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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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Leqaa Kordia, the last Palestinian Columbia protester still in ICE detention, has been released
(JTA) — Leqaa Kordia, a Palestinian woman and the last person still detained in the Trump administration’s crackdown on pro-Palestinian campus protests last spring, was released from ICE custody on Monday.
Kordia’s release came weeks after New York City Mayor Zohran Mamdani petitioned President Donald Trump in person on her behalf. Mamdani celebrated the development in a statement.
“In my meeting with President Trump last month, we discussed ICE’s actions at Columbia University. I asked that the federal government release Leqaa Kordia and drop the cases against four others,” he tweeted. “I am grateful that Leqaa has been released this evening from ICE custody after more than a year in detention for speaking up for Palestinian rights.”
Kordia, 33, who immigrated to New Jersey from the West Bank in 2016, had been held in a U.S. immigration detention center in Texas since last March after she was arrested for her involvement in a pro-Palestinian protest at Columbia in 2024. Kordia had overstayed her student visa and was never a student at Columbia.
On Friday, an immigration judge ordered her release on $100,000 bond. It was the third time that the judge had ordered her release, which was granted after the government declined to appeal.
“I don’t know what to say. I’m free! I’m free! Finally, after one year,” Kordia told reporters after being released from the detention center.
Kordia was among a number of people arrested last spring amid the Trump administration’s crackdown on noncitizens who had participated in anti-Israel protests, some of which drew allegations of antisemitism, on university campuses.
Among those arrested was Mahmoud Khalil, a Columbia University graduate whose release Mamdani also called for. Earlier this month, Khalil broke the Ramadan fast at Gracie Mansion with Mamdani and his wife Rama Duwaji. Duwaji, whose pro-Palestinian social media posts have increasingly drawn scrutiny, also celebrated Kordia’s release on Instagram.
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For the first time ever, NBA game features 3 Jews — Deni Avdija, Danny Wolf and Ben Saraf
(JTA) — BROOKLYN — The Barclays Center had the energy of a bar mitzvah party on Monday night, as kippah-clad basketball fans and kids waving posters with Hebrew words of encouragement came to cheer on an NBA first: a game featuring three Jewish players — all Israeli citizens.
The Brooklyn Nets were hosting the Portland Trail Blazers — whose forward Deni Avdija recently became the first Israeli All-Star in the league.
He joined Danny Wolf and Ben Saraf, two Jewish players who have galvanized the Nets’ Jewish fanbase since joining the team this year. Saraf was raised in Israel and got his start in basketball there, while Wolf grew up in Illinois and secured Israeli citizenship to play for Team Israel in international competitions.
Avdija, who normally averages about 25 points per game, struggled to find a rhythm on Monday night, as did Wolf, who has intrigued scouts with the ball handling skills of a point guard despite his nearly 7-foot height. But Saraf impressed, scoring 15 points and notching four assists and four steals in 24 minutes of play.
Saraf’s efforts were not enough to buoy his team, though, and the Nets lost to the Trail Blazers, 114-95.
That hardly dimmed the enthusiasm of the crowd, who thrilled at seeing Avdija and Saraf hug on the court before the game and exchange jerseys after the game in a show of respect and friendship.
Some draped in shawls printed with a fusion of the Israeli and American flags lingered court-side for a chance to get Avdija’s attention. At times when the game was quiet, some fans could be heard shouting “Deni! Deni!” Some wore hats with “Brooklyn Nets” spelled in Hebrew.
Avdija said in a postgame press conference that he had been surprised to see the arena sold out and that the energy reminded him of the Menora arena when he played for Maccabi Tel Aviv.
“I haven’t fully processed it yet,” he said about the significance of having three Israelis on the court. “It’s tough that many people from Israel couldn’t come because of the war. I hope everyone is okay. Representing on the biggest stage — it’s emotional for me and for many others. One of the most fun nights I’ve had.”
Saraf, too, said the game was a highlight for him.
“A very emotional night. It’s too bad that we lost, but it’s bigger than that. The number of Jewish and Israeli fans here — when Deni was introduced, the whole crowd stood up. Every basket, it was emotional for me, for Danny Wolf, for everyone. It was a big event.”
He added, “Three Israelis on the court at the same time was something very special.”
It is possible that the trio represents not just all of the Israeli citizens but all of the Jews currently playing in the NBA. A fourth player was reportedly exploring converting to Judaism, but he has not publicly disclosed whether he completed a conversion.
The previous record for number of Israelis in an NBA game was two. It came on Oct. 30, 2023, when Omri Casspi and the Houston Rockets played the Dallas Mavericks and Gal Mekel, whom the Mavs had recently picked up, made his debut with the team. They were the first and second Israelis in the NBA.
The game also appears to tie the league record for the number of Jews in a single game, set on Nov. 10, 1953. In that game, Dolph Schayes scored 11 points for the Syracuse Nationals, while Irv Bemoras and Red Holzman both took the court for the Milwaukee Hawks.
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Louis Theroux’s Netflix documentary on the manosphere takes a detour into antisemitism
“LOUIS IS A DIRTY J-E-W.”
This comment features during Inside the Manosphere, a new Netflix documentary from Louis Theroux, during a conversation between Theroux and podcaster Myron Gaines, host of Fresh and Fit Podcast.
It’s not the only time someone calls Theroux a Jew; Harrison Sullivan imitates Theroux, tenting his fingers conspiratorially and leering as he says the documentarian “just sat there with his Jew fingers.”
Theroux, however, is not Jewish. He has also made several edgy documentary specials for the BBC interviewing extremist settler groups in Israel, which have received acclaim from Israel’s critics and hostility from its supporters. And either way, the focus on Theroux’s supposed Jewishness seems off topic for a documentary on the manosphere, the generalized term for the world of podcasters, YouTubers and online streamers who cater to men.
The manosphere includes both mainstream creators like Joe Rogan as well as extremists like Andrew Tate, who was arrested in Romania for sex trafficking. Most creators in this world are anti-LGBTQ and endorse traditional gender roles, often familiar stuff about how women should be the primary caregivers for children and men should be breadwinners. Sometimes, however, on the fringes of this world, there are more extreme beliefs, like that women should not have the right to vote or need to be hit as a form of discipline by men; there are even open endorsements of rape.
Theroux spends most of the documentary talking to a few of the more extreme figures in the manosphere, including Gaines, the streamer Sneako, and Sullivan, who goes by the cringe handle of HSTikkyTokky. He follows them to their gyms, meets their girlfriends and watches as they produce content, largely by accosting people — mostly young women — on the street to slut-shame them. He speaks to the adoring young men who greet them in public. He gently asks follow-up questions, such as whether they all hate women. (The content creators, to a man, insist they love women, offering as proof their desire to have sex with as many of them as possible.) He wonders aloud whether young men can actually make any money off of the get-rich-quick courses hawked by many of the manosphere influencers.
Still, none of this obviously connects to antisemitism. The manosphere generally directs its ire at women, not Jews. Why, then, was Theroux accused — because it is, clearly, an accusation — of being a Jew?
In the current world of online extremism, it can sometimes be difficult to draw connections between different extremist ideologies. There’s not a clear throughline between antisemitism and the violent misogyny of, say, incel, (involuntary celibate) forums. Nor is there an obvious connection between the pseudoscientific skepticism of the anti-vax world and hatred of Jews. And giving disillusioned young men advice on how to be more manly and succeed in the world — or at least grifting off of their desire to do so — has little to do with Jews.
But for the most part, the main reason antisemitism springs up in the manosphere or in other extremist spaces is simply because it, too, is an extremist belief, and beliefs on the fringes tend to bleed into each other. There are sometimes distorted ideas that can connect the two, like an offshoot of the age-old antisemitic conspiracy theory that Jews control world governments, which feeds into some anti-vax groups who believe that Jews are unleashing secret poison in the form of vaccines. But once you’ve decided one crazy thing is true, like that women are biologically only suited to be the property of men, so many other seemingly crazy things start sounding just as reasonable.
The comment about Theroux being a Jew came when he objected to a bit of pseudoscience Gaines presented during Fresh and Fit Podcast, asserting that women retain DNA from every man they’ve had sex with, genetic material they then pass on to children they have with a different partner. Theroux called this misinformation — because it is — and users in the chat trashed him by calling him a Jew.
Later in the documentary, Sneako gave an unprompted rant on camera about the Antichrist, Satanic symbols on magazines in a store window and the “one world government” causing it all, which, the influencer says, was started by the Rothschilds. Theroux finally pushed on the antisemitism.
“Is it Jewish in character?” he asked. “Because that does have some of the hallmarks of an antisemitic conspiracy theory.”
Sneako denied that a Rothschild-run world government had anything to do with Jews. But plenty of other influencers — including, outside the documentary, Sneako himself — have been more open. “Fuck the Jews,” HSTikkyTokky chants in a clip. In others, manosphere creators blame Jews for “feminism,” “homosexuality,” and “vibrations that are going to negatively bring you down.”
Theroux’s signature mild British mien allows him to blandly ask questions and let the influencers say whatever they want and allows the audience to observe alongside him.
He does little to explain either the antisemitism or the misogyny. That’s a strength; conspiracy theories do not operate by logic, and trying to force them into a rational framework can backfire, allowing proponents to proffer their own evidence, however faulty.
Antisemitism is an age-old hatred. Misogyny is nothing new either. That’s all they have in common. But as Inside the Manosphere shows, that’s enough for both to spread.
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