערס פֿון מאַלמע, אַ שטאָט נאָענט צו לונד מיט אַ גרעסערער ייִדישער קהילה. די טאַטעס און מאַמעס פֿון די הײַנטיקע מאַלמער ייִדיש־רעדערס זײַנען געװען פֿון דער שארית־הפּליטה און האָבן זיך בשעת אָדער קורץ נאָכן חורבן באַזעצט אין שװעדן. דאָס איז דער דור וואָס האָט אויפֿגעשטעלט דעם „ייִדישן קולטור־פֿאַראײן 1945“ אין מאַלמע.
די איבעריקע אָנטײל־נעמערס זײַנען געקומען צו פֿאָרן פֿון גאַנץ שװעדן, און אױך פֿון נאָרװעגיע, פֿינלאַנד, דענמאַרק, דײַטשלאַנד און האָלאַנד. אַלץ אין איינעם האָט די אונטערנעמונג צוגעצויגן אַ 30 מענטשן, פֿון יונגע סטודענטן ביז יונגע פּענסיאָנערן.
„פֿיקאַ“
אַ שוועדיש וואָרט אינעם אָרטיקן ייִדיש: אַ שמועס אַרום אַ טעפּל קאַווע מיט קוכן און אױבס.
מיט אַזאַ „פֿיקאַ“ האָט זיך נײַן אַ זײגער אָנגעהױבן די פּראָגראַם. די אָנגעקומענע האָבן זיך באַגריסט צװישן זיך, זיך פֿאַרשריבן, און יעדער אײנער האָט זיך אָנגעקלעפּט אַ ייִדיש־שפּראַכיק נאָמען־צעטל.
מאַריאַ פּערסאָן (ראָש פֿונעם צענטער פֿאַר שפּראַכן און ליטעראַטור בײַם לונדער אוניװערסיטעט) און ראָקעל נילען (קאָאָרדינאַטאָרשע פֿון די ייִדיש־לימודים) האָבן מקבל־פּנים געװען דעם עולם מיט אַ קורצער באַגריסונג אויף ענגליש. גלײַך נאָך דעם איז מען אַריבער אױף ייִדיש: אליעזר ניבאָרסקי און אורן כּהן ראָמאַן האָבן פֿאָרגעשטעלט די מיט-אָרגאַניזאַטאָרן פֿון „איסאָף“. מע האָט אָנגעװוּנטשן, אַז יעדער אײנער זאָל „הנאה האָבן פֿון ייִדישן װאָרט.“
און דאָס האָט זיך תּיכּף אײַנגעגעבן: מע האָט זיך אַרײַנגעטאָן אין אַ ליטעראַטור־װאַרשטאַט, וווּ עטלעכע אָנטײל־נעמערס האָבן פֿאָרגעלײענט לידער פֿון אַבֿרהם רײזען, ישׂראל שטערן, קאַדיע מאָלאָדאָװסקי, איציק מאַנגער און ציליע דראַפּקין. אַז איין סטודענטקע האָט פֿאָרגעלייענט דאָס פֿאָלקסליד „אַ מאָל איז געװען אַ מעשׂה“, האָט דער גאַנצער עולם גענומען זינגען אין איינעם. מע האָט געלײענט ניקאָלײַ אָלניאַנסקיס אַ פֿיקטיווע באַשרײַבונג פֿונעם אַמאָליקן ייִדישן קװאַרטאַל אין לונד און בפֿרט פֿון איין באַזונדער הײַזל.
אײנער פֿון די אָנטײל־נעמער האָט אויך דעקלאַמירט אײגענע פּאָעטישע און דראַמאַטישע טעקסטן.
בעת אַ צװײטער „פֿיקאַ“ האָט מען געהאַט די געלעגנהײט אַ קוק צו טאָן אױף די נײַסטע ייִדישע אױסגאַבעס אין די זאַמלונגען פֿון דער אוניווערסיטעט־ביבליאָטעק, מערסטנס פֿונעם שװעדישן „אָלניאַנסקי־פֿאַרלאַג“. ס׳רובֿ אָנטײל־נעמערס האָבן לײַכט געשמועסט און זיך אױסגעשפּאַנט מיט אַ טעפּעלע קאַװע, נאָר עטלעכע סטודענטן פֿון צװײטן יאָר האָבן שױן אָנגעהויבן דורכפֿירן אינטערװיוען צוצוגרייטן אַ רעפּאָרטאַזש וועגן דער קאָנפֿערענץ.
שידוכים
הײַנט איז נישט דאָס ערשטע מאָל װי מע לײענט װעגן לונד אין דער ייִדישער פּרעסע. אליעזר ניבאָרסקי האָט געברענגט „אַלטע נײַעס“ און פֿאָרגעשטעלט עטלעכע אַנאָנסן און באַריכטן בנוגע לונד אין אַמאָליקע צײַטונגען. נאָך אין 1895, עטלעכע יאָר נאָך דעם ווי אַ צאָל ייִדישע אימיגראַנטן ליטוואַקעס האָבן זיך אײַנגעאָרדנט אין אַ נײַעם פּעריפֿערישן קוואַרטאַל פֿון דער שטאָט, האָט מען געזוכט דורך אַנאָנסן אַזש אין װאַרשע אַ בעלן אויף אַ פּאָסטן פֿון שוחט, שליח־ציבור און מלמד אין לונד. און עס װײַזט זיך אַרױס אַז אין 1940, שוין לאַנג נאָך דער בליצײַט פֿונעם „לונדער שטעטל“, האָבן די „לונדער כּלות“ נאָך געהאַט אַ שם צווישן שוועדישע ייִדן.
נאָך דעם האָט סימאָ מויִר, אַ פֿאָרשער פֿון דער ייִדישער שפּראַך און חורבן־לימודים אינעם אוניװערסיטעט פֿון אופּסאַלע, שװעדן, װאָס האָט פֿריִער געלערנט ייִדיש בײַם לונדער אוניווערסיטעט, געהאַלטן אַ רעפֿעראַט װעגן דעם פּראָיעקט „ייִדיש אין די שװעדישע אַרכיװן“. מע האַלט אין צוגרײטן אַ דיגיטאַלישן קאַטאַלאָג פֿון די ייִדישע מאַטעריאַלן װאָס געפֿינען זיך, אָפֿט מאָל אָן געהעריקע באַשרײַבונגען, אין די שװעדישע אַרכיװן.
מויִר האָט געװיזן בילדער און כּתבֿ־ידן פֿון די אַרכיװן אין שטעט װי שטאָקהאָלם, קריסטיאַנשטאַט און מאַלמע, און דערמאָנט אַז עס װאָלט געװען כּדאַי אויסצופֿאָרשן און צושטעלן די נעמען פֿון די מענטשן אױף די בילדער. האָט זיך אָפּגערופֿן דער פֿאָרזיצער פֿון מאַלמער קולטור־פֿאַראײן, יערי אײלנבערג: „דאַרפֿט איר פֿרעגן מיך, איך האָב זײ דאָך אַלע געקענט!“
דער פֿאָרשער האָט אויך גערעדט װעגן דער פּראָבלעם, אַז מע װײסט שױן נישט װוּ עס געפֿינען זיך טייל אַרכיװ־מאַטעריאַלן. זײער אַ סך פֿון צווישן די 1940ער און 1960ער יאָרן איז אַ פּנים נעלם געװאָרן, למשל פֿונעם אַרכיװ פֿון דער מאַלמער ייִדישער ביבליאָטעק. האָט זיך אָבער יערי אײלנבערג גלײַך אָפּגערופֿן: „דאָס האָבן מיר פֿאַר אַ יאָרן אַלץ אַרױסגעשלעפּט, די קעסטלעך שטײען בײַ מיר אױפֿן בױדעם.“ אַזוי אַרום האָט דער ייִדיש־טאָג טאַקע בײַגעטראָגן צו אַ פֿרוכפּערדיקן אױסבײַט צװישן פֿאָרשערס און דעם ברייטן עולם.
מיטאָג האָט מען געגעסן בײַ איינער פֿון די אוניװערסיטעטישע קאַפֿעטעריעס: עס איז געשטאַנען אַ בופֿעט מיט כּל־המינים גוטע מיטל־מיזרחדיקע מאכלים און דער עולם האָט זיך צונױפֿגעקליבן בײַ די טישלעך און געשמועסט גאַנץ לײַטיש, זיך דערצײלט װיצן – אױף ייִדיש, פֿאַרשטײט זיך.
– יערי, קײן שװעדיש רעדט מען נישט!
– זײַ מוחל! איך האָב שױן נישט געטראַכט אַז איך וועל דערלעבן דעם טאָג װאָס די אײנציקע שפּראַך װאָס מע מעג רעדן איז ייִדיש!
אױפֿן פּריפּעטשיק
נאָכן עסן איז מען אַרױס אױף אַ שפּאַציר. מע איז געגאַנגען דורך דעם היסטאָרישן לונדער צענטער שטאָט און די „מדריכים“ אינעם עולם האָבן דערצײלט װעגן אַזאַ צי אַן אַנדער פּרט פֿון דער געשיכטע פֿון ייִדישן לעבן אין לונד. טומאַס װוּדסקי, אַ מיטאַרבעטער פֿון „איסאָף“, האָט אַלעמען דערלאַנגט אַ טיפּיש שװעדישן כּיבוד, היימיש באַקאַנט ווי „שטױבזױגערלעך“: אַ מין זיסװאַרג מיט מאַרציפּאַן און שאָקאָלאַד װאָס איז שטאַרק באַליבט בײַם ייִדיש־אָפּטײל פֿון לונדער אוניווערסיטעט. מע האָט באַזוכט דעם אַמאָליקן ייִדישן קװאַרטאַל און געפֿונען דאָס הײַזל פֿון אָלניאַנסקיס דערצײלונג. פֿאַרן הויז פֿונעם ערשטן ייִדיש־לערער בײַם לונדער אוניווערסיטעט, שלמה שולמאַן ז״ל, האָט זיך די גאַנצע גרופּע אָפּגעשטעלט און געזונגען „אױפֿן פּריפּעטשיק“ לזכר אָט דער באַליבטער פֿיגור.
אַ באַקאַלאַװער
צוריק אין אוניװערסיטעט האָט יאַן שװאַרץ, עמעריטירטער ייִדיש־לעקטאָר אין לונד, געהאַלטן אַ „קלײנע זאַך, נישט קײן רעפֿעראַט“ װעגן זײַנע „לונדער יאָרן“, און דערצײלט װעגן דעם בראשית פֿון די ייִדיש־לימודים אין דער שטאָט, װעגן די חבֿרישע מחלוקתן מיט זײַן קאָלעגע שלמה שולמאַנען, און װעגן זײַן טאַטן, װאָס איז מיט זײַן זאַפֿטיקן פּױלישן ייִדיש געװען אַ יוצא־מן־הכּלל צװישן די ליטװישע קלאַנגען פֿון די ייִדיש־רעדערס אינעם נאָך־מלחמהדיקן דענמאַרק.
די געשיכטע איז אַזאַ: זײַט דעם יאָר 2000 האָט ייִדיש אין שװעדן דעם באַזונדערן סטאַטוס פֿון אַן אָפּגעהיטער מינאָריטעט־שפּראַך. אין 2007 האָט די רעגירונג אָנפֿאַרטרויט דעם לונדער אוניװערסיטעט דאָס אַחריות פֿאַר די ייִדיש־לימודים אין שװעדן, און זײַט 2012 קענען סטודענטן זיך לערנען אױף אַ באַקאַלאַװער אין ייִדישע לימודים.
דער תּחום האָט זיך אַנטװיקלט און הײַנט באַטייליקן זיך אין דעם פֿאָרשערס פֿון פֿאַרשײדענע אוניװערסיטעטן. און בזכות די איבערגעגעבענע טוערס און רעדערס האָט אױפֿגעבליט דאָס קולטורעלע ייִדישע לעבן אין שװעדן פֿון דאָס נײַ.
ווײַטער האָט מען זיך צעטײלט אין דרײַ גרופּעס אױסצופּרוּװן די נײַע ייִדישע „שמועס־קאַרטלעך“ װאָס דער „איסאָף“ האָט אָקערשט אַרױסגעגעבן. עס האָבן זיך אײַנגעשטעלט לעבעדיקע שמועסן אַרום פֿראַגעס װי „מיט װעמען רעדסטו ייִדיש?“ און (בפֿרט אַ שװעדישע פֿראַגע) „װאָסערע מאכלים עסטו לכּבֿוד מיטזומער?“ די טוערס פֿון „איסאָף“ האָבן ברייטהאַרציק געשאָנקען יעדן איינעם אַזאַ פּעשל שמועס־קאַרטלעך.
אין סופּערמאַרק
דער פֿאָרשער אורן כּהן ראָמאַן האָט געהאַלטן אַ רעפֿעראַט „ייִדיש אין סופּערמאַרק“. ער האָט פֿאַרגליכן מאכלים מיט אַ בפֿירושן ייִדישן נאָמען אין העברעיִש־שפּראַכיקע סופּערמערק אין ישׂראל און ענגליש־שפּראַכיקע אין די פֿאַראייניקטע שטאַטן, און דערצײלט װעגן די װאַריאַציעס און בײַטן אין אױסלײג, אַרױסרעד און באַניץ במשך דער צײַט אין די צוויי לענדער. מע האָט זיך צערעדט וועגן דער פֿראַגע, „צי איז „ראָגעלעך“ אויף עבֿרית צי אויף ענגליש אײנצאָל אָדער מערצאָל?“ און „פֿאַר װאָס שרײַבט מען אין ישׂראל אַזוי זעלטן אַ קמץ־אַלף?“
טראַדיציע
פֿאַרן געזעגענען זיך האָבן אַלע אָנטײל־נעמערס געזאָגט אַ װאָרט װעגן זײערע אײַנדרוקן פֿונעם טאָג, און די אָרגאַניזאַטאָרן האָבן אונטערגעצויגן אַ סך־הכּל. האָפֿנטלעך װעט זיך לאָזן אײַנשטעלן אַ טראַדיציע און מע וועט זיך װידער קענען זיך טרעפֿן אין לונד אין 2027.
דער עולם איז זיך פֿונאַנדערגעגאַנגען. אַ ווײַל האָט מען נאָך געהערט ייִדיש אױף די לונדער גאַסן און אין די רעסטאָראַנען. נאָך דעם איז דאָס ייִדיש מיט זײַנע רעדערס אַוועק אױף דער באַנסטאַנציע און אין דער װעלט אַרײַן.
דער ייִדיש־טאָג האָט דערלאַנגט אַלע אָנטײל־נעמערס אַ געלעגנהײט אָנצוקניפּן נײַע באַציִונגען און צו באַנײַען אַלטע חבֿרשאַפֿטן, זיך צו באַקענען מיט דער הײַנטיקער ייִדיש־פֿאָרשונג אין שװעדן און צו פֿילן דעם טעם פֿון דער שװעדיש־ייִדישער קולטור. בײַ ס׳רובֿ אָנטײל־נעמערס איז אָבער געשטאַנען ברומו־של־עולם דער פֿאַקט אַז מע האָט אַ גאַנצן טאָג געקענט הערן און רעדן נאָר ייִדיש.
The post ‘No speaking Swedish here!’ — Yiddish Day in Lund University appeared first on The Forward.
Uncategorized
We’re forgetting the lessons of the Triangle Shirtwaist Factory fire
When the young women of the Triangle Shirtwaist Factory sat down before their Singer sewing machines on Saturday, Mar. 25, 1911, they could not know that their lives would soon be extinguished because of a lit cigarette.
At around 4:40 p.m., a worker flicked a still-smoldering cigarette butt into a bin filled with paper patterns and fabric scraps. The contents ignited instantly. Someone threw a bucket of water to douse the flames — to no avail. Eighteen minutes later, 148 people were dead: 123 women and 25 men, many of them teenagers, most of them immigrants.
The Triangle Shirtwaist Factory fire, which remains the deadliest workplace disaster in New York City and one of the worst in the country, not only shocked the nation, it transformed American labor law. Locked doors, unsafe conditions, and the exploitation of young workers came to symbolize an industrial system that all too often treated human beings as expendable. Public outrage led to sweeping workplace reforms and helped launch modern labor protections.
Now, 115 years later, those hard-won safeguards are eroding.
Across the country, child labor violations are rising. Teenagers are working longer hours and, in some cases, dangerous jobs like working in industrial freezers, on construction sites, and in meat-processing facilities. According to the U.S. Department of Labor’s Wage and Hour Division, the number of children employed illegally nearly quadrupled between 2015 and 2024; meanwhile, the companies that hire them often face minimal penalties.
The lesson of Triangle was clear — when economic pressure meets diminished regulations, minors become the most vulnerable workers. Today’s legislative rollbacks and declining enforcement risk recreating the very conditions reformers fought to eliminate.
Few understood those stakes better than Pauline Newman, one of the most influential labor organizers of the early U.S. labor movement. Born in Lithuania, Newman immigrated to the United States with her mother and sisters after her father’s death. By age nine, she was climbing dark factory stairs to work in a hairbrush factory. Later, she rolled cigars, and by 12, she found work at the Triangle Shirtwaist Factory, laboring 14 hours a day in what workers called the “kindergarten,” trimming loose threads from finished garments. Shirtwaists arrived piled in cases taller than some of the children themselves.
“We were too young to do anything else,” Newman later recalled.
In one of several pieces she wrote for The Forward, she chronicled her experience working at The Triangle and what she described as her “own drab existence,” wondering “dear God will it ever be different?”
Although Newman had left Triangle before the fire, the disaster changed her life. The deaths of former coworkers propelled her into a lifetime of labor organizing and fighting to protect workers, especially minors, from exploitation. Her activism helped reshape public understanding of workplace safety and child labor, showing that reform comes only when society decides certain risks are unacceptable.
Throughout the 19th century, reformers had pursued piecemeal protections. Religious leaders fretted over working children who couldn’t read scripture, while secular advocates argued democracy required an educated citizenry. Early laws limited hours or required factory owners to provide basic education, but enforcement was inconsistent and protections varied state-by-state. When Newman arrived in New York City in 1901, meaningful safeguards were largely absent.
The Triangle fire changed that calculus. By 1913, Newman and her fellow organizers, including Rose Schneiderman, Clara Lemlich and Frances Perkins, helped push legislation that moved thousands of children from factory floors into classrooms and introduced workplace safety standards. The culmination came in 1938 with the Fair Labor Standards Act, establishing nationwide rules governing wages, hours and child labor.
Now many of these protections are being undermined. Since 2021, at least 17 states have rolled back child labor protections, while others have introduced legislation to diminish existing safeguards.
In Florida, proposed legislation would remove limits on working hours for 16- and 17-year-olds, potentially allowing overnight shifts during the school year. In 2023, Iowa passed laws permitting minors to work in previously restricted environments, including meat coolers. Arkansas, Missouri, Ohio and other states have pursued similar measures.
Supporters argue the changes provide flexibility for families and help businesses facing labor shortages. Opponents warn they expose minors to injury and undermine education.
Many young workers entering hazardous jobs today come from immigrant families struggling with rising living costs. Some are recent arrivals, including unaccompanied minors particularly vulnerable to exploitation. For these families, work isn’t an extracurricular activity; it means economic survival. But hardship does not make dangerous labor safe, nor should it justify dismantling protections.
Families facing financial instability often feel they have little choice but to send children into the workforce. But no family, however, should face the choice Pauline Newman once did: education or survival.
Nostalgia often shapes today’s political arguments. Lawmakers recall babysitting, shoveling snow, or scooping ice cream as teenagers. But many modern violations occur not in safe, supervised settings but in industrial workplaces where injuries can be life-altering or fatal; as was the case when in 2023 a 16-year-old Wisconsin boy died in a cotton-packing machine.
Weakening protections risks reversing more than a century of progress, undermining not only individual futures but an economy and democracy that depend on an educated workforce.
Preventing a return to early industrial exploitation doesn’t require reinventing labor law. It requires enforcing and modernizing protections already proven to work.
States can strengthen work-permit systems, as Illinois did in 2024, improving oversight and reducing violations. Civil and criminal penalties must increase so illegal child labor is not treated as a routine business expense. For example, New York has expanded enforcement authority and centralized employment records for minors, enabling fines upwards of $50,000 for serious and repeat violations. Policymakers should eliminate subminimum wages for young workers and tighten prohibitions on hazardous work, particularly in agriculture and manufacturing. Colorado has taken steps allowing injured minors to pursue private legal action, strengthening employer accountability.
The Triangle Shirtwaist Factory fire compelled Americans to confront what happens when profit outweighs protection. Reformers like Pauline Newman spent decades ensuring children would no longer bear the cost of unsafe workplaces. Reform was hard-won, and progress is never inevitable. More than a century later we ought to remember why those protections exist.
The post We’re forgetting the lessons of the Triangle Shirtwaist Factory fire appeared first on The Forward.