Crossposted from Haaretz
Moshe Sakal lived for six years in France, where he learned to speak fluent French with a Parisian accent, but when he talked to his Egyptian-born, French-speaking grandmother back home in Israel - she would give him a haughty look.
“She spoke like Dalida,” he said, referring to the popular multilingual Egyptian singer. “For her, an Egyptian accent was the real thing, authentic and beautiful, while my Parisian accent was a sort of jargon, a contemptible dialect. Not only did she look down on it, she also corrected me, and at some stage stopped understanding: I would be speaking the fluent French of someone who lived for years in Paris and she would just look at me, roll her eyes and say, ‘I don’t know what you’re saying.’”
In his new book “Yolanda” (published by Keter in Hebrew), which is autobiographical in a sort of misleading way, Sakal depicts the protagonist’s Egyptian-born grandmother, who immigrated to Israel in 1948, but preserves Cairo within her; a Zionist, she speaks basic Hebrew, reads only in French, and never leaves Israel’s borders.
Composer Jack Gottlieb, who passed away February 23 at the age of 80, was often asked to speak and write about Leonard Bernstein, the maestro whom he served in his youth as an assistant at the New York Philharmonic. But Gottlieb was one of the finest musicians around in his own right, and in a complete and studied way that is rare among modern prodigies. Jack was a consummate scholar, author, thinker, and composer of artistic, high-level sacred music for the synagogue; he also wrote songs, chamber music, orchestral, choral, and theater pieces, and he could entertain an audience from the piano like no one I have ever seen.
Though Gottlieb’s works were performed and lauded throughout the United States, he felt that he struggled as a composer, always in the shadow of his mentor. In the end, however, his prolific body of work stands on its own, and will no doubt be kept alive by the conductors and musicians who will continue to perform it.
Although they’ve had a number of earlier releases, “Where we come from… Where we’re going,” a challenging CD that is almost equal parts avant-garde jazz and klezmer music, was my introduction to Klezmokum, an Amsterdam-based band (Mokum is the old Jewish name for Amsterdam) led by Burton Greene, a pianist with a long history and discography dating back to the early 1960s. One of the other band members, clarinetist Perry Robinson, has been a significant musician on the free jazz scene for about as long as Greene.
Greene, who arranged all of the dozen compositions on this 70-minute CD, notes that “Where we come from… Where we’re going” is “the third in a trilogy of my arrangements and extended compositions based on little known, mainly Jewish works of composers active since before World War II until the present time.” Despite the emphasis on contemporary Jewish composers, there are also several traditional pieces on the album’s track list.
Reyna Simnegar is the author of the recently published “Persian Food from the Non-persian Bride: And Other Sephardic Kosher Recipes You Will Love.” Her blog posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog series. For more information on the series, please visit:
Sephardic Jews are really something to ponder. According to Rabbi Chaim Amsellem, “The Sephardic way is a paradox: to keep tradition but to stay open. The Torah is not there to put handcuffs on you. We try to find solutions. We put unity first.” I am including under Sephardic all Jews that come from Middle Eastern Countries (although these are actually Mizrahi Jews) and Jews from Spain Italy and some other countries in Europe.
I was waiting to receive Rabbi Haim Levy at Logan Airport. I have been to the airport many times to receive prominent Rabbis…but never a prominent Sephardic Rabbi. I was so excited to finally meet the author of what apparently is the book that has revolutionized Sephardic Halacha (laws) and finally brought it to the hands of the regular people like me: Anshei Chayil.
The latest issue of Habitus features eight poems by Esther Dischereit.
The winners of the 2011 Rappaport Prize, a one million dollar award given annually to two Israel painters, have been announced.
Woodie Allen talks about his controversial marriage.
Cynthia Ozick accepts the Jewish Book Council’s Lifetime Achievement Award.
Philologos re-considers the linguistic distinctiveness of Yeshivish, with a Yeshivish translation of the Gettysburg Address as exhibit A.
Michael Kaminer visits an exhibit the Royal Ontario Museum that ponders the future of “the world’s most valuable resource” in the Middle East.
Jordana Horn reviews “The Gift to Stalin,” a Kazakh movie not starring Borat about a Jewish boy trying to save his parents from Stalin’s post-war purge.
In honor of St. Patrick’s Day, Yoel Matveev revisits the relationship between Israel’s first Chief Rabbi, Isaac Halevi Herzog, and the Irish nationalist movement.
Purim is almost here! Check out our annual Backward edition.
And now, a different kind of Jewish film festival. “In the Beginning Was a School…,” a two-part documentary celebrating the 150th anniversary of the Alliance Israelite Universelle, has its American premiere March 13 at the New York Sephardic Jewish Film Festival. Traditional in its visual presentation — talking heads intercut with archival footage, animation, video montage, and old black and white clips of maps that look like out-takes from Casablanca — this television production tells a story little known on these shores, even if legendary among the francophone Sephardic diaspora. Its director, Josy Eisenberg, is a prominent figure in France, known as host — for over 40 years! — of a television program on Jewish life, history, and culture, and as the co-screenwriter of the 1970s cult film comedy, “The Mad Adventures of Rabbi Jacob.”
The Alliance, or AIU, was founded by six French Jewish eminences in 1860 on the heels of the Mortara Affair, which saw a six-year-old Jewish child in Bologna, Italy forcibly taken from his parents by the Church, on the rationale that Edgardo’s secret baptism by his nurse made him a Catholic. The Affair prompted international controversy; it also encouraged communitarian solidarity among assimilated French Jews.
In “36 Righteous Men,” Argentinian director Dan Burman, who goes in this film by his newly discovered Hebrew name, David ben Leah, joins an organized tour of Orthodox Jews visiting the gravesites of Hasidic leaders across Eastern Europe. What brings Burman, a thoroughly secular Jew, on board a bus where only strictly kosher food is served, and where many of the participants sport beards and large yarmulkes, is a quest to learn about the 36 hidden righteous men in whose merit, it is said, the world exists.
Burman is curious about this phenomenon: What does it mean to be a hidden tzaddik, or a righteous person? Can a secular person be a tzaddik? Do these men know that they are among the 36 righteous? And is their righteousness somehow compromised when the secret becomes revealed? But Burman’s curiosity about the legend of the 36 righteous men, for which the film is named, falters as he finds himself inundated with information about a culture he knows little about — the laws of kashrut and Shabbat, for example, as well as Hasidic notions of God and Godliness.
The pianist Eugene Istomin, born in New York in 1925 to a Russian Jewish mother and Russian Orthodox father, is mostly remembered as a stellar chamber musician. Istomin, who died in 2003, anchored the celebrated Istomin-Stern-Rose trio (alongside superstar violinist Isaac Stern and cellist Leonard Rose) which is still remembered thanks to superb DVDs from EMI Classics of their performances of Brahms and Beethoven, as well as CDs on Sony Classical.
Istomin’s collaborations with cellist Pablo Casals are no less striking, on CDs from Sony Classical and Music & Arts. Yet Istomin also deserves plaudits as a soloist, as Pianist: A Biography of Eugene Istomin by James Gollin which appeared in July, 2010 from Xlibris Books to unjustly little fanfare, convincingly argues.
Something happens to the human psyche when an event reaches the 100 year mark, as is the case this month with the Triangle Factory Fire. It’s as if it can finally be relegated to the “dust bin of history” or tales of “long, long, ago.” But we can choose to remember, and we can read the work of poets determined to enshrine the daily life of people in verse. One poem, “Mayn Rue-Platz” by Morris Rosenfeld, captures the dismal world of the modern industrial worker, and continues to remind us of the dark conditions met by America’s new immigrants.
Rosenfeld, one of the “Sweat Shop Poets,” wrote of the disturbing nature of the garment industry, where he himself had worked for years. “Mayn Rue-Platz” contrasts natural beauty and pleasure with the realities found in American industry of the late 19th and early 20th centuries. Each step begins with the hoped for American experience but ends with the inevitable and oppressive realities of the industrialized world.
The forlorn nature of the poem suggests a single voice speaking to a dear friend or love, perhaps one yet to arrive in America or about to disembark at Ellis Island. The narrator reminisces about the splendor of their shared dreams and contrasts them with the realities the listener is bound to find. While dreaming of the simple pleasures of youth, springtime greenery, and singing birds, the reader is shocked by the simple truth, “you will not find me there.”
A new exhibit at Brandeis University displays two works by Felix Lembersky, painter of the Babi Yar massacre.
Has there been an effort to downplay Anne Frank’s Jewishness?
“Naked Balzac With Folded Arms,” a sculpture by Auguste Rodin, has been stolen from the Israel Museum.
Husband-wife team Michael Chabon and Ayelet Waldman are developing a project at HBO called “Hobgoblin” that portrays a group of conmen and magicians who battle Hitler during World War II.
On March 11, “Various Illuminations (of a Crazy World),” the first museum exhibition devoted to New York illustrator and author Maira Kalman, opens at the Jewish Museum. The show, which debuted in Philadelphia last summer and then traveled to the West Coast, gives Kalman’s fans a rare opportunity to see the original artwork behind her blogs, books, and magazines spreads, as well as some of the quirky objects that inspire her. The Arty Semite sat down with Kalman recently to talk about her homecoming, her process, and why being funny is important.
Jillian Steinhauer: How does it feel to have a museum exhibition?
Maira Kalman: It’s really nice, because I don’t think of it as a show but as rooms that happen to have my work in them. It’s lovely — it’s in a museum on Fifth Avenue, the windows are huge, and the trees are going from winter to summer. Yes, there are drawings sprinkled there, and yes, there are ladders and buckets and suitcases, but it’s the same in my living room, so it feels very natural.
In April, 2010, when the Israeli artist Avigdor Arikha (born Dlugacz in Romania) died at age 81, he was praised for his sensitive figurative art, as well as his heroic life story. In 1941, after Arikha’s family was deported to Romanian-run concentration camps, his drawings of deportation scenes, shown to International Red Cross representatives, won freedom for himself and his sister. By 1944 they had reached Palestine, where he lived on Kibbutz Ma’ale HaHamisha in the Judean Hills, before relocating definitively in 1954 to Paris.
There he met, among other arts colleagues, Samuel Beckett, and in 2005, Arikha’s widow Anne Atik published an affectionate account of their friendship, “How It Was: A Memoir of Samuel Beckett” from Counterpoint Press. Further understanding of Arikha’s artistic milieu and goals appeared on January 18, when Les Éditions Hermann published “Painting and Looking: Writings on Art, 1965-2009” (Peinture et regard. Écrits sur l’art, 1965-2009) an augmented version of a 1991 Arikha book from the same publisher.
Just several feet away from where people are immersed in the digital worlds of their laptops, iPhones, and Kindles, Ido Agassi’s hand-designed, individually printed and bound books calmly look on from a display case in the lobby of the Oshman Family JCC in Palo Alto, California. Those who take time to observe Agassi’s “Books as Works of Art,” on view until March 31, are reminded that text need not be a flickering image on a screen, and that words can possess beauty beyond their meaning.
The blending of sculpture, graphic design and bookbinding has been part of the 34-year-old Israeli artist’s personal landscape since 1994, when his father, Uzi Agassi, founded Even Hoshen, the family’s letterpress and intaglio publishing house in Ra’anana. An autodidact, the younger Agassi is a jack-of-all-trades when it comes to handcrafting books, boxes and slipcases. Over the years, he has studied bookbinding, restoration, box making, letterpress printing, typesetting, typography, calligraphy, gold finishing, printing and carpentry.
Crossposted from Haaretz.com
The previous owner was a mosaic artist and did the bathrooms in mosaic tiles. Yossi Turisky, a director and producer of sound and light installations, kept them in his otherwise different home in Neve Yarak. The best moments in his productions, he says were “when a professional came up with a better idea than mine.”
That’s what happened with the house. He could see things were “nicer than I would have done.”
Turisky, 60, has been doing sound and light installations for 30 years, mostly at visitors’ centers, from Rosh Hanikra to Timna Park. He studied film at Tel Aviv University and toward the end of his studies joined the team building Beit Hatfusot and so was exposed to the world of presentations.
“Cookalein” is Yiddish for “a modest bungalow, usually in the Catskills” where mothers would cook for their vacationing families. It’s also the title of one of the more modest but moving works in “Will Eisner’s New York: From the Spirit to the Modern Graphic Novel,” which opened last week at Soho’s Museum of Comic and Cartoon Art, running through June 30.
The exhibit showcases the work “of the comics and graphic novel master that was inspired by, and which spotlighted, his hometown, the city he always held closest to his heart: New York,” according to its website. Progressing from the iconic early “Spirit” cartoons to his prodigious later output of graphic novels — most with Jewish themes — the show offers a rare opportunity to see Eisner’s original work up close. While much of his graphic-novel portrayals are “affectionate, and softer-edged in terms of social commentary,” co-curator Danny Fingeroth told the Forward, “some works are as savage as any Philip Roth or Saul Bellow on the less pleasant sides of the Jewish-American experience.”
Ladino, the language of the Judeo-Spanish Diaspora, has unfairly languished behind Yiddish in the Jewish language popularity sweepstakes. With the release of her 2009 U.K. album “Sentir” in the United States and an accompanying tour, including upcoming shows in New York, Los Angeles and San Francisco, Israeli singer Yasmin Levy joins a bevy of artists trying to change that. Alongside artists like Sarah Aroeste, Judith Cohen and Flory Jagoda, Levy tries to channel a rich, transnational, historical genre for modern audiences. Like those artists, she has succeeded in evoking something distant and foreign. She has failed in similar ways too, producing another Ladino project trapped as a token of the past without bringing anything exciting and new to the table.
“Sentir,” Levy’s fifth album combining Ladino music with Andalucian Flamenco, is a far better exhibition of Levy’s voice that it is of the Judeo-Spanish musical history it weaves through over 12 tracks. Even when the songs blend into each other, melodies failing to distinguish themselves, Levy’s voice is commanding. On the opening track, “Mi Korason,” her voice quivers, slipping elusively behind and under and through the lyrics. On “Londje De Mi” she shows off her vocal mastery, flashily trilling or halting breathily, unfortunately illuminating how lackluster her musicians are by comparison.
Listen to ‘Mi Korason’:
Crossposted From Under the Fig Tree
In my household, Sundays are usually given over to two rituals: reading The New York Times and taking in a museum exhibition. I suspect your household is no different.
But, as I explained recently to a group of George Washington alumni who had come together on a rainy Sunday morning to visit the brand new National Museum of American Jewish History in Philadelphia as part of an alumni series called “GW Culture Buffs,” the mere thought of doing exactly what we were doing had once generated more than its fair share of controversy.
We take our Sundays-at-the-museum for granted; earlier generations of culture buffs did not. Many museum officials and their elite patrons were initially rather resistant to the idea of opening the doors of, say, the Metropolitan Museum of Art in New York, on a Sunday, fearful lest it attract the wrong kind of people — those with “vandal hands” or broken English. A Sunday at the Met, they warned, was a “perilous experiment.”
Crossposted from Haaretz
Sculptor Oz Malul has created a universe out of computer printers at the Center for Contemporary Art in Tel Aviv. Dismantled, defective or broken printers of various ages move in a kind of repetitive, mechanical dance, in time to the sounds they create. They are also attached to other objects or pieces of machinery - for example, a radiator laying on its side, a dilapidated record player, a can of spray paint.
Malul, who graduated from Columbia University in New York in 2008, has been a notable exception on the Israeli art scene for some years now. His kinetic sculptures are made from ready-made materials, which in his hands become futile machines that range from touching to threatening, from amusing to frightening.
In 2006, when the MacArthur Foundation bestowed its “Genius” award on John Zorn, the panel of judges only underscored what many fans already knew. Zorn’s extensive output as a composer of avant-garde music, a first-rate saxophone player, and a leader of a group of downtown New York musicians, has been vastly important and influential.
His latest album, “Interzone,” recently released on his own Tzadik Records label, is a reminder that the maestro still remains on the outer edges of experimental music. Zorn is not only proficient in a multiplicity of styles and approaches, but has also attained a whole new level of fluidity of movement within them.