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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 Central Synagogue attack had no clear connection to Mamdani. He’s still being blamed.
A stabbing outside a synagogue on Manhattan’s Upper West Side. Dozens of swastikas painted on a Brooklyn playground. A Queens synagogue desecrated with feces and motor oil.
Combined with an unprecedented call by New York’s mayor to protest Israel’s prime minister, the recent rash of crimes against Jews in New York City has the community on edge.
So after Larry Montes, 46, was charged with hate crimes for attempting to disrupt Central Synagogue’s Friday night Shabbat service, striking a congregant and spitting on a security guard, many online rushed to blame Mayor Zohran Mamdani for his rhetoric against Israel. The incident seemed to fit into the political narrative held among Mamdani’s fiercest critics.
“The attack at Manhattan’s Central Synagogue is a direct result of Mayor Mamdani’s sustained campaign of incitement,” Ofir Akunis, consul general of Israel in New York, posted to X Saturday morning. “I warned that words would turn into actions, and that is exactly what is happening.”
The details that have emerged about Montes complicate that conclusion. A Forward analysis of the attacker’s social media and statements from his family paint a very different picture of Montes: a pro-Israel Republican who wanted to convert to Judaism.
In June, Montes reposted two videos critical of Mamdani: one comparing the mayor to Iran’s Ayatollah Ruhollah Khomeini, and another accusing Mamdani of having “betrayed” the city’s Dominicans and Puerto Ricans. In 2024, Montes posted a photo of the map of Israel with text overlaid that says, “Keep Israel in your heart.” He also reposted a video featuring Rabbi Yosef Mizrachi explaining why evangelical Christians support Israel.
If anything, Montes may have believed that the Reform congregation was too progressive. After his arrest, Montes called the congregants “fake Jews” in statements to the police, according to the assistant district attorney on the case, Ali Fazal.
Amy Spitalnick, chief executive of the Jewish Council for Public Affairs, said in an interview that the suspect appeared to have a “a deeply, frankly, disturbing worldview when it came to Jews that was simultaneously both philosemitic and antisemitic.” Conflating the suspect’s worldview with Mamdani’s, she added, “harms the fight against antisemitism.”
Online influencers place the blame on Mamdani
The attacker’s background and stance on Israel didn’t stop influencers and longstanding critics of Mamdani from piling on. “Do you think your non-stop demonization of Jews could have anything to do with it?” said Brianna Wu, an activist who has become a vocal critic of the progressive left, on X in response to Mamdani’s condemnation of the attack.
“It’s your fault Mr. Mayor,” Loay Alshareef, an activist who advocates for the Arab world to normalize relations with Israel, posted to X on the night of the attack. “You allowed this to happen.”
Others didn’t name Mamdani but quickly attributed the attack to increasing animus toward Zionists — even as the attacker’s social media suggests he was Zionist himself.
“American politics has become so obsessively antagonistic toward ‘Zionists’ that even a synagogue is seen as fair game for disruption and desecration,” said U.S. Rep. Ritchie Torres of New York, one of Israel’s staunchest supporters in Congress, on X.
Why exactly Montes attacked one of New York’s iconic synagogues is still unclear. Montes’ aunt, Myriam Montes, told the New York Post he was “mentally traumatized” because of his desire to be Jewish — suggesting he may have wanted to convert to Judaism but was rebuffed.
Mental health may also have been a factor. Montes was arrested three times for violent robberies between 2019 and 2023, police said, and he was a known “emotionally disturbed person.”
Some have argued that outsized attention on Israel can make Jews a natural target especially for people in the throes of a mental health crisis.
Hank Sheinkopf, a veteran New York political consultant, said the suspects’ anti-Mamdani views don’t weaken the case against the mayor. “There are crazy people that take cues from what they hear and what they read,” Sheinkopf said.
Spitalnick disagreed. “There are absolutely things the mayor has done that further reinforce concerns about Jewish safety,” she said. At the same time, “it’s disingenuous and unhelpful to blame him for all antisemitism in New York, which long predates him and which, as the evidence in this specific incident shows, is far more complicated than that.”
All that’s to say Montes could have had any number of motives for attacking a congregant during Shabbat services, including but not limited to warped philosemitism, a mental health crisis and prejudice against Reform Jews.
Playing into Netanyahu’s campaign
Blaming hatred of Israel and local political rhetoric for the attack could have an ulterior motive and political consequences halfway around the world. As Netanyahu and the ruling Likud Party, of which Israeli Consul General Akunis is a member, face a tough reelection fight in the Israeli Knesset elections in October, Mamdani has become a campaign target.
Last month, Netanyahu incorporated Mamdani’s video address encouraging New Yorkers to protest the Israeli leader into his own political campaign. In a campaign clip, he portrayed Mamdani as the face of a worldwide surge of antisemitism directed at Israel. Mamdani had initially threatened to arrest Netanyahu in September when he visits the city for the United Nations General Assembly, but the city’s legal department determined the mayor did not have the authority to do so.
Footage of Mamdani’s call to protest has now expanded to billboards and digital clips to rally Israeli voters on the right.
“They want Netanyahu to lose,” the new Likud campaign reads, placing Mamdani alongside Turkish President Recep Tayyip Erdoğan, Iran’s Supreme Leader Mojtaba Khamenei and Hezbollah leader Naim Qassem. “Don’t let them win.”
The political logic is straightforward. Portray Mamdani as the symbol of a hostile movement against Israel. Cast Netanyahu’s political survival as part of the larger fight against international efforts to isolate the Jewish state.
Both Spitalnick and Sheinkopf facetiously called Mamdani’s pledge to arrest Netanyahu an “in-kind contribution” to the Netanyahu campaign. Spitalnick said the Israeli leader “thrives by being able to point to that as opposed to talking about his own policies and record.”
Jewish leaders and local politicians have called for lowering the temperature. Micah Lasher, the Democratic nominee for the 12th congressional district that includes Central Synagogue, told The New York Times after the attack that the political climate must be taken into consideration at a time like this.
“You can’t divorce the dramatic increase in violence targeted at the Jewish community,” he said, “from the political climate and the tone and tenor of the discourse around Jews and Israel.”
The post The Central Synagogue attack had no clear connection to Mamdani. He’s still being blamed. appeared first on The Forward.
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‘We are in a time of biblical proportions’: What survivors of past shul attacks want Central Synagogue to know
When Audrey Glickman heard about the Friday night attack at Central Synagogue, a prominent congregation on Manhattan’s East Side, she had a visceral, immediate reaction.
“My first thought with anything like this is: they’ve been invaded,” she said. “And I know how that feels.”
Glickman, 69, survived the October 2018 attack on Pittsburgh’s Tree of Life synagogue — the deadliest antisemitic attack in U.S. history that killed 11 worshippers. She was leading services when she heard the rat-a-tat of gunfire. She grabbed fellow congregant Joe Charny, then 88, and raced up the stairs into a small room filled with bags of clothes to be donated to those in need. Together, huddled and scared, they hid under their prayer shawls until it was over.
In New York City this weekend, an attacker struck a congregant and a security guard, then was arrested and charged with hate crimes. Police said no one was seriously hurt.
“You never shake that feeling that somebody came into your space and invaded your safety, and you can’t undo it,” Glickman said. “My heart goes out to them.”
The suspect in New York, Larry Montes, 46, was charged with felony hate crimes and told police afterward that the attack was religiously motivated, citing hostility toward Jews and Black people. Montes, who has two prior misdemeanors, was granted bail at his Saturday night arraignment and is due back in court Thursday.
The attack landed amid a citywide surge: New NYPD data shows anti-Jewish hate crimes in New York rose 8.5% during Mayor Zohran Mamdani’s first seven months in office and made up 57% of hate crimes citywide, with July alone seeing a 53% jump from a year earlier.
Glickman said she hopes New York officials can eventually give the congregation answers. A federal jury sentenced the Tree of Life gunman, Robert Bowers, to death in August 2023.
“I hope they have the kind of investigators that we had here to figure out what went on,” she said. “When you can close up the case, it feels a lot better.”
But Glickman said every targeted congregation eventually has to answer a harder question: How do you stay open to strangers, newcomers and the unaffiliated, while keeping the people inside safe?
For that answer, she said, members of Tree of Life turned to a friend: the Rev. Eric Manning of Mother Emanuel AME Church in Charleston, South Carolina, where a gunman killed nine Black worshippers during a Bible study in 2015.
Manning and then-Tree of Life’s Rabbi Jeffrey Myers leaned on each other. Myers invited Manning to speak at the funeral of Rose Mallinger, the oldest of the shooting victims, and the two clergy have stayed close in the years since. Manning’s advice to Glickman’s congregation has stayed with her: “You can’t close your doors.”
Nearly eight years later, Glickman still goes to shul most mornings, and still worships on Shabbat with Tree of Life, which continues to meet in borrowed space while its building is rebuilt.
Her message for the congregation in Manhattan: “We’re here, and we know how they feel,” Glickman said. “It’s not a good feeling, and we shouldn’t have to live with this. We are in a time of biblical proportions.”
‘The walls will never be high enough’
Rabbi Charlie Cytron-Walker, 50, has an unusually direct connection to Central Synagogue. In January 2022, a gunman held Cytron-Walker and three congregants hostage at Congregation Beth Israel in Colleyville, Texas, after Cytron-Walker let him in from the cold and offered him tea.
The gunman, Malik Akram, had done his research, the FBI later found: He’d chosen the synagogue because it was the closest one to the federal prison holding Aafia Siddiqui, sentenced to 86 years for attempted murder and other felonies. Akram demanded her release and ordered Cytron-Walker to get America’s equivalent of a chief rabbi on the phone. He’d seen photos of Central Synagogue’s senior rabbi, Angela Buchdahl, with President Barack Obama and insisted that Cytron-Walker call her.
Cytron-Walker didn’t know her personally; he tracked down a number and left her a voicemail.
The 11-hour standoff — caught in its entirety on the synagogue’s security cameras — ended with all the hostages escaping unharmed. Authorities shot and killed Akram on the scene.
“While it was sad to hear that there was an attack at Rabbi Buchdahl’s congregation, I was very grateful to hear that the security protocols they have in place minimized any disruption,” Cytron-Walker said.
He was struck by how quickly the congregation returned to prayer. “You always have to weigh, when there’s a disruption, what the community needs in that moment,” he said. “What the community needed was not to let what turns out to be a minor incident ruin the night — to be able to celebrate Shabbat as a community despite the disruption.”
Cytron-Walker, now the spiritual leader of Temple Emanuel in Winston-Salem, North Carolina, said Jewish congregations have to hold two values at once. “We have to live our values of loving the stranger,” he said. “Judaism has always been a part of the world, even when we try to isolate ourselves from it. The walls will never be high enough.”
At the same time, he said, “it is also a Jewish value to protect our own lives, to value our own lives. We should employ that with the rational part of our brain, not the emotional part. We shouldn’t panic, but we should be prepared.”
Just like Glickman, Cytron-Walker said he hopes Central Synagogue receives the kind of support that helped his own congregation heal.
“The Jewish people are not only receiving hate,” he said. “We’re also receiving love and support. It may not always be as much as we want, and when we do receive it, let’s offer gratitude and allow that to help with our healing.”
The post ‘We are in a time of biblical proportions’: What survivors of past shul attacks want Central Synagogue to know appeared first on The Forward.
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On my first Shabbat in NYC, the sanctuary was attacked
I don’t often go to synagogue. Outside of the High Holidays, it is not somewhere I would ordinarily find myself on a Friday night.
In the last few years, I have made a point of spending Shabbat with my grandmother. We light candles, eat together and let the week recede for a few hours. I don’t see it as an obligation so much as the comfort of doing something that has been done before, by people I love, in a rhythm that existed long before I did.
And yet, synagogues have a strange way of finding me when I need them.
Last summer, while travelling through Europe to visit two of my closest friends, I found myself in London, exhausted from weeks of constant movement. I happened to walk past a synagogue and realized that Shabbat was the following day. I reached out and asked if I could join their services. I remember thinking that perhaps this was exactly what I needed: a few hours to sit still, focus, and breathe.
And I was right.
There is something uniquely grounding about entering a synagogue in an unfamiliar place and discovering that the ritual is familiar. You may be thousands of miles from home, surrounded by people you’ve never met, but you know when to stand. You recognize the melodies. You open the same prayers. You know that somewhere else in the world, other Jews are doing some version of the same thing.
So when, only a few days after moving to New York, I was connected with a member of Central Synagogue through a potential landlord and they invited me to join them for Shabbat services, I thought: Why not?
I had just arrived in a city where I was beginning a new job at the Forward, a new life, one that, for the first time, was entirely mine to shape. That is a daunting task. What better way to spend my first Friday night than doing something that has always made the unknown feel a little more manageable.
Moments after services began, I was sitting in the sanctuary, allowing myself to take in the week that had just passed — my first week in New York — when a man entered and began moving violently through the congregation.
He knocked down the Shabbat candles that had just been lit. He moved through the rows of congregants. I watched him strike another person.
People around me ran toward the sides of the sanctuary. My own body went into the same instinctive state of shock and survival: Where is the danger? Where can I go? What do I need to watch for?
The security response was swift. The intruder was stopped, we re-lit the candles, and services continued.
Those around me who knew I was new to the synagogue immediately went into protection mode. They checked on me, expressing disbelief that something like this could have happened there, especially given the level of security they pride themselves on maintaining. They told me that in the nearly three years since October 7, nothing like this had happened.
The clergy, too, seemed to understand what the moment required. They gave us strength and courage, using the same voices that had moments earlier been leading us in song and prayer to restore some sense of calm. Throughout the service and again afterward in their online response, they returned to the same idea: it was our duty to keep joy alive.
Joy, one of the rabbis said, is itself an act of resistance.
I understood the sentiment. But my body hadn’t quite caught up.
Shabbat is one of the rare times when I allow myself to become completely uninhibited. I sing. I look up from the prayer book. I watch the rabbis and the people around me. I let myself become absorbed in something larger than whatever has been occupying my mind that week. For a few hours, I am not thinking about work, or apartment hunting, or navigating a new city. I am simply there.
That is also why the disruption was so jarring. I had come to Shabbat to let my guard down, and suddenly I found myself unable to do so.
I kept my eyes toward the front of the room, watching for movement. When it came time to turn around during Lecha Dodi, I felt a jolt of anxiety at the thought of putting my back toward the congregation. I could no longer surrender myself completely to the moment and what it required of me. I knew, rationally, that the threat had passed. But my body had learned something different: that even here, even now, even in this room, I might need to be ready.
For a moment, I considered leaving. But the people around me seemed to embody a quiet confidence that everything was going to be okay. They had chosen to stay, and I followed their lead. There is a certain strength in knowing that you are not standing alone.
I had come to Central Synagogue because I wanted to feel at home in my new city. Instead, on my first Shabbat in New York, I was reminded how quickly the simple act of practicing Judaism can become an exercise in vigilance. And yet, looking around the room that evening, I also understood that vigilance does not have to mean retreat.
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