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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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Students Form ‘Human Swastika’ at California High School, Post Image With Hitler Quote
Students forming “human swastika.” Photo: Screenshot.
Eight students at Branham High School in the city of San Jose came together last week to form what police described as a “human swastika” on the campus’ football field in another disturbing antisemitic incident at a California K-12 school.
The students captured the moment in a photograph and later posted it to social media, captioning it with a quote by Adolf Hitler.
Authorities in San Jose have launched a hate crime investigation into the incident, according to local media outlets.
School officials denounced the students’ actions.
“Our message to the community is clear: this was a disturbing and unacceptable act of antisemitism,” Branham High School principal Beth Silbergeld said in a statement. “Many in our community were rightly appalled by the image. Personally, I am horrified by this act. Professionally, I am confident that our school community can learn from this moment and emerge stronger and more united.”
According to the Bay Area Jewish Coalition (BAJC), which supports the local Jewish community,
“This incident did not occur in isolation,” BAJC spokesperson Tali Klima told The Algemeiner on Tuesday. “Over the past two years, we have seen a troubling pattern in which Jews are increasingly demonized and targeted. While the circumstances differ from those of Nazi Germany, the common thread is the deliberate spread of harmful narratives.”
Klima continued, “The fact that eight students felt emboldened to engage in this hateful behavior on campus (and then post publicly) reflects an educational environment that has allowed extremist political agendas which are blatantly antisemitic into our schools. The district and state must take decisive action to restore a climate of tolerance, respect, and inclusion for Jewish students and the broader community.”
California’s state government recently approved legislation for combating K-12 antisemitism which called for establishing a new Office for Civil Rights for monitoring antisemitism in public schools, appointing an Antisemitism Prevention Coordinator, setting parameters within which the Israeli-Palestinian conflict may be equitably discussed, and barring antisemitic materials from the classroom.
State lawmakers introduced the measure, also known as Assembly Bill (AB) 715, in the California legislature following a rise in antisemitic incidents, including vandalism and assault. The list of outrages includes a student group chanting “Kill the Jews” during an anti-Israel protest and partisan activists smuggling far-left, anti-Zionist content into classrooms without clearing the content with parents and other stakeholders.
Elsewhere in California, K-12 antisemitism has caused severe psychological trauma to Jewish students as young as eight years old and fostered a hostile learning environment, as previously reported by The Algemeiner.
In Berkeley United School District (BUSD), teachers have allegedly used their classrooms to promote antisemitic stereotypes about Israel, weaponizing disciplines such as art and history to convince unsuspecting minors that Israel is a “settler-colonial” apartheid state committing a genocide of Palestinians. While this took place, high level BUSD officials allegedly ignored complaints about discrimination and tacitly approved hateful conduct even as it spread throughout the student body.
At Berkeley High School (BUSD), for example, a history teacher forced students to explain why Israel is an apartheid state and screened an anti-Zionist documentary, according to a lawsuit filed last year by the Louis D. Brandeis Center for Human Rights Under Law and the Anti-Defamation League (ADL). The teacher allegedly squelched dissent, telling a Jewish student who raised concerns about the content of her lessons that only anti-Zionist narratives matter in her classroom and that any other which argues that Israel isn’t an apartheid state is “laughable.” Elsewhere in the school, an art teacher, whose name is redacted from the complaint for matters of privacy, displayed anti-Israel artworks in his classroom, one of which showed a fist punching through a Star of David.
In September 2023, some of America’s most prominent Jewish and civil rights groups sued the Santa Clara Unified School District (SCUSD) in California for concealing from the public its adoption of ethnic studies curricula containing antisemitic and anti-Zionist themes. Then in February, the school district paused implementation of the program to settle the lawsuit.
One month later, the Louis D. Brandeis Center for Human Rights Under Law, StandWithUs, and the ADL filed a civil rights complaint accusing the Etiwanda School District in San Bernardino County, California, of doing nothing after a 12-year-old Jewish girl was assaulted, having been beaten with stick, on school grounds and teased with jokes about Hitler.
Antisemitism in K-12 schools has increased every year of this decade, according to data compiled by the ADL. In 2023, antisemitic incidents in US public schools increased 135 percent, a figure which included a rise in vandalism and assault.
California is not alone in dealing with the issue. Pennsylvania has a significant K-12 antisemitism problem as well, a fact acknowledged recently by a surrogate of the administration of Gov. Josh Shapiro following Congress announcing an investigation into antisemitism in the School District of Philadelphia (SDP) and a disturbing anti-Israel statement at a high school in the Wissahickon School District.
“Governor Shapiro takes a back seat to no one on these issues, and as he has repeatedly spoken out about antisemitism, and this kind of hateful rhetoric is unacceptable and has no place in Pennsylvania — especially not in our classrooms,” Rosie Lapowsky, a spokesperson for Shapiro, said in a statement first shared with Fox News Digital. “This is a matter the governor has made clear the district needs to take very seriously.”
Follow Dion J. Pierre @DionJPierre.
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Jewish Groups Slam Basque Government for Honoring Anti-Israel UN Rapporteur Francesca Albanese
Francesca Albanese, UN special rapporteur on human rights in the Palestinian territories, attends a side event during the Human Rights Council at the United Nations in Geneva, Switzerland, March 26, 2024. Photo: REUTERS/Denis Balibouse
Jewish communities in Spain and France have condemned the Basque government’s decision to award UN Special Rapporteur Francesca Albanese a human rights honor, citing her long record of making antisemitic remarks, promoting anti-Jewish hatred, and seemingly legitimizing Hamas’s terrorist attacks on the Jewish state.
Last week, the government of the Basque Region in northern Spain announced that Albanese will receive the 2025 René Cassin Human Rights Award, named after French Jewish human rights and Zionist activist René Cassin – author of the Universal Declaration of Human Rights.
“Through her work at the United Nations, Francesca Albanese has played a key role in exposing human rights violations, challenging impunity, and advocating for the effective enforcement of international norms that protect people in conflict and occupied territories,” the announcement read.
Albanese’s work “is marked by legal rigor, independent judgment, and a strong ethical commitment that should guide all those working to uphold human rights on the international stage,” it continued.
In a joint statement on Monday, the Federation of Jewish Communities in Spain (FCJE) and the Representative Council of Jewish Institutions of France (CRIF) denounced the decision, arguing it undermines the principles that Cassin stood for.
“René Cassin, author of the Universal Declaration of Human Rights, Nobel Peace Prize laureate, and fervent defender of justice, held an unwavering commitment to peace, human dignity, and the right of the Jewish people to live in security,” the statement read.
“Awarding this prize to Ms. Albanese constitutes a distortion of Cassin’s legacy and a serious misunderstanding of the values of human rights,” it continued.
Communiqué conjoint – La Fédération des Communautés Juives d’Espagne @fcjecom et le Conseil Représentatif des Institutions Juives de France (Crif) expriment leur profond désaccord avec l’attribution, par le Gouvernement basque, du Prix René Cassin 2025 des droits de l’Homme à…
— CRIF (@Le_CRIF) December 5, 2025
Albanese is set to receive the award at a ceremony on Wednesday in Bilbao, a city in northern Spain.
The World Jewish Congress (WJC) also condemned the Spanish government’s decision, voicing support for the Jewish communities in Spain and France and calling the move “deeply troubling.”
“Albanese has repeatedly advanced narratives that minimize or excuse violence against Jews and has a documented record of antisemitic rhetoric,” WJC posted on X.
The Basque Government’s decision to award the 2025 René Cassin Human Rights Prize to Francesca Albanese is deeply troubling. Albanese has repeatedly advanced narratives that minimize or excuse violence against Jews and has a documented record of antisemitic rhetoric.
We support… https://t.co/ZT5QfOgzpa
— World Jewish Congress (@WorldJewishCong) December 5, 2025
Despite objections from several governments including France, the United Kingdom, Germany, Canada, and the Netherlands, as well as numerous NGOs, Albanese was reappointed earlier this year for a three-year term amid concerns about her controversial remarks and alleged pro-Hamas stance.
Since taking on the role of UN special rapporteur on human rights in the Palestinian territories in 2022, Albanese has been at the center of controversy due to what critics, including US and European lawmakers, have described as antisemitic and anti-Israel public remarks.
In the months following Hamas’s Oct. 7, 2023, massacre across southern Israeli communities, Albanese accused Israel of perpetrating a “genocide” against the Palestinian people in revenge for the attacks and circulated a widely derided and heavily disputed report alleging that 186,000 people have been killed in Gaza as a result of Israeli actions.
She has also previously made comments about a “Jewish lobby” controlling America and Europe, compared Israel to Nazi Germany, and stated that Hamas’s violence against Israelis — including rape, murder, and kidnapping — needs to be “put in context.”
Last year, the UN launched a probe into Albanese for allegedly accepting a trip to Australia funded by pro-Hamas organizations.
In the past, she has also celebrated the anti-Israel protesters rampaging across US college campuses, saying they represent a “revolution” and give her “hope.”
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Helen Nash, kosher cookbook author and NYC philanthropist, dies at 89
(JTA) — Helen Nash, a New-York based kosher cookbook author and philanthropist who pioneered modern kosher cooking starting in the 1980s, died on Dec. 8 at the age of 89.
Her first cookbook “Kosher Cuisine,” was published in 1984 by Random House, and adapted a variety of international recipes for kosher cooks. Its publication, Nash told the Detroit Jewish News at the time, sought to prove that kosher cooking “could be as varied, elegant and exciting as one wished to make it.”
She went on to demonstrate that in two more cookbooks, demonstrating what one reviewer called “her ability to expand the kosher palate.”
“Keeping kosher is more, to me, than just a sensible way to live and to eat healthfully. The ancient Jewish dietary laws help to organize my life around family, Friday nights, and holidays,” wrote Nash in her 2012 book, “Helen Nash’s New Kosher Cuisine: Healthy, Simple, and Stylish.”
Nash was born Helen Englander in Krakow, Poland, on Dec. 24, 1935 where her family owned a textile business. With her parents and sister, Nash survived World War II with her family after they were deported to Siberia.
“There was no cooking in my childhood,” Nash told the Jewish Book Council in 2012. “When I was four and a half, my family was transported out of Krakow, and we spent the war in labor camps in Siberia. Food was nonexistent — no fruit, no vegetables. It was a ration diet of subsistence level.”
Following the war, Nash’s family reunited with her maternal grandparents in Williamsburg, Brooklyn, before settling in Crown Heights.
In 1957, she met and married her husband, Jack Nash, who was also a refugee from Berlin. Having grown up in an Orthodox family, Nash insisted that she keep a kosher kitchen.
“It was my interest,” Nash told New York Jewish Week in 2015. “Most women didn’t have careers outside the home, and I sort of carved a niche for myself, and the niche was entertaining in a certain style. Jack was very encouraging. And I met so many people I wouldn’t have met if I’d stayed in the religious mode.”
While her husband, who died in 2008, went on to serve as the chairman of the Oppenheimer & Company mutual fund business and founded the revival of The New York Sun, Nash charted her own path in the kitchen.
Following the birth of her children, Joshua and Pamela, Nash took classes with famed chefs including Michael Field and Millie Chan and worked on how to adapt their cuisines to a kosher palate.
Her second cookbook, “Helen Nash’s Kosher Kitchen,” published in 1988, also sought to break boundaries in kosher recipes. “’Kosher food is more than chopped liver and gefilte fish,” said Nash at the time.
“Helen Nash’s New Kosher Cuisine,” published following the death of her husband, also took kosher cooking to new heights, incorporating new global ingredients that had been made kosher since the publication of her earlier books.
Nash also chaired the Nash Family Foundation, which supported numerous Jewish organizations in New York City. She and her husband were also contributors to UJA-Federation of New York, Mount Sinai Medical Center, the Israel Museum, Shaare Zedek Medical Center and Yeshiva University.
Rabbi Menachem Creditor, a scholar in residence and rabbi for the UJA-Federation of New York, dedicated his Torah study on Youtube Wednesday to Nash.
“Helen Nash was many things, including a renowned author of recipe books and chef, she was a matriarch in her family,” said Creditor. “Her family foundation has changed the Jewish world for the better in countless ways, and I was blessed, privileged since the first moment I began at UJA almost eight years ago to learn Torah with Helen every single Wednesday for these last eight years.”
Nash is survived by her children and grandchildren. A funeral service for her was held on Dec. 9 at Congregation Kehilath Jeshurun, an Orthodox synagogue on the Upper East Side of Manhattan.
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