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The hora, the hora! How Jewish wedding music got that way
(JTA) — When my wife and I were planning our wedding, we thought it might be cool to hire a klezmer band. This was during the first wave of the klezmer revival, when groups like The Klezmatics and The Klezmer Conservatory Band were rediscovering the genre of Jewish wedding music popular for centuries in Yiddish-speaking Eastern Europe.
Of course we also wanted to dance to rock ‘n’ roll and needed musicians who could handle Sinatra for our parents’ benefit, so we went with a more typical wedding band. Modernity won out over tradition.
Or did it? Musician and musicologist Uri Schreter argues that the music heard at American Jewish weddings since the 1950s has become a tradition all its own, especially in the way Old World traditions coexist with contemporary pop. In a dissertation he is writing about the politics of Jewish music in the early postwar period, Schreter argues that American Jewish musical traditions — especially among secularized Conservative and Reform Jews — reflect events happening outside the wedding hall, including the Holocaust, the creation of Israel and the rapid assimilation of American Jews.
That will be the subject of a talk he’ll be giving Monday for YIVO, titled “Yiddish to the Core: Wedding Music and Jewish Identity in Postwar New York City.”
Because it’s June — and because I’m busy planning a wedding for one of my kids one year from now — I wanted to speak to Schreter about Jewish weddings and how they got that way. Our Zoom conversation Wednesday touched on the indestructibility of the hora, the role of musicians as “secular clergy” and why my Ashkenazi parents danced the cha-cha-cha.
Born in Tel Aviv, Schreter is pursuing his PhD in historical musicology at Harvard University. He is a composer, pianist and film editor.
Our conversation was edited for length and clarity.
I was struck by your research because we’re helping to plan a child’s wedding now. It’s the first wedding we’ve planned since our own, and we’re still asking the same questions, like, you’ve got to make sure the band can handle the hora and the Motown set and, I don’t know, “Uptown Funk.” Your research explores when that began — when American Jewish weddings began to combine the traditional and secular cultures.
In the period that I’m talking about, post-World War II America, this is already a fact of life for musicians. A lot of my work is based on interviews with musicians from that period, folks now in their 80s and 90s. The oldest one I have started playing professionally in 1947 or ’48. Popular American music was played at Jewish weddings as early as the 1930s, but it’s a question of proportion — how much the wedding would feature foxtrots and swing and Lindy Hop and other popular dance tunes of the day, and how much of it is going to be klezmer music.
In the postwar period, most of the [non-Orthodox] American Jewish weddings would have featured American pop. For musicians who wanted to be in what they called the “club date” business, they needed to be able to do all these things. And some “offices” — a term they used for a business that books wedding bands — would have specialists that they could call on to do a Jewish wedding.
You’re writing about a period when the Conservative movement becomes the dominant American Jewish denomination. They have one foot in tradition, and the other in modernity. What does a wedding look like in 1958 when they’re building the big suburban synagogues?
The difference is not so much denominational but between the wide spectrum of Orthodoxy and the diverse spectrum of what I describe as “secular.”
Meaning non-Orthodox — Reform, Conservative, etc.?
Right. Only in the sense that they are broadly speaking more secular than the Orthodox. And if so they are going to have, for the most part, one, maybe two sets of Jewish dance music — basically a medley of a few Jewish tunes. You might have a wedding where it could be a quarter of the music or even half would be Jewish music, but this would be for families that have a much stronger degree of attachment to traditional Jewish culture, and primarily Yiddish culture.
There’s a few interrelated elements that shape this. Class is an important thing. For lower class communities in some areas, and I am talking primarily about New York, you’d have communities that are a little bit more secluded, probably speaking more Yiddish at home and hanging out more with other Jewish people from similar backgrounds. So these kinds of communities might have as much as a third or half of the music be Jewish, even though they consider themselves secular. It’s actually very similar to an Orthodox wedding, where you might also have half and half [Jewish and “American” music].
Jews in the higher socioeconomic class might, in general, be more Americanized, and want to project a more mainstream American identity. They might have as little as five minutes of Jewish music, just to mark it that they did this. Still, it’s very important for almost all of them to have those five minutes — because it’s one of the things that makes the wedding Jewish. I interviewed couples that were getting married in the ’50s, and a lot of them told me, “You need to have Jewish dance music for this to be a Jewish wedding.”
Composer and pianist Uri Schreter is pursuing his PhD in historical musicology at Harvard University. (Nicole Loeb)
When I was growing up in the 1970s at a suburban Reform synagogue on Long Island, klezmer was never spoken about. I don’t know any parents who owned klezmer albums. Then when I got married a decade later, it was in the middle of the klezmer revival. Am I right about that? Were the ’50s and ’60s fallow periods for klezmer?
You’re definitely right. Up until the mid-1920s, you still have waves of immigration coming from Eastern Europe. So you still have new people feeding this desire for the traditional culture. But as immigration stops and people basically tried to become American, the tides shift away from traditional klezmer.
The other important thing that happens in the period that I’m looking at is both a negative rejection of klezmer and a positive attraction to other new things. Klezmer becomes associated with immigrant culture, so people who are trying to be American don’t want to be associated with it. It also becomes associated with the Holocaust, which is very problematic. Anything sounding Yiddish becomes associated for some people with tragedy.
At the same time, and very much related to this, there’s the rise of Israeli popular culture, and especially Israeli folk songs. A really strong symbol of this is in the summer of 1950, when the Weavers record a song called “Tzena, Tzena,” a Hebrew Israeli song written in the 1940s which becomes a massive hit in America — it’s like number two in the Billboard charts for about 10 weeks. Israeli culture becomes this symbol of hope and the future and a new society that’s inspiring. This is all in very stark contrast to what klezmer represents for people. And a lot of the composers of Israeli folk song of its first decades had this very clearly stated ideology that they’re moving away from Ashkenazi musical traditions and Yiddish.
So the Jewish set at a wedding becomes an Israeli set.
At a typical Conservative wedding in the 1950s and ’60s, you might hear 10 minutes of Jewish music. The first one would be “Hava Nagila,” then they went to “Tzena, Tzena,” then they would do a song called “Artza Alinu,” which is today not very well known, and then “Hevenu Shalom Aleichem.” They are songs that are perceived to be Israeli folk songs, even though if you actually look at their origins, it’s a lot murkier than that. Like two of the songs I just mentioned are actually Hasidic songs that received Hebrew words in pre-state Palestine. Another probably comes from some sort of German, non-Jewish composer in 1900, but is in Hebrew and is perceived to be a representation of Israeli culture.
But even when the repertoire already represents a shift towards what’s easier to digest for American Jewry, the arrangements and the instruments and the musical ornamentation are essentially klezmer. The musicians I spoke to said they did this because they felt that this is the only way that it would actually sound Jewish.
That is to say, to be “Jewish” the music had to gesture towards Ashkenazi and Yiddish, even if it were Israeli and Hebrew. As if Jews wanted to distance themselves from Eastern Europe — but only so far.
Someone like Dave Tarras or the Epstein Brothers, musicians who were really at the forefront of klezmer in New York at the time, were really focused on bringing it closer to Ashkenazi traditions. Ashkenazi Jewish weddings in America are not the totality of Jewish weddings in America, and Israeli music itself is made up of all these different traditions — North African, Middle Eastern, Turkish, Greek — but in effect most of the really popular songs of the time were composed by Ashkenazi composers. Even “Hava Nagila” is based on a melody from the Sadigura Hasidic sect in Eastern Europe.
Of course, if you’re a klezmer musician you’re allergic to “Hava Nagila.”
Then-Vice President Joe Biden dances the hora with his daughter Ashley at her wedding to Howard Krein in Wilmington, Delaware on June 2, 2012. (White House/David Lienemann)
You spoke earlier about Latin music, which seemed to become a Jewish thing in the 1950s and ’60s — I know a few scholars have focused on Jews and Latinos and how Latin musical genres like the mambo and cha-cha-cha became popular in the Catskill Mountain resorts and at Jewish weddings.
Latin music is not exclusively a Jewish thing, but it’s part of American popular culture by the late 40s. But Jews are very eagerly adopting it for sure. In the Catskills, you would often have two separate bands that alternated every evening. One is a Latin band, one is a generic American band playing everything else. And part of that is American Jews wanting to become American. And how do you become American? By doing what Americans do: by appropriating “exotic” cultures, in this case Latin. This is a way of being American.
Jews and Chinese food would be another example.
And by the way, in a similar vein, it also becomes very popular to dance to Israeli folk songs. A lot of people are taking lessons. A lot of people are going to their Jewish Y to learn Israeli folk dance.
I’ve been to Jewish weddings where the “Jewish set” feels very perfunctory — you know, dance a hora or two long enough to lift the couple on chairs and then let’s get to the Motown. Or the Black Eyed Peas because they were smart enough to include the words “Mazel Tov!” in the lyrics to “I Gotta Feeling.”
So that’s why we always hear that song! I will say though, even when the Jewish music appears superficial, it does have this deeper layer of meaning. It’s very interesting how, despite all these changes, and despite the secularization process of American Jewish weddings, the music still connects people to their Jewishness. These pieces of music are so meshed with other religious components. Of course, most people see this as secular. But a lot of people connect to their Jewish identity through elements such as Jewish music, Jewish food, certain Jewish customs that are easier to accommodate in your secular lifestyle, and the music specifically has this kind of flexibility, this fluidity between the sacred and the profane.
That’s beautiful. It sort of makes the musicians secular clergy.
It’s interesting that you say that. In his history of klezmer, Walter Zev Feldman refers to the klezmer — the word itself means “musician” — as a kind of a liminal character, an interstitial character between the secular and the mundane. The music is not liturgical, but when the klezmer or the band is playing, it is an interval woven with all these other religious components and things that have ritual meaning.
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Israel just quadrupled its PR budget to $730M. Experts say it won’t work.
(JTA) — Israel is betting nearly three-quarters of a billion dollars that it can talk its way out of a reputation crisis.
Lawmakers in Jerusalem approved a 2026 national budget last month that includes roughly $730 million for public diplomacy — the broad category known in Hebrew as hasbara — more than four times the $150 million they allocated the year before. That earlier sum was itself about 20 times what Israel had spent on such efforts before the war in Gaza broke out in 2023.
The unprecedented expenditure comes as survey after survey show declining support for Israel in the United States, its most important ally. A Pew Research Center poll released earlier this month found 60% of Americans now view Israel unfavorably, up seven points in a single year, with only 37% viewing it favorably.
Most striking for a country long accustomed to bipartisan American support: 57% of Republicans under 50 hold negative views of Israel. Support has cratered among the religiously unaffiliated, Black Protestants and Catholics. Among American Jews, support has slipped below two-thirds.
On social media, the Hebrew word “hasbara” has become a dismissive shorthand for pro-Israel advocacy, indicating how widely known Israel’s uphill efforts to shape its image have become.
Congress is increasingly reflecting this drop in public support. Earlier this month, 40 of 47 Senate Democrats voted to block a $295 million sale of Caterpillar bulldozers to Israel, and 36 voted to block a sale of 1,000-pound bombs, representing the strongest congressional rebuke of U.S. military aid to Israel on record.
Israel’s foreign minister, Gideon Sa’ar, says the country is engaged in a global war for hearts and minds and it must spend accordingly.
“We had a major breakthrough this year, but we must as a country invest much much more,” Sa’ar said in December as the government entered budget deliberations. “It should be like investing in jets, bombs and missile interceptors. In the face of what’s arrayed against us and what’s invested against us, it’s far from enough. This is an existential issue.”
Alongside the budget, Sa’ar won approval for a dedicated public diplomacy unit inside the Foreign Ministry, headed by a director equivalent in rank to the ministry’s top political official — a structural consolidation meant to end years of scattered hasbara work across rival ministries.
Public filings, Knesset testimony and Israeli business reporting show where a portion of the 2025 allocation went.
A $50 million international social-media ad buy was split across Google, YouTube, X and Outbrain. Roughly $40 million went to hosting 400 foreign delegations — lawmakers, pastors, influencers, university presidents. A “media war room” was erected to monitor 250 outlets and 10,000 daily Israel-related items.
The Foreign Ministry also signed a $1.5-million-a-month contract with former Trump campaign strategist Brad Parscale’s firm to deploy AI tools against antisemitism online, a $4.1 million campaign aimed at evangelical churches, and the “Esther Project,” a paid influencer network running up to $900,000 through a PR firm called Bridges Partners.
The Israeli Foreign Ministry did not respond to repeated requests for interviews and comment.
Defending the approach, Consul General Israel Bachar, Jerusalem’s top diplomat in Los Angeles since 2023, said in an interview that most of the money so far had gone into social media and delegations. His post oversees seven Western states and one of the largest Israeli expatriate populations in the world.
“We flew a lot of delegations to the country — whether it’s pastors, whether it’s politicians, universities,” Bachar said. “Everyone who returns from the country understands better and is more supportive. But you have to fly out a lot of people.”
A veteran Israeli political strategist before his consular appointment, Bachar argued the anti-Israel shift in the United States is not primarily a messaging failure. He pointed instead to “sociological changes in America that have nothing to do with us” that are “being used against us.”
He called the situation a complex problem with “no silver bullet,” and said he favors additional spending on what he called “productions” in the United States — sitcoms, documentaries, feature films that touch on Israeli themes — alongside the ad buys and influencer work.
Ask the people who study public diplomacy for a living whether any of this will work, and the answer is, overwhelmingly, skeptical.
Their central objection is that no amount of messaging can outrun entrenched rejection by its target audiences of Israel’s armed response to conflicts with its neighbors.
“My position is that history shows all the money in the world won’t help if the policy is wrong,” said Nicholas Cull, a professor of communication at the University of Southern California and one of the founders of the study of public diplomacy. “The U.S. discovered that in Vietnam when its own Cold War public diplomacy budget peaked.”
Cull coined the term “reputational security” to describe the argument Sa’ar is implicitly making — that a country’s standing is itself a strategic asset worth serious investment.
“It means protecting the country both by accentuating positive images and by eliminating negative realities,” Cull said. “I suspect that the government of Israel will be unable to sell its solutions to the world when so many of its own people dispute the validity of those solutions, and where the domestic consensus is wide of the international understanding of realities on the ground.”
The polling tells a similar story, according to a scholar who has been tracking it longer than almost anyone else.
“There has been a paradigmatic shift that has taken place in America about Israel,” said Shibley Telhami, a political scientist at the University of Maryland, who has surveyed American and Arab attitudes toward Israel for decades. “I have been tracing shifts, particularly among Democrats, for a decade and a half. I have never seen a shift like the one we’ve seen.”
Born in Israel to an Arab family, Telhami was long a two-state advocate operating within the American foreign policy mainstream before moving considerably leftward in recent years.
He described a new “Gaza generation” — a majority of young Americans who, his polling shows, now see Israel as committing genocide and who see the United States as implicated in it.
Telhami said the moment reminded him of a previous episode. He served on the U.S. Advisory Commission on Public Diplomacy in 2005, when Washington tried to spend its way out of the reputational damage of the Iraq War with campaigns aimed at Muslim audiences.
“Our conclusion was, it’s the policy, stupid,” he said. “Yes, you can do a lot with public diplomacy, and there are strategies that could help on the margins. But they’re only going to affect a small percentage, because the bulk of the impressions on issues that people care about are shaped by the actual policies, not how well you sell those policies.”
Many Israelis believe the country has simply never told its story well enough, and that with enough money and the right platforms, it can. But the conventional wisdom that Israel has not been active on the frontiers of public diplomacy simply isn’t true, according to Ilan Manor, a senior lecturer at Ben-Gurion University who has long studied the Foreign Ministry’s online presence.
Israel was one of the first countries in the world to build a global digital-diplomacy operation, Manor said. Before Oct. 7, he said, its accounts reached roughly a billion people, a scale rivaled only by the United States.
“The problem is not that we lack infrastructure. The problem is not that we lack skill,” Manor said. “The problem is that people don’t believe the state anymore. And that’s a much, much deeper problem that no amount of money is going to repair.”
He calls it a credibility gap, borrowing the term American reporters used for Lyndon Johnson’s Vietnam-era statements. “If you’re not a credible spokesperson, if you’re not a credible state, it doesn’t matter how good your message is,” Manor said. “It doesn’t matter how viral it might get. It doesn’t matter how many likes you get.”
The credibility problem is now compounding itself. As disclosures have revealed Israeli contracts with influencers, shell websites, and AI-driven campaigns, pro-Israel posts on American social media routinely draw comments accusing the poster of being a paid foreign agent, whether they are or not.
Similar concerns come from inside the pro-Israel branding world. Joanna Landau, founder of the Tel Aviv–based Israel branding nonprofit Vibe Israel, has spent more than a decade flying international influencers to Israel on lifestyle-focused trips. She said she was not available for an interview but has laid out her views in a recent series of essays on her Substack, “Reputation Nation.”
Landau called the 2026 allocation “a long overdue course correction” but warned that structural failures would swallow the money. “Israel’s narrative has no single strategic owner,” she wrote, noting that messaging responsibility is scattered across the Foreign Ministry, the Prime Minister’s Office, the Diaspora Affairs Ministry, the Government Press Office and the IDF.
According to the government’s own announcements, she added, most of the new funding is slated for “tactical activity” — “the same tools Israel has relied on for years, only now with many more zeros.” Her conclusion: “A large budget poured into a broken system produces scale, not strategy.”
The spending does vault Israel into the same league as some of the world’s largest public diplomacy operations, according to Landau.
Exact comparisons are hard to make, and there are no widely accepted figures for what different countries spend on public diplomacy — the work is scattered across culture ministries, state broadcasters, foreign affairs budgets, and intelligence agencies, often without a single label.
Germany, for example, funds Deutsche Welle, its international broadcaster, and the Goethe-Institut, its global network of cultural centers, at hundreds of millions of dollars a year, but both operate independently of the government. Britain spends around $450 million on the BBC World Service and millions more on international scholarships, also at arm’s length from direct messaging. The United States allocates an estimated $2.3 billion through State Department programs and the U.S. Agency for Global Media. China’s public diplomacy spending has topped $10 billion. Qatar has built Al Jazeera into a global network through state funding whose full scope is not publicly disclosed.
Israel, a country of roughly 10 million people, is now set to spend on its global image at a scale normally associated with much larger countries.
It may be too late, according to one Israeli scholar who has argued for two decades that Israel chronically underinvests in public diplomacy.
Eytan Gilboa, a professor of international communication at Bar-Ilan University, said he welcomes both the larger sum and its consolidation inside the Foreign Ministry, which he said Prime Minister Benjamin Netanyahu had deliberately “dried up” in favor of rival ministries.
But Gilboa agrees the current moment may be beyond repair.
“This is the worst crisis in Israel’s image abroad,” he said. “In the past, we have seen criticism of Israeli policy. Since Oct. 7, we have seen a rejection of Israel’s right to exist.” He argued that Israel has lost a generation of Americans, calling it “highly dangerous, because these people are going to be the next politicians, elites, journalists.”
“Perhaps $730 million is not enough,” Gilboa said. “You have to establish a mechanism, a system that would systematically address all the challenges. I am quite pessimistic.”
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A synagogue helped Palestinians raise money for Gaza — and found common ground over falafel
(JTA) — Six months after first sitting down with Dr. David Hasan for a meal, Rabbi Daniel Greyber returned to the table on Tuesday — this time bringing congregants from his synagogue to support Hasan’s work helping children in Gaza.
So many members of Beth El Synagogue wanted to attend the fundraiser at the Palestinian-owned Mediterranean Deli in Chapel Hill, North Carolina, that the Conservative congregation asked them to sign up for shifts.
Between tables piled high with falafel and hummus, the daylong fundraiser offered an uncommon scene at a time when the war in Gaza has often strained relations between Muslim and Jewish communities.
Beth El had previously backed relief efforts for Israel, including raising $175,000 for Magen David Adom after Oct. 7, while also supporting humanitarian aid in Gaza through World Central Kitchen and Israeli-Palestinian dialogue initiatives such as Roots in the West Bank.
But Tuesday’s event marked the first time the congregation had participated in a Palestinian-led fundraiser for Gaza — a rarity for American synagogue communities and a move that Greyber said he’d had to defend to critics.
For the rabbi, the groundwork for the fundraiser was laid last fall, when he met Hasan at a Sukkot dinner hosted by Sophia Chitlik, a Jewish Democratic North Carolina state senator.
At the time, Greyber said he and other local Jewish leaders were “incredibly moved and incredibly impressed” by the work of Hasan, whose nonprofit, The Gaza Children Village, provides food, medical care, education, and trauma support to children in Gaza.
Through his nonprofit, Hasan, a Palestinian-American, has also created schools in the besieged enclave, where he offers a modified curriculum that promotes peace and reconciliation, and an alternative to the anti-Israel education he says has long dominated Gaza’s schools.
“Obviously he has support from so many different places around the world for the project, we wanted to ask ourselves: What could we do locally,” Greyber said.
Shortly after their introduction, Greyber invited Hasan to speak at his synagogue in November. There, Hasan shared that he had sought information about the Israeli hostages while working in hospitals in Gaza in April 2024.
That story carried particular weight at Beth El, where congregants had spent 484 days praying for the release of Keith Siegel, an Israeli hostage whose mother, Gladys Siegel, had long been a central figure in the synagogue community. Keith Siegel was released in January 2025.
As Greyber forged ties with Hasan, so did Jamil Kadoura, the owner of Mediterranean Deli, who spent part of his childhood living in a Palestinian refugee camp after the Six-Day War.
Mediterranean Deli has long been a fixture in the local Jewish community, with the restaurant serving as a caterer for lifecycle events at Beth El for many years. After the restaurant burned down in an accidental fire in July 2023, Beth El posted on Facebook urging its congregants to donate to a relief fund.
“My restaurant delivers Middle Eastern food, so it attracts customers from both sides,” Kadoura said. “I have Israelis that come and eat here. I have all walks of life, and, you know, they seem to like our food and come and eat…I think it’s a good thing, and I hope we would do as much as we can.”
In the lead-up to the fundraiser Tuesday, Greyber praised Kadoura and his restaurant in a social media post, writing, “If there is hope in the world, it is found in places like Mediterranean Deli, Bakery and Catering and people like Jamil Kadoura. I am grateful to God for his friendship and presence in my life and that of my community.”
Kadoura said that he had previously hosted fundraisers at the restaurant, including for Pakistani flood relief and Syrian refugees, adding that his own experience in a refugee camp, where he said he received aid from both Jews and Muslims, shaped his desire to help others in need.
“I feel like people need help, like I needed help when I was in that refugee camp, and when people come and feed us,” Kadoura said. “Jewish and Muslims.”
Kadoura said he approached Hasan with the idea for the fundraiser, which he saw as an opportunity to bring together communities that have often found themselves divided in recent years.
“I said I would like to do a fundraiser for your organization, but what I also like to do is bring the Jews and the Muslims and the Palestinians together, because there’s a lot of Jews and Palestinians in the area that are striving for the same goal — peace and love and an end to all this misery,” Kadoura said.
When Kadoura reached out to Greyber, a longtime friend, for his congregation’s support, Greyber replied that the synagogue would be “honored” to participate.
“I think it’s a powerful and important model, you know, that we don’t let what’s happening across the world tear apart the communities that we are living in,” Greyber said.
He said his community had rallied around Hasan and helped provide a support network for his family in Durham, in part because his work, which has included partnerships with Israeli NGOs, had been “vilified by people who purport to be a pro-Palestinian community.”
Hasan’s work in Gaza began on a medical mission in December 2023, where he saw firsthand the devastation inflicted on children by the rapidly widening war. During that trip, Hasan told the New York Times he performed 20 operations in ten days, often without anesthetics or antiseptics, but that all of his patients eventually died from infections.
Since founding the Gaza Children Village last April, the nonprofit has built six “Academy of Hope,” which provide Palestinian children with daily education, meals, healthcare, and psychosocial support.
But while many nonprofits serving Palestinians affected by the war have faced allegations of ties to Hamas, Hasan has set his work apart through partnerships with Israeli organizations and a stated focus on coexistence, principles that have at times earned him the ire of some Palestinians who say his work is too aligned with the Jewish state.
“I try really hard to stay neutral,” Hasan told the Religion News Service in February. “I do not use any words like ‘war crimes’ or ‘genocide,’ because it’s not my position. I’m not a lawyer. There are courts out there that describe that. I describe events I saw. I show pictures, I don’t use subjective words.”
During his remarks at the restaurant Tuesday evening, Hasan announced that the proceeds would go to children in both Israel and Gaza who had been orphaned by Oct. 7, telling the crowd gathered that his work was motivated by one principle: “Never again for both sides.”
“We led this rehabilitation in Gaza, bridging between Israelis and Gazans, and it started here in Durham,” Hasan told the crowd, according to footage shared with JTA by Greyber. “And your action today — this is one of the very, very, very few events that have people from synagogue, mosque and are getting together and for once, just eating and hanging out. I can’t tell who’s Arabic and who’s Jew.”
Greyber said that Hasan also told attendees that he would be hosting a camp this fall in Italy for both Israeli and Palestinian orphans of the war.
While Greyber said he had received some concerns about the fundraiser from members of the broader Jewish community, as well as his friends in Israel, over the potential that aid would fall into the hands of Hamas, he said he assuaged their concerns by explaining that Hasan had himself been threatened by Hamas, and had worked to keep the terror group far from his operations.
“I understand their concerns, but, you know, in the end, I think this is a project that’s worthy of the Jewish community’s support,” Greyber said. “And one of the things that’s very important is that there are many people in the local Muslim community who are supporting this.”
Indeed, Greyber said that he had received a voicemail on Monday from a local Muslim community member who told him “how moved he was, that our synagogue was supporting this.”
Hasan’s wife, Lauren Hasan, who worked as a trauma surgeon, said that when she arrived at the fundraiser at 6 p.m., it was packed with attendees.
“Honestly, it was by all accounts an incredible success,” Hasan told JTA over text. “There were people from all walks of life: Muslims, Jews, Christians sitting at tables and sharing a meal. And at the end of the day, that is a microcosm of the reality my husband and I want to see.”
For Greyber, his congregation’s support for the fundraiser underscored the complicated reality that many American Jewish communities have grappled with since Oct. 7.
“Like every American Jewish community, the past two and a half years have been excruciating and have torn — have certainly stretched the seams that hold our community together,” Greyber said. “I think we have people who are deeply, deeply committed to Israel and its wellbeing, and we have people who are deeply committed to and carry with them the destruction that has happened to the community in Gaza.”
Addressing those divides, Greyber said his congregation had long approached the conflict “beginning from a place of care and relationship for actual people,” a mindset he said was shaped by the synagogue’s late matriarch, Gladys Siegel.
“Many, many people in our community carry both of those things in their hearts, right? And it’s not one or the other, they carry both,” Greyber said. “And, you know, I’ve done my best to try to keep our hearts big enough and soft enough to carry those concerns.”
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This Jewish feminist has been the NYC’s sanitation department’s official artist for 50 years. A new movie tells her story.
(JTA) — In 1976, deep in New York City’s fiscal crisis, the artist Mierle Laderman Ukeles read a review of her conceptual work in the Village Voice. In his review, critic David Bourdon made a radical suggestion inspired by Ukeles’ thesis: What if municipal work, like the Sanitation Department, were conceptual art? Could it get funded by grants, instead of by the city?
Ukeles presented the idea to Sanitation Department commissioner Anthony T. Vaccarello, who invited her to create art for 10,000 sanitation workers. The job would be unpaid. And, it turns out, she would keep it for nearly 50 years and counting.
Now 86, Ukeles is the subject of the documentary film “Maintenance Artist” directed by Jewish filmmaker Toby Perl Freilich, which made its New York theatrical release last week at the IFC Theater in Greenwich Village.
The title refers to Ukeles’ 1969 manifesto, which declared that the everyday activities often relegated to women — cooking, cleaning, changing diapers — were “maintenance art.”
But the movie spans all of Ukeles’ career, looking at her role as the artist-in-residence at the New York City Sanitation Department to her early activism on behalf of Tanzanian independence. The throughline, Ukeles says, has been a belief — rooted in her Jewish identity — that people are more than the roles that society assigns to them.
“As a Jew, I was in love with the notion of freedom,” Ukeles said in an interview. “This message of art as freedom, I felt that’s what I’m about. That’s what I’m for.”
As artist-in-residence, Ukeles plans, stages, and records public works of performance and conceptual art that recognizes the workers of the Sanitation Department. After the piece’s initial staging, photos from the performance might be shown at a museum or gallery.
Despite having been coined New York’s “trash artist” because of her Sanitation Department role, Ukeles does not actually dig in dumpsters or landfills to create her work. But much of her art has mined something else: her Jewish values, as the daughter of an Orthodox rabbi who herself has divided time between New York and Israel.
Some of her pieces have included conceptual and interactive works focusing on Jewish themes and traditions, such as the creation story and the mikvah, or ritual bath.
A 2010 interactive piece “Birthing Tikkun Olam,” for example, invited onlookers to reflect in an installation of glass mirrors, then make a “covenant” to repair the world. Their responses were collected and exchanged for a mirror in the piece, which she staged at the Yeshiva University Museum.
“The site of the art is going to move out into the world, and with it, the acts that you will do,” Ukeles told the university’s newspaper at the time.
Though Ukeles does not consider herself a Jewish artist, because she prefers to avoid being categorized as such, she observes Shabbat — even turning down a stint in the Peace Corps and Friday-night gallery openings to maintain her observance. She lives in Israel, where she advises art students at the Bezalel Academy Academy of Art and Design and attends a “partnership” minyan that aims to widen women’s participation in Orthodox Judaism.
“I have many deep beliefs in great Jewish ideas and commitments,” Ukeles said.
For Freilich, the daughter of Polish Holocaust survivors and a descendant of Hasidic dynasties who is herself an observant Jew, Ukeles’ identity was core to why she became so transfixed by the artist that she decided to make a movie about her.
“Her reading of Jewish texts, her reading of Jewish philosophy, of Judaism was profoundly moving to me because it emphasized things like, ‘we’re all created in God’s image’ and and we’re all equally deserving of respect and honor, or that the, the profane is the pathway to the sacred,” Freilich said. “And these are deep, deep kinds of concepts in Judaism that a lot of people aren’t really that familiar with.”
That first piece with DSNY, titled “Touch Sanitation Performance,” spoke to Freilich, who was inspired by a visit to the 2016 retrospective of Ukeles’ work at the Queens Museum.
“I was completely, really blown away,” said Freilich, whose previous documentary works have covered broad swaths of Jewish history, from the partisans of World War II to kibbutz life in Israel.
Ukeles’ works, funded by grants, endowments, fellowships, and commissions, have taken shape in every possible art medium — including performance art and landscape art.
Initially experimenting with paint, she got into trouble while at the Pratt Institute for creating a bulbous multimedia piece with cheesecloth and debris. The school’s administration found it provocative. Her mentor, the abstract expressionist Robert Richenburg, defended Ukeles’ work and ultimately resigned from the school, rather than change his teaching methods at the administration’s request.
“It was a very, very difficult time in my life,” Ukeles said. “I was shocked.”
That controversial piece, titled “Second Binding,” is currently hanging in New York’s Jewish Museum.
Ukeles’ work with the Sanitation Department is perhaps best known for a year-long project from 1979 to 1980, where she sought to shake all 8,500 department workers’ hands. It was documented in a series of photographs.
“They were looked down upon,” Ukeles said. “Not race, not religious, not ethnic, but as a kind of class of maintenance workers and names that people were called.”
Coming up on her 49th year with the New York Sanitation Department, Laderman still has project ideas for the city. She has two projects at Fresh Kills Landfill on Staten Island — formerly the largest landfill in the world. One of those projects is an ongoing conversion of the landfill into a public park, set to be completed in 2036. The other project is an overlook above the park.
“I now call it ‘intergenerational,’ because it’ll probably take other people to pick it up,” Ukeles said.
“There’s a Jewish source of that notion that the earth is sacred and that we have to redeem the earth when it’s been degraded,” she added. “I don’t know if it will ever finish.”
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