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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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‘Nobody Wants This’ star Adam Brody on Gaza: ‘Put me down as thinking it’s a genocide’
Adam Brody, the Jewish actor who plays a “hot rabbi” on the hit Netflix rom-com Nobody Wants This, called the war in Gaza a genocide in a new interview, making him one of just a few Jewish celebrities to speak out publicly against the Israeli campaign.
The comments came in an interview with GQ about Brody’s efforts canvassing for Democratic candidates in the upcoming midterms.
“Put me down as thinking it’s a genocide. Put me down as wanting a free Palestine,” he said. “It’s awful that it’s taken so much death and misery, but it does feel like it’s reaching a breaking point that it should have a while ago. I’m hopeful that another administration can really do some good and correct some of these policies that are helping that situation be as awful as it is.”
The claim of genocide in Gaza is heavily disputed. Several international bodies, human rights organizations and academic institutions have concluded Israel’s actions in Gaza since Oct. 7 fit the description, including a United Nations Commission of Inquiry. Other similar groups, like the International Court of Justice, have not applied the term.
Brody’s comments were surprising in part because he had previously kept his feelings about the war private, even as other leading Hollywood figures openly criticized it. He does not maintain a public social media presence, and he did not participate in pin-wearing campaigns or sign various petitions related to the war — an approach he indicated he might change going forward.
“I’m not wearing a pin, so I’m not inviting a certain question, and perhaps I should,” he said. “I really admire people who do. But 99% of what I’m asked about is about the show. I’m not trying to plead ignorance—here we are doing a political interview, so it makes sense that we wade into this territory—but I’ve never ducked a question, really, not a political question anyway.”
Brody — who came to fame in the 2000s as the teenager Seth Cohen on The O.C. — joins Hacks star Hannah Einbinder and Wallace Shawn (The Princess Bride) as perhaps the most high-profile Jewish actors to publicly call the war a genocide. Other Jewish entertainment figures, like Mandy Patinkin and The Zone of Interest director Jonathan Glazer, have criticized the war but stopped short of calling it a genocide.
Yet Brody’s comments are perhaps especially notable because of the character he plays on TV. In Nobody Wants This, Brody plays a rabbi dating a non-Jewish woman — introducing her to the beauty and foibles of Jewish faith and culture. Israel has been conspicuously absent from the show, with its creator, Erin Foster, saying she deliberately avoided geopolitics.
Season 3 of Nobody Wants This releases to Netflix October 22.
The post ‘Nobody Wants This’ star Adam Brody on Gaza: ‘Put me down as thinking it’s a genocide’ appeared first on The Forward.
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Why Mamdani remains focused on Israel as NYC mayor
When Israeli Prime Minister Benjamin Netanyahu spoke at the UN this week, New York City Mayor Zohran Mamdani was there — not in body, but in spirit, having condemned the Israeli prime minister and previously encouraged protests against him.
As a leader in the Jewish community, I know that many American Jews oppose Netanyahu’s government. But many also believe strongly that Israel’s survival as a Jewish homeland is critically important. They, therefore, feel boxed in by the mayor: compelled by conscience to oppose Israel’s leader and to condemn Mamdani’s repeated attacks on Israel’s existence, many of which they find offensive and dangerous.
Because of my previous work for Mayor Bloomberg, I am often asked by Jewish community members why this mayor so frequently puts them in this painful bind. The answer, I believe, lies in motivations worth understanding more clearly.
Of course, Mamdani’s focus on Israel seems partially motivated by principle. He clearly thinks Israel is illegitimate and opposes how it defends itself. I take him at his word that these convictions are sincere. But sincerity still does not explain his single-mindedness. A mayor willing to absorb this much political friction must see some benefit. But what?
To understand, let’s reexamine the 2025 election, often described as a “political tsunami.” The facts, however, are more complicated. Mamdani did defeat his closest opponent by nearly 10%, but in so doing he secured under 51% of the total vote – against a flawed and divided opposition. Viewed this way, his impressive margin seems less sweeping and much narrower.
More important than his electoral margin, though, is the coalition that produced it. His victory rested heavily on three blocs: self-identified very liberal voters; and Muslim and South Asian voters, who turned out in historic numbers. South Asian and Indo-Caribbean turnout, for example, rose 350% between 2021 and 2025, with 87% of South Asian votes going to Mamdani. Analyzing available data, I believe that, taken together, these three blocs accounted for well over 50% of all Mamdani votes.
What makes this coalition intriguing is that it consists of such strange bedfellows. The blocs differ sharply on many key local issues. On same-sex marriage, PRRI’s American Values Atlas found 33% support among Muslim-Americans in 2024, with support among very liberal Americans substantially higher. The divergence is similarly stark on policing, education, and many other policies.
In fact, it is hard to identify many things uniting these blocs besides this candidate: a skilled politician speaking the language of the left, while activating Muslim and South Asian voters just as Mayors Bloomberg and Koch activated Jewish voters and Mayors Adams and Dinkins activated Black voters.
Which brings us back to Israel.
When one barely ekes out a majority against flawed opponents, and one’s coalition is fundamentally misaligned, one must find ways to hold it together. To this end, Mamdani seems to be taking a page from Donald Trump. When Trump’s coalition buckles, he reaches for a “shiny distraction” — attacks on the press; trade wars; threatened invasions of Greenland. For Trump, the specifics are almost irrelevant; what matters is the theater of conflict and the distraction it produces.
For Mamdani, his Greenland is Israel.
Yes, it is a subject on which he holds sincere convictions. But, more importantly, it is one of few issues on which his coalition agrees. His relentless focus on Israel — to the exclusion of other worthy targets, including grave human rights offenders across South Asia and the Muslim world — is no accident. It is a political calculation allowing him to don the mantle of moral crusader while keeping his coalition on-side and united.
For those who believe Mamdani’s politics pose a danger to the Jewish community and want to slow his political momentum, this analysis yields two insights.
First, trying to persuade the mayor to soften his Israel attacks is unlikely to succeed. Doing so is not his inclination or in his political interests.
Second, and maybe more interestingly, Mamdani has a vulnerability that he seems to recognize – a fragile coalition. Allowing Mamdani to
make Israel his “shiny distraction” and engaging him on it plays his game. A different approach would be to defend Israel as-needed, but focusing efforts on pressing Mamdani to do his job – for example, elevating important issues, such as specialized high school admissions practices, on which his coalition happens to be divided.
The upshot? When smart politicians do things that seem politically risky, they usually see something others do not. Mamdani’s Israel focus offers a case-in-point. Those looking to respond should consider resisting the temptation to take the bait when possible. The wiser strategy is to engage under different rules: defending Israel when necessary, then pivoting to the difficult local issues from which Israel is meant to distract.
The post Why Mamdani remains focused on Israel as NYC mayor appeared first on The Forward.
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New voices in Yiddish: A prose and poetry contest
לכּבֿוד דעם 85סטן יאָר זינט מע האָט פֿאַרלייגט דעם ייִדישן זשורנאַל „אױפֿן שװעל“, וועט די אָרגאַניזאַציע וואָס שטיצט דעם זשורנאַל, די „ייִדיש־ליגע“, דורכפֿירן אַ קאָנקורס פֿון נײַע ייִדיש־שפּראַכיקע לידער און פּראָזע.
אַ זשורי פֿון אָפּגעקליבענע מומחים וועט אָפּשאַצן די אַרבעטן, און די דרײַ בעסטע פֿון ביידע קאַטעגאָריעס וועלן באַלוינט ווערן מיט געלטפּרעמיעס.
די פּראָזע־שאַפֿונגען קענען זײַן ביז 2,500 װערטער, און אַלע אַרײַנגעשיקטע מאַטעריאַלן מוזן זײַן נאָך נישט קיין געדרוקטע. דער טערמין אַרײַנצושיקן די שריפֿטן איז דער 31סטער אָקטאָבער 2026.
די געווינער-ווערק, און בכלל אַן אָפּקלײַב פֿון די אַרײַנגעשיקטע שאַפֿונגען, וועט מען אויך דרוקן אין דעם יובֿל-נומער. „זאָלן אונדזערע לייענערס געניסן פֿון נײַע ליטעראַרישע שאַפֿונגען אויף מאַמע-לשון!“ האָט די שעף־רעדאַקטאָרין פֿון „אויפֿן שוועל“, מרים טרין, געזאָגט.
די שריפֿטן שיקן מען דורך בליצפּאָסט צו info@leagueforyiddish.org.
The post New voices in Yiddish: A prose and poetry contest appeared first on The Forward.
