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How the Jewish Museum brought Black film history to new audiences

It was 1970 and Black-Jewish relations weren’t at their best. Two years earlier, the Ocean-Brownsville teachers’ strike in Brooklyn had pitted Black and Jewish New Yorkers against one another. Distrust lingered between Black artists and museums after the controversial 1969 Met exhibit Harlem on My Mind showcased life and culture in Harlem, but excluded the work of Black Harlem natives. The Art Workers Coalition had just been founded, demanding better Black and Puerto Rican representation in museums, particularly MoMA.

Karl Katz, director of the Jewish Museum, was determined to find a way to connect the museum to its “African-American neighbors.” He noted in his memoir The Exhibitionist that, although Harlem “began only a dozen or so blocks north” of the museum, their exhibitions “generally had trouble drawing a diverse crowd.” When a friend told Katz about race films — films from the early 20th century made specifically for Black audiences usually starring all Black casts — Katz knew he wanted to show them at the museum.

In 1970, the film series The Black Film — a showing of 14 Black movies made between 1925 and 1965 — opened. Curated by an interracial team — Black film scholar Pearl Bowser, color-barrier breaking TV producer Charles Hobson, and psychologist and art exhibitor Mel Roman — the event was a collaboration between the museum and the Harlem Cultural Council. A number of publications, including the Black newspaper The New York Amsterdam News, covered it.

“It’s all about this community,” said Gillian Bowser, Pearl Bowser’s daughter and a professor of ecosystem science and sustainability at Colorado State University. “And a community saving and celebrating its history. And the Jewish Museum was part of that initial effort to recognize the importance of saving the everyday voice.”

Now, over 50 years later, excerpts from the films are back on display at the Jewish Museum.

Hidden Gems

The films in the series were collected by Bowser, a former cookbook author who became known as the Godmother of Black Independent Cinema for her work in film preservation and scholarship on Oscar Micheaux. Micheaux was a prolific race film producer and owner of the first Black-owned movie company, Lincoln Motion Picture Company.

The museum program included Micheaux’s 1925 film Body and Soul, starring Paul Robeson in his first film role. Historians also believe it’s the only film he ever worked on with a Black director. Robeson plays twins — one a conniving criminal and the other an innocent young man who has to deal with his brother’s misdeeds.

Another film is an early work by Melvin Van Peebles, director of the pioneering blaxploitation film Sweet Sweetback’s Bassdassss Song. His 1957 film in the Bowser collection, Sunlight, has some of the criminal elements of his most famous work, but is primarily a tender portrayal of young Black love.


The Negro Soldier, a 1944 production by the United States Department of War that celebrates Black soldiers’ valor during World War II.

“What a surprise the Nazis will get,” the narrator says as the troops march on. “Black, brown, yellow and white men from all Americans land on the airfield of Berlin.”

The 1970 series opened the year before Van Peebles released Sweet Sweetback’s and kicked off the blaxploitation movement, which often highlighted criminal lifestyles. The films Bowser showed offered a different form of Black representation. Lisa Collins, a documentarian and mentee of Bowser’s, noted that it “was so revolutionary at that time” to have films showing Black Americans as judges, scientists and working professionals.

Saving film history

Pearl Bowser Courtesy of PJ Bowser Productions via the Jewish Museum

Bowser preserved both American and international films, including movies from London and Senegal. Without her, it’s possible some of these films would have never seen the light of day. Her friend and collaborator Louis Massiah, a MacArthur awarded filmmaker and founder of the non-profit media center Scribe Video in Philadelphia, told me she knew where to find old reels or fragments of film strips at risk of being thrown out.

“She would go to movie theaters and she would chat up projectionists,” Massiah told me, noting that Pearl was “extraordinarily charming.”

He commented that “it was absolutely rare” for people in the general public to have films made by non-commercial Black filmmakers

“This is before the Internet. This is before the accessibility of films,” said Massiah. With money from the New York City Department of Cultural Affairs, Bowser was able to take the race films on the road. “For a lot of folks, it was a revelation.”

When Gillian Bowser was a kid, she accompanied her mother to screenings at art house theaters and public libraries, often tasked with being the projectionist at the latter.

“The people hadn’t seen Black people in Westerns, they hadn’t seen all these films that were shot that were just forgotten for a long time,” she said.

‘The Bronze Buackaroo,’ directed by Richard C. Kahn in 1939, was an early portrayal of Black cowboys. Courtesy of Kino Lorber via the Jewish Museum

The Jewish Museum was one of the first major institutions to showcase Bowser’s work and expanded the audience she was able to reach. She was later able to take the films around the country, including on a tour to various historically Black colleges and universities.

A revival of art — and issues of the past

For the new exhibit, filmmakers Lisa Collins, Mark Schwartzburt and Anthony Jamison cut the 14 films from the 1970 exhibit into short vignettes that are projected onto a large wall on the museum’s third floor and played on a loop. Collins and Schwartzburt, mentees of Bowser who had been working with her on an Oscar Micheaux documentary until her death in 2023, conceived of the new installation through conversations with New York Jewish Film Festival Director Aviva Weintraub. Collins told me Weintraub was integral in getting the museum to agree to the project, although with one complex stipulation: that each film be cut down to 30 seconds. The process took hours of editing, and a few times the three filmmakers tried to pitch Weintraub slightly longer cuts, but the final vignettes still capture the heart of the original films.

“At the end of the day, we always wanted to show enough of the film to keep you interested and to get you interested to see the larger version,” said Jamison.

On a smaller monitor, two short films play on rotation. One is an excerpt of a short documentary Collins and Schwartzburt made shot in 2021 when a 90-year-old Bowser returned to the Jewish Museum for the first time in 50 years and spoke to them about her memories of working there. Bowser passed away two years later. Another is a segment from a 1984 episode of Paper Tiger Television, a public access TV program based in New York. A young Bowser explains Micheaux’s legacy, crediting his genius and “chutzpah” for the strides he made in Black cinema.

Many of the films from the 1970 series are available for viewing in various places, such as Kino Lorber’s “Pioneers of African-American Cinema” collection, the Criterion Channel, and other streaming services. Bowser’s total collection includes over 500 films, which are stored at the Smithsonian institute, and are a testament to her dedication to making sure Black stories don’t disappear. For a long time, Black filmmakers struggled to have their achievements and contribution to American history recognized.

“As the Black community, we may be facing this again,” Gillian said, noting the recent removal of monuments to slavery at national parks. “Our job now is to make sure these stories get saved and retold.”

In an interview, Schwartzburt expressed a similar sentiment.

“The political environment we’re in right now, where there is so much erasure going on and backstepping — taking back civil rights — this couldn’t be more important,” he said.

The post How the Jewish Museum brought Black film history to new audiences appeared first on The Forward.

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Why I’m vibing with the pope’s first big statement

I have long been obsessed with the Vatican and the inner workings of the papacy. (I majored and did my Master’s in religious studies.) But usually other people are not as tickled as I am by analyzing the newest theological statements from the Holy See.

Not this week. Pope Leo XIV just put out his first encyclical — the term used to refer to official statements outlining the church’s stance on a topic — and it has gone viral. “Spitting fire right out the gate,” said one of many similar trending posts, as though the encyclical was a rap song.

The topic is buzzy: AI, which the pope casts as one of the greatest threats to human flourishing and morality. (The encyclical is titled “Magnifica Humanitas,” or “Magnificent Humanity” in English, if that gives you the gist.) “Humanity, created by God in all its grandeur,” it opens, “ is today facing a pivotal choice: either to construct a new Tower of Babel or to build the city in which God and humanity dwell together.”

The document notes many of the concrete risks of AI — sexual abuse, distortion of facts, job loss — and calls for pragmatic solutions. But it is, at its heart, a testament to what makes humans human, written with palpable adoration for the people of the world: our creativity, our empathy, even our weaknesses. It’s a declaration that machines can never have the ineffable qualities of God’s children.

Structuring our world around technology, Leo writes, reduces “creation to an object of exploitation and human beings to mere cogs in a system driven toward ever greater efficiency.”

Later, in a paean to the importance of deep thought over easy answers, he goes on: “The speed and ease with which answers or summaries can be obtained risk extinguishing the desire to ask questions,” he writes, calling on the world “to protect our young people from the promise of the perfect machine” and warning against rendering “human thought seemingly superfluous precisely when it is most needed.”

“Magnificatus Humanitas” is a major statement, both in length — more than 43,000 words — and in symbolism. A pope’s first encyclical indicates the issues they believe are most important to the church, and signals the likely direction of their papacy.

That direction, for Pope Leo, is to be a voice for moral leadership, writ large. He addressed the encyclical not only to Catholics or even Christians, but “to all men and women of goodwill,” and cited thinkers like Hannah Arendt and J.R.R. Tolkien alongside the Bible.

It’s a declaration of a new — or, arguably, very old — relevance for religious leaders. As people rush through our increasingly fast-paced, frantic world, striving to keep up with the newest technology or geopolitical shift affecting markets and jobs, the slow-moving, zoomed-out perspective of religious leaders seems to be more and more important.

The Vatican held massive authority both moral and military for much of Western history. But its sway faded in the modern age. As democracy rose, Christianity broke into factions and religion’s prominence weakened, leaving the Church without the same ability to bestow a divine mandate on nations and rulers.

So many modern popes have kept their sights more narrowly focused on the theological. Even Pope Francis, who was a liberal, modernizing force for the church, and spoke out strongly on topics like the environment and immigration, focused three of his four encyclicals on Christian theological concepts like the Sacred Heart and Christianity as the world’s guiding light.

Pope Leo, however, seems to have found his way to modern, secular relevance by speaking out clearly on major issues of the day. He notes that he drew inspiration for “Magnificatus Humanitas” from Pope Leo XIII, an influential pope in the late 1800s and the inspiration for the modern Leo’s own papal moniker, whose 1891 encyclical “Rerum Novarum,” on the economy and conditions of the working class, was criticized for insufficient focus on the Gospel. The current pope’s own document is remarkably concrete and political.

Making political statements isn’t new for Leo, but the encyclical canonizes his boldness into an official form. In the past few months I’ve written about the ways in which Pope Leo has used sermons and statements to directly counter those made by U.S. leaders. After Pete Hegseth made a speech implying the U.S. military is doing God’s will, the pope gave a homily saying that prayers for war cannot be heard by God. He has made strongly worded comments about the rights of immigrants as Trump announced increased ICE raids, and made a point of appointing foreign bishops in American parishes. He has refused to visit the U.S. despite the fact that he is American and has been invited numerous times, including for the nation’s 250th birthday; he is instead planning to visit an island that serves as a refugee landing point in the Mediterranean.

It’s not all that surprising that Leo is making pronouncements on the justness of wars; popes have always given commentary on the world, albeit often less pointedly. Of course, Catholics have always looked to the pope for moral leadership — though that is increasingly under question, as renegade Catholics doubt the pope. (Even J.D. Vance, a Catholic convert with a book coming out about his conversion, has warned the pope to be “careful” with his theological interpretations — a near heretical statement. That’s how Protestantism came about.) The difference today is that everybody is listening.

I think the reason is that there is a certain ineffable quality that can’t be accounted for in so much of modern-day discourse in our metrics-focused world. Everything needs to be provable with a statistical analysis or some quantifiable indicator, or it needs to be as profitable as possible to extract value. But so much of what is most valuable in the human experience is intuitive — experiences and emotions like love, joy, transcendence. Connection with each other. Religious leaders have been honing the language to talk about these qualities for centuries, and they guard one of the only arenas in which the intangible remains central.

Of course, there are also plenty of issues with religious institutions, and the Vatican in particular is famous as a site where abuses of power were hidden and protected. But “Magnifica Humanitas,” and its virality, points toward a new relationship with religion, and a newly important role for it to play.

Or maybe that’s just wishful thinking, a hope for my own increased importance as a religion reporter.

The post Why I’m vibing with the pope’s first big statement appeared first on The Forward.

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How can I live freely as a Jew in a world where strangers rip my mezuzah off my doorframe?

Twice, the mezuzah on my front door was ripped off.

The first time, I was shocked. The second time, I made a decision that still pains me. I did not put it back up.

This was before the Hamas attack of Oct. 7, 2023.

That is the part I keep coming back to. The fear did not begin after the Hamas attacks. It was already there, intruding with the quiet calculation of whether a small Jewish symbol on my home made me less safe.

A mezuzah is not a political statement. It makes no argument about a government or a war. It is a sacred object, a marker of memory, a tiny declaration that says: Jews live here. I thought about that mezuzah again recently when the Anti-Defamation League released its annual audit showing that antisemitic physical assaults in the United States reached record highs in 2025. That increase reflects something many Jews already feel in daily life: the slow erosion of ease, the daily calculation of whether to speak up or stay quiet — things I have felt since the first time my mezuzah was violently torn off my doorframe.

Since then, the realm in which I feel safe as a visibly Jewish person has been shrinking from all directions.

After the Oct. 7 attack, the bulletin boards in my apartment building began filling with calls to boycott Israel. Campaign flyers for a Jewish political candidate who came to speak there were defaced with Hitler mustaches. I learned to scan the walls before I scanned my mail.

This was not happening on a campus quad or in some distant place. It was happening where I live.

Then, among my mother’s things, I found a Star of David necklace from the 1930s — marcasite set against black onyx, delicate and old. A boyfriend had given it to her when they were both 14.

I put it on in Florida, where I spend much of my time caring for my mother. I loved wearing it. It felt like more than jewelry. It felt like inheritance, memory, and a small way of carrying my family with me.

But when my mother knew I was going back to New York, she told me to take it off.

My mother is 102. She is not easily frightened. She has lived long enough to know when the temperature in the room has changed. She was not making a political argument. She was trying to protect her daughter.

I still wear that Star of David. But I admit I am selective. In New York, there are moments when I leave it visible and moments when I tuck it under my shirt. That calculation itself tells me something about the world I am moving through.

Recently, in a private Facebook group for women essayists, I shared a personal piece I had written for the United Kingdom-based Jewish Chronicle about how Oct. 7 changed life for my mother and me. It was not a political manifesto. It was a reflection on fear, Jewish identity, aging and visibility.

And still, I was attacked by other writers.“What about Gaza?” I was asked. The message was clear: even my personal Jewish pain had to pass a political test before it could be acknowledged.

That is the narrowing.

This ugliness is coming from more than one direction now. It stems from old conspiracy theories on the right and newer moral certainties in some of the progressive spaces where I once felt most at home. Different language brings about the same result: Jews become less human, less particular, less entitled to fear.

That collapse is what frightens me most: the definitional collapse between Jew and Israeli; Israeli and Israel’s government; Jewish symbol and political provocation; mezuzah and target.

As Jews like me reckon with that collapse, we must reckon with how much we’ll go along with it.

Right now, too often, Jews are being asked to choose between our own safety and our compassion for others. We should be able to prioritize both. I am a Zionist. I believe in the right of the Jewish people to a homeland. I also believe Palestinians are human beings who deserve freedom, dignity, and protection from suffering.

These beliefs should not cancel each other out. They should make us more careful, more humane, more committed to truth.

Yet now we must choose between speaking about antisemitism and being accused of indifference to other hatreds. That is no way to live.

Since Oct. 7, I have found myself going to synagogue on Shabbat, something I never did before. I was a High Holiday Jew. Now I seek out rooms where I do not have to explain why this moment feels frightening. I have learned where I feel seen. I have learned who can hold my fear without turning it into an argument.

The mezuzah I did not put back up is small. It fits in the palm of my hand.

But what it represents is not small: memory, faith, survival, home, and the right to be visibly Jewish without fear.

When I did not put it back up, I told myself I was being practical. But now — after Oct. 7, the bulletin boards, my mother’s warning, and the explosive allegations I’ve seen travel through respected media without sufficient care or verification — I understand it differently.

I was not just protecting a doorframe. I was learning to shrink.

The post How can I live freely as a Jew in a world where strangers rip my mezuzah off my doorframe? appeared first on The Forward.

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Podcast: A lively conversation in Yiddish with actress Lea Koenig

ס׳איז לעצטנס אַרויס אַ פּאָדקאַסט מיט דער באַליבטער אַקטריסע אין ישׂראל, ליאַ קעניג, וועלכע איז הײַנט צום בעסטן באַקאַנט ווי די ייִדיש־רעדנדיקע באָבע פֿונעם פּערסאָנאַזש שלום שטיסל אין דער ישׂראלדיקער טעלעוויזיע־סעריע „שטיסל“.

אינעם שמועס באַטייליקן זיך אויך יניבֿ גאָלדבערג — דער מחבר פֿון אַ נײַער ביאָגראַפֿיע וועגן איר אויף ענגליש; דער איבערזעצער און דראַמאַטורג מיכל יאַשינסקי, און דער ייִדישער זינגער און קולטור־טוער חיים וואָלף. דעם פּאָדקאַסט האָט טראַנסמיטירט די באָסטאָנער ראַדיאָ־פּראָגראַם „דאָס ייִדישע קול“.

ליאַ קעניג גיט איבער אירע זכרונות במשך פֿון איר לאַנגער קאַריערע אין ייִדישן טעאַטער, ווי אויך אינעם העברעיִשן טעאַטער, טעלעוויזיע און קינאָ. כּדי צו הערן דעם פּאָדקאַסט, גיט אַ קוועטש דאָ.

The post Podcast: A lively conversation in Yiddish with actress Lea Koenig appeared first on The Forward.

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