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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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They want Jewish life without Zionism. Now they’re building the institutions to match.
(JTA) — One year after Jewish Currents editor-at-large Arielle Angel called for “new Jewish institutions” that have no attachment to Israel or Zionism, more than 100 Jews crammed into a Victorian house-turned-event space in central Brooklyn in hopes of creating them.
The event was billed as a bootcamp for people hoping to get fledgling Jewish groups off the ground. Sessions focused on topics like staffing and funding, as well as discussions about who, exactly, is welcome in a space that is “anti-Zionist,” “non-Zionist,” “diasporist” and the like.
Many of the groups represented on Monday were minyans, which host prayer services in locations like people’s apartments or community spaces. They sought practical guidance for building their institutions, but also for defining who to welcome as their ranks expand.
“If we’re doing things right,” Angel said, “many of these small minyans will be synagogues in a few years.”
Esti, 27, who declined to share her last name to maintain privacy, is involved in leading an anti-Zionist minyan in Brooklyn. She said she has heard from “so many” attendees that they were relieved to attend services in a space without an Israeli flag.
“People are like, ‘I never thought I could be in a Jewish space like this, I never thought I’d see queer people leading, I never thought I could be in a Jewish space where they’re saying Free Palestine,’” she said. The minyan averages about 50 attendees at Shabbat services, she said.
Some of the speakers at the workshop detailed how they have refused to compromise their organizations’ politics. One panel led by Rabbi Brant Rosen, who helped found the anti-Zionist synagogue Tzedek Chicago, and Rebecca Vilkomerson, the former director of the anti-Zionist group, Jewish Voice for Peace, focused on the process of setting an organization’s “political boundaries.”
Rosen spoke from his own experience, saying that Tzedek Chicago was presented as “consciously not an inclusive community.”
“In other words, this is what we stand for, it might not be for you, it might not be for everyone, and that’s OK. There are many places out there that you can choose,” he said. Rosen added that potential members were not forced to agree in order to join, but rather that they were faced with the question: “Given that these are our values, is this a community you want to belong to?”
Esti spoke to the Jewish Telegraphic Agency on the sideline of the Urbane Arts Club event, which JTA attended on the condition that attendees’ in-session remarks throughout the day were kept off the record, though panelists’ remarks were all on the record.
Americans’ support for Israel has dropped writ large amid its military campaign in Gaza and the war with Iran. A survey by the Jewish Federations of North America found that 37% of Jewish respondents said they identified as Zionist, while 7% labeled themselves anti-Zionist and another 8% said they were non-Zionist. Another 18% said they weren’t sure, while 30% said none of the labels described them.
According to an AP-NORC poll from earlier this year, support for Israel is a less significant component of younger Jews’ religious identity versus Jews older than 45.
“These groups are starting up because of demand,” Rabbi Alissa Wise told JTA.
Wise is a co-founder of the Jewish Diaspora Movement, the group behind Monday’s bootcamp, which is itself in its beginning stages. She has previously worked for JVPe and in October 2023 founded Rabbis for Ceasefire, which has protested for a Gaza ceasefire and an end to U.S. military aid to Israel.
While JVP “played a pivotal role in building Jewish life outside of Zionism,” Wise said there was still a major gap in religious and cultural Jewish institutions that reject Zionism.
In addition to the represented minyans, which facilitate prayer services, and the havurahs, which offer events such as Shabbat dinners and other holiday celebrations, Angel said some attendees were looking to start projects including summer camps, educational offerings and cultural projects such as theater collectives.
Jen Kaminsky, an attendee who is part of the Buffalo Jewish Collective’s leadership team, told JTA that her organization welcomes “a range of Jews, many of whom have not felt comfortable in legacy Jewish institutions.”
“We say that we welcome anti-Zionists and non-Zionists, and people who are questioning Zionism and people who have a range of relationships to Zionism,” Kaminsky said. “If you are comfortable with the values that we put out, or you’re comfortable being in a room where those values are the dominant values, we welcome you.”
Vilkomerson told the group that there should be an attempt to grow membership by engaging people closer to the center in “left-liberal coalitions,” but without making concessions on left-wing values. She put the concept into New York City political terms, pointing to the political alliance between the anti-Zionist Mayor Zohran Mamdani and the liberal Zionist Brad Lander.
“Brad, as a liberal Zionist, was able to partner with Zohran Mamdani — but Zohran set the terms of the campaign, not Brad,” she said.
Also on Monday, Lissy Romanow — a co-founder of the group IfNotNow, which describes itself as “anti-occupation” — gave a nuts-and-bolts session on the first steps of creating an organization, including how to concisely conceive of a group’s DNA and how to avoid burnout among volunteers.
As groups look to grow and achieve loftier goals like setting up permanent locations and hiring paid staff, one clear obstacle stands in the way: funding.
“There’s only so much money on the Jewish left,” Angel told JTA.
Any anti-Zionist group is highly unlikely to receive funds from one of the country’s many Jewish federations, which often maintain deep ties to Israel.
Three left-wing Jewish donors — Liana Krupp, Deborah Sagner and Kathleen Peratis — spoke on Monday about the limited landscape of funding for Jewish anti-Zionist organizations.
“If we don’t flip liberal Zionists we’re not going to grow, because that’s where the money is,” Peratis said.
Participants on Monday, whose groups are mostly volunteer-run, did not have any illusions about that landscape.
“For now, the goal is to keep doing Shabbat in a sustainable way on a regular basis,” Esti said. But she also shared her long-term vision.
“I think it would be amazing to have a brick-and-mortar shul, a place we could call our definitive home,” she said. “But that’s way, way far down the line.”
This article originally appeared on JTA.org.
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After bronze win, judo athlete Raz Hershko tells JTA, ‘I stand for something far bigger than myself.’
(JTA) — Israeli judoka Raz Hershko, one of the country’s top athletes, missed a major opportunity in 2025 when the 12-day war between Israel and Iran closed Israeli airspace, preventing her from traveling to Budapest. Earlier this year, she withdrew from the Tashkent Grand Slam after the Shin Bet ordered the Israeli team to leave Uzbekistan.
But nothing could keep Hershko off the podium this weekend, when she won a bronze medal at the World Judo Championships in Baku, Azerbaijan.
Hershko, 28, burst into tears after winning the bout that secured her medal.
“Representing Israel has always been something that moves me, but at this moment, it carries so much more meaning,” Hershko told JTA. “At the end of the day, I step onto the mat alone, but I feel like I have an entire country behind me.”
Hershko dedicated her victory to the memory of Yonatan Gutin, an Israeli soldier killed on Oct. 7, 2023, as well as his family and the people of Israel.
According to his official memorial page, Gutin, a 20-year-old Israel Defense Forces officer, was killed fighting to rescue civilians during the battle for Kibbutz Be’eri. Judo was a central part of his life. He had trained in the sport for about 14 years and was a member of Israel’s cadet national team. Even during his military service, he occasionally returned to his judo club to coach.
Despite the achievement, Hershko made clear that bronze was not the result she had hoped for.
“I’m pretty disappointed that the day ended with a bronze medal, because I was aiming for gold,” she said. “But now it’s time to look ahead to the next goals.”
Hershko has established herself in recent years as one of the world’s leading judokas and one of Israel’s most prominent athletes. She won an individual silver medal at the 2024 Paris Olympics and a gold medal at the 2024 European Championships. She competes in the women’s heavyweight division.
Her latest achievement came just days after Israel marked the third anniversary of the Oct. 7 Hamas-led attacks, a date that has continued to shape the country’s public life and weigh heavily on its athletes competing abroad.
“Knowing that I was able to give people back home even a few moments of happiness, a smile, a sense of pride — that means so much to me. Especially during the times we’re going through, these are the moments that remind me why I do what I do,” she added.
The judoka said that “everything has felt different since Oct. 7” and that she can’t “disconnect” herself from the Israeli reality.
“Before that, I would go into competitions feeling immense pride in representing my country,” she said. “Today, that pride is even stronger. I’m much more aware of what the flag I wear represents, and of the fact that I stand for something far bigger than myself.”
Hershko, however, has little time to dwell on the medal. She told Channel 13 that she would take two days off before returning to training ahead of another competition next week. Asked by JTA how she has managed to stay hungry and focused after achieving so much, the Israeli athlete said she simply enjoys the journey.
“I really love what I do. I love judo, I love competing, I love the challenges, and I think that’s what keeps me hungry,” she said. “Of course, I’m proud of everything I’ve achieved, but I never feel like I’m done or that there’s nothing left to strive for. At the end of the day, the medals are incredible moments, but the journey is what builds me as an athlete, and I’m still enjoying that journey.”
This article originally appeared on JTA.org.
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Jewish school educators cancel trip to Italy after Italian education program required participants to denounce ‘genocide’ in Gaza
(JTA) — Educators from Jewish schools across the U.S. canceled a study trip to Reggio Emilia, Italy, over whether the hosts would require participants to formally distance themselves from Israel’s actions in Gaza and the West Bank.
The controversy has drawn accusations of antisemitism from Jewish educators and from Italian Jewish community leaders. It has also sparked a political dispute in Italy.
In an email sent to participants on Oct. 9, the American organizers, the Paradigm Project, said they canceled the trip because of “antisemitic pressure being placed on the group.” In a Zoom call with the participants, the organizers also cited safety concerns amid the scrutiny of the Jewish school educators’ personal profiles by pro-Palestinian activists who were agitating for the declaration, a participant said.
In a leaked audio recording broadcast Monday evening by Italy’s Tg3 TV news program, the president of the host organization Reggio Children, Maddalena Tedeschi, discussed asking participants to sign declarations distancing themselves from the “occupation of territories and genocide.” The recording is of an Oct. 6 meeting of the city’s early childhood education council.
In an interview with the Jewish Telegraphic Agency, Reggio Children spokesperson Francesca Severini said the request — intended to appease local pro-Palestinian activists — had never become an official participation requirement, but acknowledged that the additional wording had been discussed.
The Paradigm Project, a professional development network for Jewish early childhood educators, organized the trip for 68 Jewish educators. A separate delegation of 22 educators from Israel arrived in Reggio and was participating in the program this week.
“Now, more than ever, we must bring back the light and keep the bridge between us strong,” the Israeli educators said in opening remarks Monday.
Reggio Children, an educational organization partly owned by the municipality, promotes the city’s internationally influential approach to early childhood education and provides training for educators. Reggio Emilia Mayor Marco Massari and the city’s education official Marwa Mahmoud did not respond to requests for comment.
The cancellation, which came in a phone call from Paradigm to Reggio Children on Oct. 7, follows months of tensions in the city, where pro-Palestinian activists had protested the participating schools’ ties to Israel. During the weeks preceding the trip, activist Cosimo Pederzoli had publicly accused some of the schools of supporting the Israeli military.
At the Oct. 6 meeting, Reggio Children presented a charter, titled “For a Democratic and Participatory Education,” asking visiting groups and partners to uphold human rights, oppose discrimination, reject war, and condemn genocide. The charter, which was approved and is now on the organization’s website, also opposes violations of human rights in occupied territories worldwide, without naming Israel or Gaza.
Severini, the spokesperson, said that activists, teachers and parents had pressured Reggio Children and the municipality to take the charter one step further and requiring participants to agree to the statement: “I … hereby declare that I distance myself from the occupation of Gaza and the violation of children’s and human beings’ rights in occupied territories as well as every place in the world.”
Severini said that the wording was included as “material for discussion” in a private WhatsApp group. The American organizers were not in the chat, she said, and subsequently received the wording without the context that it would not, in the end, be official language.
Her account contradicts Reggio Children’s earlier public statements. On Oct. 7, the organization acknowledged that the educators had been asked to explicitly distance themselves from the policies of Israeli Prime Minister Benjamin Netanyahu’s government in response to concerns raised in the city. Mayor Marco Massari also acknowledged the additional commitment in a public statement, which says, “This Charter will be signed by all delegations visiting Reggio Emilia in the coming months and years.”
In an email to parents, leaders of Wilshire Boulevard Temple’s early childhood centers in Los Angeles said seven of their educators had been scheduled to join the trip and expressed support for Paradigm’s decision to cancel.
“Paradigm, on behalf of our educators and dozens of others, rightfully refused and canceled participation in the study tour and conference, due to the refusal to sign and other security considerations,” read the email. “All participants were notified on October 7, 2026.”
Pesha Kletenik, head of Manhattan Day School, had planned to join the trip. “This was one of the most painful experiences I’ve had,” Kletenik told JTA. “I never felt so targeted as a Jew before in my life. I’m an American citizen. I have one passport. I’ve lived here my entire life.”
Kletenik said she had hoped to adapt the Reggio approach to Jewish teaching and practice, including their model Passover seder, because “it aligns so beautifully with Jewish values.”
Steve Freedman, head of Solomon Schechter Day School of Bergen County, New Jersey, said his school withdrew an educator from a separate trip planned for November. In a letter to families, he criticized the demand for a political declaration while affirming the school’s commitment to the Reggio approach.
The council of the Jewish Community of Modena and Reggio Emilia, a single institution based in nearby Modena that serves both cities, condemned efforts to boycott educational and cultural initiatives involving Jews. It described the conflation of diaspora Jews with Israel’s government as antisemitic.
The Reggio Emilia approach, developed after World War II by educator Loris Malaguzzi and local families, places children’s exploration, expression, and participation at the center of early childhood learning. It gained wider international recognition after Newsweek named one of the city’s preschools among the world’s 10 best schools in 1991.
Severini said Reggio Children’s relationships with American Jewish and Israeli educators stretch back roughly three decades. The Israeli liaison first visited in 1996, she said, and educators from Reggio have also traveled to the United States and Israel.
The organization has hosted educators from all over the world, Severini said, including China, Russia, and Iran. She said she knew of no comparable controversy involving other visiting groups, including previous delegations from Jewish schools.
Reggio Children, she said, hoped to continue its dialogue with the American educators. For Manhattan Day School’s Kletenik, the cancellation stood in stark contrast with the educational values that had drawn her to the approach.
“How are we to navigate rejection by the very experts we collectively idealized—the gatekeepers of the sensitive worldviews and teachings we trusted to nurture our most tender children?” she wrote in a message to her school’s board.
This article originally appeared on JTA.org.
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