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The Sassoons are having a moment. Here’s why that matters.
(JTA) — The Sassoon family is having a moment. The Baghdadi Jewish dynasty that made its fortune in trade across the Indian subcontinent and East Asia is the subject of the current exhibit at the Jewish Museum in New York, titled “The Sassoons.” Joseph’s Sassoon’s book, “The Global Merchants: The Enterprise and Extravagance of the Sassoon Dynasty,” was published last year. Last month’s highly publicized auction of the Sassoon Codex for over $38 million focused attention on the Sassoon heir who once owned the 1,100-year-old Hebrew Bible. The Sassoon Family Archive at the National Library of Israel has been newly digitized.
The Sassoon dynasty is the epitome of the cosmopolitan transnational Jewish families I retrace in my book “Baghdadi Jewish Networks in the Age of Nationalism”: intrepid merchants who transcended empires, continents and cultures. Starting with David Sassoon (1792-1864), who left Baghdad in 1828, eventually settling in India, the Sassoon empire would, at its height, extend from China to England. The transnational networks they and their contemporaries established, tied together disparate Jewish communities and laid the foundation for present-day philanthropies dedicated to the plight of world Jewry.
The Sassoon family cannot be reduced to a stereotype of wealthy Jewish collectors who assimilated into European culture, nor can they be seen simply as “The Rothschilds of the East” — although they mingled with Rothschilds and held similar riches gained through business. They were their own phenomenon quite apart from the Rothschilds. Too often modern Jewish history is presented from an Ashkenormative (Eurocentric) perspective. Elevating the histories of families like the Sassoons and the communities who benefitted from their philanthropy, highlights the diversity and complexity of the modern Jewish experience.
The Jewish Museum exhibit is laden with dreamy family portraits by Thomas Gainsborough and John Singer Sargent and the 18th-century European art the family acquired. This might give the mistaken impression that the Sassoons abandoned Baghdad, adopted European social and cultural tastes and never looked back to the Middle East. Fortunately, this visual narrative is balanced by the manuscripts, marriage contracts and Judaica that speak to the family’s deep connections to the Middle East and their Jewishness. “The Sassoons” exhibit, with its comfortable and opulent objects, subtly raises awareness of the diversity of Jewish experience.
The late 19th and 20th century world of the Sassoons is, in short, a gateway to understanding the specifically dynamic transnational Jewish networks of modern Middle Eastern Jewish history. The exhibit offers hints of the Baghdadi heritage of the family and the cosmopolitan religious, business and philanthropic networks in which they participated. Examples include the beautiful silver tikim (Torah cases) and a haftarah scroll, both commissioned by Flora (in Arabic, Farha) Sassoon (1859-1936), who was born in India and later emigrated to England. Flora was admired for both her erudition and business acumen, and her commissions are vivid examples of her religiosity and her concomitant global network: The silver for the tikim was smithed in Shanghai and styled in a Middle Eastern motif; the scrolls were written by a sofer, or scribe, in Baghdad, and the whole Torah was assembled in her hometown of Mumbai. During Flora’s lifetime both Shanghai and Mumbai were important nodes in the Sassoon business empire, and as a result had small but flourishing Baghdadi Jewish communities beyond the Sassoon family itself.
Installation view of “The Sassoons” at the Jewish Museum, New York, March 3-Aug. 13, 2023. (Kris Graves)
Similarly, the manuscripts on display in the exhibit, many acquired by David Salomon Sassoon (1880-1942), Flora’s son, illustrate the family’s interests in multilingualism and their Jewish material heritage. David collected over 1,000 manuscripts, and many of the rarest pieces in his collection were acquired during his trips back to Iraq. His close connection to the Jewish community in Baghdad despite his birth in Mumbai and adulthood in Britain, his proficiency in Judeo-Arabic (that is, Arabic written in Hebrew script and inflected with Hebrew and Aramaic loan-words) and his fluency in Judeo-Baghdadi (the spoken dialect of Iraqi Jews) enabled the acquisition of these rare and varied manuscripts. While many of the pieces on display seem to speak to the”Europeanness” of the Sassoons, they also underscore that the Sassoons remained a part of Iraqi society, and that these two societies were not mutually exclusive.
The inclusion of a 1946 photograph (by Arthur Rothstein) of Jewish refugees reading a list of Holocaust survivors in the exhibit points to yet another critical role of the Sassoons as important philanthropists for Jewish transnational causes. By 1939 over 20,000 Jews fleeing Europe had found their way to one of the few locations that did not require a visa, Shanghai. Arriving with little means and few, if any, connections, they were welcomed by a well-established Baghdadi Jewish community for whom the Sassoons had been — throughout the 19th and 20th centuries — the primary contributors to Jewish life, endowing schools, synagogues, and charities there as they did across the Baghdadi diaspora and the Middle East itself.
Philanthropy and communal leadership are essential components of the Sassoon legacy, helping us see a broader community beyond the beautiful and durable objects which are easiest for curators to display and which attract visitors for their inherent qualities.
If you happen to be in New York before Aug. 13, visit the exhibit to luxuriate in the wonders of wealth and prestige which the Sassoon family possessed. While you are there, pay special attention to the dual cosmopolitan and communal approach to Jewish history that is exemplified by many of the pieces on display. View the many artifacts and documents as an invitation to explore the global cultural, economic and philanthropic contributions of Middle Eastern Jewry, an enduring and rich legacy of a remarkable family.
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‘Nobody Wants This’ star Adam Brody on Gaza: ‘Put me down as thinking it’s a genocide’
Adam Brody, the Jewish actor who plays a “hot rabbi” on the hit Netflix rom-com Nobody Wants This, called the war in Gaza a genocide in a new interview, making him one of just a few Jewish celebrities to speak out publicly against the Israeli campaign.
The comments came in an interview with GQ about Brody’s efforts canvassing for Democratic candidates in the upcoming midterms.
“Put me down as thinking it’s a genocide. Put me down as wanting a free Palestine,” he said. “It’s awful that it’s taken so much death and misery, but it does feel like it’s reaching a breaking point that it should have a while ago. I’m hopeful that another administration can really do some good and correct some of these policies that are helping that situation be as awful as it is.”
The claim of genocide in Gaza is heavily disputed. Several international bodies, human rights organizations and academic institutions have concluded Israel’s actions in Gaza since Oct. 7 fit the description, including a United Nations Commission of Inquiry. Other similar groups, like the International Court of Justice, have not applied the term.
Brody’s comments were surprising in part because he had previously kept his feelings about the war private, even as other leading Hollywood figures openly criticized it. He does not maintain a public social media presence, and he did not participate in pin-wearing campaigns or sign various petitions related to the war — an approach he indicated he might change going forward.
“I’m not wearing a pin, so I’m not inviting a certain question, and perhaps I should,” he said. “I really admire people who do. But 99% of what I’m asked about is about the show. I’m not trying to plead ignorance—here we are doing a political interview, so it makes sense that we wade into this territory—but I’ve never ducked a question, really, not a political question anyway.”
Brody — who came to fame in the 2000s as the teenager Seth Cohen on The O.C. — joins Hacks star Hannah Einbinder and Wallace Shawn (The Princess Bride) as perhaps the most high-profile Jewish actors to publicly call the war a genocide. Other Jewish entertainment figures, like Mandy Patinkin and The Zone of Interest director Jonathan Glazer, have criticized the war but stopped short of calling it a genocide.
Yet Brody’s comments are perhaps especially notable because of the character he plays on TV. In Nobody Wants This, Brody plays a rabbi dating a non-Jewish woman — introducing her to the beauty and foibles of Jewish faith and culture. Israel has been conspicuously absent from the show, with its creator, Erin Foster, saying she deliberately avoided geopolitics.
Season 3 of Nobody Wants This releases to Netflix October 22.
The post ‘Nobody Wants This’ star Adam Brody on Gaza: ‘Put me down as thinking it’s a genocide’ appeared first on The Forward.
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Why Mamdani remains focused on Israel as NYC mayor
When Israeli Prime Minister Benjamin Netanyahu spoke at the UN this week, New York City Mayor Zohran Mamdani was there — not in body, but in spirit, having condemned the Israeli prime minister and previously encouraged protests against him.
As a leader in the Jewish community, I know that many American Jews oppose Netanyahu’s government. But many also believe strongly that Israel’s survival as a Jewish homeland is critically important. They, therefore, feel boxed in by the mayor: compelled by conscience to oppose Israel’s leader and to condemn Mamdani’s repeated attacks on Israel’s existence, many of which they find offensive and dangerous.
Because of my previous work for Mayor Bloomberg, I am often asked by Jewish community members why this mayor so frequently puts them in this painful bind. The answer, I believe, lies in motivations worth understanding more clearly.
Of course, Mamdani’s focus on Israel seems partially motivated by principle. He clearly thinks Israel is illegitimate and opposes how it defends itself. I take him at his word that these convictions are sincere. But sincerity still does not explain his single-mindedness. A mayor willing to absorb this much political friction must see some benefit. But what?
To understand, let’s reexamine the 2025 election, often described as a “political tsunami.” The facts, however, are more complicated. Mamdani did defeat his closest opponent by nearly 10%, but in so doing he secured under 51% of the total vote – against a flawed and divided opposition. Viewed this way, his impressive margin seems less sweeping and much narrower.
More important than his electoral margin, though, is the coalition that produced it. His victory rested heavily on three blocs: self-identified very liberal voters; and Muslim and South Asian voters, who turned out in historic numbers. South Asian and Indo-Caribbean turnout, for example, rose 350% between 2021 and 2025, with 87% of South Asian votes going to Mamdani. Analyzing available data, I believe that, taken together, these three blocs accounted for well over 50% of all Mamdani votes.
What makes this coalition intriguing is that it consists of such strange bedfellows. The blocs differ sharply on many key local issues. On same-sex marriage, PRRI’s American Values Atlas found 33% support among Muslim-Americans in 2024, with support among very liberal Americans substantially higher. The divergence is similarly stark on policing, education, and many other policies.
In fact, it is hard to identify many things uniting these blocs besides this candidate: a skilled politician speaking the language of the left, while activating Muslim and South Asian voters just as Mayors Bloomberg and Koch activated Jewish voters and Mayors Adams and Dinkins activated Black voters.
Which brings us back to Israel.
When one barely ekes out a majority against flawed opponents, and one’s coalition is fundamentally misaligned, one must find ways to hold it together. To this end, Mamdani seems to be taking a page from Donald Trump. When Trump’s coalition buckles, he reaches for a “shiny distraction” — attacks on the press; trade wars; threatened invasions of Greenland. For Trump, the specifics are almost irrelevant; what matters is the theater of conflict and the distraction it produces.
For Mamdani, his Greenland is Israel.
Yes, it is a subject on which he holds sincere convictions. But, more importantly, it is one of few issues on which his coalition agrees. His relentless focus on Israel — to the exclusion of other worthy targets, including grave human rights offenders across South Asia and the Muslim world — is no accident. It is a political calculation allowing him to don the mantle of moral crusader while keeping his coalition on-side and united.
For those who believe Mamdani’s politics pose a danger to the Jewish community and want to slow his political momentum, this analysis yields two insights.
First, trying to persuade the mayor to soften his Israel attacks is unlikely to succeed. Doing so is not his inclination or in his political interests.
Second, and maybe more interestingly, Mamdani has a vulnerability that he seems to recognize – a fragile coalition. Allowing Mamdani to
make Israel his “shiny distraction” and engaging him on it plays his game. A different approach would be to defend Israel as-needed, but focusing efforts on pressing Mamdani to do his job – for example, elevating important issues, such as specialized high school admissions practices, on which his coalition happens to be divided.
The upshot? When smart politicians do things that seem politically risky, they usually see something others do not. Mamdani’s Israel focus offers a case-in-point. Those looking to respond should consider resisting the temptation to take the bait when possible. The wiser strategy is to engage under different rules: defending Israel when necessary, then pivoting to the difficult local issues from which Israel is meant to distract.
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New voices in Yiddish: A prose and poetry contest
לכּבֿוד דעם 85סטן יאָר זינט מע האָט פֿאַרלייגט דעם ייִדישן זשורנאַל „אױפֿן שװעל“, וועט די אָרגאַניזאַציע וואָס שטיצט דעם זשורנאַל, די „ייִדיש־ליגע“, דורכפֿירן אַ קאָנקורס פֿון נײַע ייִדיש־שפּראַכיקע לידער און פּראָזע.
אַ זשורי פֿון אָפּגעקליבענע מומחים וועט אָפּשאַצן די אַרבעטן, און די דרײַ בעסטע פֿון ביידע קאַטעגאָריעס וועלן באַלוינט ווערן מיט געלטפּרעמיעס.
די פּראָזע־שאַפֿונגען קענען זײַן ביז 2,500 װערטער, און אַלע אַרײַנגעשיקטע מאַטעריאַלן מוזן זײַן נאָך נישט קיין געדרוקטע. דער טערמין אַרײַנצושיקן די שריפֿטן איז דער 31סטער אָקטאָבער 2026.
די געווינער-ווערק, און בכלל אַן אָפּקלײַב פֿון די אַרײַנגעשיקטע שאַפֿונגען, וועט מען אויך דרוקן אין דעם יובֿל-נומער. „זאָלן אונדזערע לייענערס געניסן פֿון נײַע ליטעראַרישע שאַפֿונגען אויף מאַמע-לשון!“ האָט די שעף־רעדאַקטאָרין פֿון „אויפֿן שוועל“, מרים טרין, געזאָגט.
די שריפֿטן שיקן מען דורך בליצפּאָסט צו info@leagueforyiddish.org.
The post New voices in Yiddish: A prose and poetry contest appeared first on The Forward.
