Jewish culture is the culture of the Jewish people,[1] from its formation in ancient times until the current age. Judaism itself is not simply a faith-based religion, but an orthoprax and ethnoreligion, pertaining to deed, practice, and identity.[2] Jewish culture covers many aspects, including religion and worldviews, literature, media, and cinema, art and architecture, cuisine and traditional dress, attitudes to gender, marriage, family, social customs and lifestyles, music and dance.[3] Some elements of Jewish culture come from within Judaism, others from the interaction of Jews with host populations, and others still from the inner social and cultural dynamics of the community. Before the 18th century, religion dominated virtually all aspects of Jewish life, and infused culture. Since the advent of secularization, wholly secular Jewish culture emerged likewise.
While there has been communication and traffic between these Jewish communities, many Sephardic exiles blended into the Ashkenazi communities which existed in Central Europe following the Spanish Inquisition; many Ashkenazim migrated to the Ottoman Empire, giving rise to the characteristic Syrian-Jewish family name "Ashkenazi"; Iraqi-Jewish traders formed a distinct Jewish community in India; to some degree, many of these Jewish populations were cut off from the cultures which surrounded them by ghettoization, Muslim laws of dhimma, and the traditional discouragement of contact between Jews and members of polytheistic populations by their religious leaders.
Medieval Jewish communities in Eastern Europe continued to display distinct cultural traits over the centuries. Despite the universalist leanings of the Enlightenment (and its echo within Judaism in the Haskalah movement), many Yiddish-speaking Jews in Eastern Europe continued to see themselves as forming a distinct national group — " 'am yehudi", from the Biblical Hebrew – but, adapting this idea to Enlightenment values, they assimilated the concept as that of an ethnic group whose identity did not depend on religion, which under Enlightenment thinking fell under a separate category.
Constantin Măciucă writes of the existence of "a differentiated but not isolated Jewish spirit" permeating the culture of Yiddish-speaking Jews.[4] This was only intensified as the rise of Romanticism amplified the sense of national identity across Europe generally. Thus, for example, members of the General Jewish Labour Bund in the late 19th and early 20th centuries were generally non-religious, and one of the historical leaders of the Bund was the child of converts to Christianity, though not a practicing or believing Christian himself.[citation needed]
The Haskalah combined with the Jewish Emancipation movement under way in Central and Western Europe to create an opportunity for Jews to enter secular society. At the same time, pogroms in Eastern Europe provoked a surge of migration, in large part to the United States, where some 2 million Jewish immigrants resettled between 1880 and 1920. By 1931, shortly before The Holocaust, 92% of the World's Jewish population was Ashkenazi in origin. Secularism originated in Europe as series of movements that militated for a new, heretofore unheard-of concept called "secular Judaism". For these reasons, much of what is thought of by English-speakers and, to a lesser extent, by non-English-speaking Europeans as "secular Jewish culture" is, in essence, the Jewish cultural movement that evolved in Central and Eastern Europe, and subsequently brought to North America by immigrants. During the 1940s, the Holocaust uprooted and destroyed most of the Jewish communities living in much of Europe. This, in combination with the creation of the State of Israel and the consequent Jewish exodus from Arab lands, resulted in a further geographic shift.
Defining secular culture among those who practice traditional Judaism is difficult, because the entire culture is, by definition, entwined with religious traditions: the idea of separate ethnic and religious identity is foreign to the Hebrew tradition of an " 'am yisrael". (This is particularly true for Orthodox Judaism.) Gary Tobin, head of the Institute for Jewish and Community Research, said of traditional Jewish culture:
The dichotomy between religion and culture doesn't really exist. Every religious attribute is filled with culture; every cultural act filled with religiosity. Synagogues themselves are great centers of Jewish culture. After all, what is life really about? Food, relationships, enrichment … So is Jewish life. So many of our traditions inherently contain aspects of culture. Look at the Passover Seder — it's essentially great theater. Jewish education and religiosity bereft of culture is not as interesting.[5]
Today very many secular Jews take part in Jewish cultural activities, such as celebrating Jewish holidays as historical and nature festivals, imbued with new content and form, or marking life-cycle events such as birth, bar/bat mitzvah, marriage, and mourning in a secular fashion. They come together to study topics pertaining to Jewish culture and its relation to other cultures, in havurot, cultural associations, and secular synagogues, and they participate in public and political action coordinated by secular Jewish movements, such as the former movement to free Soviet Jews, and movements to combat pogroms, discrimination, and religious coercion. Jewish secular humanistic education inculcates universal moral values through classic Jewish and world literature and through organizations for social change that aspire to ideals of justice and charity.[7]
Jewish philosophy includes all philosophy carried out by Jews, or in relation to the religion of Judaism. The Jewish philosophy is extended over several main eras in Jewish history, including the ancient and biblical era, medieval era and modern era (see Haskalah).
The ancient Jewish philosophy is expressed in the bible. According to Prof. Israel Efros the principles of the Jewish philosophy start in the bible, where the foundations of the Jewish monotheistic beliefs can be found, such as the belief in one god, the separation of god and the world and nature (as opposed to Pantheism) and the creation of the world. Other biblical writings that associated with philosophy are Psalms that contains invitations to admire the wisdom of God through his works; from this, some scholars suggest, Judaism harbors a Philosophical under-current[8] and Ecclesiastes that is often considered to be the only genuine philosophical work in the Hebrew Bible; its author seeks to understand the place of human beings in the world and life's meaning.[9] Other writings related to philosophy can be found in the Deuterocanonical books such as Sirach and Book of Wisdom.
During the Hellenistic era, Hellenistic Judaism aspired to combine Jewish religious tradition with elements of Greek culture and philosophy. The philosopher Philo used philosophical allegory to attempt to fuse and harmonize Greek philosophy with Jewish philosophy. His work attempts to combine Plato and Moses into one philosophical system.[10] He developed an allegoric approach of interpreting holy scriptures (the bible), in contrast to (old-fashioned) literally interpretation approaches. His allegorical exegesis was important for several Christian Church Fathers and some scholars hold that his concept of the Logos as God's creative principle influenced early Christology. Other scholars, however, deny direct influence but say both Philo and Early Christianity borrow from a common source.[11]
Jon Ossoff, Georgia's first Jewish senator for the Democratic Party
A range of moral and political views is evident early in the history of Judaism, that serves to partially explain the diversity that is apparent among secular Jews who are often influenced by moral beliefs that can be found in Jewish scripture, and traditions. In recent centuries, secular Jews in Europe and the Americas have tended towards the political left[citation needed], and played key roles in the birth of the 19th century's labor movement and socialism. The biographies of women like Emma Goldman and Hannah Arendt embody complicated relationships between politics, Judaism and feminism. While Diaspora Jews have also been represented on the conservative side of the political spectrum, even politically conservative Jews have tended to support pluralism more consistently than many other elements of the political right. Some scholars[15] attribute this to the fact that Jews are not expected to proselytize, derived from Halakha. This lack of a universalizing religion is combined with the fact that most Jews live as minorities in diaspora countries, and that no central Jewish religious authority has existed since 363 CE. Jews value education, and the value of education is strongly embedded in Jewish culture.[16][17]
Benjamin Disraeli, first Jewish Prime Minister of the United Kingdom
In the Middle Ages, European laws prevented Jews from owning land and gave them important incentives to go into professions that non-Jewish Europeans were unwilling to undertake.[20] During the medieval period, there was a very strong social stigma against lending money and charging interest among the Christian majority. In most of Europe until the late 18th century, and in some places to an even later date, Jews were prohibited by Roman Catholic governments (and others) from owning land. On the other hand, the Church, because of a number of Bible verses (e.g., Leviticus 25:36) forbidding usury, declared that charging any interest was against the divine law, and this prevented any mercantile use of capital by pious Christians. As the Canon law did not apply to Jews, they were not liable to the ecclesiastical punishments which were placed upon usurers by the popes. Christian rulers gradually saw the advantage of having a class of men like the Jews who could supply capital for their use without being liable to excommunication, and so the money trade of western Europe by this means fell into the hands of the Jews.
However, in almost every instance where large amounts were acquired by Jews through banking transactions the property thus acquired fell either during their life or upon their death into the hands of the king. This happened to Aaron of Lincoln in England, Ezmel de Ablitas in Navarre, Heliot de Vesoul in Provence, Benveniste de Porta in Aragon, etc. It was often for this reason that kings supported the Jews, and even objected to them becoming Christians (because in that case their fortunes earned by usury could not be seized by the crown after their deaths). Thus, both in England and in France the kings demanded to be compensated by the church for every Jew converted. This type of royal trickery was one factor in creating the stereotypical Jewish role of banker and/or merchant.
As a modern system of capital began to develop, loans became necessary for commerce and industry. Jews were able to gain a foothold in the new field of finance by providing these services: as non-Catholics, they were not bound by the ecclesiastical prohibition against "usury"; and in terms of Judaism itself, Hillel had long ago re-interpreted the Torah's ban on charging interest, allowing interest when it is needed to make a living.[citation needed]
The strong Jewish tradition of religious scholarship often left Jews well prepared for secular scholarship. In some times and places, this was countered by banning Jews from studying at universities, or admitting them only in limited numbers (see Jewish quota). Over the centuries, Jews have been poorly represented among land-holding classes, but far better represented in academia, professions, finance, commerce and many scientific fields. The strong representation of Jews in science and academia is evidenced by the fact that 193 persons known to be Jews or of Jewish ancestry have been awarded the Nobel Prize, accounting for 22% of all individual recipients worldwide between 1901 and 2014.[21] Of whom, 26% in physics,[22] 22% in chemistry[23] and 27% in Physiology or Medicine.[24] In the fields of mathematics and computer science, 31% of Turing Award recipients[25] and 27% of Fields Medal in mathematics[26] were or are Jewish.
The early Jewish activity in science can be found in the Hebrew Bible where some of the books contain descriptions of the physical world. Biblical cosmology provides sporadic glimpses that may be stitched together to form a Biblical impression of the physical universe. There have been comparisons between the Bible, with passages such as from the Genesis creation narrative, and the astronomy of classical antiquity more generally.[30] The Bible also contains various cleansing rituals. One suggested ritual, for example, deals with the proper procedure for cleansing a leper (Leviticus 14:1–32). It is a fairly elaborate process, which is to be performed after a leper was already healed of leprosy (Leviticus 14:3), involving extensive cleansing and personal hygiene, but also includes sacrificing a bird and lambs with the addition of using their blood to symbolize that the afflicted has been cleansed.
During Medieval era astronomy was a primary field among Jewish scholars and was widely studied and practiced.[33] Prominent astronomers included Abraham Zacuto who published in 1478 his Hebrew book Ha-hibbur ha-gadol[34] where he wrote about the Solar System, charting the positions of the Sun, Moon and five planets.[34] His work served Portugal's exploration journeys and was used by Vasco da Gama and also by Christopher Columbus. The lunar craterZagut is named after Zacuto's name. The mathematician and astronomer Abraham bar Hiyya Ha-Nasi authored the first European book to include the full solution to the quadratic equation x2 – ax + b = 0,[35] and influenced the work of Leonardo Fibonacci. Bar Hiyya proved by the method of indivisibles the following equation for any circle: S = LxR/2, where S is the surface area, L is the circumference length and R is radius.[36]
German edition of the astronomy book De scientia motvs orbis, originally by Mashallah ibn Athari
Garcia de Orta, PortugueseRenaissance Jewish physician, was a pioneer of Tropical medicine. He published his work Colóquios dos simples e drogas da India in 1563,[37] which deals with a series of substances, many of them unknown or the subject of confusion and misinformation in Europe at this period. He was the first European to describe Asiatic tropical diseases, notably cholera; he performed an autopsy on a cholera victim, the first recorded autopsy in India. Bonet de Lattes known chiefly as the inventor of an astronomical ring-dial by means of which solar and stellar altitudes can be measured and the time determined with great precision by night as well as by day. Other related personalities are Abraham ibn Ezra, whose the Moon crater Abenezra named after, David Gans, Judah ibn Verga, Mashallah ibn Athari an astronomer, The crater Messala on the Moon is named after him.
Sigmund Freud, known as the father of psychoanalysis, is one of the most influential scientists of the 20th century. In creating psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst,[42] Freud developed therapeutic techniques such as the use of free association and discovered transference, establishing its central role in the analytic process. Freud's redefinition of sexuality to include its infantile forms led him to formulate the Oedipus complex as the central tenet of psychoanalytical theory. His analysis of dreams as wish-fulfillments provided him with models for the clinical analysis of symptom formation and the mechanisms of repression as well as for elaboration of his theory of the unconscious as an agency disruptive of conscious states of mind.[43] Freud postulated the existence of libido, an energy with which mental processes and structures are invested and which generates erotic attachments, and a death drive, the source of repetition, hate, aggression and neurotic guilt.[44]
In some places where there have been relatively high concentrations of Jews, distinct secular Jewish subcultures have arisen.[52] For example, ethnic Jews formed an enormous proportion of the literary and artistic life of Vienna, Austria at the end of the 19th century, or of New York City 50 years later (and Los Angeles in the mid-late 20th century). Many of these creative Jews were not particularly religious people. In general, Jewish artistic culture in various periods reflected the culture in which they lived.
Gutenberg Bible. The Bible was authored by Jews during the Iron Ages and the Classical era. It comprises cultural values, basic human values, mythology and religious beliefs of both Judaism and Christianity
Literary and theatrical expressions of secular Jewish culture may be in specifically Jewish languages such as Hebrew, Yiddish, Judeo-Tat or Ladino, or it may be in the language of the surrounding cultures, such as English or German. Secular literature and theater in Yiddish largely began in the 19th century and was in decline by the middle of the 20th century. The revival of Hebrew beyond its use in the liturgy is largely an early 20th-century phenomenon, and is closely associated with Zionism. Apart from the use of Hebrew in Israel, whether a Jewish community will speak a Jewish or non-Jewish language as its main vehicle of discourse is generally dependent on how isolated or assimilated that community is. For example, the Jews in the shtetls of Poland and the Lower East Side of New York City during the early 20th century spoke Yiddish at most times, while assimilated Jews in 19th and early 20th-century Germany spoke German, and American-born Jews in the United States speak English.
Jewish authors have both created a unique Jewish literature and contributed to the national literature of many of the countries in which they live. Though not strictly secular, the Yiddish works of authors like Sholem Aleichem (whose collected works amounted to 28 volumes) and Isaac Bashevis Singer (winner of the 1978 Nobel Prize), form their own canon, focusing on the Jewish experience in both Eastern Europe, and in America. In the United States, Jewish writers like Philip Roth, Saul Bellow, and many others are considered among the greatest American authors, and incorporate a distinctly secular Jewish view into many of their works. The poetry of Allen Ginsberg often touches on Jewish themes (notably the early autobiographical works such as Howl and Kaddish). Other famous Jewish authors that made contributions to world literature include Heinrich Heine, German poet, Miklós Radnóti, Hungarian poet, Mordecai Richler, Canadian author, Isaac Babel, Russian author, Franz Kafka, of Prague, and Harry Mulisch, whose novel The Discovery of Heaven was revealed by a 2007 poll as the "Best Dutch Book Ever".[54]
Another aspect of Jewish literature is the ethical, called Musar literature. This literature has been composed by both religious and secular authors.[59]
The Ukrainian Jew Abraham Goldfaden founded the first professional Yiddish-language theatre troupe in Iași, Romania in 1876. The next year, his troupe achieved enormous success in Bucharest. Within a decade, Goldfaden and others brought Yiddish theater to Ukraine, Russia, Poland, Germany, New York City, and other cities with significant Ashkenazic populations. Between 1890 and 1940, over a dozen Yiddish theatre groups existed in New York City alone, in the Yiddish Theater District, performing original plays, musicals, and Yiddish translations of theatrical works and opera. Perhaps the most famous of Yiddish-language plays is The Dybbuk (1919) by S. Ansky.
Yiddish theater in New York in the early 20th century rivalled English-language theater in quantity and often surpassed it in quality. A 1925 New York Times article remarks, "…Yiddish theater… is now a stable American institution and no longer dependent on immigration from Eastern Europe. People who can neither speak nor write Yiddish attend Yiddish stage performances and pay Broadway prices on Second Avenue." This article also mentions other aspects of a New York Jewish cultural life "in full flower" at that time, among them the fact that the extensive New York Yiddish-language press of the time included seven daily newspapers.[60]
In fact, however, the next generation of American Jews spoke mainly English to the exclusion of Yiddish; they brought the artistic energy of Yiddish theater into the American theatrical mainstream, but usually in a less specifically Jewish form.
From their Emancipation to World War II, Jews were very active and sometimes even dominant in certain forms of European theatre, and after the Holocaust many Jews continued to that cultural form. For example, in pre-Nazi Germany, where Nietzsche asked "What good actor of today is not Jewish?", acting, directing and writing positions were often filled by Jews. Both MacDonald and Jewish Tribal Review would generally be counted as antisemitic sources, but reasonably careful in their factual claims. "In Imperial Berlin, Jewish artists could be found in the forefront of the performing arts, from high drama to more popular forms like cabaret and revue, and eventually film. Jewish audiences patronized innovative theater, regardless of whether they approved of what they saw."[61] The British historian Paul Johnson, commenting on Jewish contributions to European culture at the Fin de siècle, writes that
Jews also made similar, if not as massive, contributions to theatre and drama in Austria, Britain, France, and Russia (in the national languages of those countries). Jews in Vienna, Paris and German cities found cabaret both a popular and effective means of expression, as German cabaret in the Weimar Republic "was mostly a Jewish art form".[63] The involvement of Jews in Central European theatre was halted during the rise of the Nazis and the purging of Jews from cultural posts, though many emigrated to Western Europe or the United States and continued working there.
English-language theatre
Rodgers (left) and Hammerstein (right), with Irving Berlin (middle) and Helen Tamiris, watching auditions at the St. James Theatre in 1948
In the early 20th century the traditions of New York's vibrant Yiddish Theatre District both rivaled and fed into Broadway. In the English-speaking theatre Jewish émigrés brought novel theatrical ideas from Europe, such as the theatrical realist movement and the philosophy of Konstantin Stanislavski, whose teachings would influence many Jewish American acting teachers such as the Yiddish theatre-trained acting theorist Stella Adler. Jewish immigrants were instrumental in the creation and development of the genre of musical theatre and earlier forms of theatrical entertainment in America, and would innovate the new, distinctly American, art form, the Broadway musical.[64]Brandeis University Professor Stephen J. Whitfield has commented that "More so than behind the screen, the talent behind the stage was for over half a century virtually the monopoly of one ethnic group. That is... [a] feature which locates Broadway at the center of Jewish culture".[65]New York University Professor Laurence Maslon says that "There would be no American musical without Jews… Their influence is corollary to the influence of black musicians on jazz; there were as many Jews involved in the form".[66] Other writers, such as Jerome Caryn, have noted that musical theatre and other forms of American entertainment are uniquely indebted to the contributions of Jewish Americans, since "there might not have been a modern Broadway without the "Asiatic horde" of comedians, gossip columnists, songwriters, and singers that grew out of the ghetto, whether it was on the Lower East Side, Harlem (a Jewish ghetto before it was a black one), Newark, or Washington, D.C."[67] Likewise, in the analysis of Aaron Kula, director of The Klezmer Company,
…the Jewish experience has always been best expressed by music, and Broadway has always been an integral part of the Jewish American experience… The difference is that one can expand the definition of "Jewish Broadway" to include an interdisciplinary roadway with a wide range of artistic activities packed onto one avenue—theatre, opera, symphony, ballet, publishing companies, choirs, synagogues and more. This vibrant landscape reflects the life, times and creative output of the Jewish American artist.[68]
In the 19th and early 20th centuries the European operetta, a precursor the musical, often featured the work of Jewish composers such as Paul Abraham, Leo Ascher, Edmund Eysler, Leo Fall, Bruno Granichstaedten, Jacques Offenbach, Emmerich Kalman, Sigmund Romberg, Oscar Straus and Rudolf Friml; the latter four eventually moved to the United States and produced their works on the New York stage. One of the librettists for Bizet's Carmen (not an operetta proper but rather a work of the earlier Opéra comique form) was the Jewish Ludovic Halévy, niece of composer Fromental Halévy (Bizet himself was not Jewish but he married the elder Halevy's daughter, many have suspected that he was the descendant of Jewish converts to Christianity, and others have noticed Jewish-sounding intervals in his music).[69] The Viennese librettist Victor Leon summarized the connection of Jewish composers and writers with the form of operetta: "The audience for operetta wants to laugh beneath tears—and that is exactly what Jews have been doing for the last two thousand years since the destruction of Jerusalem".[70] Another factor in the evolution of musical theatre was vaudeville, and during the early 20th century the form was explored and expanded by Jewish comedians and actors such as Jack Benny, Fanny Brice, Eddie Cantor, The Marx Brothers, Anna Held, Al Jolson, Molly Picon, Sophie Tucker and Ed Wynn. During the period when Broadway was monopolized by revues and similar entertainments, Jewish producer Florenz Ziegfeld dominated the theatrical scene with his Follies.
By 1910 Jews (the vast majority of them immigrants from Eastern Europe) already composed a quarter of the population of New York City, and almost immediately Jewish artists and intellectuals began to show their influence on the cultural life of that city, and through time, the country as a whole. Likewise, while the modern musical can best be described as a fusion of operetta, earlier American entertainment and African-American culture and music, as well as Jewish culture and music, the actual authors of the first "book musicals" were the Jewish Jerome Kern, Oscar Hammerstein II, George and Ira Gershwin, George S. Kaufman and Morrie Ryskind. From that time until the 1980s a vast majority of successful musical theatre composers, lyricists, and book-writers were Jewish (a notable exception is the Protestant Cole Porter, who acknowledged that the reason he was so successful on Broadway was that he wrote what he called "Jewish music").[71]Rodgers and Hammerstein, Frank Loesser, Lerner and Loewe, Stephen Sondheim, Leonard Bernstein, Stephen Schwartz, Kander and Ebb and dozens of others during the "Golden Age" of musical theatre were Jewish. Since the Tony Award for Best Original Score was instituted in 1947, approximately 70% of nominated scores and 60% of winning scores were by Jewish composers. Of successful British and French musical writers both in the West End and Broadway, Claude-Michel Schönberg and Lionel Bart are Jewish, among others.
One explanation of the affinity of Jewish composers and playwrights to the musical is that "traditional Jewish religious music was most often led by a single singer, a cantor while Christians emphasize choral singing."[72] Many of these writers used the musical to explore issues relating to assimilation, the acceptance of the outsider in society, the racial situation in the United States, the overcoming of obstacles through perseverance, and other topics pertinent to Jewish Americans and Western Jews in general, often using subtle and disguised stories to get this point across.[73] For example, Kern, Rodgers, Hammerstein, the Gershwins, Harold Arlen and Yip Harburg wrote musicals and operas aiming to normalize societal toleration of minorities and urging racial harmony; these works included Show Boat, Porgy and Bess, Finian's Rainbow, South Pacific and The King and I. Towards the end of Golden Age, writers also began to openly and overtly tackle Jewish subjects and issues, such as Fiddler on the Roof and Rags; Bart's Blitz! also tackles relations between Jews and Gentiles. Jason Robert Brown and Alfred Uhry's Parade is a sensitive exploration of both antisemitism and historical American racism. The original concept that became West Side Story was set in the Lower East Side during Easter-Passover celebrations; the rival gangs were to be Jewish and ItalianCatholic.[74]
The Association for Jewish Theater is a contemporary organization that includes both American and international theaters that focus on theater with Jewish content. It has also expanded to include Jewish playwrights.
The earliest known Hebrew language drama was written around 1550 by a Jewish-Italian writer from Mantua.[76] A few works were written by rabbis and Kabbalists in 17th-century Amsterdam, where Jews were relatively free from persecution and had both flourishing religious and secular Jewish cultures.[77] All of these early Hebrew plays were about Biblical or mystical subjects, often in the form of Talmudicparables. During the post-Emancipation period in 19th-century Europe, many Jews translated great European plays such as those by Shakespeare, Molière and Schiller, giving the characters Jewish names and transplanting the plot and setting to within a Jewish context.
Modern Hebrew theatre and drama, however, began with the development of Modern Hebrew in Europe (the first Hebrew theatrical professional performance was in Moscow in 1918)[78] and was "closely linked with the Jewish national renaissance movement of the twentieth century. The historical awareness and the sense of primacy which accompanied the Hebrew theatre in its early years dictated the course of its artistic and aesthetic development".[79] These traditions were soon transplanted to Israel. Playwrights such as Natan Alterman, Hayyim Nahman Bialik, Leah Goldberg, Ephraim Kishon, Hanoch Levin, Aharon Megged, Moshe Shamir, Avraham Shlonsky, Yehoshua Sobol and A. B. Yehoshua have written Hebrew-language plays. Themes that are obviously common in these works are the Holocaust, the Arab–Israeli conflict, the meaning of Jewishness, and contemporary secular-religious tensions within Jewish Israel. The most well-known Hebrew theatre company and Israel's national theatre is the Habima (meaning "the stage" in Hebrew), which was formed in 1913 in Lithuania, and re-established in 1917 in Russia; another prominent Israeli theatre company is the Cameri Theatre, which is "Israel's first and leading repertory theatre".[80]
Acting troupe in the play Ashig Garib. Judeo-Tat theatre. Derbent, USSR. 1984. First row - from left to right: Katya, Bikel Matatova. Second row - from left to right: musician Israel Izrailov, Roman Izyaev, Avshalum Nakhshunov, Raziil Ilyaguev, Abram Avdalimov. Third row - from left to right: Ilizir Abramov, Anatoly Yusupov, Israel Tsvaygenbaum.
The first theatrical event by Mountain Jews took place in December 1903,[81] when Asaf Agarunov, a teacher and a Zionist, staged a story by Naum Shoykovich, translated from Hebrew, "The Burn for Burn," and staged it in honor of schoolteacher Nagdimuna ben Simona's (Shimunov) wedding.[81]
In 1935, the first Soviet Union theatre opened in Derbent, which included three troupes – Russian, Mountain Jews and Turk. It was based on drama circles, which were led by Manashir and Khanum Shalumov. Initially, in the circle, men played the female roles. Later, women began to take part in the theatre.[82] In 1939, the Judeo-Tat theatre was the winner of the festival of theatres in Dagestan.
During World War II, most of the actors were drafted into the army. Many theatre actors died in the war.[83] In 1943, the theatre resumed its work, and in 1948 it was closed. The official reason was its unprofitability.[83]
In the 1960s, the theatre resumed its activities and experienced its second heyday. The actress, Akhso Ilyaguevna Shalumova (1909-1985), "Honored Artist of the Dagestan ASSR" returned to the theatre. She played the role of (Juhuri:Шими Дербенди) - Shimi Derbendi's wife - Shahnugor, based on the stories of writer Hizgil Avshalumov.[83]
In the 1970s, the People's Judeo-Tat theatre was organized. For many years, its director was Abram Avdalimov, "Honored Cultural Worker of the Dagestan ASSR," singer, actor and playwright. His successor was Roman Izyaev, who was awarded the Order of the Badge of Honour for his meritorious service.[83]
In the 1990s, the Judeo-Tat theatre experienced another crisis: it rarely held performances and did not have any premieres. Only in 2000, when it became a municipal theater, was it able to resume its activity. From 2000 to 2002, the theatre was headed by actor and musician Raziil Semenovich Ilyaguev (1945-2016), "Honored Worker of Culture of the Republic of Dagestan." For the next two years the theatre was headed by Alesya Isakova.
In 2004, Lev Yakovlevich Manakhimov (1950-2021), "Honored Artist of the Republic of Dagestan," became the artistic director of the theatre. After the death of Manakhimov, Boris Yudaev became the head of the theatre.
It would be ... pointless to look for consciously Jewish elements in the songs of Irving Berlin or the Hollywood movies of the era of the great studios, all of which were run by immigrant Jews: their object, in which they succeeded, was precisely to make songs or films which found a specific expression for 100 per cent Americanness.
A more specifically Jewish sensibility can be seen in the films of the Marx Brothers, Mel Brooks, or Woody Allen; other examples of specifically Jewish films from the Hollywood film industry are the Barbra Streisand vehicle Yentl (1983), or John Frankenheimer's The Fixer (1968). More recently, Call Me By Your Name (2017) can be given as an example of a movie with Jewish sensibility. Jewish film festivals are nowadays conducted in many major cities around the world as vehicles of introducing such films to wider audiences, including among others the Boston JFF, San Francisco JFF, Jerusalem JFF, etc
Although there is little specifically Jewish television in the United States (National Jewish Television, largely religious, broadcasts only three hours a week), Jews have been involved in American television from its earliest days. From Sid Caesar and Milton Berle to Joan Rivers, Gilda Radner, and Andy Kaufman to Billy Crystal to Jerry Seinfeld, Jewish stand-up comedians have been icons of American television. Other Jews that held a prominent role in early radio and television were Eddie Cantor, Al Jolson, Jack Benny, Walter Winchell and David Susskind. More figures are Larry King, Michael Savage and Howard Stern. In the analysis of Paul Johnson, "The Broadway musical, radio and TV were all examples of a fundamental principle in Jewish diaspora history: Jews opening up a completely new field in business and culture, a tabula rasa on which to set their mark, before other interests had a chance to take possession, erect guild or professional fortifications and deny them entry."[86]
While orchestral and operatic music works by Jewish composers would in general be considered secular, many Jewish (as well as non-Jewish) composers have incorporated Jewish themes and motives into their music. Sometimes this is done covertly, such as the klezmer band music that many critics and observers believe lies in the third movement of Mahler'sSymphony No. 1, and this type of Jewish reference was most common during the 19th century when openly displaying one's Jewishness would most likely hamper a Jew's chances at assimilation. During the 20th century, however, many Jewish composers wrote music with direct Jewish references and themes, e.g. David Amram (Symphony – "Songs of the Soul"), Leonard Bernstein (Kaddish Symphony, Chichester Psalms), Ernest Bloch (Schelomo), Arnold Schoenberg, Mario Castelnuovo-Tedesco (Violin Concerto no. 2) Kurt Weill (The Eternal Road) and Hugo Weisgall (Psalm of the Instant Dove).
In the late twentieth century, prominent composers like Morton Feldman, Gyorgy Ligeti or Alfred Schnittke gave significant contributions to the history of contemporary music.
A Bukharan Jewish dance performed by members of the Rina Nikova ballet in the citadel of Jerusalem - 1 May 1946.
Deriving from Biblical traditions, Jewish dance has long been used by Jews as a medium for the expression of joy and other communal emotions.[88] Each Jewish diasporic community developed its own dance traditions for wedding celebrations and other distinguished events. For Ashkenazi Jews in Eastern Europe, for example, dances, whose names corresponded to the different forms of klezmer music that were played, were an obvious staple of the wedding ceremony of the shtetl.[89] Jewish dances both were influenced by surrounding Gentile traditions and Jewish sources preserved over time. "Nevertheless the Jews practiced a corporeal expressive language that was highly differentiated from that of the non-Jewish peoples of their neighborhood, mainly through motions of the hands and arms, with more intricate legwork by the younger men."[90] In general, however, in most religiously traditional communities, members of the opposite sex dancing together or dancing at times other than at these events was frowned upon.
Despite fears by early religious communities of art being used for idolatrous purposes, Jewish sacred art is recorded in the Tanakh and extends throughout Jewish Antiquity and the Middle Ages.[93] The Tabernacle and the two Temples in Jerusalem form the first known examples of "Jewish art". During the first centuries of the Common Era, Jewish religious art also was created in regions surrounding the Mediterranean such as Syria and Greece, including frescoes on the walls of synagogues, of which the Dura Europas Synagogue was the only survivor,[94] prior to its destruction by ISIL in 2017, as well as the Jewish catacombs in Rome.[95][96]
A number of luxury pieces of gold glass from the later Roman period have Jewish motifs. Several Hellenistic-style floor mosaics have also been excavated in synagogues from Late Antiquity in Israel and Palestine, especially of the signs of the Zodiac, which was apparently acceptable in a low-status position on the floor. Some, such as that at Naaran, show evidence of a reaction against images of living creatures around 600 CE. The decoration of sarcophagi and walls at the cave cemetery at Beit She'arim shows a mixture of Jewish and Hellenistic motifs.
Middle AgeRabbinical and Kabbalistic literature also contain textual and graphic art, most famously illuminated haggadahs such as the Sarajevo Haggadah, and other manuscripts like the Nuremberg Mahzor. Some of these were illustrated by Jewish artists and some by Christians; equally some Jewish artists and craftsmen in various media worked on Christian commissions.[97] Outside of Europe, Yemenite Jewish silversmiths developed a distinctive style of finely wrought silver that is admired for its artistry. Johnson again summarizes this sudden change from a limited participation by Jews in visual art (as in many other arts) to a large movement by them into this branch of European cultural life:
Again, the arrival of the Jewish artist was a strange phenomenon. It is true that, over the centuries, there had been many animals (though few humans) depicted in Jewish art: lions on Torah curtains, owls on Judaic coins, animals on the Capernaum capitals, birds on the rim of the fountain-basis in the 5th century Naro synagogue in Tunis; there were carved animals, too, on timber synagogues in eastern Europe – indeed the Jewish wood-carver was the prototype of the modern Jewish plastic artist. A book of Yiddish folk-ornament, printed at Vitebsk in 1920, was similar to Chagall's own bestiary. But the resistance of pious Jews to portraying the living human image was still strong at the beginning of the 20th century.[98]
There were few Jewish secular artists in Europe prior to the Emancipation that spread throughout Europe with the Napoleonic conquests. There were exceptions, and Salomon Adler was a prominent portrait painter in 18th-century Milan. The delay in participation in the visual arts parallels the lack of Jewish participation in European classical music until the nineteenth century, and which was progressively overcome with the rise of Modernism in the 20th century. There were many Jewish artists in the 19th century, but Jewish artistic activity boomed during the end of World War I. The Jewish artistic Renaissance has its roots in the 1901 Fifth Zionist Congress, which included an art exhibition featuring Jewish artists E.M. Lilien and Hermann Struck. The exhibition helped legitimize art as an expression of Jewish culture.[99] According to Nadine Nieszawer, "Until 1905, Jews were always plunged into their books but from the first Russian Revolution, they became emancipated, committed themselves in politics and became artists. A real Jewish cultural rebirth".[100] Individual Jews figured in the modern artistic movements of Europe— With the exception of those living in isolated Jewish communities, most Jews listed here as contributing to secular Jewish culture also participated in the cultures of the peoples they lived with and nations they lived in. In most cases, however, the work and lives of these people did not exist in two distinct cultural spheres but rather in one that incorporated elements of both.
The collage artist Wallace Berman's engagement with Hebrew reflected the Beat Generation's wider exploration of esoteric spiritual practices such as Zen, palm reading, astrology, kabbalah and psychedelic drugs. Born on Staten Island, Berman moved to Los Angeles[103] where the Hebrew letters on storefront windows and in Yiddish-language newspapers fascinated him. According to historian Richard Candida Smith, "Berman's interest in the Hebrew alphabet and its functions in Jewish mysticism was part of an effort to reclaim his ethnic identity."[104] In 1989, the painter R.B. Kitaj published his "First Diasporist Manifesto", a short book in which he analysed how his art was based on his alienation as a Jew born in Cleveland, Ohio and living in London. In 2007, a second illustrated stream of consciousness book followed, "The Second Diasporist Manifesto."[105]
Jews have also played a very important role in media other than painting; their involvement in sculpture came rather later, perhaps due to lingering feelings against "graven images". But there were many notable Jewish sculptors in the later 19th and 20th centuries, including Moses Jacob Ezekiel (American, d 1917), Sir Jacob Epstein (American-British, d 1959), Ossip Zadkine (French, d 1967) Naum Gabo (Russian, d 1977), Oscar Nemon (Croatian, d 1985), Louise Nevelson (American, d 1988), Herbert Ferber (American, d 1991).
Graphic art, as expressed in the art of comics, has been a key field for Jewish artists as well. In the Golden and Silver ages of American comic books, the Jewish role was overwhelming and a large number of the medium's foremost creators have been Jewish.[109]
Will Eisner was an American cartoonist and was known as one of the earliest cartoonists to work in the American comic book industry. He is the creator of the Spirit comics series and the graphic novelA Contract with God.[120] The Eisner Award was named in his honor, and is given to recognize achievements each year in the comics medium.
Philo-Semitism (also spelled philosemitism) or Judeophilia is an interest in, respect for and an appreciation, or in some cases a fetishization, of Jewish people, their history, and their culture and the influence of Judaism, particularly on the part of a gentile.[131] Within the Jewish community, philo-Semitism includes an interest in Jewish culture and a love of things that are considered Jewish.[132]
Very few Jews live in East Asian countries, but Jews are viewed in an especially positive light in some of them, partly owing to their shared wartime experiences during the Second World War. Examples include South Korea[133] and China.[134] In general, Jews are positively stereotyped as being intelligent, business savvy and committed to family values and responsibilities, but in the Western world, the first of the two aforementioned stereotypes more frequently have the negatively interpreted equivalents of guile and greed. In South Korean primary schools, students are required to read the Talmud.[133]
See also
Wikimedia Commons has media related to Jewish art.
Yiddish is a West Germanic language historically spoken by Ashkenazi Jews. It originated in 9th century Central Europe, and provided the nascent Ashkenazi community with a vernacular based on High German fused with many elements taken from Hebrew and to some extent Aramaic. Most varieties of Yiddish include elements of Slavic languages and the vocabulary contains traces of Romance languages. Yiddish has traditionally been written using the Hebrew alphabet.
Klezmer is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman music, Baroque music, German and Slavic folk dances, and religious Jewish music. As the music arrived in the United States, it lost some of its traditional ritual elements and adopted elements of American big band and popular music. Among the European-born klezmers who popularized the genre in the United States in the 1910s and 1920s were Dave Tarras and Naftule Brandwein; they were followed by American-born musicians such as Max Epstein, Sid Beckerman and Ray Musiker.
The culture of Israel is closely associated with Jewish culture and rooted in the Jewish history of the diaspora and Zionist movement. It has also been influenced by Arab culture and the history and traditions of the Arab Israeli population and other ethnic minorities that live in Israel, among them Druze, Circassians, Armenians and others.
The Haskalah, often termed the Jewish Enlightenment, was an intellectual movement among the Jews of Central and Eastern Europe, with a certain influence on those in Western Europe and the Muslim world. It arose as a defined ideological worldview during the 1770s, and its last stage ended around 1881, with the rise of Jewish nationalism.
The Workers Circle or Der Arbeter Ring, formerly The Workmen's Circle, is an American Jewish nonprofit organization that promotes social and economic justice, Jewish community and education, including Yiddish studies, and Ashkenazic culture. It operates schools and Yiddish education programs, and year-round programs of concerts, lectures and secular holiday celebrations. The organization has community branch offices throughout North America, a national headquarters in New York City.
Humanistic Judaism is a Jewish movement that offers a nontheistic alternative to contemporary branches of Judaism. It defines Judaism as the cultural and historical experience of the Jewish people rather than a religion, and encourages Jews who are humanistic and secular to celebrate their identity by participating in relevant holidays and rites of passage with inspirational ceremonies that go beyond traditional literature while still drawing upon it.
Jewish atheism is the atheism of people who are ethnically and culturally Jewish.
Yiddish theatre consists of plays written and performed primarily by Jews in Yiddish, the language of the Ashkenazi Jewish community. The range of Yiddish theatre is broad: operetta, musical comedy, and satiric or nostalgic revues; melodrama; naturalist drama; expressionist and modernist plays. At its height, its geographical scope was comparably broad: from the late 19th century until just before World War II, professional Yiddish theatre could be found throughout the heavily Jewish areas of Eastern and East Central Europe, but also in Berlin, London, Paris, Buenos Aires and New York City.
Jewish studies is an academic discipline centered on the study of Jews and Judaism. Jewish studies is interdisciplinary and combines aspects of history, Middle Eastern studies, Asian studies, Oriental studies, religious studies, archeology, sociology, languages, political science, area studies, women's studies, and ethnic studies. Jewish studies as a distinct field is mainly present at colleges and universities in North America.
Cultural Zionism is a strain of Zionism that focused on creating a center in historic Palestine with its own secular Jewish culture and national history, including language and historical roots, rather than other Zionist ideas such as Political Zionism. The founder of Cultural Zionism is Asher Ginsberg, better known as Ahad Ha'am. With his secular vision of a Jewish "spiritual center" in Eretz Israel/Palestine, he confronted Theodor Herzl. Unlike Herzl, the founder of political Zionism, Ha'am strove for "a Jewish state and not merely a state of Jews".
Yiddish song is a general description of several genres of music sung in Yiddish which includes songs of Yiddish theatre, Klezmer songs, and "Yiddish art song" after the model of the German Lied and French mélodie.
Jewish dance is dance associated with Jews and Judaism. Dance has long been used by Jews as a medium for the expression of joy and other communal emotions. Dancing is a favorite pastime and plays a role in religious observance.
Since Biblical times, music has held an important role in many Jews' lives. Jewish music has been influenced by surrounding Gentile traditions and Jewish sources preserved over time. Jewish musical contributions on the other hand tend to reflect the cultures of the countries in which Jews live, the most notable examples being classical and popular music in the United States and Europe. However, other music is unique to particular Jewish communities, such as klezmer of Eastern Europe.
Jewish music is the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and in domestic prayers, and of secular music, such as klezmer. While some elements of Jewish music may originate in biblical times, differences of rhythm and sound can be found among later Jewish communities that have been musically influenced by location. In the nineteenth century, religious reform led to composition of ecclesiastic music in the styles of classical music. At the same period, academics began to treat the topic in the light of ethnomusicology. Edwin Seroussi has written, "What is known as 'Jewish music' today is thus the result of complex historical processes". A number of modern Jewish composers have been aware of and influenced by the different traditions of Jewish music.
For the purposes of this article, “contemporary” refers to the period from 1967 to the present day, “Jewish” refers to the various streams and traits of Judaism practiced. Many Orthodox Jews use the term “religious” to refer to a strict adherence to Jewish law. For the purposes of this article, “religious” refers to the content and context of the music itself: liturgical or implicit references to the divine.
Jewish secularism refers to secularism in a Jewish context, denoting the definition of Jewish identity with little or no attention given to its religious aspects. The concept of Jewish secularism first arose in the late 19th century, with its influence peaking during the interwar period.
The Jews or Jewish people are an ethnoreligious group and nation originating from the Israelites of the historical kingdoms of Israel and Judah, and whose traditional religion is Judaism. Jewish ethnicity, religion, and community are highly interrelated, as Judaism is an ethnic religion, but not all ethnic Jews practice Judaism. Despite this, religious Jews regard individuals who have formally converted to Judaism as Jews.
Yaakov Malkin was an Israeli educator, literary critic, and professor emeritus in the Faculty of Arts at Tel Aviv University. He was active in several institutions that deal with both cultural and Humanistic Judaism.
The Yiddish Theatre District, also called the Jewish Rialto and the Yiddish Realto, was the center of New York City's Yiddish theatre scene in the early 20th century. It was located primarily on Second Avenue, though it extended to Avenue B, between Houston Street and East 14th Street in the East Village in Manhattan. The District hosted performances in Yiddish of Jewish, Shakespearean, classic, and original plays, comedies, operettas, and dramas, as well as vaudeville, burlesque, and musical shows.
Jewish hip hop is a genre of hip hop music with thematic, stylistic, or cultural ties to Judaism and its musical traditions.
↑ Biale, David, Not in the Heavens: The Tradition of Jewish Secular Thought, Princeton University Press, 2011, pp.5–6, 15
↑ Torstrick, Rebecca L., Culture and customs of Israel, Greenwood Press, 2004
↑ Măciucă, Constantin, preface to Bercovici, Israil, O sută de ani de teatru evriesc în România ("One hundred years of Yiddish/Jewish theater in Romania"), 2nd Romanian-language edition, revised and augmented by Constantin Măciucă. Editura Integral (an imprint of Editurile Universala), Bucharest (1998). ISBN973-98272-2-5. See the article on the author for further information.
↑ Andrews, D.J., A.H. Kassam. 1976. The importance of multiple cropping in increasing world food supplies. pp. 1–10 in R.I. Papendick, A. Sanchez, G.B. Triplett (Eds.), Multiple Cropping. ASA Special Publication 27. American Society of Agronomy, Madison, Wisconsin.
1 2 "Zacuto, Abraham" in Glick, T., S.J. Livesy and F. Williams, editors, (2005) Medieval science, technology, and medicine: an encyclopedia, New York Routledge.
1 2 Will, Clifford M (August 1, 2010). "Relativity". Grolier Multimedia Encyclopedia. Archived from the original on January 24, 2013. Retrieved August 1, 2010.
1 2 Will, Clifford M (August 1, 2010). "Space-Time Continuum". Grolier Multimedia Encyclopedia. Archived from the original on January 25, 2013. Retrieved August 1, 2010.
↑ "Jews and the Atom Bomb". May 20, 2015. Archived from the original on May 20, 2015. Retrieved September 18, 2017.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
↑ Einstein, Albert (May 1, 1935), "Professor Einstein Writes in Appreciation of a Fellow-Mathematician", New York Times (May 5, 1935), retrieved April 13, 2008. Online at the MacTutor History of Mathematics archive.
↑ Johnson, Paul (1987). A History of the Jews, pg. 479. New York: Harper Perennial. – Erwin Piscator was a Lutheran Protestant (Nazi propagandists had claimed since 1927 that he was a "Jewish Bolshevik", though).
↑ Michael Billig, Creating the American MusicalArchived September 28, 2005, at the Wayback Machine . Originally from Rock 'N' Roll Jews (Five Leaves Publications), extracted on myjewishlearning.com. Accessed February 12, 2006.
↑ Jacob Baron, Jewish ComposersArchived December 28, 2004, at the Wayback Machine , Machar, The Washington Congregation for Secular Humanistic Judaism, June 2, 2005. Accessed February 15, 2006.
↑ Landa, M. J. (1926). The Jew in Drama, p. 17. New York: Ktav Publishing House (1969). Each Jewish diasporic community developed its own dance traditions for wedding celebrations and other distinguished events.
↑ foto8.com, John Levy, "Review of The Tibetans", photo 8, amazon.com, Lehman, Steve, The Tibetans: A Struggle to Survive (New York: How Town / Umbrage), 1998.
Alexandrov, Pavel S. (1981). "In Memory of Emmy Noether". In Brewer, James W; Smith, Martha K. (eds.). Emmy Noether: A Tribute to Her Life and Work. New York: Marcel Dekker. pp.99–111. ISBN978-0-8247-1550-2. OCLC7837628.
Further reading
Landa, M.J. (1926). The Jew in Drama. New York: Ktav Publishing House (1969).
Stevens, Matthew. Jewish Film Directory: a guide to more than 1200 films of Jewish interest from 32 countries over 85 years. Trowbridge: Flicks Books, 1992 ISBN0-9489117-2-7 298p.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
