Uncategorized
These NYC college students want to kickstart a Jewish arts renaissance
(New York Jewish Week) – On a mild Thursday evening in late March, some 100 people gathered at Kistuné, a hip café and bar in the West Village that’s associated with the French-Japanese “lifestyle brand” of the same name.
Sipping on custom-designed cocktails — like the Refusenik, a Moscow mule with a “resilient mix of vodka, ginger beer and lime” or the Tamar Collinsky, a Tom Collins reimagined and given “very possibly the name of someone you went to summer camp with” — guests mingled, discussing topics as varied as college classes, career choices and their favorite poetry.
Nearly everyone in the room was a Jewish artist or writer; the gathering was to celebrate the launch of “Verklempt!”, a new quarterly print magazine that bills itself as “The Magazine of Jewish Art and Literature.” The 75-page first issue is filled with paintings, photographs, drawings, poetry and fiction solicited from more than 30 Jewish artists around the country.
“We see the Jewish community as a place where people want to engage with fiction and poetry more seriously,” editor-in-chief Yoni Gutenmacher, a 24-year-old creative writing MFA candidate at Brooklyn College, told the crowd, which included two of his brothers and his parents. “This is a personal dream of mine so I’m very happy that it’s real.”
Specialty cocktails were on offer at the launch party of “Verklempt!” (David Gutenmacher)
The aim of “Verklempt!” (Yiddish-English slang for “overcome with emotion”) is to publish and amplify art and literature with a specifically Jewish lens — hopefully in a way that encourages pursuing art as part of a spiritual journey, Gutenmacher explained. A painting of a man praying with tefillin and tallit; a poem about Leopold Bloom, the Jewish anti-hero of James Joyce’s “Ulysses” and a collage of the Lubavitcher Rebbe and a drawing of a half-drunk bottle of Kedem grape juice all grace the pages of the first issue, whose theme is, fittingly, “On Creation.”
“I write fiction and I have a whole friend group and community in New York who aren’t Jewish, and if they are, they’re not really interested in religious or communal Jewish life,” Gutenmacher told the New York Jewish Week. “Then I have my Jewish life on the Upper West Side and all my friends from summer camp and school and everything else who are not really interested in engaging with high quality literature and art. At certain points in my life, I felt like I kind of have to choose.”
By working on “Verklempt!” he’s come to understand that those choices shouldn’t have to be so mutually exclusive, he said.
The journal is a project of Havurah (Hebrew for “fellowship”), an organization founded by two Modern Orthodox sophomores at NYU whose lofty but determined vision is to be the “bearer of a new Jewish renaissance” for young Jews in New York, according to their impressively designed website.
Founded by Daniella Messer and Eitan Gutenmacher (Yoni’s younger brother), Havurah aims to create a gathering place, a “kehila (community) of frum Jewish creatives” — both virtual and IRL — where Jewish artists can meet and mingle, make art, perform and share ideas about how all of those endeavors connect them to religious life. One of their goals, according to the “manifesto” on their website, is to “invigorate a generation of young Jews and restore the Jewish artistic impulse.”
While “Verklempt!” has wide-reaching aspirations — the artists they hope to publish can come from anywhere and be of any age — Havurah was founded to appeal to a hyper-specific community: young New York artists who are dedicated to being Jewish and Jews who are dedicated to being artists.
The idea arose during Gutenmacher and Messer’s freshman year of college in the winter of 2022. “I remember going to Israel over winter break, experiencing such an obvious realization that art and creativity is so integral to religious lifestyles,” Eitan Gutemacher, who is studying studio art at NYU’s Gallatin School of Individualized Study, told the New York Jewish Week. “But [at NYU] for example, in a lot of the artistic programs, if you’re a religious Jew, you are usually the only religious Jew in the classroom, and, more often than not, the only one in the department.”
“Daniella and I wanted to create a community of lively Judaism expressed in any artistic and creative way,” he added.
With funding from the Next Gen Inc., “a start-up style incubator” that’s a project of the World Jewish Congress and World Union of Jewish Students, Havurah pursues their vision through a variety of avenues, including real-life events and performances, such as art fairs, concerts and Torah study conversations held at bars, cafés, apartments and synagogues.
In addition to the physical journal, the organization’s high-design web site publishes essays, interviews, criticism, reviews and Torah commentaries, as well as “Sessions” for musicians, which are professionally mixed video tapings of live music performances similar to NPR’s “Tiny Desk Concerts.”
“When Eitan and Daniella approached us and told us about Havurah, we knew instantly they would be a great fit for our incubator,” Yoni Hammerman, senior manager of the NextGen, told the New York Jewish Week via email. “Their work, to build a university student-run art community, perfectly aligns with NextGen’s mission of amplifying and supporting the voice and the work of Jewish student leaders.”
The Havurah staff — all eight of them are volunteers — believe that their offerings are the first time people who are both deeply involved in their Jewish communities and in their artistic pursuits have had a definable place to gather and collaborate that celebrate both.
“It’s so simple that you’d think it would already exist,” said Yosef Itzkowitz, a 24-year-old artist and poet who has three drawings in the first edition of “Verklempt!” “Jews love writing and art, and love talking about writing and art,” so why not make it happen?” Itzkowitz got involved, he said, after Eitan Gutenmacher reached out via Instagram.
Of course, similar initiatives have and do exist — for example, the fiction journal JewishFiction.net publishes original and in translation work from Jewish writers around the globe, while CANVAS matches emerging Jewish multimedia artists with funders and grants. The Jewish Book Council puts out their literary journal “Paper Brigade” with art, interviews, essays and fiction, once a year.
On Tuesday, the inaugural Jewish Writers’ Initiative Digital Storytellers Lab showcased works by creators taking part in an eight-month fellowship supported by the Maimonides Fund. The work shown at Manhattan’s Rubin Museum included animation for Jewish kids, pop songs about women in the Bible and a podcast about the gay Jewish dating scene in Los Angeles.
According to Yona Verwer, founder of the Jewish Arts Salon — “a global network for Jewish visual art” that does regular programming in New York — while what the group is doing may not be “new,” one of the most exciting things about Havurah is how young its members are and how dedicated they are to the cause.
“Being geared specifically towards people in their 20s” attracts people who have to be “very enthusiastic and very into it,” Verwer said.
“It’s interesting to see this immense interest in Jewish arts” from younger generations, added Verwer, who started the salon in 2008 and now serves as an advisor for Havurah. “When I started the salon, it was something that a lot of people were not interested in. Things have really changed over the years and it’s great to see people so dedicated.”
Yoni Gutenmacher reads a poem at the launch party of “Verklempt!”, March 30, 2023. (David Gutenmacher)
As of now, contributors are unpaid, though there are hopes that the cover price of “Verklempt!” ($10) may help change that. “There’s a lot of places I see where you submit completely unpaid and it is completely not worth my time,” said Kim Kyne, a 32-year-old painter and sculptor from Los Angeles whose painting was in the first edition of the journal.
“What felt different about this is it feels like everyone’s all in it together,” she added. “Yoni and his brother are super humble and super young. What was really attractive to me about it is being connected with all these other Jewish artists in a way that I haven’t been before.”
Messer and the Gutenmacher brothers understand that the media and literary magazine worlds are very crowded spaces, especially in New York. But for now, they are embracing the heimish vibe and say they’ve seen, first-hand, just how many Jewish artists were looking for a space exactly like this. Submissions are already arriving for the next edition of “Verklempt!”, which is set to be published this summer, and according to Gutenmacher, he doesn’t recognize any of the names — meaning no repeats of last time, and no friends submitting as a favor.
“Of course, there are Jewish artists all over the world. But it feels different because it has more of a modern take and the younger feel,” Kyne said. “It feels like the beginning of a movement.”
—
The post These NYC college students want to kickstart a Jewish arts renaissance appeared first on Jewish Telegraphic Agency.
Uncategorized
The Day I Hid My Star of David Necklace
Anti-Israel protesters gather at Museumplein ahead of a 6 km march through the city as part of a protest demanding a tougher stance from the Dutch government against Israel’s war in Gaza, in Amsterdam, Netherlands, Oct. 5, 2025. Photo: REUTERS/Charlotte Van Campenhout
There are moments when a small object can feel unbearably heavy.
For me, it was my Star of David necklace — a delicate piece, inherited through generations, usually worn without a second thought. But recently, for the first time, I left it at home on purpose.
I have spent more than a decade publicly defending Israel in the Netherlands. I am not easily intimidated. I have never believed in lowering my voice to make others comfortable. Yet years of activism have taught me something sobering. Conviction does not shield you from hatred.
In the Dutch debate, hostility toward Israel is often dressed up as principled anti-Zionism. The terminology sounds political, even academic. In practice, it frequently mutates into something far uglier. I have been called a dirty Jew, a child killer, a parasite. I have received death threats online. Eggs were thrown at my home. My car tires were slashed more than once. A dead pigeon was once hung on my door in a plastic bag, a grotesque attempt at intimidation.
The irony is bitter. According to rabbinical standards, I am not considered Jewish enough to qualify for Aliyah under religious law, despite Jewish roots on both sides of my family. Yet to those who despise Israel, I am more than Jewish enough to be targeted.
When I reported the harassment, I was advised to keep a lower profile. Perhaps, I was told, I should refrain from speaking so openly in support of Israel. That conversation taught me a painful lesson. Protection would not necessarily come from institutions. It would have to come from resilience.
Over the years, I have lost professional opportunities and personal relationships. I occupy a strange space. Too Jewish for some. Not Jewish enough for others. Meanwhile, I am accused of being a Mossad agent or a paid operative for advocacy groups such as CIDI. The truth is less glamorous. I am simply a Dutch woman who has studied history and refuses to distort it.
Still, something shifted recently.
I needed to see a cardiologist. A routine appointment, nothing political about it. Out of caution, I searched his public social media profile. He had shared and endorsed extreme anti Israel content, including propaganda portraying Israel as uniquely evil. Suddenly a standard medical visit felt charged.
That morning, I removed my Star of David and placed it on my dresser.
The gesture unsettled me more than I expected. It felt like surrender. The same calculation followed before an appointment with another medical professional, originally from Iran. Check social media. Remove visible symbols. Avoid potential bias. Stay invisible.
I am not proud of that instinct. For years I have urged others to stand tall. Yet when you are alone in a climate of escalating hostility, prudence can override pride. Health is not a battleground on which one wishes to test ideological neutrality.
The broader context explains why this fear is not imaginary. The Netherlands has witnessed a sharp rise in antisemitic incidents. CIDI, the Center for Information and Documentation on Israel, recorded 379 antisemitic incidents in 2023, then 421 in 2024, the highest number since monitoring began. Police figures, using broader criteria, have been even higher. These are not abstract data points. They represent Jewish students harassed in classrooms, mezuzot ripped from doorposts, and families who hesitate before displaying visible signs of identity.
Each year on Holocaust Remembrance Day, including ceremonies marking the liberation of, we solemnly repeat the words “never again.” The phrase echoes with sincerity. But remembrance without vigilance is ritual without substance.
My advocacy for Israel does not stem from blind loyalty. It arises from historical understanding. After two thousand years of exile, persecution, and statelessness, the reestablishment of Jewish sovereignty in 1948 was not a colonial experiment but an act of national restoration. Israel, like any democracy, is imperfect. It debates fiercely within itself. It includes Jews from Europe, the Middle East, North Africa, and Ethiopia. I have written extensively about the rescue of Ethiopian Jews who found refuge and citizenship there. That diversity alone undermines the simplistic caricature of Israel as a racist project.
When activists declare that Zionism is racism and deny Israel’s right to exist, they claim to be advancing justice. In reality, they are singling out the world’s only Jewish state for elimination. It is not surprising that such rhetoric often spills over into open antisemitism.
The consequences are felt far beyond Israel’s borders. Across Europe and America, Jewish communities report heightened violence and terrorism. The Netherlands is not immune. And so a necklace becomes a calculation.
Yet while I may occasionally remove a symbol, I will not silence my voice. If anything, the climate reinforces why speaking out matters.
Unity is essential. Jews and non-Jews alike must reject the normalization of antisemitism, whether it appears under the banner of anti-Zionism or any other fashionable label. This is not about suppressing legitimate criticism of Israeli policies. It is about drawing a moral line when criticism becomes demonization and when political disagreement becomes collective vilification.
One day, I hope, wearing a Star of David in Amsterdam will feel entirely unremarkable. An heirloom necklace will simply be jewelry, not a statement of defiance. Until then, even if I sometimes leave it at home, I will continue to speak publicly and unapologetically.
Because never again is not a slogan. It is a responsibility that begins in the present.
Sabine Sterk is the CEO of Time To Stand Up For Israel.
Uncategorized
History and Archaeological Evidence Shows Jews Were Pioneers in Learning and Education
Inside the National Library of Israel. Photo: © Herzog & de Meuron; Mann-Shinar Architects, Executive Architect.
The opening of a new building for the National Library of Israel was one of the events overshadowed by the October 7 attack on Israel.
The library, almost five million square feet of space containing five million books, did open its doors on October, 29, 2023. The impressive new building, with its state-of-the-art automated book retrieval system, is a far cry from the library’s modest beginnings in 1892.
That the library opened five years before the first Zionist Congress, and well before the establishment of the state of Israel, indicates the importance that the Jewish people place on books and literacy — and also the long connection between Jews and Israel.
In Judaism and Hellenism in Antiquity (1998), Lee I. Levine makes the point that Jews were unique in the ancient world in reading a holy text at religious services and discussing its meaning on a regular basis. (Ezra the Scribe is credited with initiating the reading of the Torah at religious services, in the fifth century BCE, after the return from exile in Babylonia [Nehemiah 8:1-8].)
That Jews are widely associated with literacy is a widespread belief. In fact, the expression “People of the Book” originated in the Koran, as a description for Jews (and Christians). But how literate were they in Biblical times? Scholars such as Meir Bar Ilan suggest that literacy in ancient Israel was low, less than 3% of the population, even as late as the first centuries CE.
After all, with the exception of priests and scribes, why would it be necessary to read and write in an agricultural society? However, recent archeological evidence signals that Jewish literacy in Biblical times was far more widespread than previously thought.
Archeological teams from Tel Aviv University used computer-based analyses to evaluate letters written by a small contingent of 20 to 30 Judean soldiers located at a military outpost at Arad, near the southern border of Judea. The letters, in Hebrew, were written in ink on ostraca (potsherds used as writing surfaces) shortly before the fall of Jerusalem to the Babylonians in 586 BCE.
Computer handwriting analysis used machine learning to digitize, segment, and extract features (for example, separation distances, angles, slopes, curves) from script to identify individuals. A professional handwriting expert also evaluated the writing on the ostraca.
The results, published in academic journals (PNAS, 2016 and Plos One, 2020), show that there were at least 12 different writers. They varied in rank, down to the equivalent of quartermaster (much of the material in the letters dealt with provisions and supplies). Clearly, the society represented by the soldiers at Arad must have included an educational infrastructure capable of ensuring widespread literacy.
In Discovering Second Temple Literature (2018) Malka Z. Simkovich, Crown-Ryan Chair of Jewish Studies at Catholic Theological Union in Chicago, provides a comprehensive view of the extensive literary output by Jewish communities during the period of the Second Temple (539 BCE to 70 CE). While she does not refer to literacy per se, the variety of material she describes, and the volume of letters written between Jews in Judea and those in the Diaspora (mainly between Jerusalem, Alexandria, and Antioch), suggests that the ability to read and write was common.
Some of the writings Simkovich refers to were found in the Cairo Geniza, a trove of more than 400,000 manuscripts, and fragments of manuscripts, discovered in the storeroom (the geniza) of the Ben Ezra Synagogue in Fustat (Old Cairo), Egypt.
Most of this collection was taken to Cambridge University in 1896 and today is being digitized. While much of this material involves the post-Temple period, manuscripts from the earlier, Second Temple period, were also common.
The geniza, a uniquely Jewish concept, is rooted in Jewish law. Any old or damaged liturgical texts or ritual objects that may include G-d’s name must not be casually discarded. The geniza is a temporary repository for such material prior to burial in consecrated ground.
The material in the Cairo Geniza was unusual in that the material stored there accumulated for a long time, between the 8th and 19th centuries. It includes secular material, such as legal contracts, accounting books, and personal letters, along with Biblical texts and rabbinical writings, making it a particularly valuable historical find. But equally important, the existence of the geniza is a reminder of the reverence for the written word that is a part of the Jewish tradition.
Jacob Sivak, a Fellow of the Royal Society of Canada, is a retired professor, University of Waterloo.
Uncategorized
Tucker Carlson’s Huckabee Interview: Confidence Without Comprehension
Carlson floated additional insinuations and conspiracy, including the absurd claim that the United States went to war in Iraq after September 11 because of Israel.
This trope, that Jewish or Israeli influence dragged America into war, has circulated for decades across ideological extremes.
Reducing complex American strategic decisions, Congressional votes, and post-9/11 security policy to “Israel made us do it” is not serious analysis. Yet here it was, presented as such by a former Fox News host watched by millions.
By the end of nearly three hours, a pattern had emerged.
Carlson repeatedly blurred theology into policy, questioned Jewish historical continuity, recycled war-blame insinuations, dismissed counter-evidence, and spoke authoritatively on subjects he appeared not to have mastered.
And he did so with confidence.
That is what much of the media missed.

The story was not Huckabee’s answer to a distorted Biblical question.
It was watching a prominent commentator unravel under the weight of his own thinly sourced claims.
Criticism of Israeli policy is legitimate. Debate over strategy is healthy.
But when interrogation gives way to insinuation, and skepticism morphs into selective credulity, the result is not fearless journalism.
It is confidence without comprehension.
And it was watched by nearly two million viewers in under 24 hours.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
