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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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Howard Zinn: a radical historian with a Jewish conscience
“I am a sportswriter by trade,” Dave Zirin, sports editor at The Nation, told me. Zirin has written 11 books, all of them dealing with the knotty and oft-controversial politics of sport, coming at the games he loves — and the machinations behind them — from a progressive position. His previous subjects have included Colin Kaepernick, Barry Bonds and John Carlos.
But Zirin’s latest book, The People’s Historian: The Outsized Life of Howard Zinn, is not that. It’s a biography of the late Boston University professor and self-described “radical historian,” best known for the long-running bestseller, A People’s History of the United States, which was first published in 1980.
“I never would have thought in eight trillion years that I was ever going to write a book about Howard Zinn,” Zirin, 52, told me by phone from Washington, D.C.. “He was a hero of mine, a great influence, and I would have thought it presumptuous to even think about it, not just to mention that I never gave thought to writing a non-sports book.
“But I just had so many people in recent years want to engage me in this discussion of ‘What would Howard say about these incredible demonstrations in 2010 of the Black Lives Matter movement, and, especially, in the age of Trumpism, the rise of neo-fascism, not just in this country, but abroad?’”
If Zirin couldn’t divine an exact answer, he was at least in a position to hazard an educated guess. Turned on to an abbreviated 20th century-focused version of A People’s History as a high school graduation gift by his sister, Zirin became a history major at Macalester College in St. Paul, Minn. Much later in life, Zirin found himself hosting Q & A sessions with Zinn at venues throughout the country.
Zirin says that the events of the two Trump terms made people wonder: “‘Would that have shaken Howard’s faith in the power of the people to make positive change and the ability for people to bend the arc of history, as they say, toward justice?’ That made me want to write the book.”
When he started work on the biography, Zirin knew the basics of Zinn’s public trajectory: his service in WWII as an Air Force bombardier; his stint teaching at Spelman College and his role in the Civil Rights movement, his protests against the Vietnam War, his ongoing conflict with Boston University president John Silber, his work as a playwright, the Hollywood actors and rock musicians who read his prose and wanted to meet and work with him. The bottom line: Zinn had an unwavering commitment to unions and organization, the power of the people.
“The power of tyranny is overestimated (not in the short run, but in the long run),” Zirin quotes Zinn as saying in his preface, “and can be overcome by the unity, the determination, of apparently powerless people.”
“When we were on stage,” Zirin told me, “he would speak about things he was a central player in, but he would kind of leave himself out of the narrative, partly out of humility but I also think that’s the political training of people who came up in the 1930s during the Depression. They’re always thinking about the movement, not about themselves.
Still, Zirin added, “Howard had so many great stories that he would tell about his life offstage. So, I really wanted to tell his story because I felt truly that it hadn’t been told and I wanted to learn about him. I wanted to invest in it.”
What did Judaism mean to Zinn and, now, to Zirin? “Judaism was expressed through the pursuit of knowledge, of questioning established truths, and always standing with the underdog,” said Zirin. “It is why he felt strongly that Jews of conscience needed to advocate for the Palestinian people. I am inspired by this commitment to tikkun olam and I share his approach to how we need to apply our faith: as voices against apartheid and genocide.”
Zinn’s cultural identification as a Jew often emerged in his sense of humor that Zirin calls his “secret sauce.”
“It’s not like I think Howard Zinn was like Billy Crystal with a history book,” Zirin said. “His ability was to keep an audience listening through humor. [He could] apply history to the present and make people think about it, bring it alive in present terms and then Howard had that third layer, that third gear, where he could be funny and affable and work that twinkle in his eye and that smile and keep an audience focused. I think that allowed him to speak in a lot of diverse circumstances.”
Zinn, of course, attracted negative heat, too. In 2020, President Donald Trump said, “Our children are instructed from propaganda tracts, like those of Howard Zinn, that try to make students ashamed of their own history.” Zinn caught flak not just from the expected bastions of the far-right but also from other historians. The latter, Zirin says, were critical of Zinn mostly out of jealousy. Zinn was popular and well-read; they were not.
“He was able to break out of the academy and impact the world,” Zirin said, “He saw academic praise meaning very little relative to the world. He took greater joy in writing 800-word columns that spoke to what was happening rather than writing another 800 -page book the likes of which a lot of academics write, these things that no one reads.”
As to the right-wing trolling, Zirin said, “I think he would have just taken that as a badge of honor. I think for Howard that just rolled off his back because of his interests, which was in teaching and seeing how what he was teaching applied to the world — he loved bringing the lessons of the street into the classroom and he loved seeing what was in the classroom applied to the streets. He was blessed to have lived in interesting times and in important places.”
The book explores Zinn’s family life, too. Zirin got co-operation and input from Zinn’s son Jeff, an activist-playwright, and his daughter, Myla, an educator and environmental advocate. Some of those stories involve their upbringing. Howard was on the road frequently, and Zirin writes that his wife Roslyn (Roz) had to play good cop and bad cop, neither role she relished.
Roz Zinn, who died at 85 from ovarian cancer in May 2008, was also an activist and artist, and though the couple remained happily married for 64 years, she lived, to an extent, in his shadow. Her death crushed him.
“Howard stayed extremely active after Roz passed and in many ways that was his therapy,” Zirin said. “He took to email voraciously. He traveled, he spoke, he did events like the ones I did with him where he could sit because, while he was still sharp, he didn’t want to stand that long. The twinkle would go out during those moments when the warmth of a crowd, or a friend, would leave the stage or his presence.”
“At the very end,” Zirin said, “he had these moments of looking very sad. How do you comprehend what it’s like to lose someone you’ve been married to for 64 years? Incomprehensible.”
Zinn died from a heart attack at 87 on Jan. 27, 2009. He’d been in a swimming pool in a Santa Monica, California hotel. He was not, as some said, swimming laps; he didn’t have the strength for that. At the memorial service at the Arlington Street Church in Boston April 23, 2010, Myla said he was standing in the pool. A pool worker pulled him out of the water and asked if Zinn wanted an ambulance. He reportedly said, “No, I’m OK.”
Zinn’s friend Noam Chomsky spoke at the service, as did Matt Damon — whose family grew up next to the Zinns in Newton, Mass. — and poet Martín Espada, who read a tribute poem written for Zinn. Dr. Bernice Johnson Reagon — founding member of the SNCC Freedom Singers and Sweet Honey in the Rock, cultural historian and activist — led the crowd in singing “This Little Light of Mine” and “Joshua Fought the Battle of Jericho.”
Zirin told me that Zinn’s writings and words have made him less pessimistic about the world. “It irrevocably changed me,” he said. “The main effect that Howard had on my own outlook was that there are answers in history. Howard imbued me with this idea that you had to be more than angry. You had to have a sense of the world if you wanted to change it. I also really thought about how we could not just be objects but subjects of history.”
“So many people out there want the world to be a different place and are disgusted by the state of things, of what Naomi Klein describes as ‘end times fascism,’” Zirin said. “You try to imagine a sense that if you can root your ideas and even your anger in history, there’s a path out, there’s a road map out.”
The post Howard Zinn: a radical historian with a Jewish conscience appeared first on The Forward.
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Israel is revoking entry permits for U.S. activists involved in West Bank
Hannah was on her way to class on Jan. 8 when she opened her inbox and found an email from Israel’s Population and Immigration Authority. Due to a change of circumstances, it said, her authorization to enter Israel had been revoked.
“I had to read it a few times, honestly, and then I Googled it and just started crying. I was on my way to class. I was bawling,” Hannah told the Forward. Hannah asked that her last name not be published because she fears that speaking to the media could affect her ability to visit Israel in the future.
Hannah, whose boyfriend lives in Israel and who has family there, has spent almost every summer of her life in the country. She was left dumbfounded by the email. There was no explanation of the reason for the revocation, and nothing about how, or whether, she could appeal.
The closest thing to an incident she can point to came the previous July, when she joined her rabbi and a group of volunteers accompanying a Palestinian farmer during the grape harvest — a practice known as protective presence, in which foreign witnesses aim to deter settlers and soldiers from interfering. Israeli soldiers stopped the group and held them for hours. “They asked to see my passport and said they were looking to see if there was any reason to deport me,” she said. They found none, and told her she was free to go.
Hannah came up through the institutions Israel counts on to keep American Jews attached to it. In high school, Hannah was involved with hasbara fellowships, and her mother is active in her local Jewish federation. “It’s so odd that almost the more I become familiar with the place in ways that I wasn’t as a kid, and maybe less naive about it, now I don’t have the ability to be there,” she said. “I’m not welcome there anymore.”
Hannah is one of seven American Jews who told the Forward that Israel had revoked their electronic travel authorization, or ETA-IL, after they participated in protective presence activities in the West Bank.
A loose network of Jewish organizations recruits diaspora Jews for the work and frames it as an expression of Jewish values. Programs range from 10-day delegations to seasonal olive-harvest cohorts to Hineinu, Hebrew for “here we are,” a three-month placement in Palestinian communities in Masafer Yatta that the Center for Jewish Nonviolence launched in 2021.
According to figures from the Center for Jewish Nonviolence, dozens of participants in its Hineinu program and other protective presence initiatives have had their authorizations revoked since the system took effect.
Israel launched ETA-IL as a pilot in June 2024 and made it mandatory for travelers from visa-exempt countries, including the United States, on Jan. 1, 2025. The application is a brief online form, usually approved automatically within minutes, that allows visa-free entry for tourism or business. It functions as Israel’s counterpart to the U.S. ESTA system, and followed Israel’s admission to the American Visa Waiver Program in 2023.
A State Department spokesperson declined to comment on individual cases or on the department’s discussions with Israeli officials, but said the Department of Homeland Security, in consultation with State, regularly reviews whether Visa Waiver Program participants meet program requirements.
Israel was admitted to the program in 2023 only after signing a memorandum of understanding committing it to treat all American citizens equally at its borders, a longstanding program requirement that had kept Israel out for years over its treatment of Palestinian American travelers.
None of those who spoke to the Forward had been arrested or charged with a crime. Some received no notice at all, which Daniel Roth, executive director of the Center for Jewish Nonviolence, said has become increasingly common. Those who did get revocation emails received identical notices citing a change of circumstances, with no explanation of the duration of the ban.
By the letter of the law, all of those whose authorizations were revoked remain eligible to make aliyah — immigrate to Israel — unless they are deemed a security threat under a provision of the Law of Return. Neither of two immigration attorneys who spoke with the Forward could recall any applicant being blocked as a security threat.
The visitors could open a file with the group Nefesh B’Nefesh and, in theory, be Israeli citizens within months. For now, they are barred from entering.
The Forward asked the Population and Immigration Authority how many ETA-IL authorizations have been revoked and on what legal basis, and the Israel Police asking whether it recommends revocations. Neither responded.
The Jewish Agency, which facilitates immigration by Jews to Israel under the Law of Return, said in a statement: “There is no connection between the ETA process and the Aliyah process. Regardless, we cannot comment on ETA refusal because we do not handle any part of that process. The criteria for eligibility for Aliyah remain unchanged.”
Change of circumstances
That Israel’s government sees protective presence workers as an adversary and target for law enforcement is no secret.
In April 2024, National Security Minister Itamar Ben-Gvir ordered the creation of a police task force to handle foreign and Israeli left-wing activists in the West Bank, which he described as a team for dealing with “anarchists.”
The unit sits under the West Bank district police and works in coordination with the Population and Immigration Authority. Ben-Gvir publicly credited the immigration authority for its role in deporting 32 foreign activists in October 2025 following an olive harvest action in the northern West Bank.
Of the Jews the Forward interviewed, one described himself as an anti-Zionist. The others were liberal Zionists who said they are concerned about the rise of settler violence in the West Bank and the preservation of Israel as a liberal democratic state. They were day school and summer camp alumni. Most have family in Israel and visit regularly.
Sam Sherman, an actor and writer who lives in New York City, was in Masafer Yatta, a collection of hamlets in the southern West Bank, when he opened an email telling him that his ETA-IL had been revoked due to a change of circumstances.
He was about seven weeks into his stint with a Hineinu group, and he was not the only one. “It happened to me and a few others in my cohort … within the same hour,” Sherman said. “A few of us got the same email within minutes of each other.”
Sherman was never arrested. He describes one incident that he believes amounts to a detention in place, and otherwise a pattern of identification, soldiers, police and armed settlers photographing his passport during confrontations he says were initiated by settlers.
“We were just there hanging out with people, essentially,” he said. “But we were treated as if it was almost criminal for us to be there.”
His first reaction was confusion. “I was like, what does this mean?” he said. More experienced activists told him what it meant: once he left Israel, he would be unable to return unless he chose to make aliyah. “If I’m the wrong kind of Jew for Israel,” he said, “sure. Great.”
Rabbi Jill Jacobs is the CEO of T’ruah, a rabbinic human rights organization that has been sending American clergy to the West Bank for years. She said the revocations cut against Israel’s founding promise.
“The promise of Israel is that it’s going to be a refuge and a home for Jews everywhere in the world, not just for Jews with certain political opinions,” said Jacobs. “Israel should be the place in the world that is safest for Jews, no matter what your religious practices are, what country you’re coming from and what your political views are.”
Another participant in Hineinu said she never received an email at all.
Nina, who asked to be identified by her first name only, had a valid authorization when she left the country for a weekend in Cyprus to reset her tourist visa. When she tried to re-enter Israel, she said, she was held at the border and denied entry.
“I never got an email that my ETA had been revoked,” she recounted. “I never got any correspondence at all, and I never got anything written, that said that ETA had been canceled or revoked or anything.” Hours later she resubmitted the application from her phone and got an automatic rejection.
‘Nothing’s out of the question’
Critics of the volunteers say it is simply a law enforcement matter.
Naomi Kahn, director of the international division at Regavim, a right-wing Israeli legal advocacy group that campaigns against unauthorized Palestinian construction in the West Bank and lobbies for demolitions, said some of the accompaniment activity takes place in closed military zones and active IDF firing zones.
“It should not be considered unusual when a sovereign state chooses to deny entry to people whose declared intention is to break the law,” Kahn said. “It should come as no surprise when tourists are disinvited when they break the law. I don’t think this raises eyebrows anywhere else in the world.”
Closed military zones have become a point of contention between activists and the Israeli military. In late October 2025, two American Jewish women, Rachel Beth Flamholz and Leila Stillman-Utterback, were deported and banned from Israel for 10 years after entering a closed military zone imposed on the Palestinian village of Burin the same day they had arranged to pick olives there.
“In my experience, closed military zones are used as a tool to clear Palestinians and those supporting Palestinians, including us, from an area,” Roth said, “and by and large, to leave space for Israeli settlers to do whatever it is they want.”
Jacobs draws a distinction between conduct and status. A tourist who commits a crime in Israel is subject to Israeli law, she said, as a tourist would be subject to the law of any place they were visiting. That, she argues, is not what is happening here. None of the volunteers were charged with anything.
“These are the best of the best,” Jacobs said. “These are people who are devoting, in some cases, months or more of their lives, that they could be spending doing anything, to trying to make Israel a more just place for both Jews and Palestinians. And that’s exactly who Israel should want to be standing by and supporting.”
This fall, some will head to the West Bank as part of Protect the Harvest, an initiative run by an international coalition of Palestinian, American, Israeli and Jewish organizations responding to an invitation from Palestinian farmers. The campaign runs in week-long cohorts from mid-October through mid-November.
T’ruah is bringing a clergy delegation from Oct. 18 to 23, ending four days before Israel’s national elections. Jacobs expects many American rabbis on the ground, some bringing their own congregants.
“I don’t know what the Israeli government is going to do,” she said. “But I think if they decide they’re going to start deporting American rabbis, that would basically be picking a very big public fight with the American Jewish community.” Even people who haven’t been paying attention, she said, will be furious.
Asked whether she thought it was actually possible that an American rabbi could be deported during the harvest, she did not rule it out. “Nothing’s out of the question,” she said.
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A Jewish philanthropist funded this pioneering school for Black students. Now it’s getting a second life.
A small Kentucky town has saved a piece of Black history, with a little-known Jewish connection.
This summer, Sadieville, Kentucky — population 320 — opened an exhibit in a one-room schoolhouse that served Black students during segregation.
Built between 1917 and 1920, the school was partly funded by Jewish philanthropist Julius Rosenwald, an owner of Sears, Roebuck and Company who gave much of his fortune away as part of a collaboration with the influential Black educator Booker T. Washington.
The Sadieville school was one of 5,000 schools for Black students across 15 states that Rosenwald helped fund. The schools transformed Black education across the rural South during the Jim-Crow era, dramatically improving students’ literacy rates and economic mobility.
But today, many of the schoolhouses are in danger of abandonment. As preservationists seek federal recognition of Rosenwald schools in Congress through a proposed national park, the residents of Sadieville took matters into their own hands.
“It is one of our little special treasures that we have here, because there are so few of them remaining in the United States,” Laura Centers, Sadieville’s city clerk, told the Forward. “We want to protect our history.”
Recently introduced legislation in both the House and Senate would help protect that history nationally, but both bills have languished in committee. To pass, they will need Republican support — at a time when the National Park Service is already dealing with staffing shortages and a slim budget. So far, Rep. Rob Wittman of Virginia is the only Republican to sign on.
Sadieville would not be included in the proposed national park, which would initially cover three schools in Maryland, South Carolina and Virginia, along with a headquarters in Chicago. But Dorothy Canter, a retired biophysicist who leads the Rosenwald national park campaign, said local preservation efforts are still essential to the broader movement.
“It helps the campaign because it’s a part of history,” Canter said. “It’s part of Sadieville history.”
As one of more than 150 Rosenwald schools in Kentucky, the Sadieville school operated until integration in 1954 — the year of Brown v. Board of Education. Pioneering journalist Alice Allison Dunnigan, the first Black woman to receive White House press credentials, taught at a Rosenwald school in New Hope, Kentucky.
Getting the Sadieville school in shape for visitors was not easy. During a 14-year renovation of the schoolhouse, the town dealt with termite damage, replaced the pine floors, restored the building’s foundation, patched the drywall on the walls and ceiling, rehabbed windows, and replaced doors.
The town also added historically accurate furnishings, including a chalkboard, desks scattered across the room, and a coal stove for heat. Because the school lacked electricity, large windows provided natural light. The sparse decor includes a photo of Abraham Lincoln and a book about Nicodemus, Kansas, a Reconstruction-era Black farming town founded by a group of formerly enslaved people who fled Kentucky seeking land ownership.
The project was funded by a combination of community donations and national support, with a $10,000 grant from Toyota Motor Manufacturing Kentucky, $7,000 from the National Trust for Historic Preservation, and $2,000 from Friends of Sadieville, Inc.
Staffing the exhibit in such a small town is also a challenge, Centers said. The school opened to the public for only two days this summer. After the initial unveiling on June 19 — in honor of Juneteenth – it will open again on August 15.
But Centers hopes those two days will generate enough interest to justify opening for more days next summer.
The exhibit is meaningful for the entire town, she said, but especially for Rosenwald students’ descendants.
“We just want to get the word out there that we do have this,” Centers said. “It’s important to a lot of people’s history.”
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