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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.

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Chef Alon Shaya shares the stories, resilience and recipes of World War II survivors

(JTA) — In 2015, while visiting Israel’s Yad Vashem Holocaust Memorial, James Beard Award-winning chef Alon Shaya came face-to-face with a World War II artifact that moved him deeply.

It was a red cloth triangle — cut from a Nazi flag — embroidered with the names of a few dozen female prisoners at the Ravensbrück concentration camp.

In a place where they were starving to death, he learned these women had formed a clandestine “food” club. Together, they talked about recipes, their Friday night Shabbat candlesticks and cherished memories of home.

That red cloth was “100% the catalyst,” Shaya said, for his deep interest in food as “an agent of survival, defiance and bringing people together.”

Now, 11 years after that defining moment in Jerusalem, Shaya’s second book, “Memories of a Good Meal: Recipes of Resilience Inspired by Stories of World War II Survival,” is being published on Oct. 6. Co-authored with food historian June Hersh, the book gathers accounts from survivors and heroes of World War II, illustrating the outsized role that food — and the memory of it — played in human survival. While featuring 80 recipes, it functions as much as a history book as a cookbook.

“The recipes are there to support the stories,” Shaya said. “It’s not the other way around.”

Shaya and Hersh tell the stories of 10 distinct groups impacted by the war, including Jewish partisans, hidden children, Navajo code talkers, persecuted homosexuals, Japanese Americans, and Austrian and German Jews who built new lives in the Dominican Republic.

Alongside these narratives, the authors included family recipes preserved across generations. Where none survived or existed, Shaya crafted recipes using ingredients available to the book’s subjects during the war.

The opening chapter highlights a story particularly close to Shaya’s heart. In 2019, during a visit to the United States Holocaust Memorial Museum in Washington, D.C., Shaya was shown a tattered, 100-year-old, handwritten recipe collection from the Fenves family of Yugoslavia. Saved during the war by the family’s cook, Maris, the Hungarian-language notebook was eventually donated to the museum by survivor Steven Fenves.

Determined to bring those dishes back to life, Shaya worked with Fenves to translate the recipes, filling in missing elements like precise steps, exact measurements and oven temperatures.

“I really became a part of their family,” said Shaya, whose collaboration on what became known as the Rescued Recipes project has raised nearly $1 million for the Holocaust Museum to digitize historical documents and artifacts. “The family wouldn’t be here if Steven and his sister didn’t survive Auschwitz,” said Shaya.

Featured recipes from this chapter reflect the Hungarian culinary traditions of Fenves’s hometown of Subotica, including körözött (a spiced cheese spread) and authentic Hungarian goulash.

Other chapters explore how people sustained themselves despite meager resources. In the profile of Polish Jewish partisan Shalom Yoran — who subsisted largely on potatoes while hiding in the woods — Shaya developed recipes centered on the staple tuber, including Polish herring and potato salad, potato dinner rolls and potato, and pine nut doughnuts with blackberry caramel.

“Shalom’s wife, Varda, shared his story with us,” Shaya explained. “The partisans lived in a hole in the ground in the Polish forest through winters that reached minus-20 degrees, and they did that for four years. Potatoes were a huge part of their survival.”

For Sarah Pelz, executive editor at Harvest, the book’s publisher and the granddaughter of a partisan, the concept of the book resonated deeply, especially in the wake of the Oct. 7, 2023 Hamas attacks inside Israel. “The throughline here is the power of food and memory — the power of food to bring us together at a table, and to remind us who we are and where we come from,” she said in an interview.

“Alon’s message is powerful and necessary right now,” she continued. “He hopes that people will read this book, will cook from it, and that it will bring people together at the table, people of diverse backgrounds, people of diverse perspectives, that it will not just help to enlighten readers, to history and to what happened, but also help bring people together.”

In gathering these accounts across the globe, Shaya and Hersh faced a race against time, as most interviewees were well into their 90s or older. John Kinsel, one of the last living Navajo code talkers, was 107 years old when the authors visited him on the Navajo Nation reservation. His chapter details the vital role Native American Marines played by using their complex language to transmit secret Allied messages in the Pacific theater. The book features recipes inspired by Navajo traditions, including blue corn mush and stuffed pumpkin with stewed lamb.

Throughout the project, Shaya couldn’t help but draw parallels between past atrocities and modern struggles.

“One of the lessons that struck home the most for me is that people will persecute you for what you believe in and gather together and create laws to persecute you,” he said. “We saw it in what happened with immigration in the 1940s, and we see it with what’s happening in America today.”

He was also struck by the role of propaganda, promulgated then by Joseph Goebbels, Hitler’s chief propagandist, and today by bad actors on social media, in spreading hate and disinformation.

Some of the stories, like the meal prepared by nuns in a convent for a group of persecuted homosexual prisoners, seem almost cinematic in nature.

“I have definitely thought about turning these stories into a miniseries or a movie,” said Shaya. “Nobody has shown interest in it yet, but it is something that I think the more ways these stories can be shared, the better.”

Born in Israel and raised in Philadelphia, Shaya has become one of the country’s leading interpreters of Israeli and Middle Eastern cooking, with a distinctly Southern sensibility. His 2018 cookbook, “Shaya: An Odyssey of Food, My Journey Back to Israel,” blends memoir with recipes.

Shaya was committed to the latest book despite huge demands on his time. The chef and his wife, Emily, have two children, aged five and two. His Pomegranate Hospitality operates three restaurants, Saba and Safta’s Table in New Orleans, where he lives, and Safta in Denver. (Saba means grandfather and Safta means grandmother in Hebrew.) He is also involved in a variety of philanthropic work.

“The work I put into this book fills my heart and makes me feel good, like I’m doing something that builds me up and can have an impact,” said Shaya.

Shaya views the book as an educational tool.

“This book might engage a 13-year-old who really loves the chocolate cake recipe,” Shaya reflected. “If he or she hears the history behind that chocolate cake and delves into the history behind it, they learn that Austrian and German Jews took refuge in the Dominican Republic and wanted to keep their culinary traditions alive and need to use the local resources. That’s how a traditional Sacher torte-inspired tres leches cake came to be. Or a plantain latke, or matzo ball soup with avocado, lime and yucca.

“If those stories can come together and have that kind of impact on one 13-year-old in the world,” he added, “I will feel complete.”

This article originally appeared on JTA.org.

The post Chef Alon Shaya shares the stories, resilience and recipes of World War II survivors appeared first on The Forward.

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‘That’s a lie’: Israeli journalists clash with Irish football association ahead of tense rematch

(JTA) — Israel and Ireland’s UEFA Nations League rematch on Sunday ratcheted up tensions between the two teams, in a sports drama where emotions over the Gaza war have fueled theatrics as intense as the match itself.

During the 1-1 draw played in Serbia, Ireland’s captain declined, as in the last match, a pregame handshake with his Israeli counterpart, Irish players bowed their heads during the playing of the Israeli national anthem and the team donned black armbands to signal their disapproval of Israel’s actions in Gaza.

Israeli players also wore black armbands displaying “7/10,” in recognition of the anniversary of the Oct. 7, 2023, Hamas attack.

Tensions also spilled off the pitch.

Staffers for the Irish team abruptly cut short a Saturday press conference with Irish head coach Heimir Hallgrímsson after a tense back-and-forth between Israeli journalists and Ireland’s press officer, Kieran Crowley.

While both Hallgrímsson and Israeli coach Ran Ben-Shimon, in his separate meeting with the media, insisted their focus remained on the game itself, Ireland’s press conference took a turn when an Israeli journalist asked Hallgrímsson for his thoughts on the flydubai hijacking last week.

“What do you say about the people that you support? Their ideology is based on murder,” the reporter asked. “Just this week, one of them tried to kill 170 Israeli passengers, including 27 innocent children and thousands of others.”

Crowley interrupted, saying, “We are not doing any questions like this today. We are doing football questions.”

Another Israeli reporter then asked Hallgrímsson about his team calling Israeli players “monkeys” during the Sept. 27 match. Crowley again interrupted, saying, “That is completely untrue. … That’s a lie. You’ve just broadcast a lie.”

The press conference was then cut off, as the reporter argued with a staffer who confiscated the microphone. UEFA barred the two Israeli reporters from the postgame media gathering on Sunday.

The incident came after months of controversy leading up to the Sept. 27 match between the two sides, which Ireland faced intense pressure to boycott. Ireland has a long history of pro-Palestinian policies and anti-Israeli sentiment.

There were additional signs of tension on the field, with Ireland’s head of athletic performance, Damien Doyle, alleging that an Israeli player spat at him as the teams left the field at the end of the first half. Israel’s football association denied the accusation.

After the match, Hallgrímsson called on UEFA to ensure the two teams do not face each other in the future.

“That’s not ours to decide, that’s UEFA,” he said. “I wouldn’t want or wish any national team to go through what we have gone through these two weeks. UEFA needs to step in and do something.”

Hallgrímsson also indicated that he had made a “mistake” by sharing his stance on the war in Gaza. In the lead-up to the matches, he had told reporters, “We’re not playing with genocide, we’re playing against genocide. We’re playing against Israel, we’re not playing with Israel.”

On Sunday, Hallgrímsson added that “my feelings and my opinions should be set aside when I am spokesman for an organisation.”

Sunday’s game included Irish player Finn Azaz, whose mother has Israeli heritage, as a substitute.

This article originally appeared on JTA.org.

The post ‘That’s a lie’: Israeli journalists clash with Irish football association ahead of tense rematch appeared first on The Forward.

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How Jim Bakker sent a rabbi’s son to 52 churches

Jim Bakker convinced me to go to church.

Bakker died Monday at 86. For a stretch in the 1980s he and his wife, Tammy Faye, were on television every day, praying, singing and weeping, her in waterproof mascara, in front of as many as 13 million people. Then came the sex scandal, the hush money and the fraud trial.

And yet, he became my gateway into Christianity.

I’m an Orthodox rabbi’s son who grew up in the Bible Belt, which made me a spiritual window-shopper. My bedroom window looked out across the street at Cokesbury Methodist Church. Every Sunday morning, I watched the families climb out of their minivans in khakis and pastels, smiling like people who had never once wondered whether turning on a light switch counted as work on Shabbat.

We didn’t have cable. Regular TV in our house was already a negotiation, and a channel devoted to Jesus wasn’t even up for discussion.

Then I went off to college, moved out on my own, and one of my first acts of rebellion was ordering basic cable. I flipped on the Cartoon Network, a channel that showed animated classics around the clock, and wondered if this was what the Messianic age felt like.

On Sunday mornings, on channel after channel, I stumbled across pastors preaching to their congregations. What hooked me wasn’t the theology; the sermons seemed more like self-help seminars. It was the production. Where I came from, worship was a closed-door affair, in Hebrew, for members only. Here it was a show, with a band and cameras.

The format Bakker perfected inspired others: the tears, the house band, the host who knew exactly where the camera was. I couldn’t look away.

Heaven, with a gift shop

Bakker was born in Michigan in 1940 into a Pentecostal family, and he met Tammy Faye at Bible college. They married in 1961, after three dates, which, as a rabbi’s son who spent years in the dating trenches, I find both reckless and enviable. They drifted into television through Pat Robertson’s network, where they hosted a children’s show, and in 1976 they started their own ministry: PTL, short for Praise the Lord. At its peak, PTL drew as many as 13 million viewers a day and took in more than $100 million a year. Critics said PTL stood for “Pass the Loot.”

On 2,500 acres in Fort Mill, South Carolina, the Bakkers built Heritage USA, a Christian theme park with a hotel, water slides, skating and Bible study. They sold shares in it and offered lifetime vacations there to donors.

I’ll confess: I was jealous. Christians had a place you went to bring your family closer to God, with a gift shop and cotton candy. We had the Catskills and a very long buffet. I took this about as well as a kid whose neighbors have a swimming pool.

Then it all fell apart. In 1987 came the revelation of Bakker’s encounter with a church secretary, Jessica Hahn, and the $265,000 paid to keep it quiet. Fellow preachers lined up to condemn him, Jerry Falwell took over the ministry, and a federal inquiry followed. He was convicted of fraud in 1989 and sentenced to 45 years. He served five. Tammy Faye divorced him while he was in prison.

Bakker left prison in 1994, chastened. In a 1996 book called I Was Wrong, he wrote that Jesus had nothing good to say about money, a lesson he learned, as so many of us do, only after losing the water park. In 2003 he resurfaced in Branson, Missouri, hosting a new show from a café and selling viewers buckets of emergency food for the end of days.

The Jew on the Jumbotron

Soon, I had a plan of my own. I would spend a year going to 52 churches over 52 Sundays. Jewish tradition teaches that it’s verboten to go to church, especially during services. I planned to go  as a journalistic endeavor and write a book about the experience.

Yet, I was still riddled with the guilt of my ancestors, so I went to my synagogue’s rabbi and asked his permission. To my surprise, he granted it on two conditions: I had to wear my press badge, so worshippers knew I was there to take notes and not to take part in prayer. The second condition was that I had to wear a yarmulke. People needed to know I was Jewish, the rabbi said. As if being short, bespectacled and named Benyamin Cohen didn’t already give that away.

Jim Bakker had put church on television. I was going to find out what happened when you stepped through the screen.

My wife, Elizabeth, a Christian minister’s daughter who had converted to Judaism, was still dripping wet from the mikvah and not exactly thrilled that her husband was going to spend a year in churches. She pointed out that I was about to become the first Orthodox Jew in history to qualify for a church loyalty card.

I started in the deep end, at New Birth Missionary Baptist Church, one of the country’s largest megachurches, home to 15,000 people on a typical Sunday. The sanctuary looked like a sports arena. A camera operator found me in the pews. Within seconds my shayna punim was 20-feet tall on Jesus’ Jumbotron for all to see. I had been there for all of five minutes and I was already outed as the Jew.

“Oh God,” I thought. “What if my dad could see me now?”

Watching church was Bakker’s big idea. At New Birth, the cameras roamed the pews and the congregation cheered at itself on the big screens. After years of watching church from my couch, I was the one in the shot.

I’d spent my childhood sure the grass was greener at the proverbial church across the street. It wasn’t. It was just better lit. Once the cameras and the choirs were gone, what I found were people trying, like me, to figure out how to believe, and some of them were doing it better than I was.

Hanging out with Jesus made me a better Jew, a sentence I never expected to write, and one my father never expected to hear.

The other Bakker

There was another Bakker I felt I knew.

I was born the same year as Jay Bakker, the son of Jim and Tammy Faye. He was 12 when his father was indicted. By 18, he’d co-founded Revolution, which eventually opened a branch in Atlanta, my hometown. The New York Times once described churches like it as meeting in “warehouses, bars, skate parks, punk clubs,” which is, to put it plainly, not where my synagogue held services.

In 2006, the Sundance Channel made a six-part series about him called One Punk Under God, and I was hooked. The camera was back on the Bakker family business, only now it followed the son, who seemed to be building the opposite of his parents’ church.

I felt a kinship with Jay that I couldn’t have explained then. We were both preachers’ kids, which meant your father’s job was also your religion, so you couldn’t be mad at one without it messing with the other. He titled his memoir Son of a Preacher Man, which is also what I called a chapter in mine.

His choices were harder than mine. My father never lost his congregation to a federal grand jury. While Jim Bakker went to Branson to sell apocalypse buckets and political prophecy, Jay went toward a gentler, more inclusive faith.

As I learned throughout my journey, a church built for television is only as strong as its ratings. The Jewish service I understand best would make terrible TV. On Yom Kippur we fast for 25 hours and act somberly. In the prayers, we confess in the plural, a whole congregation beating its chests together: we have sinned, not I.

Jim Bakker got me into church, and church sent me back to synagogue. Praise the Lord, as they used to say on his show. And, as we say in mine, amen.

The post How Jim Bakker sent a rabbi’s son to 52 churches appeared first on The Forward.

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