Uncategorized
‘The Gett,’ a play about Jewish divorce, stems from an unlikely marriage between a Brooklyn synagogue and a theater company
(New York Jewish Week) — Despite being named for a Jewish bill of divorce, ‘The Gett” is a new off-Broadway play that began as a marriage between a Reform synagogue in Brooklyn and a West Village theater company that specializes in “diverse, challenging and provocative” works.
At Park Slope’s Congregation Beth Elohim, Associate Rabbi Matt Green had been trying to expand programming for “cultural Jews” — those who don’t necessarily feel religious or connected to a denomination, yet know they are Jewish and want to be Jewish.
Meanwhile, at the Rattlestick Theater, artistic director Daniella Topol had just put on a play about the Catholic nuns who started downtown’s St. Vincent’s Hospital in the 19th century, and wanted to direct a play about Judaism for her next project.
When Topol and Green were introduced in 2018 by Rosalee Lovett, who sat on the boards of both institutions, co-commissioning a play seemed like a natural fit — however unconventional.
The result is “The Gett: Or How a Woman Created Herself,” an original play produced by Congregation Beth Elohim and showing at the Rattlestick through Dec. 11. The 95-minute production — written by and starring Liba Vaynberg — centers on Ida, a recent divorceé navigating her relationship with herself, her mother, her ex-husband Baal, Judaism and God. With the plot points structured around the seven days of creation, Ida’s relationship with her Baal (in Hebrew the word can mean “master” or “husband”) is laced with a double meanings. The viewer can see the couple’s sometimes dangerous and sometimes loving relationship as a metaphor for the Jewish people’s relationship with God.
“These are organizations that have gone deeply into what they do and do it well,” Vaynberg told the New York Jewish Week. “CBE is bringing the best it has and Rattlestick is bringing the best it has — as opposed to a situation where everybody’s bringing half. It’s a very full marriage.”
“What’s powerful about this play is that it has been a really community-based development and a really thoughtful development in partnership between a synagogue and a theater,” said Topol, noting that this is the Rattlestick’s first-ever Jewish play, and first partnership with a synagogue.
Despite the biblical trappings in “The Gett” — which also stars Jennifer Westfeldt, Ben Edelman and Luis Vega — the play is funny and modern. “We’ve tried a number of different things, but so far, this is one of our greatest successes to offer content that’s serious for people who call themselves culturally Jewish,” Green told the New York Jewish Week. “It’s really important to me that this play fosters a broader conversation, even in some small way, about what our institutions can be doing differently.”
Performances have been full so far at the 99-seat theater, with CBE encouraging congregants to see the show by offering group trips and programming surrounding the play, including talkbacks with Rabbi Green that explore the Jewish themes in the show. On Friday night performances, CBE holds Kabbalat Shabbat gatherings with the audience before the show.
Ben Edelman and Liba Vaynberg in “The Gett.” (The Chamber Group)
“We tend to deride cultural Judaism as if it’s somehow flimsy, or unserious, but if you look at the Pew study, it’s the fastest growing self-identified demographic in our community,” added Green, who also leads Congregation Beth Elohim’s “Brooklyn Jews” cohort, which is a community of younger congregants who are looking to engage Judaism through culture, food and ritual. “Yet we spend very little time as a Jewish establishment trying to really understand what cultural Judaism is.”
Other recent efforts to include these “cultural Jews” include reading and discussion seminars on queer Jewish writers, a meditation group and, perhaps most notably, an “intergenerational mixer” held in partnership with the lifestyle brand “Old Jewish Men of New York,” which got a write-up in the New York Times Styles section.
As for theater, the play really stemmed from CBE and Rattlestick’s desire to work together after realizing their mutual ambitions and interests.
At the Rattlestick, “We really focus as a theater on finding ways to look at stories that deal with the complexity of our culture,” Topol said. “I had been thinking for a while that we wanted to do something that related to the complexity of the American Jewish experience.”
It was something the theater community clearly was interested in as well: When Topol and Green opened a call for submissions, they received over 100. Vaynberg’s play was selected in early 2020.
For Topol, who is Jewish but always saw her Judaism as separate from her directing career, it was a theme close to her heart. “In terms of what Jewish stories are represented on the stage, it feels like there’s some room to really explore some of those key questions that American Jews are wrestling with: identity, intermarriage, having children, ritual, how much do you carry on ritual or not, what your affiliation is or isn’t with Israel, with the Holocaust, with politics,” she said.
“It’s a swirl of all of those sorts of questions that felt kind of worth some creative expression in terms of the theater,” Topol added. (As it happens, “The Gett” will be the last play Topol directs in her six-year career with the Rattlestick — next, she will switch careers and study to become a nurse.)
Once Vaynberg’s play was selected in early 2020, the playwright unexpectedly had extra time to finesse the show. Due to the COVID-19 pandemic, the Rattlestick closed temporarily and put the production on pause.
Vaynberg used the extra time to increase community involvement. She spoke with several women who are synagogue members who had gone through a divorce. She and Green conducted several roundtable discussions and focus groups to further explore congregants’ Jewish identities and how it has manifested in their relationships.
Vaynberg and Green created a “chavrusa,” a study partnership, to explore biblical and religious implications of the questions she had about creation, Jewish marriage and divorce and how much power a person has in their relationship with God.
Some themes in the play probe the same questions about cultural Judaism that Green had been asking at CBE. Protagonist Ida, for example, deeply cares about her Judaism and Jewish identity, and yet has trouble explaining just why and how it’s so important to her on a date with a non-Jewish man.
“By going to this play, you are engaging with Judaism,” Green said. “It’s not just about inspiring people to be involved with Judaism, but actually, it is a Jewish act to see this play.”
“This isn’t something synagogues do — it’s sort of strange,” Green remarked. “We want to do things differently and we as a congregation, want to inspire other congregations, other Jews, to do things differently.”
—
The post ‘The Gett,’ a play about Jewish divorce, stems from an unlikely marriage between a Brooklyn synagogue and a theater company appeared first on Jewish Telegraphic Agency.
Uncategorized
New U2 album includes Israeli poem and a song about slain Palestinian activist
(JTA) — U2 frontman Bono delivered sharp criticism of Israeli Prime Minister Benjamin Netanyahu and lavish praise on Jewish tradition in an interview released Wednesday alongside the band’s new EP, titled “Days of Ash.”
The album — the first from U2 since 2017 — includes a song memorializing Palestinian activist Awdah Hathaleen, who was killed by an Israeli settler in the West Bank in July as well as a recitation of the anti-war poem “Wildpeace” by Israeli poet Yehuda Amichai.
“As with Islamophobia, antisemitism must be countered every time we witness it. The rape, murder and abduction of Israelis on Oct. 7 was evil,” Bono said. “But self-defense is not defense for the sweeping brutality of Netanyahu’s response, measured but the deaths of tens of thousands of Palestinians.”
Bono’s criticism of Netanyahu alongside the EP’s release comes months after the Irish artist broke his silence on the war in Gaza in August, writing at the time on social media that “the government of Israel led by Benjamin Netanyahu today deserves a categorical and unequivocal condemnation.”
In the immediate aftermath of Oct. 7, Bono had struck a different tone, standing out among other artists for paying tribute to the hundreds of “beautiful kids” murdered at the Nova music festival during a performance.
The new politically charged EP comprises six songs that address a series of high-profile deaths in recent years, including the killing of Sarina Esmailzadeh by Iranian security forces in 2022 and the fatal shooting of Renee Good by a U.S. Immigration and Customs Enforcement agent last month.
The Amichai recitation comes immediately before the song memorializing the death of Hathaleen, titled “One Life at a Time.”
In a wide-ranging interview about the band’s latest EP that accompanied its release, Bono lamented that Judaism was “being slandered by far-right fundamentalists from within its own community.”
He added, “While I’m someone who is a student of, and certainly reveres, the teachings in many of the great faiths, I come from the Judeo-Christian tradition and so I feel on safe ground when I suggest: There has never been a moment where we needed the moral force of Judaism more than right now, and yet, it has rarely in modern times been under such siege.”
Bono noted that another song on the EP, titled “The Tears of Things,” takes inspiration from a book of the same title by Richard Rohr, which Bono said made the case that “the greatest of the Jewish prophets found a way to push through their rage and anger at the injustices of the day … until they ended up in tears.”
Critiquing Netanyahu’s prosecution of the war in Gaza, Bono then cited the words of prominent Israeli historian Yuval Noah Harari, who has described the war in Gaza as a “spiritual catastrophe for Judaism itself.”
“As if all Jews are to blame for the actions of Netanyahu, Smotrich and Ben Gvir. … It’s insane, but the waters get even muddier when anyone criticizing the lunacy of the far right in Israel is accused of antisemitism themselves,” continued Bono.
The post New U2 album includes Israeli poem and a song about slain Palestinian activist appeared first on The Forward.
Uncategorized
HaKarot HaTov: Artificial Intelligence Can Never Replace Human Love and Wonder
Illustrative: Fourth grade students from Kibbutz Parod with certificates they received from the Israel Antiquities Authority for finding and turning in an ancient oil lamp. Photo: IAA.
One of the things that primary teachers regularly encounter is children calling them “mom” or “dad.” This is usually followed by serious embarrassment on behalf of the child, and possibly nervous laughter from their classmates.
Most teachers will just smooth incidents like this over, but the good ones will perhaps reflect on its underlying meaning — how in a very real sense for the child, they can temporarily become the child’s mother or father. It’s an expression of the incredibly important role teachers play in the lives of children, acting as the adult presence that bridges across from their family existence to their encounters with the larger world. This is what, unconsciously, children are tapping into when they mix up “mom” and “miss.”
Teachers are really important to kids — and the emotional investment that teachers make in children, and that children make in teachers, is enormous. Sometimes teachers can even provide the love and care that a child’s parents cannot. Teachers matter. Or at least they did.
What it seems the future holds, as AI models improve exponentially, is children each having their own AI-powered tutor responding in real time to their learning needs. AI’s ability to gauge the progress, challenges, and requirements of each child are likely far beyond anything a human teacher could ever hope to achieve. I don’t doubt that this is coming soon, and that many parents, and many governments, will be thinking of the undeniable benefits that these AI tutors will bring.
They don’t need a salary, they don’t need time off, and they can be there at any time of day. On top of that, millions of children are already using AI chat bots for emotional support. AI tutors will soon combine academic and emotional and pastoral support in one package. Unlike human teachers, they will never get tired, or angry, or disappointed, or get distracted from their charges’ needs.
We might wonder why any of this might be a problem. In a near future where robots will care for the elderly, do our shopping, and undertake surgery, and other AI bots will be our lawyers and accountants, as they already are our software engineers, why does it matter if children are taught by AI tutors?
Perhaps it doesn’t. Perhaps children and parents won’t be able to tell the difference, or even care if they can. Having human teachers won’t be important. Maybe we will just need a few humans to check if the AI tutors are on track to ensure that the kids of the future (or the kids of next year) learn enough to read and write, and to count well enough so that they don’t spend their universal basic income all at once.
I had a friend who was a great teacher who taught in Jewish schools in London. He died a decade ago, far too young. He was dyslexic and he told me how he used to share this with his pupils and get them to help him with his spelling on the board. A small thing perhaps, but I just think how much this communicated to those young people — about dealing with adversity, compassion, and empathy. I also remember how, when I was walking with him, we might bump into some of his old pupils. Always, they were so pleased to see him.
He was still “sir,” someone important in their lives, who had helped them navigate the path from their families, out to the world as independent adults. There was also, I would venture, something there that no robot teacher or AI tutor could ever truly have. That thing was love. The love that teachers bring to their work, that drives their professionalism and their commitment and care for the next generation.
Children know that teachers are not parents — that they only come into their lives for a short time and then leave. Yet they also know that just like their parents, teachers can love and care about them — really care about what happens to them. Children also learn how adults apart from their parents can, like my friend, not be perfect, and not know everything, but still set an example through their own behavior, and push them to achieve or keep going, even when it is challenging. They can feel how this connection with adults, with other human beings, molds and creates their adult selves.
Another thing that my friend’s pupils had was gratitude. As Dostoevsky wrote, gratitude is a fundamentally human quality, because someone has to give it, and someone has to receive it. But Judaism recognized this decades before the Russian literary geniuses of the 19th century.
The Jewish concept of HaKarot HaTov or “Recognizing the Good” means gratitude, but it also implies something transcendent — the wonder of just taking the time to stop and reflect on what we have. HaKarot HaTov teaches us that it’s through gratitude to other people that we come closer to G-d. Large language models and algorithms don’t have aims, or desires, or feelings. They can’t love. AI tutors quite literally are incapable of caring whether the children they work with live or die. They can’t receive gratitude from their students, or give it, not really, because there is no “them.” Perhaps we should think more than twice before we sign up to an education system where children have no one to say thank you to.
Joseph Mintz is Professor of Inclusive Education at UCL. Follow him @jmintzuclacuk. His views are his own and do not reflect those of his employers.
Uncategorized
The Palestinian Authority Just Paid ‘Pay-for-Slay’ Salaries to 8,000 Terrorists
The opening of a hall that the Palestinian Authority named for a terrorist who killed 125 people. Photo: Palestinian Media Watch.
The mask is off: The Palestinian Authority (PA) announced that 8,000 terrorist prisoner pensioners would receive their monthly Pay-for-Slay “pension” salary this week — and confirmations of receipt of the deposits are already being observed over social media.
A Palestinian social media post confirming Pay-for-Slay payments have gone out.
The minimum amount for such salaries is 4,000 shekels for terrorists who spent five years in prison. Going by that minimum, the PA just paid these terrorists — which constitute only one third of all Pay-for-Slay recipients — at least 32 million shekels — over US $10 million.
However, in actuality, this most conservative estimate is far lower than the amount that was likely paid out, as some of the more infamous terrorists released in recent hostage deals have spent 30 or more years in prison. Terrorists with such status receive at least 12,000 shekels each month.
A chart detailing Palestinian payments to terrorists.
One year after PA President Mahmoud Abbas promised the US, Canada, UK, Australia, and the EU that he was ending Pay-for-Slay, there is no escaping the fact that this was just another deception and a lie.
The PA remains an unreformed sponsor of terror.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.