Connect with us

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.

Continue Reading

Uncategorized

VIDEO: A song about a Jewish girl, Khaye, who died in Treblinka

One of the most renowned poems by the Yiddish poet Binem Heller is one he wrote for his older sister Khaye who perished in the Treblinka concentration camp.

In the poem, “Mayn shvester Khaye” (“My sister, Khaye”) he describes how, before the war, she would look after him and his brothers as their mother worked:

And Khaye remained at home with her brothers
She fed them and looked after them
And she’d sing them beautiful songs often sung in the evening
As little children grow sleepy.

After the war, Heller returned to Poland, hoping to help revive its Jewish cultural life, but he became disillusioned and moved, first to Paris and then to Brussels. In 1956, he visited Israel, which was then a hotbed of Yiddish creativity, thanks to a number of poets who, having survived the Holocaust, had settled there. Heller was warmly received and ended up staying in Israel until his death in 1998.

The acclaimed Israeli singer Chava Alberstein befriended him and other Yiddish poets in Israel, and in 1995, she and film director Nadav Levitan released a documentary film about them. The film, Too Early to Be Quiet, Too Late to Sing, includes a moving video clip of Heller’s wife Hadassah Kestin reciting “My Sister Khaye,as Heller sits in the background, listening solemnly:

In 2001, Alberstein set the poem to music and recorded it with The Klezmatics, bringing Heller’s words to a much wider audience.

Musicologist Jane Peppler also performed it on the album “Rag Faire,” accompanied by English subtitles.

 

 

The post VIDEO: A song about a Jewish girl, Khaye, who died in Treblinka appeared first on The Forward.

Continue Reading

Uncategorized

The Case for Zionism: Jews Must Always Act to Defend Themselves

People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad

As Israel marks tonight the beginning of Holocaust Remembrance Day, I found myself returning to a question that is not abstract, not historical, but immediate: what did we learn — and what have we done with that lesson?

I started writing this column after listening to Matti Friedman’s interview by Haviv Rettig Gur about his compelling new book “Out of the Sky” — the story of a small group of young Jewish men and women, most in their twenties and thirties, who parachuted into Nazi-occupied Europe on missions that fused intelligence work with a near-impossible hope: to reach Jews already marked for annihilation.

What stays with you isn’t only their courage. It’s the indictment embedded in the setting. By then, the leading powers of the world knew what was being done to the Jews — not vaguely, not abstractly, but in sufficient detail to understand the scale and intent. And yet the Nazi annihilation machine continued to operate at full capacity. Priorities were elsewhere. Calculations were made. The Jews were not high enough on the list.

In the interview, Friedman describes Zionism as “a call to the heroic impulse of the Jewish people.” That beautifully captures the spirit of those who volunteered. But it does not fully capture the conditions that made such a call necessary. That necessity was forged over centuries in which Jews learned — repeatedly, across continents — that when they did not act on their own behalf, no one else reliably would.

By the time Zionism emerged as a political movement in the late 19th and early 20th centuries, this was not a new realization. It was the product of accumulated experience.

In Europe, Jews were expelled from England in 1290 and from Spain in 1492 — decisions made by sophisticated societies that had benefited from Jewish presence until it became politically or socially convenient to discard them. Across the continent, Jews were confined to ghettos, barred from numerous professions, subjected to forced conversions, and periodically massacred when rulers or mobs required a scapegoat. In Eastern Europe, pogroms were not aberrations; they were recurring events, often tolerated, sometimes encouraged, and routinely administered by authorities.

In the Middle East and North Africa, the legal framework differed, but the condition often did not. Jews lived under dhimmi status — protected, but explicitly inferior. That protection was conditional and revocable. Jewish communities in Fez, Granada, and elsewhere experienced massacres from the 7th through the 19th centuries. In the 20th century, that fragility fused with Nazi ideology and erupted in events like the 1941 Farhud in Baghdad — a pogrom in a modern Arab capital, not medieval Europe, where Jews were murdered in plain view.

The 19th century is often invoked as a European turning point for civilization — a narrative of emancipation and integration. But when it comes to the Jews, that narrative collapses under scrutiny. The Dreyfus Affair did not occur in a backward state. It unfolded in France, a republic that literally defined itself by liberty and equality. Yet the public degradation of a Jewish officer, falsely accused and convicted, revealed how quickly those ideals could be suspended when the subject was a Jew and the society was looking for a scapegoat.

In 19th century Eastern Europe, antisemitic violence intensified rather than receded.

The Holocaust is often framed as a rupture, a singular descent into madness disconnected from what came before. But that framing is wrong. The Holocaust represents continuity taken to its most efficient extreme: the same logic of exclusion, dehumanization, and disposability, now executed with industrial precision — and when the entire world refused to act.

This is the environment in which Friedman’s protagonists took action into their own hands. Figures like Hannah Senesh, 23, and Enzo Sereni, 39, parachuted into occupied Europe under British auspices. They were not naïve. They understood the constraints. They were explicitly made to understand by the British that saving Jews was not the mission’s priority.

They went anyway.

That choice — risking everything to reach other Jews marked for death, in a world that had already decided not to make that even a secondary priority — captures the essence of Zionism more clearly than any political manifesto. It is the refusal to accept passivity in the face of annihilation.

And even after the war ended, the lesson did not soften.

Roughly 250,000 Jewish Holocaust survivors remained in Displaced Persons camps across Europe for years. Not weeks — years. Stateless. Unwanted. Warehoused in the shadow of a continent that had just attempted to erase them. The world had seen the camps. It had documented the atrocities. It had declared “never again.”

And still, Jews were in DP camps. For years.

That changed only with the establishment of Israel — a state that, from its inception, absorbed those survivors and provided what no one else had: a place where Jewish life was not contingent on the tolerance of others.

This is the record behind Zionism.

The post-Zionist claim — that Jews were better off without sovereignty, that Israel somehow makes Jews less safe — requires the erasure of everything that came before. It requires ignoring expulsions, pogroms, legal subjugation, and ultimately industrialized extermination. It requires treating the Holocaust as a complete anomaly instead of a culmination. It requires believing that a world that refused to absorb Jewish refugees before, during, and after that catastrophe would somehow behave differently in the absence of a Jewish state.

Strip away the rhetoric, and the “post-Zionist” expectation is unmistakable. Jews are being asked — again — to place their survival in the hands of others.

History has already tested that proposition.

If Jews do not secure their own survival, no one else will do it for them.

And when they finally did — when a sovereign Jewish state took in 250,000 survivors who had nowhere else to go, when it replaced statelessness with citizenship and dependence with agency — that was not merely refuge.

It was justice.

Justice that had been denied for centuries — finally asserted.

Micha Danzig is an attorney, former IDF soldier, and former NYPD officer. He writes widely on Israel, Zionism, antisemitism, and Jewish history. He serves on the board of Herut North America.

Continue Reading

Uncategorized

Iran Has Been America’s Enemy for 47 Years, Yet Critics Claim It’s Israel’s War

Illustrative: Members of the United Nations Security Council vote against a resolution by Russia and China to delay by six months the reimposition of sanctions on Iran during the 80th UN General Assembly in New York City, US, Sept. 26, 2025. Photo: REUTERS/Eduardo Munoz

In light of President Trump’s decision to attack Iran, enemies on the right, left, and in mainstream media, accuse him of breaking his promise to put “America first” — with the slanderous footnote that the US started the Iran war solely at Israel’s behest.

In fact, the Iran war is very much an “America first” war — launched to neutralize one of the longest-standing, most dangerous threats to the US, its allies, and the Western world.

Notable critics on the right have slammed Trump’s attack on Iran, including former head of the US National Counterterrorism Center, Joe Kent, who said Iran, “posed no imminent threat to our nation, and it is clear that we started this war due to pressure from Israel and its powerful American lobby.”

Hard-leftists have similarly condemned the President for attacking Iran on Israel’s behalf. Rep. Rashida Tlaib (D-MI), for example, accused Trump of “acting on the violent fantasies of the American political elite and the Israeli apartheid government.”

Legacy media, which take every opportunity to bash Trump or the Jewish State, have also accused the President of reneging on his “America first” promise and launching a war for Israel’s sake. An article in The New York Times, for instance, asserted that Israeli Prime Minister Benjamin Netanyahu was “determined to keep the American president on the path to war.”

Against all evidence, Israel’s enemies have managed to convince many that the Iran war is Israel’s war, not America’s.

This “blame Israel” movement corresponds with another major spike in antisemitism. In just the first week of the conflict, global antisemitism surged 34%, rekindling the age-old practice of blaming the world’s tiny (0.2%) Jewish population for its gargantuan troubles.

For decades, Iran has attacked Americans and US interests, all the way back to the 1979 Islamic Revolution. Notable attacks include the 1983 Beirut Marine Barracks bombing, which killed 241 American forces, and the 1996 Khobar Towers bombing in Saudi Arabia, which killed 19 US airmen and wounded about 500 more.

Iran was also responsible for the death of scores of US soldiers in the Iraq war, through its aid to terrorist groups there, and construction of IEDs and similar devices.

Iran has also consistently lied about its nuclear program, claiming it was peaceful, but steadily enriching uranium to approach weapons-grade levels. No one in the world disputes that Iran is trying to achieve nuclear weapons — the only debate was whether it was worth military action to prevent it.

Iran wanted these weapons so that it could blackmail America and our Middle Eastern allies, and not have to worry about an American military response.

It’s no wonder that before his death, Ayatollah Khamenei repeatedly declared, “Death to America is not just a slogan — it is our policy.” Thus, it’s no surprise that over the last 47 years, all nine successive US administrations, including Trump’s, have made Iran a foreign-policy centerpiece.

After decades of diplomacy and appeasement, one president said “no.” The administrations of Obama, Biden, and Trump (twice) attempted painstaking diplomacy to convince Iran to abandon its nuclear weapons program — to no avail. In fact, diplomacy only strengthened Iran and its terrorist network. The 2015 nuclear deal, for example, gave Iran billions of dollars in sanctions relief, which the mullahs used to expand their nuclear and ballistic missile programs, and fund terrorist proxies.

In short, after 47 years of lies, diplomatic failures, terrorism, and the threats of an Islamist regime sworn to America’s destruction, Iran’s determination to obtain nuclear weapons left the US no choice but military force.

Nonetheless, the lie that the Iran war is being fought because of Jewish conniving — primarily for Israel’s sake — continues to spread. The result will be more antisemitism, more violent attacks on Jews, and more generational anti-Jewish hatred.

Our best weapon to fight this is to keep explaining the real reasons for the Iran war — and the very real threat that Iran poses to America, the region, and the entire free world.

Jason Shvili is a Contributing Editor at Facts and Logic About the Middle East (FLAME), which publishes educational messages to correct lies and misperceptions about Israel and its relationship to the United States.

Continue Reading

Copyright © 2017 - 2023 Jewish Post & News