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.
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.
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.
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.
And each Yom Kippur, as worshippers attend the last prayers of the day, they might well ask: “Why is this closing service different from all other services?”
The Book of Life
Throughout the High Holidays, the 10-day period that begins with Rosh Hashanah and ends with Yom Kippur, Jews pray to be “inscribed” in the Book of Life – that God grant them life, livelihood, health and moral growth in the coming year.
The holidays culminate in Yom Kippur, the Day of Atonement: a day dedicated to reflection, fasting and repairing each person’s relationship with others – and through that, their relationship with God.
According to Jewish tradition, the Book of Life is sealed as Yom Kippur draws to a close, as is each person’s fate for the coming year. During the fifth and final service, one prays to be “sealed,” which on this Day of Judgment entails being forgiven. This last service is thus titled “Ne’ilah,” or “the closing,” reflecting the idea that the gates of heaven are closing. It also alludes to the gates of the ancient Temple in Jerusalem, where the holiday was once celebrated.
Ne’ilah prayers are accordingly recited at the closing of the day – just at sunset, adding nature’s drama to the closing of the day. The ambience is enhanced by keeping open the ark of the Torah, the usually closed chamber at the front of the synagogue that protects the scrolls of scripture. Many congregants remain standing, using this final chance to plead their case as the day slips by.
Yom Kippur is a day reserved for repentance, expressed through confession – and, in many ways, it is a day of repetition. The confessional prayer is recited up to 10 times over the course of five services.
It begins with the congregation asking God for forgiveness “for the sin that I have committed before You.” Yet what follows is an extended list of ethical sins, with a focus on the sins of abusive speech, such as slandering, slurring, slighting and smearing the reputations of others. A foundational concept of Judaism is that humanity is made in the image of God, meaning that in wronging others, we offend God as well.
After reciting the confessional, the Ne’ilah service adds one more prayer, not used in other services. This addendum focuses not on the specifics of confession but the dynamics of repentance: underscoring that belief that each person’s relationship with God is correlated with their relationship with other people.
Ne’ilah thus focuses on the sin of fraud, echoing a passage from the biblical Book of Jonah read in the preceding afternoon service: “Let everyone repent of their evil way by giving back the stolen goods in their hands.” To return to God, then, it is important to return what is owed to other people: emotionally, spiritually and materially.
Whereas the oft-repeated confessional focuses on offenses of the lips, such as slander, here the focus is on offenses of the hands: taking what does not belong to us, such as by exploiting the vulnerable or committing fraud.
“You give space” – literally, you give a hand – “to the sinner, but You extend Your right hand to penitents,” it begins. “You have taught us … to confess to You every one of our sins so that we cease handling unlawful goods.”
Judaism holds that God won’t forgive you for a sin if you haven’t made amends with the person you wronged. During the Days of Awe leading up to Yom Kippur, Jews are taught to ask each other for forgiveness, apologizing for the ways we wronged one another in the past year.
Repent and repair
Rather than browbeating people into repentance, the Ne’ilah service’s strategy is to boost them up into it, playing upon the biblical idea of the grandeur of humanity. “You have distinguished humanity from the beginning, privileging it to stand before You,” the liturgy says.
Judaism sees sin as a rupture that can be healed, not an inherent condition. The liturgy’s message is this: Live up to your greatness, your divinely endowed potential, as a being made in God’s image.
For Ne’ilah, the eminence of humanity consists in the ability to repent and set things right before man and God. This is what Yom Kippur is all about.
At Dartmouth, Jewish and Middle Eastern Studies refuse to stay apart
Immediately after the Oct. 7 attacks and the start of the Israel-Gaza War, Dartmouth College student Jackson Weinstein was “extremely outspoken” on campus about his support for Israel.
But by his sophomore year, he had largely withdrawn from discussing the conflict with other students.
“It felt like I was losing friends and just making things harder for myself,” said Weinstein, now a senior at the Ivy League university in New Hampshire.
This past school year, he enrolled in a new course, Difficult Conversations on the Middle East, developed by the college in response to debates over Israel and Gaza that have divided campuses across the country.
For the first several weeks, the class, jointly offered by Dartmouth’s Middle East and Jewish Studies departments, avoided delving into the conflict. Instead, students started by studying topics like groupthink, mindfulness, emotional regulation and academic freedom.
Only by the fifth week did they plunge into subjects like Palestinian armed resistance, women’s rights in the Middle East, the accusation of genocide in Gaza and the role of colonialism in the region.
“In the first class, students come in with this idea of, ‘How do I win the debate? How do I show that I’m right?’’” said Jonathan Smolin, a professor of Middle Eastern Studies. “That’s categorically not what we’re doing in the class.”
Smolin teaches the course alongside Ezzedine Fishere, a former Egyptian diplomat who spent five years posted in Israel.
The hope is that students learn to take an argument seriously enough to understand it before deciding whether they reject it.
The unusual course, offered again this school year, is the product of an experiment Dartmouth began long before Oct. 7. For roughly a decade, its Jewish and Middle Eastern Studies programs have deliberately intertwined themselves: professors co-teach and cross-list courses, serve on each other’s steering committees, co-sponsor visiting professors and even occupy neighboring offices in the same building. It’s just as much for the faculty as it is for the students.
“I want to understand why some people hold positions that I may find horrific,” said Susannah Heschel, chair of Jewish Studies at Dartmouth. “I’m not here to just condemn something; I want to understand the complexity of it.”
An unusual partnership
For Darcy Rochkind, a Middle Eastern Studies major modifying her degree to include Jewish Studies, the partnership is what drew her to Dartmouth.
Rochkind was applying to college in the fall of 2023, as campuses across the country were convulsed by protests and arguments over universities’ responses to Oct. 7. Her dream school was Columbia, but after watching congressional hearings on antisemitism in person and videos her mom sent her of Dartmouth’s Jewish Studies and Middle Eastern Studies professors discussing the conflict side by side, she changed her plans and enrolled at Dartmouth.
“You’d have a very hard time being a Middle Eastern Studies or Jewish Studies major without taking a class from the opposite department,” she said.
The experiment also extends beyond the classroom. In the immediate aftermath of the Oct. 7 attacks, Heschel and her colleagues in Middle Eastern Studies organized two public forums to discuss what had happened and opened it to students. The room was so packed that Dartmouth needed an overflow space, and Heschel said another 1,600 people watched via livestream.
After those initial forums, Dartmouth launched Middle East Dialogues, a series of events organized by faculty in Jewish and Middle Eastern Studies to explore challenging topics related to the region. Rather than foster safe spaces, Dartmouth leaders aspired to create what they call “brave spaces,” where students are encouraged to actively engage with disagreement.
To make it work, Smolin, who has organized many of the program’s events, deliberately avoids inviting speakers who are political activists on either side.
“We’re not interested in people declaring who’s right and who’s wrong,” he said. “That’s not what we do in higher education.”
Instead, they have hosted Israeli and Palestinian political commentators, think tank experts, and public-opinion researchers.
Professors have also facilitated meetings between students to expose them to different viewpoints. Weinstein and several other Jewish students went to dinner with a group of Muslim students, including two Palestinians and a student who had grown up in Gaza. His professor, Fishere, facilitated the gathering.
The students sat together at Pine, a Dartmouth restaurant, and talked for hours about the war, the accusation of genocide in Gaza and the experiences of Gazan civilians.
Weinstein had never before met someone who had spent his entire life in Gaza. He described the dinner as “one of the most human experiences I’ve had at Dartmouth.”
A national flashpoint
Dartmouth’s approach has become increasingly distinctive as Middle East studies programs have become flashpoints in campus battles over Israel, antisemitism and academic freedom.
Since Oct. 7, critics — including Jewish students, alumni, and watchdogs — have accused some Middle East studies programs across the country of teaching about Israel through a hostile ideological lens and creating an inhospitable environment for Jewish and pro-Israel students.
Some professors in the field, meanwhile, have argued that accusations of antisemitism in higher education are being used to police scholarship that could be critical of Israel.
Under similar pressure, Harvard’s Center for Middle Eastern Studies removed the center’s director and associate director from their leadership posts, though they kept their jobs. The Trump administration later demanded that the school’s Middle East Studies Department, among others, be audited by a third party to ensure a diversity of viewpoints.
The interventions prompted outrage from professors, students, and academic-freedom advocates arguing that the government was seeking to exert control over how universities teach about Israel and the Middle East.
According to Heschel, the climate has contributed to driving a wedge between Jewish Studies and Middle East Studies departments on some college campuses.
“I know that at some universities, faculty in Middle East and Jewish Studies don’t even talk to each other; they don’t respond to each other’s emails, for example,” she said. “That I find appalling. That’s unacceptable.”
Not everything is about conflict
For Heschel, the intellectual case for faculty in Jewish and Middle Eastern Studies to collaborate goes beyond teaching students how to talk about the current conflict.
“We want our students to know not just about the conflict that they read about in the newspapers today,” Heschel said. “We want them to know about a period where there was religious tolerance and respect for one another, to see that it’s possible we don’t have to live in a condition of anger and enmity.”
She co-teaches a course with a Middle East Studies professor examining how Jews in Europe and Arabs in the Middle East responded to modernity during the 19th century.
In one lesson, students learn about the Lebanese intellectual Butrus al-Bustani, who founded a school in Beirut in 1863 for Christian, Muslim and Jewish boys — and hired a cook to prepare kosher food for his Jewish students.
Engineering major Oguz Kurt, a rising junior who was born and raised in Turkey, took the course last semester.
“Building trust week over week” with classmates and professors, he said, brings people like him into the room who might otherwise be “intimidated” by the prospect of tense encounters in a class focused explicitly on the Israeli and Palestinian conflict.
Kurt wants to be there, which points to one obvious limitation to Dartmouth’s experiment: Students have to want to participate.
A 2025 survey of graduating seniors by the university’s campus newspaper, The Dartmouth, found that nearly 70% described themselves as liberal or very liberal, compared with roughly 12% who identified as conservative or very conservative. More than 70% said most of their closest friends shared their political beliefs.
Additionally, a 2025 Gallup poll conducted on the Dartmouth student body in 2025, found only 38% reported feeling comfortable sharing unorthodox ideas in class.
Weinstein wonders whether this degree of homogeneity is why courses like Difficult Conversations succeed – the people least willing to engage with opposing points of view don’t take the class.
“Everyone was there to learn. Everyone could be persuaded,” he said. “In some ways that’s a problem,” adding that the class might benefit from “a wider range of ideologues.”
“Not all of Dartmouth is like this,” Smolin acknowledged. “No doubt there are professors in other units that think it’s up to faculty to lead liberation and that this approach is stifling.”
On the other end of the spectrum, Heschel said some right-wing Jewish faculty members outside the Jewish Studies program have criticized the approach she and her colleagues take.
“I understand the anxiety that Jews feel today about university campuses, but I think they’re underestimating their own students,” she said. “Kids will encounter viewpoints that they will find disturbing and offensive, not just about Israel… they need to learn how to handle such a situation, how to respond.”
Heschel said faculty and administrators at other universities have approached Dartmouth to ask how to replicate what they did.
“I was surprised that we received so many requests from deans and presidents of colleges and universities to come and talk about what we had done,” she said.
From Dartmouth to Damascus
One of the people thinking about what could be replicated outside Hanover comes from much farther away.
Before flying to New Hampshire this May, Ibrahim Imre El-Khalid Bethlen asked ChatGPT a question he had never needed answered before: What is proper Shabbat etiquette?
Heschel and Bethlen at Dartmouth Courtesy of Ibrahim Imre El-Khalid Bethlen
Bethlen, a Syrian political scientist who teaches at Damascus University, met Heschel when she traveled to Damascus with a delegation of Jewish Americans in December 2025. She invited him to come to Dartmouth for 10 days and packed his schedule with jointly taught courses like Difficult Conversations, and a seminar about Jews in Algeria. Bethlen also lectured about the current political situation in Syria and attended his first ever Shabbat at the campus’ Chabad.
Just as new to him was seeing Jewish Studies and Middle Eastern Studies professors teaching together.
“With every professor we had some brainstorming about how we could bring the people closer,” he said. “How could we demystify” Jews to Syrians. Most of them have never met a Jewish person since the millennia-old Syrian Jewish community left en masse in the mid-20th Century.
Now, Bethlen hopes to connect faculty at Damascus University to their counterparts at Dartmouth. He is realistic about political sensitivities. Bringing an Israeli or Jewish Studies professor into a Syrian classroom to discuss the contemporary conflict, he says, could be a nonstarter. But having an Arab professor in the classroom as well could help.
“We don’t want to jump too high,” he said.
He imagines beginning somewhere Dartmouth itself often begins: with classes focused on shared history and culture rather than contemporary politics. Perhaps a jointly taught course that introduces students to the literature and poetry of Jews and Arabs once shared across the Middle East. Classes like Difficult Conversations can come later.
As a part of that Dartmouth class’s final assignment, students are asked to have a conversation with someone on campus they disagree with about the region, applying what they have learned.
Weinstein chose a friend and fraternity brother whose views on Israel differed sharply from his own. They talked for several hours.
“I ended by congratulating Eli on being ‘the only close friend I’ve ever had that wasn’t pro-Israel,’” Weinstein wrote in his reflection afterward. “I sure hope he isn’t the last.”
In a sea of kippot and black skirts, more than 200 Orthodox middle school and high school students gathered outside Gracie Mansion on Friday, conducting morning prayers and giving speeches.
“I like protesting against Mamdani,” Rami Fishman, a 16-year-old student, told the Forward. “He’s not a great guy. I’ll take an opportunity to speak out against him.”
Prominent Modern Orthodox preparatory schools Ramaz and SAR organized the gathering with Congregation Kehilath Jeshurun, the synagogue that sponsors the institutions. Organizers said that comments Mayor Zohran Mamdani made over the summer attacking AIPAC and Israel drove their efforts. Rabbi Bini Kraus, principal of SAR, said the experience was also intended to teach students about “their civic responsibilities.”
“It’s fun,” Fishman said. “We’re praying and we’re saying ‘no’ to Mamdani.”
Fishman, a junior at SAR, said he liked waking up late and he was enjoying meeting students from another school. Kraus told the Forward students were missing three periods by participating, but noted prayer is part of the school’s curriculum and the gathering wasn’t taking away from their studies.
Students and parents could opt out, with Kraus noting some declined to participate. Nearly 400 alumni and members of Congregation Kehilath Jeshurun signed a petition against the gathering.
Photo by Molly Myers
In their speeches, students touched on fears of antisemitism, being proud Jews and supporting Israel openly. One 8th grader called on Mamdani to prioritize the safety of the Jewish community.
Neturei Karta, a Haredi group that opposes Zionism, protested against the student group by waving Palestinian flags, chanting and holding signs in support of Mamdani. The NK group chanted “Antizionism is not antisemitism,” and called for Israeli Prime Minister Benjamin Netanyahu to be arrested during his visit to New York next week. Mamdani, who campaigned on arresting Netanyahu, recently acknowledged he does not have the authority to do so.
Michael Rapaport, an actor and staunch supporter of Israel, came to support the students saying it was “moving,” and “not a political statement.”
“These are kids,” Rapaport told the Forward, “they can’t even vote. This is a beautiful, beautiful, beautiful prideful thing.”
Organizers did not describe the gathering as a form of protest, instead referring to it as a vigil or communal prayer. However, the event involved classic hallmarks of a protest. A handful of participants waved or wore Israeli flags, and organizers acquired a permit for noise amplification.
“Our students have been going out for decades, really, when things matter,” Kraus said.
He noted he demonstrated for Soviet Jewry when he was a student at the school.
A reporter asked Mamdani about the demonstration at a press conference Wednesday.
“I welcome them,” he said. “They can have a vigil, or I’ve heard some describe it even as a ‘protest.’ Whatever it is intended to be, they have the room and space to do so outside of Gracie Mansion. I think that at the time that they are there, I will probably be somewhere else across the city.”
Rabbi Chaim Steinmetz, senior rabbi at Kehilath Jeshurun, said Thursday, “That’s the right response.”
Kraus, however, said he hoped the mayor would change his mind and attend. If he did, he would hear singing, praying and concerns “expressed respectfully.”
“Maybe that will move him,” Kraus said.
Some alumni and parents opposed the demonstration
The petition against the demonstration stated, “This gathering needlessly inflames tensions between the mayor and the Modern Orthodox Jewish community, as opposed to inviting him into conversation as a potential ally working for the shared safety of all New Yorkers.”
Much of the signatures are anonymous, with only school and class year listed.
The petition also said the schools risked portraying the Modern Orthodox community “as a political monolith opposed to the mayor.”
“They don’t want it to look like the Modern Orthodox community is a monolith, but the Modern Orthodox community really is a monolith on this,” Steinmetz said. “The Modern Orthodox community is, by and large, quite Zionist and really takes the security and safety of the state of Israel very seriously.”
A 2024 poll conducted by Nishma Research found 94% of the Modern Orthodox community identifies as Zionist, compared to 51% of Haredi Jews.
Halachic Left, an observant organization that says its members have “deep connections” to institutions in the Modern Orthodox community, helped circulate the petition. In a statement to the Forward, the organization insisted there is a “full range of views in the Modern Orthodox community on Israel, Zionism, and Mayor Mamdani.”
“The mayor has shown a willingness to respect and speak with our community,” read the statement. “We should be partnering with and engaging the mayor rather than castigating or insulting him.”
