Uncategorized
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.
—
The post The hora, the hora! How Jewish wedding music got that way appeared first on Jewish Telegraphic Agency.
Uncategorized
Archaeologists uncover treasures of Vilnius’ Great Synagogue as Jews dispute its future
(JTA) — VILNIUS, Lithuania — Archaeologists have uncovered the full floor of Lithuania’s historic Great Synagogue, revealing treasures nearly erased by Nazi and Soviet occupations — and exposing rifts between Lithuanian Jews over how to preserve and interpret what survived.
Locals walking through the center of Vilnius now pass a hole in the ground, a portal to the rich Jewish past of a city once called the “Jerusalem of the North.” For the first time since 1940, they can see the polished, colorful floor and entire prayer platform of the Great Synagogue of Vilna, built in the 17th century, which became one the most important religious, cultural and intellectual hubs for Diaspora Jews.
In Lithuania’s small remaining Jewish community, who number less than 3,000, there is no debate that the site must be preserved. But discussions about how to protect the past — and what to build over it — have triggered pain over one of the last pillars of identity left standing for Lithuanian Jews.
The community’s main representative body plans to build a new Jewish community center over the excavation, where visitors could view the Great Synagogue floor through a glass layer or a basement-level exhibit. Above, the center would celebrate current-day Jewish life through cultural, social and educational events.
Some Orthodox Jews and their supporters oppose that project, saying the synagogue should be rebuilt as a house of worship or preserved as a purely archaeological exhibit. Other residents say the mission of a new building should be broadened beyond Lithuanian Jews, offering a center that promotes tolerance, human rights and understanding of Jewish history among all Lithuanians.
On the eve of World War II, the massive Great Synagogue stood among more than 100 synagogues and Jewish prayer houses in Vilnius, where about 40% of people were Jewish. Over 90% of Lithuanian Jews were killed in the Holocaust, and from 1944 until 1990, Vilnius was remade as the capital of the Soviet Lithuanian Republic. The synagogue was burned and largely destroyed by the Nazis, then razed by the Soviets to build a school in its place.
“This is the place that half the population would have identified their city with,” Jon Seligman, the archaeologist leading the excavation, told the Jewish Telegraphic Agency. “So this city at the moment is missing half its identity, and because it’s such a long time since it happened, they don’t even know they’re missing half their identity.”
The excavation is over a decade in the making. Seligman, an Israel-based archaeologist whose Jewish grandparents lived in Lithuania before World War II, first proposed unearthing the synagogue’s remains in 2013 after a visit to discover his family roots. His team of archaeologists have worked there since 2015, and last year, the former Soviet school building over the site was demolished.
In an accident of history, the synagogue’s main floor was constructed below ground and spared from total erasure.
“When the building was built in the 17th century, part of the restrictions that were placed on the Jewish community was that they were not allowed to build their synagogue higher than any of the churches in the surroundings,” said Seligman. “So to create the internal majesty, if you don’t want to have a low, two-story building, what you do is you drop the floor level one story below ground surface — and that’s what they did.”
The latest installment of Seligman’s project, completed in July, fully exposed this main hall and the bimah, or prayer platform, covered in red, white, green and black geometric designs. Archaeologists also found traces of the Shulhoyf, a busy complex that formed the heartbeat of Jewish life.
Vilnius was a major center of Jewish thought, famed for both its religious tradition and modern secular Jewish culture. It was home to the 18th-century Vilna Gaon, one of the most influential Jewish sages — and also the birthplace of the Jewish Labour Bund, a secular, socialist and anti-Zionist organization. Schools taught literature and the sciences in Yiddish and Hebrew, and Zionists shared ideas alongside anti-Zionists.
Before World War II, the Shulhoyf hosted 12 prayer houses, a bathhouse, kosher butcher stalls, the first public toilets in Vilnius, the prestigious Strashun Library and the first headquarters of the Yiddish Scientific Institute, or YIVO. That institute, now in New York City, continues to preserve the Yiddish language and cultural heritage of Eastern European Jews.
Faina Kukliansky, who has since 2013 chaired the umbrella organization known as the Lithuanian Jewish Community, spearheaded the initiative to construct a community center over the synagogue.
Kukliansky grew up as the child of Holocaust survivors in Lithuania under the Soviets. She said the new space will replace the community’s current headquarters, hosted in a nearby building that is more than a century old and struggles with heating and water system issues.
Kukliansky said the new center will honor both the past and the present of Lithuanian Jews, featuring a YIVO exhibition alongside concerts, social clubs and Jewish learning events. After the Holocaust and decades of Soviet restrictions on Jewish life, those who remain are mostly secular and distant from Jewish traditions. Kukliansky said the center’s construction over the remains of the Great Synagogue will inspire Jews to trace the threads of their heritage.
“It’s very meaningful that in the place where the synagogue rose, Jewish life will be intensive because our Jewish community center is there,” said Kukliansky.
But Kukliansky’s plans have met sharp opponents from other corners of Lithuania’s Jewish world. Among the most vocal is Rabbi Sholom Ber Krinsky, an emissary for the Chabad-Lubavitch Orthodox movement who was born in Boston and has lived in Vilnius since 1994.
Krinsky said that according to Jewish tradition, the Great Synagogue site should not be covered by a building for secular cultural activities, but remain a “living Jewish religious center that continues the learning and the prayer.”
“If a site was used as a synagogue — for centuries, in this case — the holiness retains its holiness, and it’s proper to respect that holiness,” said Krinsky. “A Jewish community center might be nice, but it certainly doesn’t represent the holiness of that site.”
Krinsky has for years demanded more money for Chabad projects, which he says would be used for religious services, Jewish education and social welfare programs. He accuses Kukliansky of monopolizing funds granted to Jews by the Lithuanian government as compensation for property stolen during the Holocaust. The Good Will Foundation, an international body created through the World Jewish Restitution Organization and the Lithuanian Jewish Community, has been authorized to distribute this restitution money.
Since legislation passed by the Lithuanian parliament in 2022, the Good Will Foundation has disbursed about $9 million to compensate individual Holocaust survivors and their heirs for private property claims. Given that most Jewish property was left without any heirs, another $40 million is being allocated to support Jewish communal life — including projects like the new community center.
Krinsky said these funds have not been sufficiently used to nourish religious life. Kukliansky countered that her organization supports the Choral Synagogue, the only synagogue still active in Lithuania, where Krinsky leads the small group of Jews who usually scrape together a minyan — the minimum of 10 people required for public prayers. Compared with other Eastern European communities, Chabad’s footprint is small in Vilnius, where the Vilna Gaon led a tradition of opposing Hasidism that became central to the identity of many Lithuanian Jews.
Kukliansky also claims that Krinsky has refused to provide her with financial reports. His wife, Nechama Dina Krinsky, was indicted for tax fraud in 2023.
Kukliansky faces further criticism from Dovid Katz, an American-born, Vilnius-based scholar of Yiddish and the Holocaust. Katz advocated for rebuilding the Great Synagogue or preserving its remnants as a religious site, which he said would draw Orthodox pilgrims from around the world.
“A synagogue is a religious place, and religious leaders today — and everyday religious Jews — need to be consulted on what’s going to replace the Great Synagogue,” said Katz. “It is a place either for a replacement synagogue or for archeological remains.”
Still other critics say the Jewish representative body has split the site from a broader mission that would attract non-Jewish Lithuanians and Jews from around the world. Anna Avidan, who founded a nonprofit called Jerusalem of the North to celebrate Jewish history in Lithuania, led a conference in 2017 that invited historians, architects and students to discuss the future of a space commemorating the Great Synagogue.
Fragments of a gefilte fish dish and a Passover plate that were found at the Great Synagogue excavation site. (Shira Li Bartov)
Avidan said attendees proposed a cultural center that would host forums about tolerance, drawing international visitors and educating Lithuanians about the Jewish past of their country. She argued it would be “selfish” to build a center exclusively for the Lithuanian Jewish community, since such spaces are closed to the public, partly for security reasons. The proposals emerging from Avidan’s conference were shut down after Kukliansky’s opposition.
“We are still working on how to include Jewish history in Lithuanian history,” said Avidan. “Approaching the site as a site of Lithuanian history, that would promote this harmony and understanding.”
At the excavation site, Seligman’s team has dug up pieces of life in the synagogue, which seated about 500 people, with some 500 more squeezing in for High Holidays. The latest artifacts to emerge from the ground include a Passover plate, a dish for gefilte fish, a plaque engraved with the Ten Commandments and several seating plaques with the names of people who donated to the synagogue, assuring their spots inside.
These name plaques left clues about families who vanished from Vilnius. One marked a seat for Gitel Klachek, identified as the “wife of the late Yechezkel, Shamash d’Mata” — the city sexton. Their wealthy, influential family owned several businesses around the Great Synagogue.
On the uncovered synagogue floor and the surrounding Jewish neighborhoods, there walked people who disputed religion, Jewish identity, Zionism and other ideas. “There would have been a large contingent who would have been ultra-Orthodox. There also would have been a large contingent who were completely secular,” said Seligman. “So the city was very, very much a very mixed community.”
The fights over the memory of these ghosts — and over Lithuania’s Jewish identity — echo the disagreements that animated the Jews who once thrived there.
This article originally appeared on JTA.org.
The post Archaeologists uncover treasures of Vilnius’ Great Synagogue as Jews dispute its future appeared first on The Forward.
Uncategorized
AIPAC-backed Wesley Bell defeats Cori Bush in Missouri Democratic primary
(JTA) — Missouri incumbent Rep. Wesley Bell registered a resounding victory in Tuesday’s Democratic primary against Cori Bush, a prominent Democratic socialist and ardent critic of Israel.
The Associated Press called the race just an hour after polls closed, at 8:02pm local time. By the time 99% of the vote was counted, Bell had garnered 59.2% to Bush’s 36.9%.
The primary is a déjà vu moment for St. Louis. The same pair of candidates vied just two years ago to represent the state’s 1st Congressional District.
Bell prevailed in 2024 to oust Bush in a clash that was largely defined by a $9 million influx of AIPAC cash in support of Bell. In this rematch, Bush made the American Israel Public Affairs Committee a central issue in her campaign, similar to other Democratic Socialists of America candidates.
“AIPAC has become yet another way for MAGA-donors to divide the Democratic base by meddling in primaries,” Bush told JTA in a written statement prior to the primary. “In St. Louis and across the country, people know that our fight against antisemitism means fighting against the far-right’s effort to divide us.”
Federal Election Commission records show that this time around, AIPAC has invested far less in the race. Through its United Democracy Project super PAC, the pro-Israel lobby has spent in the neighborhood of $3 million on the rematch, with the vast majority targeted at opposing Bush.
In response to Bell’s decisive win on Tuesday, AIPAC posted its congratulations on X: “Our community was proud to support a strong, principled Democratic leader,” the lobby stated.
The Washington, D.C.-based Jewish Democratic Council of America, which had mobilized networks of voters to make phone calls in support of Bell, added their congratulations to the congressman following his victory.
“Rep. Bell is a leader in taking on Trump’s corruption,” the group posted on X. “We look forward to seeing him continue to fight for our Jewish and Democratic values.”
Aside from their conflicting perspectives on Israel, Bell and Bush have much in common. Born in Missouri in the mid-1970s, they are both Black progressive Democrats who entered politics after the 2014 police shooting of Michael Brown in the city of Ferguson.
Amid protests across Ferguson for police reforms, Bell won a seat on the city council and focused on passing such changes. He went on to become St. Louis County prosecutor in 2018, defeating a 27-year incumbent who had failed to prosecute the officer who had killed Brown.
Bush, meanwhile, became involved in politics by participating in the Ferguson protests. She lost Democratic primaries for the U.S. Senate and House in 2016 and 2018, but then won congressional races in 2020 and 2022. In 2024, however, she lost to Bell by more than 5 percentage points.
The candidates have similar stances on most political issues, prioritizing concerns like reproductive rights, gun violence prevention and the dismantling of Immigration and Customs Enforcement, as well as lowering costs of housing, utilities, healthcare and prescriptions. But they have sharp differences when it comes to Israel, with Bush’s campaign pledging to “stand for justice in Palestine.” Bell, in contrast, has stood steadfast in his support of Israel.
The post AIPAC-backed Wesley Bell defeats Cori Bush in Missouri Democratic primary appeared first on The Forward.
Uncategorized
William Lawrence, El-Sayed-aligned progressive, takes Democratic House nomination in Michigan battleground race
(JTA) — An outspoken pro-Palestinian progressive who campaigned with Michigan Senate candidate Abdul El-Sayed bested two establishment-backed picks in a Democratic House primary for a battleground district in the state on Tuesday.
William Lawrence, a co-founder of the climate advocacy group Sunrise Movement, took the Democratic nomination in the state’s 7th District, with the Associated Press calling the race for him Tuesday night. With 58% of the vote in, Lawrence had around 43% of the tally in the three-way race.
His opponents Bridget Brink, a former U.S. ambassador to Ukraine, and former Navy SEAL Matt Maasdam, two centrist candidates who boasted military and foreign policy backgrounds, effectively split the establishment vote and opened a lane for the progressive.
“I couldn’t be prouder of the movement we’ve built in mid-Michigan,” Lawrence wrote on social media after the race was called. “We’re building a movement made up of real Michiganders across political divides, not DC consultants.”
At the time the AP called the race for Lawrence, another House candidate backed by El-Sayed, state Rep. Donavan McKinney, was awaiting results in his challenge to the incumbent in Michigan’s 13th District.
As with several other victorious Democratic House candidates this primary cycle, Lawrence made pro-Palestinian advocacy a central plank of his campaign. He was the only Democrat in his race to accuse Israel of genocide, and at his rally with El-Sayed in Lansing, the candidate had called for America to “stop arming Israel.”
Lawrence, whose campaign also tapped into growing public anger over data centers, will face Republican incumbent Rep. Tom Barrett in November.
Lawrence’s victory marked one area where party leadership will be pressured to support pro-Palestinian progressives if it hopes to retake Congress in November. Democrats have eyed the district, which was held by centrist Jewish Democrat Sen. Elissa Slotkin before Barrett, as a top target for flipping. Slotkin had endorsed Maasdam in the race’s homestretch while staying out of the Senate race.
It won’t be easy to line the party up behind Lawrence. He had been condemned by the Congressional Black Caucus during his campaign over resurfaced podcast comments in which he said Black Democratic leaders “defang the white left” — comments he later explained as having been prompted by his anger over Israel’s war in Gaza. Centrist House Democrats have questioned his ability to win in November.
But his campaign told the Jewish Telegraphic Agency in a statement ahead of primary day that they were confident his focus on “ending military support to human rights abusers and bringing that money home to fund good jobs, housing, and healthcare here at home” would play well across party lines.
The post William Lawrence, El-Sayed-aligned progressive, takes Democratic House nomination in Michigan battleground race appeared first on The Forward.
