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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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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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‘I made a mistake’: Abdul El-Sayed apologizes to Michigan Jews for past comments about synagogue attack
(JTA) — LANSING — Michigan U.S. Senate candidate Abdul El-Sayed apologized for his past comments regarding the March attack on Temple Israel in suburban Detroit during a meeting with the state Democratic party’s Jewish caucus at the party convention on Saturday.
The Democratic nominee told the room that his remarks following the attempted targeting of the West Bloomfield synagogue preschool, in which he had said, in part, “Hurt people hurt people,” were intended to provide “context.”
Reflecting on them, he said on Saturday, “I made a mistake.”
“If my statement caused pain, I’m sorry. It was not what I intended to do,” El-Sayed continued. Referencing the first of two statements he had made about the attack, he added, “We issued a statement, of course, condemning it, and that just should have been it, full stop.”
El-Sayed’s initial Temple Israel comments, which many Jews interpreted as justifying the attack, have alienated Jewish voters in the state. After an initial statement condemning the attack, El-Sayed then followed up with one referencing Israel’s war in Lebanon, where the attacker had lost family in an Israel airstrike.
On Saturday, El-Sayed, a former county health director, insisted that his push for “context” to the attack was broadly appropriate, but not at that moment, explaining that such “conversations” could happen “in the fullness of time.”
“Sometimes you can’t really see context in the moment of acuity or pain,” he said. “The intention for me was not to trample that pain. It was not to discount it. It was not at all to justify any sort of domestic terrorism. That’s wrong, full stop.”
El-Sayed’s apology, which was in response to a question posed to him by a Jewish Democrat in attendance, came amid a new round of outreach efforts he has been making with Jewish voters since he won Michigan’s Democratic senate primary earlier this month. He also plans to attend a Sunday Jewish caucus gathering honoring state Attorney General Dana Nessel with congressional nominee Jeremy Moss in attendance, both of whom the candidate has publicly been at ideological odds with over Jewish issues.
In recent days El-Sayed has also minimized some of his harsh critiques of Israel in his stump speeches and issued a statement distancing himself from onetime campaign ally Hasan Piker, the left-wing anti-Israel streamer.
His nomination acceptance speech later that day made only one, oblique, reference to American support for Israel: “It shouldn’t be this hard to pay your taxes and know that that money’s going to be spent on you, and your kids, and your schools, instead of being dropped in the form of a bomb on somebody else, and their kids, and their school.”
But skepticism was still palpable among the 30 or so Jewish Democrats in the room, a crowd that included one delegate who said his daughter and grandson had been inside Temple Israel when it was attacked.
“Our safety as Jews in America relies on, I think, what’s said by public figures, and how they present themselves in public, and how they advocate for Jews in public,” he said just prior to El-Sayed’s apology.
Not all of El-Sayed’s answers pleased the room. Fielding another question about whether he would support the longstanding Democratic platform of a two-state solution in the Middle East if elected senator, the candidate pivoted.
“It’s incoherent to start with a solution and say, ‘Figure out how to work here,’” El-Sayed said. “To me, it’s about starting with a process and saying, ‘How do we dignify equal rights to peace, dignity, and self-determination for Palestinian people and Jewish Israelis alike?’”
He added, as he has in other interviews, that he was open to the possibility of a two-state solution “if that’s what a free Palestinian and free Jewish Israeli people decide.” But, he qualified, “Our country, under the guise of a two-state solution, has been aiding, arming, and abetting a government that wants to foreclose on the possibility of a second state.”
That didn’t sit well with some in attendance, even as El-Sayed’s apology for his other comments was broadly appreciated.
“I really liked him apologizing for misspeaking. We’ve all made comments that we regret later on,” Rebecca Kasen, a Lansing-area Michigan Jewish Democrat in attendance, told the Jewish Telegraphic Agency. “I was less comfortable with what he said about not supporting a two-state solution.”
Overall, Kasen said, her opinion of El-Sayed had improved after the Jewish caucus meeting as a result of his apology.
“I was probably a more reluctant voter for him” beforehand, she said. That had changed: “Instead of just going to vote now, I am going to be enthusiastically voting for him.”
As the senate race is shaping up to be the potential tipping point to decide control of the chamber in a crucial midterm year seen as a referendum on President Donald Trump, the views of the state’s Jewish Democrats regarding their party have been placed under a microscope for more reasons than just El-Sayed. That has led some longtime Jewish Democratic voters to defect to the Republican opponent, former U.S. Rep. Mike Rogers, and also led to some awkward moments at the convention.
In one example, Washtenaw County Prosecutor Eli Savit, the party’s progressive Jewish nominee for state attorney general, addressed the Jewish caucus by declaring, “We’re going to win and keep the attorney general’s office in the hands of a Michigan Jewish Democrat.” Conspicuously absent from the day’s events was Nessel, the Jewish Democrat currently holding the seat.
Prior to the Saturday convention, Nessel, the state’s highest ranking Jewish official, had announced she would not be attending for fear she would be targeted by antisemitic harassment. Earlier this week, in a podcast interview with The Atlantic, Nessel had reiterated her issues with El-Sayed’s comments about Temple Israel and expressed hope he would walk them back soon.
Nessel’s son Zach Nessel, secretary of the state Jewish Democratic caucus, told the caucus that his mother’s absence stemmed from “agitators” who had targeted her at the party endorsement convention in the spring. Attendance at Saturday’s event was less than one-third of what the Jewish caucus had drawn at the spring convention, organizers said.
Zach Nessel criticized the state Democratic Party for failing to take prompt action to remove the agitators from the earlier convention. He told JTA that Jews in the party “have a right to be concerned.”
“I think the Democratic Party needs to put more work into addressing their concerns,” Zach Nessel said. “But I think that can’t happen without showing up.”
Moss, the Michigan state senator who has recently been at the center of another El-Sayed-related controversy, was spotted at the convention on Saturday but did not attend the Jewish caucus events.
One ally of El-Sayed’s who also addressed the caucus is University of Michigan Board of Regents nominee Amir Makled. He is an attorney for members of the school’s pro-Palestinian encampment movement who had pushed out a Jewish pro-Israel incumbent at the previous convention. During his own address to Jewish delegates, Makled did not mention his history of social media posts including retweeting far-right antisemitic conspiracy theorist Candace Owens and sharing praise for Hezbollah leaders.
Makled’s speech later that day at the nominating convention alluded to his work with the encampments as he declared that Michigan “will never have a university where students are punished simply because their speech makes the powerful uncomfortable.”
In-between candidate meet-and-greets, Jewish caucus members shared their anxieties about their closely scrutinized role in the midterm elections. They were gravely concerned about protecting democracy and election security from Republican threats, and felt that flipping the Senate was crucial.
Yet it was hard, they said, to get much of the Jewish community onboard this time, given the positions of El-Sayed and some other members of the Democratic slate. Michigan is home to an estimated 100,000 Jews, and the senate race is currently polling in a dead heat, making their votes potentially pivotal.
“How do we unify our community to put the country first?” one attendee asked the group. “I have a hard time doing that.”
This article originally appeared on JTA.org.
The post ‘I made a mistake’: Abdul El-Sayed apologizes to Michigan Jews for past comments about synagogue attack appeared first on The Forward.
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The woodcutter and the water carrier in the Torah portion, Nitzavim
לעילוי נשמת מײַן באָבע מנוחה וויטקא ע״ה לזרוב, לכבֿוד איר יאָרצײַט, ט״ו אלול
איינער פֿון די שטאַרקסטע קעגנער מיט וועמען אַ מענטש דאַרף זיך אויסקעמפֿן איז…זיך אַליין.
די סיבה איז פּשוט: די געדאַנקען און געפֿילן וואָס אַ מענטש קען צום בעסטן, זענען זײַנע אייגענע. און ווײַל דאָס זענען זײַנע פּערזענלעכע געדאַנקען און נײגונגען, איז מען נאַטירלעך גענייגט זיי צו געבן אַ גרויסע חשיבות. אויב איך פֿאַרשטיי אַזוי, אָדער איך פֿיל אַזוי, איז דאָס שוין לכאורה אַ גענוג גוטע סיבה צו טאָן אַלץ וואָס איך קען כּדי אויסצופֿירן מײַנע געדאַנקען און באַפֿרידיקן מײַן ווילן.
אָבער זייער אָפֿט טרעפֿט דווקא דאָס פאַרקערטע. דער מענטש וואָס שטעלט אויס זײַן לעבן בלויז לויט דעם וואָס אים דאַכט זיך ריכטיק אָדער באַקוועם, קען צום סוף שאַפֿן געלעגנהייטן וואָס גייען ווײַט העכער פֿון זײַנע באַגרענעצטע און פֿאַרבײַגייענדיקע פּערזענלעכע געפֿילן.
מיט אַנדערע ווערטער, באַקוועמלעכקייט און צוגעוווינטקייט קענען זײַן די גרעסטע שׂונאים פֿונעם מענטשן, אַנשטאָט זײַנע מיטהעלפֿער.
אין דער סדרה פֿון דער וואָך, נצבים־וילך, ווענדט זיך משה רבינו צום ייִדישן פֿאָלק אַזוי:
„אַתֶּם נִצָּבִים הַיּוֹם כֻּלְּכֶם לִפְנֵי ה׳ אֱלֹקֵיכֶם… מֵחֹטֵב עֵצֶיךָ עַד שֹׁאֵב מֵימֶיךָ“ — איר שטייט הײַנט אַלע פֿאַר דעם אייבערשטן, אײַער ג־ט… פֿון דײַנע האָלצהעקערס ביז דײַנע וואַסער־שעפּערס (וואַסער־טרעגערס).
דער גרינדער פֿון חב״ד, רבי שניאור זלמן, באַקאַנט ווי דער אַלטער רבי, דערקלערט אַז דאָס האָלצהאַקן און וואַסער־שעפּן האָבן, אויסער זייער פּשוטן באַטײַט, אויך אַן אינערלעכן טײַטש אין דער פּערזענלעכער עבֿודה פֿונעם מענטש.
דער אויסדרוק „עֵצֶיךָ“, דײַן האָלץ, קען מען אויך פֿאַרשטיין ווי „עצותיך“, דײַנע אייגענע עצות, געדאַנקען און חשבונות.
דאָס „וואַסער“ איז מרמז אויף דעם יסוד המים פֿונעם נפֿש הבהמית — דער מקור און טרײַבקראַפֿט פֿון קערפּערלעכע תּענוגים.
די לערנונג, זאָגט רבי שניאור זלמן, איז אַז אַ מענטש דאַרף „אויסהאַקן“ די אייגענע חשבונות און „אויסשעפּן“ די תּאוות וואָס צילן בעיקר אויף פּערזענלעכע קערפּערלעכע הנאות.
ערשט ווען אַ מענטש קען נייטראַליזירן אָט די צוויי כּוחות און זיך נישט לאָזן פֿירן פֿון זיי, קען ער צום בעסטן מקיים זײַן זײַן שליחות אין לעבן — אָן דעם שוחד פֿון פּערזענלעכער באַקוועמלעכקייט. שוחד פֿאַרבלענדט דאָך די אויגן און לאָזט ניט זען קלאָר און אָביעקטיוו. דאָס זעלבע טרעפֿט מיט באַקוועמלעכקייט. עס לאָזט ניט טראַכן אָביעקטיוו.
מען וואָלט אָבער געקענט מיינען אַז אַזאַ דיסציפּלין איז שייך בלויז צום תּורה־לערנען, צו מענטשן וואָס פֿירן אַ רוחניותדיק לעבן, אָדער בלויז ווען אַ מענטש וויל מצליח זײַן אין זײַן אייגענער גײַסטיקער זוכעניש.
וואָס איז אָבער מיט מסחר, פּרנסה אָדער אַ פּראָפֿעסיע — מיט די לכאורה „נישט־רעליגיעזע“ געביטן פֿון לעבן? דאָרט מעג מען דען נישט טאָן וואָס מען אַליין האַלט פֿאַר ריכטיק און וואָס גיט פּערזענלעכע צופֿרידנקייט?
דער ליובאַוויטשער רבי — זכותו יגן עלינו — ווײַזט אָן אַז דער ענטפֿער אויף דער פֿראַגע ליגט שוין אינעם פּירוש רש״י אויפֿן פסוק.
ווער זענען געווען די דאָזיקע האָלצהעקערס און וואַסער־שעפּערס?
רש״י דערקלערט אַז זיי זענען געווען כּנענים וואָס זענען געקומען צו משה רבינו ע״ה מיט דער כּוונה זיך מגייר צו זײַן, און משה האָט זיי באַשטימט צו דינען ווי האָלצהעקערס און וואַסער־שעפּערס.
דער רבי ווײַזט אן אַז דאָס וואָרט „כּנעני“ מיינט אויך אַ סוחר.
דער רמז איז, אַז נישט בלויז ווען עס רעדט זיך וועגן הימלישע און רוחניותדיקע ענינים — „רעליגיעזע“ באַשעפֿטיקונגען — דאַרף מען זיך באַפֿרײַען פֿון פּערזענלעכע אינטערעסן, צי שׂכלדיקע צי פֿילעוודיקע.
אויך אין מסחר, אין אַלע ענינים וואָס האָבן צו טאָן מיט גשמיות און מאַטעריע, דאַרפֿן די „האָלצהעקערס“ און „וואַסער־שעפּערס“ גיין צו דער אַרבעט.
מען דאַרף זיך העכערן איבער די אייגענע חשבונות און תּאוות, און זיך אָפּגעבן מיט די גשמיותדיקע טעטיקייטן מיט דער כּוונה, אַז דורך זיי זאָל מען אַרײַנברענגען הייליקייט און ג-טליכקייט אין דער וועלט — דורך דעם ליכט פֿון דער תּורה און דער נפֿש האלוקית.
עס זענען דא מענטשן וואָס קענען דאָס באַטראַכטן ווי אַ באַגרענעצונג: „מען לאָזט מיר נישט טאָן וואָס איך וויל.“
מען קען דאָס אָבער באַטראַכטן גאָר אַנדערש — ווי אַן אויסערגעוויינטלעכע געלעגנהייט:
„שטענדיק — אַפֿילו אין די מערסטע וועלטלעכע און לכאורה נישטיקע טעטיקייטן — האָב איך די מעגלעכקייט צו דערגרייכן עפּעס וואָס האָט אַן אומענדלעכע און אייביקע ווערט.“
דעריבער איז די געצײַג פֿון דער וואָך:
אויב דו פֿילסט זיך שלעכט ווײַל עס דאַכט זיך דיר אַז אַ גרויסער טייל פֿון דײַן לעבן האָט נישט קיין באַזונדערן זין אָדער ווערט, געדענק אַז עס ליגט אין דײַנע הענט צו באַשליסן אין וועלכער ריכטונג דו וועסט גיין.
דו קענסט צייכענען דײַן וועג לויט דײַנע פּערזענלעכע געדאַנקען און געפֿילן, וואָס קומען און גייען און לאָזן נישט קיין אייביקע שפּור.
אָדער דו קענסט זיך באַפֿרײַען פֿון זייער הערשאַפֿט און זיך אָפּגעבן מיט עפּעס וואָס איז אַ טייל פֿון אַ ציל וואָס איז אומענדלעך גרעסער — און אומענדלעך מער ווערטפֿול.
The post The woodcutter and the water carrier in the Torah portion, Nitzavim appeared first on The Forward.
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Vance, who’s drawn ire of Jewish conservatives, will speak at Republican Jewish confab
(JTA) — Vice President JD Vance, who has drawn the ire of a number of Jewish conservatives, will speak at the Republican Jewish Coalition’s annual summit in Las Vegas on Monday, the RJC confirmed.
“The Republican Jewish Coalition is proud to welcome Vice President JD Vance to our National Leadership Summit in Las Vegas,” said an RJC spokesperson. “JD Vance is a friend, who is coming back after first joining us in 2022 as a candidate for the US Senate.”
Vance’s appearance comes as a number of Jewish Republicans and major GOP donors have indicated that they would rather support Marco Rubio for the presidential nomination in 2028 than Vance, who is seen as Donald Trump’s likeliest successor. Some of those donors will be in the room on Monday at the Venetian Resort, which is owned by the billionaire Adelson family — a major backer of Trump and various Jewish and Israeli causes.
The vice president has lost the confidence of the pro-Israel crowd with his reprimanding of Israeli officials, indulgence of anti-Israel conspiracy theories and silence on Tucker Carlson, the prominent pundit who has spread antisemitic conspiracy theories. Multiple donors told the Jewish Telegraphic Agency during last year’s confab that they would not support Vance in 2028.
Carlson, meanwhile, was a major focus of the discussion at the RJC’s 2025 summit, where signs reading “Tucker is not MAGA” were handed out to attendees. His son, Buckley Carlson, is a former Vance staffer.
An agenda sent by the RJC lists Vance as a speaker during a Monday evening session that will be closed to press. A spokesperson confirmed that Vance will be speaking in a “fireside chat.”
A number of high-profile Republican candidates are also expected to speak at the RJC confab, which is being held on Sunday and Monday, a few months ahead of the midterm elections. Speakers include U.S. Senate candidates Mike Collins, the Georgia congressman who is challenging Jewish Democrat Jon Ossoff, and former Rep. Mike Rogers, who is running against Abdul El-Sayed in Michigan.
Collins has faced accusations of antisemitism and having ties to the far right. He has said that some of his statements were misunderstood, and has defended himself by citing his support for Israel.
This article originally appeared on JTA.org.
The post Vance, who’s drawn ire of Jewish conservatives, will speak at Republican Jewish confab appeared first on The Forward.
