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In Queens, a Jewish mourning ritual inspires a performance about memory
(New York Jewish Week) — What happens to the places that are no more? To the people who have died? To the events that meant so much but cannot ever reoccur? Is there a way to bring the intangible power of vanished spaces into the physical world?
On Friday, May 19, dancers, musicians, orators and spectators will come together for a performance of “Site: Yizkor” at King Manor Museum in Jamaica, Queens to explore these and other questions.
The brainchild of multimedia artist Maya Ciarrocchi and composer Andrew Conklin, the performance takes its name from the Jewish memorial service that is recited on major holidays. It combines live and pre-recorded readings with improvised music and dance, encouraging the performers and audience to summon their loved ones into the room, to commune with them in an intimate and visceral way.
“It’s about trying to make roots in a place, to map it, and also to honor the dead and the ghosts — not just the ghosts of people, but the layers of buried history, too,” Ciarrocchi told the New York Jewish Week. “It’s like, if you go to a small chapel in Italy and then realize it’s on three layers of pagan temples [and other] sacred sites.”
Ciarrocchi, who is of Ashkenazi Jewish and Italian descent, has long contemplated the spaces her own family lost and how that loss has impacted her lived experience as a queer Gen X New Yorker. “My grandparents were immigrants who tried to establish a home in the new world. My mother has had difficulties finding a place [within the] establishment,” she said. “Plus, growing up on the tail end of the AIDS plague, I really didn’t have any queer mentors. It did create an unmooring, a feeling of being ungrounded.”
Multimedia artist Maya Ciarrocchi. (Joanna Eldredge Morrissey)
The impetus for this specific piece was a confluence of events — people and places disappearing while remaining present in Ciarrocchi’s consciousness. In 2015, she lost both her mother-in-law and an elderly neighbor, the 1930s radio star Elia Braca Rose (aka Lynne Howard). “I was thinking a lot [during that time] about the things we leave behind,” said Ciarrochi. “Especially as I witnessed my neighbor’s apartment [getting] dismantled. I was grieving. Her children took things, the neighbors gathered things, the [demolition] team came in. There was something so devastating about all her history being sucked out of the apartment.”
She and her wife moved a year later, emptying out the apartment she had been raised in, a space in the Westbeth artist’s community. All this upheaval summoned grief and thoughts of the power of rites and ritual.
Yizkor, which means “may [God] remember” in Hebrew, is traditionally performed four times a year — on the three pilgrimage holidays of Shemini Atzeret, Passover and Shavuot, and on Yom Kippur. The communal Yizkor service includes a moment of private reflection during which worshipers can read a prayer that includes the name of a lost loved one and their relationship to the person praying.
“This particular viewpoint is inherently Jewish, but it’s a universal experience of displacement, loss, grief,” Ciarrocchi said. “Really, we’re doing a ritual together. And it doesn’t matter who you are or where you come from; we’re doing this together. Hopefully it brings everyone in, and we can have feelings together. The best way to connect with people is to have conversations with them, to open up space for people to hear each other. I hope that this project can do that.”
Each performance is site specific: Previously, “Site: Yizkor” has been performed at the Chutzpah! Festival in Vancouver and at the Roza Centre for International Art and Cooperation in Ruszcza, Poland, a short distance from where Ciarrochi’s grandmother’s house was burned to the ground during a pogrom.
For the New York iteration, the artist has created a series of videos incorporating drawings and maps specific to King Manor Museum, the former country estate of Rufus King, a 19th-century politician and early abolitionist. The museum says its mission is to highlight King’s antislavery activism and to “promote social change in today’s world.”
“Site: Yizkor” began taking its latest form a few weeks ago with a writing workshop, viewed by the artists as integral to the creative process. Participants were invited to respond to prompts such as “describe a vanished place of personal importance” and “describe your dreams of the future.” The artists then take these reflections and incorporate them into the performance.
The music, born of Conklin’s extensive work in the worlds of folk, bluegrass and traditional music, is improvised live from a graphic score. Similarly, the choreography contains specific modules and instructions but remains open to the interpretation of the performers.
“We come up with a score together but it’s a really open structure,” Ciarrochi said. “An element of a score for dancers might be to ‘walk the periphery of the house connecting with each other.’ You can do a lot of things inside of that, but that is the structure. Because these are skilled improvisers, they’re going to make that happen.”
“This particular viewpoint is inherently Jewish, but it’s a universal experience of displacement, loss, grief,” Ciarrocchi said of the piece. “Really, we’re doing a ritual together.”
“Site: Yizkor” will take place at King Manor (150-03 Jamaica Ave.) in Jamaica, Queens on Friday, May 19 at 8:00 p.m. Register here.
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The post In Queens, a Jewish mourning ritual inspires a performance about memory appeared first on Jewish Telegraphic Agency.
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With a Kennedy Center honor under Trump, David Mamet enters his final, tragic act
There was a time when David Mamet being honored at the Kennedy Center wouldn’t have raised eyebrows.
His contributions to American theater and film transcend an affinity for four letter words (let’s call them “the F— Variations”). His tough-talking, desperate men gave splenetic voice to the indignities of a capitalist system in Glengarry Glen Ross, evolving sexual mores in Sexual Perversity in Chicago and, in a movie like The Verdict, the justice system.
Cut to 2026 and Mamet’s scripts are but an afterthought to his grievance. When he makes headlines now, it’s for his reactionary conservative streak and his role as a partisan in the culture war. Together with a run of flops, numbering a Harvey Weinstein #MeToo comedy and a Broadway show not even Al Pacino could save, his esteem has cratered among the liberal circles that once embraced him, and to which he once belonged but now prefers to eviscerate.
He has made the transition from dramatist to pundit, first at HuffPost, lately at The Free Press. Reading too much into Oleanna, perhaps, he has called teachers pedophiles on Fox News, written screeds on cancel culture and, a prerequisite for the Kennedys at this moment, praised President Donald Trump.
In the honor, there is a strain of tragedy. Mamet has strayed so far from where he started — what he called his “brain-dead liberal” era — that he makes perfect sense for this appointment, under a regime that tried to slap its leader’s name onto a tribute to a slain president meant as a bipartisan shrine to art. (Due to the Center’s closure amid turmoil and legal battles, the ceremonies will take place at the Capital One Arena, which is only too perfectly bleak.)
A younger Mamet would have looked askance at such a figure as our current Commander-in-Chief, a character who is on the make with all sorts of half-baked schemes. The Iran War may be his latest play on a Buffalo nickel.
It’s enough to make one wonder if we’ve been misreading Mamet all along. Are the men breaking-and entering to steal the Glengarry leads meant to be admired? Are the Hollywood sleazes in Speed-the-Plow aspirational? Is Al Capone the real hero of The Untouchables?
Perhaps the evening, which tends to include career retrospectives, will elucidate. But if the Kennedy Honors could once be said to be for closers, it may now be only for a particular kind of sellout.
The post With a Kennedy Center honor under Trump, David Mamet enters his final, tragic act appeared first on The Forward.
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Why is Britney Spears studying Hebrew?
It’s Britney, Yitz!
Continuing a curious social media trend that has previously seen appreciation for the beards of chess-playing Chabadniks and the Zohar hidden among baby clothes, Britney Spears took to Instagram Sunday to post a Hebrew Book of Psalms and the Lekutei Amaraim, or Tanya, a Hasidic book of sayings.
The caption reads: “I’m extremely bored !!! Learning Hebrew reading right to left !!! Beautiful language !!!” (A previous caption, posted Sunday, was more cryptic, concluding “God speed little man !!! I love u !!!,” perhaps indicating the presence of a havruta or someone in her life who keeps his mitzvot.)
What exactly is happening here? Is Spears, like Marilyn before her and Sydney Sweeney now, about to dip her toe into the mikveh?
The best clue we have isn’t from Spears’ page, but from Israeli model Natalie Dadon, who tagged the “Hit Me Baby One More Time” singer in a selfie with the Tanya. “Finally, it’s possible to tell,” Dadon posted, in a gallery with Hebrew language news coverage of the posts. Dadon did not immediately respond to a request for comment.
Dadon’s social media presence involves Tanya study, which itself is a cornerstone to Lubavitch philosophy (so perhaps is connected to the Chabad chess players whose beards Spears so admired) and adjacent to Kabbalah.
Spears is no stranger to Jewish subjects. Around the time she locked lips with Madonna at the 2003 VMAs, she started, like so many others, to look into Kabbalah, as this handy timeline from Hey Alma notes. She has a Hebrew tattoo of letters that signify healing in kabbalistic texts and was apparently once attached to star in a Holocaust-time-travel-romance film called The Yellow Star of Sophia and Eton, which now that I’ve heard of it I will never shut up about.
She has credited Kabbalah with helping her through a difficult time in her life and has been spotted wearing a star of David.
But we should approach Spears’ dalliance with Judaism, now sandwiched on her Insta page between a call-out of her sister Jamie Lynn and a NSFW video of her dancing with a rose Emoji as a fig leaf, with some healthy skepticism.
Her Instagram bio currently reads “Pray Every Day” with a prayer hands emoji next to a Bible emoji with a cross. She’d still appear to be Christian — or, at the very least, waiting for the new iOS update with the Tanya emoji.
The post Why is Britney Spears studying Hebrew? appeared first on The Forward.
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Haley Stevens cheered at Jewish day school after endorsing GOP Senate candidate
(JTA) — Democratic Michigan U.S. Rep. Haley Stevens was given an extended ovation at a fundraising gala for a Detroit-area Jewish day school Sunday, hours after her endorsement of Republican Mike Rogers for Senate.
Stevens, a longtime pro-Israel stalwart, was celebrated at the Yeshiva Beth Yehudah annual dinner as many members of her party across the country spoke out against her decision to break with Democratic nominee Abdul El-Sayed.
Video of Stevens’ minute-long standing ovation was shared on social media by representatives of Agudath Israel of America, a major Orthodox advocacy group. Strongly pro-Israel Jews have largely lauded her move to Rogers, which she said came about in part because of her objections to El-Sayed’s past relationship with anti-Israel streamer Hasan Piker.
Also on Sunday evening, Stevens struggled to explain the timing of her decision in an interview with CNN’s Anderson Cooper. One consistency in her response was her belief that she was helping Democrats beat back antisemitism within their own party.
“I’m trying to help the Democratic Party. I felt the same way about Graham Platner and his Nazi tattoo,” Stevens said, referencing the Maine Senate candidate who ultimately stepped down from the nomination. Asked if she believed El-Sayed is antisemitic, she responded, “I think some of the actions have certainly been antisemitic, Anderson, but I’m just sick of who he stands with.”
She named Piker and “the uncle,” referring to Piker’s uncle Cenk Uygur, whose PAC produced an ad supporting El-Sayed that blamed Israel for the price of groceries. After Stevens publicly pressured El-Sayed to condemn the ad’s contents, the candidate appeared to do so on Saturday night, which Stevens celebrated in a statement — hours before endorsing Rogers.
To Cooper, Stevens suggested that many other Democrats felt the way she did.
“I’ve been hearing from a ton of Dems, Anderson, who have said, ‘Thank you. This is how we felt.’ They haven’t liked this campaign. It’s painful,” she said. A growing number of Michigan Jewish Democrats have pledged to vote for Rogers, though more than 1,000 have also signed a letter pledging to vote for El-Sayed.
Yeshiva Beth Yehudah is spread across multiple suburban Detroit campuses and is the largest Jewish day school in the state. Its annual fundraising dinner, “An Evening of Unity,” is known for drawing big national names in politics and the media, usually from both major parties.
Kentucky Gov. Andy Beshear, a Democrat, was the evening’s keynote speaker, and the gala program also featured personal letters from President Donald Trump and Vice President JD Vance.
But it was Stevens, a regular supporter of the school, who turned the most heads. She was also presented with what the emcee called “a specially designed, illuminated book of the five scrolls of our prophets, which remind you all of our heartfelt esteem and appreciation for who you are.”
The yeshiva’s leadership also extended warm wishes to Stevens’ Jewish fiancé, Democratic megadonor Jason Turkish, whom the yeshiva’s emcee described as “our dear friend.” Turkish’s own endorsement of Rogers came days before the congresswoman’s.
This article originally appeared on JTA.org.
The post Haley Stevens cheered at Jewish day school after endorsing GOP Senate candidate appeared first on The Forward.
