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Overdue or overdone? Two scholars hope to secure the legacy of ‘Jewish Renewal’
(JTA) — Rabbi Arthur Green gave the commencement address last week at the Jewish Theological Seminary, the Conservative flagship where he was ordained 56 years earlier.
His talk was mostly a response to political turmoil in Israel, but he also urged the graduates to pioneer a “new Judaism.”
“I had the good fortune, as a young seeker, to run into the Jewish mystical tradition, especially the writings of the early Hasidic masters,” said Green, who taught Jewish mysticism and Hasidic theology at Brandeis, the University of Pennsylvania and Hebrew College. “I have been working for half a century to articulate what could simply be called a Judaism for adults living in freedom. I am now near the end of my creative course. But you young people are just at the beginning of yours. We need you to enroll — however you can — in the task of the generations, that of re-creating Judaism.”
That is the language of Jewish Renewal, with which Green, 82, is deeply identified. Renewal isn’t a denomination, really, but a movement that was born in and reflects the 1960s and 1970s counterculture. Baby boomer Jews disillusioned with the large suburban synagogues that they considered soulless embraced Jewish practice that was spiritual, egalitarian, environmentally conscious and largely lay-led.
Baby boomer Jews disillusioned with the large suburban synagogues that they considered soulless embraced Jewish practice that was spiritual, egalitarian, environmentally conscious and largely lay-led. Renewal’s signature institution was the havurah — intimate prayer, study and social fellowships. Its soundtrack were the liturgical melodies composed by the hippy-ish, “neo-Hasidic” Orthodox rabbi, Shlomo Carlebach. And its rebbe — to the degree that an egalitarian movement had a central figure — was Rabbi Zalman Schachter-Shalomi (1924-2014), a refugee from Hitler’s Europe and former Lubavitcher Hasid whose Judaism channeled the spiritual “New Age” of the 1970s.
These ideas and approaches may be familiar to you even if you’ve never heard of “Renewal.” Rare is the synagogue that doesn’t try to offer a more intimate spiritual experience for its worshippers, to shrink the distance between pulpit and pew, to incorporate new Jewish music and, in non-Orthodox and a number of Modern Orthodox synagogues, to increase the participation of women in prayer and study.
Those prayer shawls with rainbow stripes? That was a Schachter-Shalomi innovation.
How a counterculture movement came to be absorbed by the mainstream is the subject of a paper in a new collection, “The Future of American Judaism,” edited by Mark Silk and Jerome Chanes. Chanes is the co-author, with Shaul Magid, of the chapter on “Renewal” that claims it as one of the most influential if not defining Jewish movements of the last 50 years.
“While Jewish Renewal has never boasted a large number of members, its influence on the larger American Jewish community has been significant, in terms of its liturgical experimentation, its revisions of ritual and its overall metaphysics,” they write. “It has also served as an ongoing conduit of information and inspiration from its own past — the havurah movement, radical politics, feminism — to the next generation.”
I came to the paper after giving a lecture at my own synagogue on “The Crisis of the American Synagogue.” I spoke of declining affiliation rates, plunging enrollment in supplementary schools, the shrinking number of non-Orthodox synagogues. Most of my adult life has been spent in synagogues, havurot and institutions heavily influenced by Renewal. If the Jewish Renewal movement revitalized synagogue life in the last century, could it also be blamed for its struggles in this one?
Magid, a fellow in Jewish studies at Dartmouth College, and Chanes, an adjunct professor of Jewish Studies at Baruch College, presented their chapter at a conference dedicated to the release of the book, held Tuesday and Wednesday at Trinity College in Hartford, Connecticut. Magid made the claim — considered bold, at this small gathering of Jewish historians — that the three most important Jewish figures of the 20th century were Mordecai Kaplan, Menachem Mendel Schneerson and Shachter-Shalomi.
Kaplan, the founder of Reconstructionist Judaism, downplayed the supernatural element of Judaism and instead called it a “civilization” defined by its people and culture. Schneerson, the Lubavitcher rebbe, turned an insular Orthodox sect into an outreach movement that promotes ritual practice among secular Jews.
Rabbi Arthur Green delivers the commencement address at the Jewish Theological Seminary in Manhattan, May 18, 2023. (Courtesy JTS)
Schachter-Shalomi combined their visions and imagined a Judaism, said Magid, that “is no longer used as a tool for Jewish survival, but rather as a project for Jews to become part of the global community, to contribute to the global community.” Environmental awareness became a hallmark of Renewal, as did absorbing influences from other religions, especially Eastern ones. “He really did take Schneerson’s teaching about bringing Judaism to the streets and expanded it further to bring Judaism to the mosque, to bring Judaism to the monastery, to create another way of being Jewish which was not afraid of the world.”
In an interview with Magid before the conference, I asked if he and Chanes might be exaggerating Renewal’s influence.
“I’m sure there will be people who will claim that case but I don’t think so, no,” he said. Magid acknowledges that few people regard themselves as direct disciples of Schachter-Shalomi, and yet, like Kaplan, his influence is felt widely and deeply. “Each one of them had a futuristic vision,” he said. “They were able to cultivate a way of thinking about Judaism that was before their time and that eventually came into being in many ways.”
One of those skeptical of Schachter-Shalomi’s influence is Jonathan Sarna, professor of Jewish history at Brandeis, who gave the keynote talk at the conference. In his response to the panel on Renewal, Sarna doubted Schachter-Shalomi was as influential as Carlebach, the Conservative theologian Abraham Joshua Heschel or the Modern Orthodox philosopher Joseph Soloveitchik. “I don’t think we should delude ourselves into thinking that every innovator is a new Moses,” Sarna said.
Benjamin Steiner, a visiting assistant professor in religion at Trinity, also wondered if Renewal had spread “everywhere in the country, or only in large urban areas with critical masses of educated Jewish students.”
Listening to Magid’s response to such caveats, I thought of the quote often attributed to music producer Brian Eno: “The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band.” Renewal’s influence spread beyond its founding havurot because many of their principals went on to important positions in academia and Jewish organizations, including Green, Rabbi Everett Gendler, Sharon Strassfeld, John Ruskay and Rabbi Arthur Waskow.
Small but influential Gen X and millennial institutions also bear Renewal’s fingerprints: the “Jewish Emergent Network” of independent congregations; New York’s Romemu and B’nai Jeshurun synagogues; egalitarian, traditional-style yeshivas like Hadar. Bayit, with a number of principals associated with ALEPH: the Alliance for Jewish Renewal, is an online artist’s collective and publisher of Jewish books, including a forthcoming Shabbat prayer book.
One of its contributors, Rabbi Rachel Barenblat, who was ordained by ALEPH, has argued that the influence of Renewal is felt even within Orthodoxy. “If you look at the Open Orthodoxy movement, if you look at the ordination of women as ‘maharats’ [by Yeshivat Maharat, a women’s seminary], the future of women as rabbinic leaders in Orthodoxy is already here,” she said on an episode of the “Judaism Unbound” podcast. “It’s not everywhere, but someday it will be.”
Magid and Chanes similarly claim a number of leading Jewish feminists as products of Renewal — they mention Paula Hyman, Eva Fogelman and Judith Plaskow — although some in the audience at Trinity insisted they gave Renewal too much credit for a movement by and for women. In there essay in the Silk/Chanes Book, Sylvia Barack Fishman of Brandeis University offers a counter-narrative of Jewish innovation over the past 50 years. In her chapter, she credits the “active partnership” of women in revitalizing American Judaism: Women’s religious expressions, she writes, “create social contexts and are distinguished by a communal dynamic, quite unlike the isolated, personalized Jewish experience, which some have claimed defines contemporary Jewishness.”
I came away convinced that Renewal has had an outsize influence on Jewish life, especially for baby boomers like me. But I also wondered if its outward-facing, syncretic Judaism failed to instill a sense of obligation to Jewish forms, institutions and peoplehood — unlike, by contrast, Orthodoxy in all of its booming present-day manifestations.
I asked Magid in what ways Renewal might have fallen short.
“Part of its failure is that it is very, very anchored to a certain kind of American counterculture that no longer exists. It hasn’t really moved into a 2.0 phase,” he said. “There are students and staff members that are still very tied to [Schachter-Shalomi’s] vision, and then there’s a younger generation, Gen Z, who have read some of his work and they’re influenced by it, but they really are thinking much more about, well, how does this translate into a post-countercultural America?”
Magid also feels the ideas of Renewal will become more important as American Jews’ attachment to Israel wanes, and the living memory of the Holocaust recedes.
If Rabbi Green’s speech at the JTS graduation was any indication, then the ideals of Jewish Renewal still hold their appeal.
“We need a new Judaism in America… where we also have the fresh air needed to create it,” he said. “How do we move forward… in articulating a Jewish theology for today that is both intellectually honest and spiritually rewarding?”
The audience of future Jewish leaders and teachers leapt to its feet.
—
The post Overdue or overdone? Two scholars hope to secure the legacy of ‘Jewish Renewal’ appeared first on Jewish Telegraphic Agency.
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Ed Sheeran’s support acts bail on Loop Tour after Macklemore dropped
(JTA) —
All of Ed Sheeran’s opening acts and his backing band have withdrawn from his Loop Tour after the pro-Palestinian rapper Macklemore was dropped as an opening act amid pressure from Robert Kraft and other stadium owners.
Kraft, the Jewish and pro-Israel billionaire who owns the Boston-area stadium where one of the tour stops had been scheduled, said on Monday that he had told Sheeran’s team that Macklemore wouldn’t be allowed to perform there.
Macklemore was subsequently dropped from the tour following pushback from unnamed venues that “will not allow a concert to take place with Macklemore on the lineup,” Rolling Stone reported on Monday.
At a Macklemore performance at MetLife Stadium in East Rutherford, N.J., earlier this month, the rapper declared “Free Palestine” before performing his 2024 song, “Hind’s Hall,” referring to Columbia University’s Hamilton Hall. Pro-Palestinian protesters occupied the building and unofficially renamed it for Hind Rajab, a 6-year-old Palestinian girl who was killed during the war in Gaza. Israel is investigating her killing.
Sheeran said Tuesday that he wasn’t behind the tour promoter’s decision to drop Macklemore.
“I am not complicit,” Sheeran wrote in a statement on Instagram Tuesday, saying that Macklemore leaving the tour “was the promoter’s decision, it was not mine.” It was Sheeran’s first public statement on the controversy.
Hours after Sheeran’s comments, acts began pulling out of the tour.
His backing band, Beoga, said in an Instagram post that it was leaving the tour “following the silencing of Macklemore by zionist lobbies.”
“We believe in dialogue as a means of progressing the plight of the Palestinian people,” they added. Beoga’s management did not immediately respond to requests for further comment.
Kraft’s decision to bar Macklemore from performing at Gillette Stadium in Foxboro, Mass. got the backing of the Jewish Community Relations Council of Greater Boston.
“Mr. Kraft drew a clear moral line in the sand about the demonization and offensive conduct that he will not allow in ‘his home’,” Jeremy Burton, the JCRC CEO, said, referring to the stadium. “He also showed leadership and complexity … by rejecting those who would diminish the suffering of innocent Palestine people.”
“This decision is not about diminishing the suffering of innocent Palestinians or denying anyone the right to advocate on their behalf,” Kraft had said in his statement. “Their pain and loss are real.”
Other acts scheduled to support Sheeran on the Loop tour, including Aaron Rowe, Finneas and Lukas Graham, also withdrew Tuesday. Rowe and Lukas Graham were supposed to replace Macklemore on the remaining U.S. dates, AP reported.
It’s not yet clear what the fate of the tour is, given the withdrawal of his backing band. At least one Israeli musician joked that he was ready to put together a replacement band for “unlimited beer.”
Sheeran’s own note added, “I am appalled by the conflict between Israel and Palestine.” The British singer-songwriter wrote that he had been “involved in direct talks” between Kraft and various promoters “to try and find a mutual resolution for all.”
Sheeran didn’t mention Jews in his statement, but noted, “I have always used my platform and music to bring people from all backgrounds and cultures together and this won’t ever change.”
He also had some veiled criticism of his tourmate’s methods. “Those who come to my shows do not expect a political forum,” Sheeran wrote. “I respect Macklemore’s strength of purpose to stand up for what he believes. However, there is room for multiple approaches to the same end: peace… If we only focus on shouting the loudest, nothing will ever change.”
The Israeli-American Council, which organized a boycott against Macklemore following his New Jersey show, criticized Sheeran in a statement to the Jewish Telegraphic Agency.
“It’s time to take responsibility for giving a stage to antisemitic messaging,” the IAC said, of Sheeran. “This isn’t just ‘criticism of Israel.’ It’s a message that crosses the line between legitimate political criticism and antisemitism. This is Ed Sheeran’s stage, it’s the tour that carries his name — and so the responsibility for what happens on it is his too.”
The post Ed Sheeran’s support acts bail on Loop Tour after Macklemore dropped appeared first on The Forward.
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Vance: Trump willing to ‘part ways’ with Netanyahu when necessary, and has often opposed him
(JTA) —
President Donald Trump has an unprecedented track record of opposing Israeli Prime Minister Benjamin Netanyahu when it comes to advancing the interest of the American people, Vice President JD Vance said during a virtual address Tuesday at a Los Angeles-based technology summit.
More than any president in the last 40 years Trump “has shown a willingness to actually part ways with ‘Bibi’ Netanyahu when he feels like the interests of the American people are different from the interests of the government of Israel,” Vance told the All-In Summit on technology.
The claim that Trump is the “one president” who would differ with Netanyahu is one that would surprise many watchers of the U.S.-Israel relationship.
The most significant U.S.-Israel rupture since 2009, when Netanyahu was first elected prime minister, was with President Barack Obama in 2015 over Obama’s nuclear deal with Iran.
Vance’s comments were the latest in a series he has made emphasizing the widening gulf between Jerusalem and Washington as November midterm elections approach and at a time when Netanyahu’s popularity in the United States is at a low after three years of Middle East wars.
A Pew poll from the end of March, when the United States was actively at war with Iran, found that 60% of U.S. adults unfavorably view Israel and that 59% lacked confidence in Netanyahu’s handling of world affairs, an increase of 7% in both categories.
Republicans are scrambling to shuck off unpopular policies and associations, fearing the party will lose control of Congress in the midterms, a result that would cripple Trump’s agenda in the final two years of his presidency.
“I find it a little ironic … that you have Democrats criticizing Donald Trump for his relationship with Bibi when Donald Trump is the one president of the last 40 years who’s been willing to say, you know what, yeah, Bibi is a good partner, but also Bibi and I have a different opinion on this, or Bibi’s wrong about this, or maybe Bibi’s right about this from the perspective of Israel. But the American people need us to go in a different direction,” Vance said.
Trump has often touted himself as the president who has done the most for Israel, including relocating his country’s embassy to Jerusalem and rupturing Obama’s Iran deal, during his first term in 2018 and securing the release of the Gaza hostages in 2025 during his second, nonconsecutive term. The war he and Netanyahu launched against Iran in February is the first ever joint U.S.-Israeli military action.
The friendship between the two leaders is a highly public one, with Netanyahu enjoying more White House visits than any other world leader. Each has made the close ties central to their electoral campaigns. Netanyahu pitches himself as the world leader most influential with Trump, while Trump’s evangelical base lauds his closeness with Israel.
Vance, however, has often taken a harsher line, including accusing Israel of trying to manipulate U.S. public opinion on the Iran war.
“Israel has been an important partner when it comes to military technology, when it comes to intelligence sharing, but also sometimes the United States doesn’t always agree with Israel,” Vance said on Tuesday.
Serious differences have emerged since the joint U.S.-Israel goals in the Iran war – to change the regime and end once and for all Iran’s potential to acquire a nuclear weapon – have foundered. Among these has been the U.S. decision to end the Iran war without a clear plan to block the Islamic Republic’s path to nuclear weapons and its agreement to enter into a civilian nuclear deal with Saudi Arabia, without insisting on a normalization deal with the Jewish state.
“We cannot let our Middle Eastern foreign policy be subservient to the state of Israel,” Vance told the All In Summit.
Vance has also ruffled American Jewish feathers by refusing to disavow media personality Tucker Carlson, who has promoted conspiracy theories about Israel and Jews.
Vance’s remarks rankled pro-Israel figures who have otherwise been supportive of Trump’s policies.
“American foreign policy should be subservient to no country,” Jonathan Schanzer, the executive director of the Foundation for the Defense of Democracies, an influential think tank that backed the Iran war, wrote on X. “Why does the VP feel compelled to call out Israel in this respect? Why not call out the Qataris, or the Saudis, or Ukraine? Odd how this keeps happening.”
Heather Johnston, a Christian evangelical who founded the U.S. Israel Education Association, accused Vance on X of catering to Israel haters.
“Our U.S. foreign policy has never been subservient to Israel’s foreign policy,” she said, attaching a clip of Vance’s remarks. “He knows that. Why would he need to say that unless he’s trying to politically gain some points with Israel haters?”
The accusation hit a nerve. Vance’s communications director Taylor Van Kirk quoted Johnston’s tweet, and posted the entire exchange on X. “Let’s all take a moment to actually watch this exchange in full, where the VP was specifically asked about Israel,” Van Kirk said.
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LA Federation sues museum for custody of looted paintings once hoarded by Hermann Göring
(JTA) — The Jewish Federation of Los Angeles and the heirs to a Jewish artist filed suit against a California museum to recover a pair of 16th-century oil paintings seized by the Nazis and held in the private collection of Hermann Göring.
Also on Monday, the daughters of Holocaust survivor Dina Gottliebova Babbitt sued the Auschwitz-Birkenau Museum to recover watercolors of Roma victims she was forced to paint for Josef Mengele, the physician who tormented and experimented on inmates at Auschwitz. The artist died in 2009.
The two lawsuits were filed at the end of the filing window under a 2024 California law that permits claimants in previously dismissed lawsuits to refile for the retrieval of looted artworks. The law permits claimants to recover personal property stolen as the result of “political persecution” when earlier lawsuits were dismissed on procedural grounds.
The federation is suing the Norton Simon Museum in Pasadena for the retrieval of a life-sized oil diptych of Adam and Eve by the German painter Lucas Cranach the Elder. In 1940, the Nazis seized the pair of paintings from their Jewish owner, the art dealer Jacques Goudstikker. The art wound up in the hands of Göring, the Nazi air force commander and convicted war criminal, along with about 800 other pieces from Goudstikker’s collection. The paintings eventually made their way to the Norton Simon in 1971.
In a press release, the Jewish federation said it would use the majority of the proceeds from the sale of the art to care for Los Angeles-based Holocaust survivors living in poverty. (A 2018 study from the Jewish Federations of North America found that one-third of Holocaust survivors in the United States are living below the poverty line.)
“By pursuing the recovery of the Cranachs, we are seeking to reverse a great injustice perpetrated by the Nazi theft of a Jewish family’s property, and securing the resources that will enable us to provide for the many needs of thousands of impoverished Holocaust survivors in the greater Los Angeles area so they can live in dignity for the remainder of their lives,” Rabbi Noah Farkas, president and CEO of the Los Angeles federation, said in a statement.
Goudstikker’s daughter-in-law, Marei von Saher, first sued the Norton Simon Museum in 2007, claiming the paintings belonged to her family. A 2018 ruling determined on procedural grounds that they belong to the museum.
In addition to the 2024 California law, Congress passed a law earlier this year that eliminated “state doctrine,” the principle that acts committed by foreign countries within their territory are immune from lawsuits, strengthening the cases for the heirs of Goudstikker and Babbitt.
Dina Babbitt in 2006, at work on a recreation of the “Snow White” mural that she painted in the children’s barracks at Auschwitz. Her family is seeking the recovery of the portraits she drew of Roma inmates at the concentration camp. (Lawrence Stern for The David S. Wyman Institute for Holocaust Studies)
Also in 2024, 21 countries agreed to updated guidelines for restituting Nazi-looted art, which specifies that works sold to the Nazis under duress are also considered looted or stolen property.
“I am grateful to the Jewish Federation Los Angeles and its Chairman Daniel Gryczman for taking up this cause and pursuing the recovery of Adam and Eve by Lucas Cranach the Elder,” von Saher said in a statement shared with the Jewish Telegraphic Agency. “This effort represents a meaningful step toward justice for Holocaust survivors and victims of Nazi era atrocities.”
Jewish federations rarely file lawsuits as the plaintiffs in a Nazi-looted art restitution case. The San Diego Jewish Federation was a co-plaintiff in a lawsuit in 2015.
JTA has reached out to the attorneys for the Jewish federation for comment.
The Pasadena museum held onto the Cranachs even as other works that had been looted from Goudstikker’s collection were restituted by the Dutch government in the decades since their seizure.
“After decades of litigation, court after court including the United States Supreme Court ha confirmed that the Norton Simon Art Foundation has proper title to Adam and Eve by Lucas Cranach the Elder,” a spokesperson for the Norton Simon Museum told JTA in a statement. “We will continue to make these important artworks accessible to the public, as we have since 1971.”
The spokesperson said the museum is reviewing the complaint, and referred to a 2016 court decision that placed the artworks in their possession.
Goudstikker first acquired the paintings at a 1931 Berlin auction hosted by the Soviet authorities, which also included many works previously owned by the Russian Stroganoff family. In 1940, after Jacques Goudstikker’s death, his collection was sold to the Nazis under duress — but no cash ever came to his family.
In the Norton Simon Museum’s online catalogue, provenance cards for the works say they were “[s]aid to have been in the Stroganoff Collection” and describe the transfer from Goudstikker to Göring as “appropriated 1940.”
The quest to restitute Goudstikker’s artwork began in 1946, when his wife Désiree, an opera singer, filed a claim in the Netherlands that was initially rebuffed. Though she was able to retrieve one painting just a few years later, all of the pieces that had been seized by Göring were kept in the Dutch national collections. In later years, more than 200 artworks were returned to von Saher’s possession.
But in 1961, George Stroganoff-Scherbatoff, a descendant of the aristocratic family whose works were sold en masse along with the Cranachs, claimed the diptych from the Dutch government. He later sold the works to the Norton Simon Museum for $800,000.
In the case of the Gottliebova drawings, a spokesperson from the Auschwitz-Birkenau Museum told JTA that the memorial was their appropriate home. “The drawings of Roma victims made in the camp must remain in the Memorial as part of the documentation of the crimes of Mengele,” the spokesperson for the state-run museum said.
“We fully understand the emotional approach of Dina Gottliebova’s family,” said the spokesperson, but “we express the deep conviction that the watercolors should remain at the Memorial.”
“The portraits of Roma victims are the few remaining fragments of the documentation made by Mengele as part of his criminal experiments,” the spokesperson continued. “Therefore, they should be treated as unique documents related to the history of Auschwitz.”
Earlier this month, an Argentine court ordered the restitution to van Saher of a looted painting, after the painting was spotted on a real estate website advertising the sale of a home of the daughter of a former Nazi official. The painting came from Goudstikker’s collection.
Earlier this year, a judge ruled that a painting by Italian artist Amedeo Modigliani, once valued at more than $25 million, must be returned to the descendants of its original owner, who was forced to sell the painting to the Nazis under duress.
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