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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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The post The hora, the hora! How Jewish wedding music got that way appeared first on Jewish Telegraphic Agency.
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The mayor missed the Israel Day Parade. Many who went didn’t miss him.
(JTA) — The energy was palpable Sunday as thousands packed a dozen blocks of Fifth Avenue waving Israeli flags for New York’s annual Israel Day Parade. Organizers said the turnout was the largest in the event’s six-decade history.
The procession featured its usual mix of Jewish nonprofits, schools and synagogues marching to blaring Israeli music alongside parade floats sponsored by groups including Nefesh B’Nefesh, the UJA Federation of New York and the Maccabiah Games.
But this year’s parade, which was themed “Proud Americans, Proud Zionists,” unfolded amid growing political polarization over Israel and without New York City Mayor Zohran Mamdani, who became the first mayor in decades to skip the event.
For all the criticism Mamdani has received over his campaign pledge not to attend the event, many of those who did turn out told the Jewish Telegraphic Agency they were glad he wasn’t there.
“He doesn’t like us,” said Andrea Roman, who attended the parade wearing an Israeli flag cape and thought it was “good” that Mamdani hadn’t come. “Why should you be some place where you don’t like? He does not promote peace. This promotes peace, but of course he’s not going to be here.”
Jeremy Bell, 39, also said wasn’t bothered by the mayor’s absence – and that there were many more who felt as he did.
“I don’t think that he was really wanted here,” Bell said, adding, “I don’t want to be here with someone who doesn’t believe in our right to exist and obviously associates with people that don’t have our best interests in mind.”
Despite Mamdani’s absence, the event, known as the largest pro-Israel parade in the world, featured a lengthy roster of political officials and lawmakers. New York Gov. Kathy Hochul, New York Attorney General Letitia James, U.S. Senate Minority Leader Chuck Schumer and U.S. Rep. Jerry Nadler were among those in attendance, as were former New York City Mayors Eric Adams and Mike Bloomberg.
NYPD Commissioner Jessica Tisch, who on Thursday said that security preparations for the parade would be “the most extensive” that the NYPD had ever put together, also joined the festivities as an honorary grand marshal.
While many paradegoers said that they never considered staying home because of security concerns, several said they appreciated the presence of thousands of police officers and extensive barricades that blocked the streets surrounding the event.
“We are grateful that tens of thousands of participants and spectators were able to gather safely and proudly in the heart of New York City,” Mitchell Silber, the CEO of the Community Security Initiative, said in a statement. “Today’s success reflects the extraordinary planning, coordination, and professionalism of the NYPD and our law enforcement partners.”
That number was boosted in some cases by participants who said the mayor’s decision to skip the event factored into their own decision to come.
Karene Hermon, 22, said that while previously she would have been more “neutral” about attending, hearing that Mamdani had chosen not to come drove her to “be with my people.”
“I think it sends the wrong message,” Hermon said of the mayor’s refusal to participate. “I think we’re trying to come together, not separate people, regardless of … how you feel about a cause.”
First-time paradegoer Luis Margules travelled to the march from Pennsylvania. He said that he had come because it felt like “a moment to be with Israel.”
“This is my first parade, but I think this year it’s one of the most important ones,” Margules said. “I think the world doesn’t understand the situation with Iran and the Palestinians, and everything is blamed on Israel.”
Ofir Akunis, the consul general of Israel in New York, said in a statement that the parade “delivered a resounding answer to all those who hate Israel.”
“This year’s parade was an unprecedented demonstration of strength by New York’s Jewish community and the people of Israel,” Akunis said. “It sends a clear and unequivocal message: We are here to stay, and we are not going anywhere.”
But not all of the spectators Sunday were there in support.
While there was no large-scale protest visible during the parade, roughly 25 people demonstrated along the route to oppose the inclusion of a record delegation of roughly 10 Israeli Knesset members, including far-right Finance Minister Bezalel Smotrich and two members of National Security Minister Itamar Ben-Gvir’s ultra-nationalist Otzma Yehudit party.
As the delegation passed the demonstration, which was organized by the progressive groups Israelis for Peace and Friends of Standing Together New York, protesters shouted “shame” and “war criminals,” according to Tamar Glezerman, an organizer for Israelis for Peace.
“We were there to protest against the Israeli Knesset delegation, the largest of its size of all of the parades, that sent members of the coalition and the so-called opposition to do hasbara and march victoriously up a New York avenue,” Glezerman told JTA in a phone interview Sunday, using the Hebrew word for public relations.
While the focus of the demonstration centered on opposing the Knesset delegation, Glezerman added that “a parade that very much champions unexamined, unchecked and non-critical support of Israel is perhaps important for people here. It is not good for Israelis. It sure as hell isn’t good for Palestinians.”
Margules, in contrast, said that seeing the Israeli Knesset members pass by had made him feel “proud.”
“It’s good to know that even in these dark times we can still be together without violence, and we can disagree on many things, but we have to agree on something,” Margules said. “We are here because Israel exists.”
This article originally appeared on JTA.org.
The post The mayor missed the Israel Day Parade. Many who went didn’t miss him. appeared first on The Forward.
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NY Democratic stalwarts show support for Israel even as Mamdani skips parade
(JTA) — Hundreds of Jewish leaders and New York politicians gathered early Sunday morning ahead of the annual Israel Day Parade to voice their support for the Jewish state, even as anti-Israel rhetoric has proliferated in elections across the United States.
“I stand before you as a proud Jew and a proud Zionist, and those of us who feel that way can never waver,” Rep. Dan Goldman, who is trailing primary challenger Brad Lander in the polls, said to a chorus of cheers. “It should not be momentous to say that, but unfortunately, in many ways, today it is.”
The annual pre-parade breakfast included a demonstration by New York Gov. Kathy Hochul of state power that will better defend Jewish institutions from anti-Israel protests that critics say have at times veered into antisemitism.
Sitting on stage at a desk flanked by a host of New York elected officials and Jewish nonprofit leaders, Hochul signed a statewide law establishing a 50-foot security “buffer zone” around houses of worship. The legislation is more expansive than a city-level law insulating houses of worship from protests that was passed without New York City Mayor Zohran Mamdani’s signature and was watered down after he expressed concerns about the bill.
Mamdani declined to participate in Sunday’s parade.
“We will not just march today in an act of defiance against those who say we have no right, we’ll also sign legislation that says no, we have the power, we have leaders in government who can make changes happen,” Hochul said.
Hochul, who is running for reelection, was not the only non-Jewish politician to join the pre-parade event hosted by the Met Council, a Jewish-run antipoverty nonprofit. Democratic New York Attorney General Letitia James and Republican Rep. Mike Lawler, both of whom are also running for reelection, spoke at the event.
James vowed that “antisemitism will not be tolerated in the state of New York as long as I am the attorney general.” She added, “It is not just the responsibility of the Jewish community to respond, it requires all of us to respond. To stand shoulder to shoulder, arm in arm with the Jewish community.”
Lawler took aim at antisemitism on the political left and right during his remarks, calling out Tucker Carlson, Marjorie Taylor Greene, Candace Owens and Hasan Piker by name.
“It is imperative, as elected officials, and there are a lot of elected officials in the room today, not just to be here, not just to say that we support a strong U.S.-Israel relationship, not just to speak out against antisemitism, but to root it out, to root it out by exposing the people in our own parties,” Lawler said.
Eric Goldstein, the outgoing CEO of the UJA-Federation of New York, thanked the public officials who showed up for joining in the Israel parade. He stressed, “We need to be open and public at this apolitical gathering to show our love for the one and only Jewish homeland.”
Mamdani’s refusal to participate, in contrast, has drawn condemnation from many Jewish leaders. Goldstein issued a scathing condemnation on Friday, writing in an open letter that the mayor’s absence is “simply the latest in a pattern of demonizing anti-Israel rhetoric and actions that continue to place the Jewish community of New York at greater risk.”
“Mr. Mayor, you cannot close your eyes to the deadly impact of this incendiary rhetoric that is playing out in Jewish communities across the world, from Bondi Beach to Boulder to Washington, D.C.,” Goldstein wrote.
Later Sunday morning, the organizer of the parade said that what really counted was those who did choose to come.
“Let’s give it up for all of our allies and supporters who are here, because that’s what matters, those who actually do show up,” Mark Treyger, the CEO of the Jewish Community Relations Council of New York, which organizes the parade, told the crowd as Jewish leaders and politicians gathered on a podium overlooking the parade route on Fifth Avenue.
“We march because of our unwavering, unflinching connection to the Jewish State of Israel,” he declared.
Senate Minority Leader Chuck Schumer also gave remarks from the podium before politicians including Hochul, James and New York City Council Speaker Julie Menin began marching down Fifth Ave to speakers blaring Israeli music.
“The Jewish people have yearned for a state of Israel, whilst experiencing the constant anxiety of knowing the place where they live could violently expel them at any moment, as happened again and again,” Schumer said. “We cannot, we must not go back to that era. I believe in the State of Israel. I support the State of Israel.”
This article originally appeared on JTA.org.
The post NY Democratic stalwarts show support for Israel even as Mamdani skips parade appeared first on The Forward.
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For the first time, a kosher restaurant has won a Michelin star
(JTA) — As golden confetti rained down around him Thursday, Israeli chef Raz Shabtai broke down in tears and was embraced by his cheering staff.
Moments earlier, a livestreamed Michelin ceremony had announced that his Miami restaurant, Mutra, had become the first kosher restaurant ever awarded a Michelin star, long regarded as the highest honor in the restaurant industry.
“It’s a moment of joy, it’s a moment of pride, it’s a moment of relief, it’s a moment of confirmation,” Shabtai told the Jewish Telegraphic Agency Friday. “It’s not just about Mustra getting that star, but it’s about the entire Jewish community getting that, and I felt a lot of responsibility.”
Shabtai, who has worked in kitchens across New York and Israel, opened Mutra in February 2025, naming the kosher eatery after his Jerusalem-born grandmother whose cooking he said heavily inspires its menu.
“I really like to call the restaurant Jerusalem cuisine versus Mediterranean and Middle Eastern or Israeli or stuff like that, because the flavors that I’m trying to bring to the table, it’s flavors that came from memories and visiting in the market with my grandma,” Shabtai said. “I have to be very loyal to what my grandma fed me.”
A description of Mutra on the Michelin website praised the restaurant’s “show-stopping plate of beets in a pool of ajo blanco and topped with beetroot sorbet” and “signature lamb kebab with smoked aubergine cream and tomato oil.”
“Israeli Chef Raz Shabtai has brought his take on Middle Eastern cuisine to Miami,” the Michelin inspectors wrote. “Named for his grandmother, this is a place where snagging a seat at the chef’s counter is a must.”
The award places Mutra among the world’s most celebrated restaurants and marks a breakthrough for kosher cuisine, which operates under strict dietary rules. For Shabtai, who has kept kosher for more than a decade, the award proved that culinary excellence can thrive under those constraints.
“Kosher is a beautiful spiritual way of me to bond with God, and the limitation that he gave me, but yet to do amazing good food that everybody can eat,” Shabtai said.
The recognition arrived after months of suspense. Shabtai said that Michelin inspectors visited the restaurant several times before sending an email in February requesting information and photos about the establishment, a sign he said alerted them that they were under consideration.
For Noa Figari, Mutra’s director of operations who joined the team after first working as Shabtai’s real estate agent to find the Miami location, the announcement Thursday was a “release.”
“All the hard work that we put has been, you know, validated,” Figari said. “We carry a responsibility not only just for Raz’s cuisine, but for the whole entire Jewish community and kosher world we made history.”
Looking ahead, Shabtai said he hoped the achievement would inspire other kosher chefs.
“Be proud of where you’re coming from, get connected to those roots that you have,” Shabtai said. “Sometimes it’s not going to be a smooth sail. It’s okay, learn how to fix it, but believe in yourself. Don’t ever compromise, and don’t let other people compromise you.”
This article originally appeared on JTA.org.
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