Klezmer Swing Orchestra offers klezmer music for Jewish wedding and Bar Mitzvah


L’orchestre pour mariage juif Amsellem Swing Klezmer Orchestra joue des horot (Mazel Tov, Siman Tov…) pour animer cocktail de mariage, de Bar Mitzvah, cérémonie, Houppa et réceptions.
Les plus belles horas jouées par notre orchestre.

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Bat Mitzvah Invitations & Bat Mitzvah Invites

Simple Pink and Brown Star of David Pattern Bat Mitzvah Invitation Use our Simple Pink And Brown Star Of David Pattern Bat Mitzvah Invitation. The backdrop is a Star of David pattern in brown. Against this backdrop is a brown canvas with a pink border holding your daughter’s Hebrew name in white at the top. In the center is her name in pink. Event details are listed in white. Type in your daughter’s name and event details, then send to family and friends!. See details…

Modern White Brackets Bat Mitzvah Invitation This modern pink Bat Mitzvah invitation is simple and sleek. Using brackets for top and bottom, and playful type, achieves and fun and girly bat mitzvah invitation. Dress your invitation up but adding a photo, and adding rounded corners for a fabulous finish. You can easily personalize this design with your event details. . See details…

Modern Black & White Stripes And Gold Foil Confetti Bat Mitzvah Invitation Invite friends and family to the special day with our modern, black and white stripe and gold foil confetti bat mitzvah invitation. Horizontal, black and white stripes stretch across the top half of this portrait style card. Add your daughter’s image to the bottom half. Gold, foil confetti is sprinkled in the upper left and lower right corners. Customize the details to make it yours! Flip over to see the black and white striped pattern continued.. See details…

Shimmering Plum Florals Booklet Bar Mitzvah Invitation Include pictures and details to our shimmering, plum florals booklet bat mitzvah invitation! Your daughter’s name, the event name, event date, and her picture are featured front and center on the cover. Alternating pages are covered in a shimmering plum decoration. The right edges act as tabs with different titles to take you right to certain information. The final page is multiuse. Guests can write in their names and check the corresponding box, then detach and respond via mail!. See details…

Modern Simplicity Photo Bat Mitzvah Invitation Show off your daughter with our modern simplicity photo bat mitzvah invitation! The background is comprised of a picture of her stretching from corner to corner. The words Bat Mitzvah run up the right side of the page in white, cursive text above a white, Jewish star. The left side has a transparent overlay with the important details. Our rounded trim brings the eyes inward. Turn over to see a light pink and white chevron mattern.. See details…

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Music 101 – My Jewish Learning

For a short video overview of Jewish music and to listen to a live stream of contemporary Jewish music, scroll down to the bottom of this page.

Music has been a part of Jewish life since biblical times, and remains integral to the Jewish religious and cultural experiences. At the moment of Israels birth as a nation the Exodus from Egypt the Bible tells us that Moses led the people of Israel in a song of divine praise. Music was part of the sacrificial worship in the Temple, and later became part of synagogue prayer services and at-home religious observance. Jewish music tends to blend unique elements with aspects that reflect the cultures in which Jews have lived, composed, played instruments, and sung.

Jewish religious music includes cantorial music the music of the professional prayer leader; nusah, the melodies to which traditional prayers are chanted, with different tunes used for different services; modern liturgical music, in which composers set excerpts of Jewish prayer to choral or other music that is not necessarily inherently Jewish; cantillation, which is the notes for chanting public readings of the Torah, haftarah (selections from Prophets), and other Jewish sacred texts, such as the Scroll of Ecclesiastes on the festivalSukkot; and nigunim, which are wordless melodies. Different Jewish communities throughout history have produced their own distinctive forms of these different Jewish religious expressions. However, as the global community has grown increasingly connected, so too have the different Jewish communities, resulting in a cross-fertilization of musical styles between Jews of different countries and different denominational affiliations.

The music of North American Jews reflects the delicate balance these communities attempt to maintain between upholding their distinct Jewish identity and participating in the broader North American culture. The rise of North American Jewish folk music, blending the sounds of the American folk music tradition with Jewish lyrics often based on Jewish texts is an example of such a phenomenon. In addition, the revival of klezmer music in recent years reflects American Jewrys largely Eastern European roots and the endeavors of young musicians to reconnect with the cultures and traditions of past generations. In addition, some of Americas greatest composers and songwriters are Jewish, including Aaron Copeland, George Gershwin, Irving Berlin, Carole King, and Bob Dylan.

In its relatively short life so far, the state of Israel has created a rich musical tradition of folk, popular, and classical music. Israels diverse immigrant population and their native-born offspring has fused their many musical traditions, from both the East and the West, to create an authentic Israeli sound. Before statehood, the Zionist movement used folk music to instill in Jews the ideals of the movement. As European musicians emigrated, a rich tradition of classical music was born in Israel. And more recently, Israeli musicians have created distinctive pop tunes, reflecting the unique roots of the musicians as well as the culture and politics of the Jewish state.

To listen to a live stream of contemporary Jewish music, click below:

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For a short video overview of Jewish music and to listen to a live stream of contemporary Jewish music, scroll down to the bottom of this page.

Music has been a part of Jewish life since biblical times, and remains integral to the Jewish religious and cultural experiences. At the moment of Israels birth as a nation the Exodus from Egypt the Bible tells us that Moses led the people of Israel in a song of divine praise. Music was part of the sacrificial worship in the Temple, and later became part of synagogue prayer services and at-home religious observance. Jewish music tends to blend unique elements with aspects that reflect the cultures in which Jews have lived, composed, played instruments, and sung.

Jewish religious music includes cantorial music the music of the professional prayer leader; nusah, the melodies to which traditional prayers are chanted, with different tunes used for different services; modern liturgical music, in which composers set excerpts of Jewish prayer to choral or other music that is not necessarily inherently Jewish; cantillation, which is the notes for chanting public readings of the Torah, haftarah (selections from Prophets), and other Jewish sacred texts, such as the Scroll of Ecclesiastes on the festivalSukkot; and nigunim, which are wordless melodies. Different Jewish communities throughout history have produced their own distinctive forms of these different Jewish religious expressions. However, as the global community has grown increasingly connected, so too have the different Jewish communities, resulting in a cross-fertilization of musical styles between Jews of different countries and different denominational affiliations.

The music of North American Jews reflects the delicate balance these communities attempt to maintain between upholding their distinct Jewish identity and participating in the broader North American culture. The rise of North American Jewish folk music, blending the sounds of the American folk music tradition with Jewish lyrics often based on Jewish texts is an example of such a phenomenon. In addition, the revival of klezmer music in recent years reflects American Jewrys largely Eastern European roots and the endeavors of young musicians to reconnect with the cultures and traditions of past generations. In addition, some of Americas greatest composers and songwriters are Jewish, including Aaron Copeland, George Gershwin, Irving Berlin, Carole King, and Bob Dylan.

In its relatively short life so far, the state of Israel has created a rich musical tradition of folk, popular, and classical music. Israels diverse immigrant population and their native-born offspring has fused their many musical traditions, from both the East and the West, to create an authentic Israeli sound. Before statehood, the Zionist movement used folk music to instill in Jews the ideals of the movement. As European musicians emigrated, a rich tradition of classical music was born in Israel. And more recently, Israeli musicians have created distinctive pop tunes, reflecting the unique roots of the musicians as well as the culture and politics of the Jewish state.

To listen to a live stream of contemporary Jewish music, click below:

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Music 101 – My Jewish Learning

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Jewish culture – Wikipedia

Jewish culture is the culture of the Jewish people from the formation of the Jewish nation in biblical times through life in the diaspora and the state of Israel. Judaism guides its adherents in both practice and belief, so that it has been called not only a religion, but an orthopraxy.[1] Not all individuals or all cultural phenomena can be classified as either “secular” or “religious”, a distinction native to Enlightenment thinking.[2]

Jewish culture in its etymological meaning retains the linkage to the land of origin, the people named for the Kingdom of Judah, study of Jewish texts, practice of community charity, and Jewish history. The term “secular Jewish culture” therefore refers to many aspects, including: Religion and World View, Literature, Media, and Cinema, Art and Architecture, Cuisine and Traditional Dress, attitudes to Gender, Marriage, and Family, Social Customs and Lifestyles, Music and Dance.[3] “Secular Judaism,” is a distinct phenomenon related to Jewish secularization – a historical process of divesting all of these elements of culture from their religious beliefs and practices.[4]

Secular Judaism, derived from the philosophy of Moses Mendelssohn,[5] arose out of the Haskalah, or Jewish Enlightenment, which was itself driven by the values of the Enlightenment. In recent years, the academic field of study has encompassed Jewish Studies, History, Literature, Sociology, and Linguistics. Historian David Biale[6] has traced the roots of Jewish secularism back to the pre-modern era. He, and other scholars highlight the Dutch philosopher Baruch Spinoza, who was dubbed “the renegade Jew who gave us modernity” by scholar and novelist Rebecca Newberger Goldstein[7] in an intellectual biography of him. Today, the subject of Jewish secularization is taught, and researched, at many North American and Israeli universities, including Harvard, Tel Aviv University, UCLA, Temple University and City University of New York which have significant Jewish alumni. Additionally, many schools include the academic study of Judaism and Jewish culture in their curricula.

Throughout history, in eras and places as diverse as the ancient Hellenic world, in Europe before and after the Age of Enlightenment, in Al-Andalus, North Africa and the Middle East, in India and China, and in the contemporary United States and Israel, Jewish communities have seen the development of cultural phenomena that are characteristically Jewish without being at all specifically religious. Some factors in this come from within Judaism, others from the interaction of Jews with host populations in the diasporas, and others from the inner social and cultural dynamics of the community, as opposed to religion itself. This phenomenon has led to considerably different Jewish cultures unique to their own communities.

There has not been a political unity of Jewish society since the united monarchy. Since then Israelite populations were always geographically dispersed (see Jewish diaspora), so that by the 19th century the Ashkenazi Jews were mainly in Eastern and Central Europe; the Sephardi Jews were largely spread among various communities in the Mediterranean region; Mizrahi Jews were primarily spread throughout Western Asia; and other populations of Jews were in Central Asia, Ethiopia, the Caucasus, and India. (See Jewish ethnic divisions.)

Although there was a high degree of communication and traffic between these communities many Sephardic exiles blended into the Ashkenazi communities 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; many of these populations were cut off to some degree from the surrounding cultures by ghettoization, by Muslim laws of dhimma, and traditional discouragement of contact with polytheistic populations.

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 Mciuc writes of “a differentiated but not isolated Jewish spirit” permeating the culture of Yiddish-speaking Jews.[8] 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 doesnt 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.[9]

Yaakov Malkin, Professor of Aesthetics and Rhetoric at Tel Aviv University and the founder and academic director of Meitar College for Judaism as Culture[10] in Jerusalem, writes:

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.[11]

In North America, the secular and cultural Jewish movements are divided into three umbrella organizations: the Society for Humanistic Judaism (SHJ), the Congress of Secular Jewish Organizations (CSJO), and Workmen’s Circle.

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[12] 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.[13] 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.[14] 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.[15]

Between the Ancient era and the Middle Ages most of the Jewish philosophy concentrated around the Rabbinic literature that is expressed in the Talmud and Midrash. In the 9th century Saadia Gaon wrote the text Emunoth ve-Deoth which is the first systematic presentation and philosophic foundation of the dogmas of Judaism. The Golden age of Jewish culture in Spain included many influential Jewish philosophers such as Moses ibn Ezra, Abraham ibn Ezra, Solomon ibn Gabirol, Yehuda Halevi, Isaac Abravanel, Nahmanides, Joseph Albo, Abraham ibn Daud, Nissim of Gerona, Bahya ibn Paquda, Abraham bar Hiyya, Joseph ibn Tzaddik, Hasdai Crescas and Isaac ben Moses Arama. The Most notable is Maimonides who is considered, beside the Jewish world, as a prominent philosopher and polymath in the Islamic and Western worlds. Outside of Spain, other philosophers are Natan’el al-Fayyumi, Elia del Medigo, Jedaiah ben Abraham Bedersi and Gersonides.

Philosophy by Jews in Modern era was expressed by philosophers, mainly in Europe, such as Baruch Spinoza founder of Spinozism, whose work included modern Rationalism and Biblical criticism and laying the groundwork for the 18th-century Enlightenment.[16] His work has earned him recognition as one of Western philosophy’s most important thinkers; Others are Isaac Orobio de Castro, Tzvi Ashkenazi, David Nieto, Isaac Cardoso, Jacob Abendana, Uriel da Costa, Francisco Sanches and Moses Almosnino. A new era began in the 18th century with the thought of Moses Mendelssohn. Mendelssohn has been described as the “‘third Moses,’ with whom begins a new era in Judaism,” just as new eras began with Moses the prophet and with Moses Maimonides.[17] Mendelssohn was a German Jewish philosopher to whose ideas the renaissance of European Jews, Haskalah (the Jewish Enlightenment) is indebted. He has been referred to as the father of Reform Judaism, though Reform spokesmen have been “resistant to claim him as their spiritual father”.[18] Mendelssohn came to be regarded as a leading cultural figure of his time by both Germans and Jews. The Jewish Enlightenment philosophy included Menachem Mendel Lefin, Salomon Maimon and Isaac Satanow. The next 19th century comprised both secular and religious philosophy and included philosophers such as Elijah Benamozegh, Hermann Cohen, Moses Hess, Samson Raphael Hirsch, Samuel Hirsch, Nachman Krochmal, Samuel David Luzzatto, Nachman of Breslov founder of Breslov and Karl Marx founder of Marxist worldview. The 20th century included the notable philosophers Jacques Derrida, Karl Popper, Emmanuel Levinas, Claude Lvi-Strauss, Hilary Putnam, Alfred Tarski, Ludwig Wittgenstein, A. J. Ayer, Walter Benjamin, Raymond Aron, Theodor W. Adorno, Isaiah Berlin and Henri Bergson.

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 liberal political left[citation needed], and played key roles in the birth of the 19th century’s labor movement and socialism. While Diaspora Jews have also been represented in 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[19] 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.

In the Middle Ages, European laws prevented Jews from owning land and gave them powerful incentive to go into other professions that the indigenous Europeans were not willing to follow.[22] 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 they could not be forced to give up money won by usury). Thus, both in England and in France the kings demanded to be compensated 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’s 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 admitted 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.[23] Of whom, 26% in physics,[24] 22% in chemistry[25] and 27% in Physiology or Medicine.[26] In the fields of mathematics and computer science, 31% of Turing Award recipients[27] and 27% of Fields Medal in mathematics[28] 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.[29] The Old Testament 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.

The Torah proscribes Intercropping (Lev. 19:19, Deut 22:9), a practice often associated with sustainable agriculture and organic farming in modern agricultural science.[30][31] The Mosaic code has provisions concerning the conservation of natural resources, such as trees (Deuteronomy 20:19-20) and birds (Deuteronomy 22:6-7).

During Medieval era astronomy was a primary field among Jewish scholars and was widely studied and practiced.[35] Prominent astronomers included Abraham Zacuto who published in 1478 his Hebrew book Ha-hibbur ha-gadol[36] where he wrote about the solar system, charting the positions of the Sun, Moon and five planets.[36] His work served Portugal’s explorering journeys and was used by Vasco da Gama and also by Christopher Columbus. The lunar crater Zagut 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,[37] and influenced the work of Leonardo Fibonacci. Bar Hiyya proved by geometro-mechanical 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.[38]

Garcia de Orta, Portuguese Renaissance Jewish physician, was a pioneer of Tropical medicine. He published his work Colquios dos simples e drogas da India in 1563,[39] 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.

Albert Einstein was a German-born theoretical physicist and is considered as one of the most prominent scientists in history, often regarded as the “father of modern physics”. His revolutionary work on the relativity theory transformed theoretical physics and astronomy during the 20th century. When first published, relativity superseded a 200-year-old theory of mechanics created primarily by Isaac Newton.[40][41][42] In the field of physics, relativity improved the science of elementary particles and their fundamental interactions, along with ushering in the nuclear age. With relativity, cosmology and astrophysics predicted extraordinary astronomical phenomena such as neutron stars, black holes, and gravitational waves.[40][41][42] Einstein formulated the well-known Massenergy equivalence, E = mc2, and explained the photoelectric effect. His work also effected and influenced a large variety of fields of physics including the Big Bang theory (Einstein’s General relativity influenced Georges Lematre), Quantum mechanics and nuclear energy.

The Manhattan Project was a research and development project that produced the first atomic bombs during World War II and many Jewish scientist had a significant role in the project.[43] The theoretical physicist Robert Oppenheimer, often considered as the “father of the atomic bomb”, was chosen to direct the Manhattan Project at Los Alamos National Laboratory in 1942. The physicist Le Szilrd, that conceived the nuclear chain reaction; Edward Teller, “the father of the hydrogen bomb” and Stanislaw Ulam; Eugene Wigner contributed to theory of Atomic nucleus and Elementary particle; Hans Bethe whose work included Stellar nucleosynthesis and was head of the Theoretical Division at the secret Los Alamos laboratory; Richard Feynman, Niels Bohr, Victor Weisskopf and Joseph Rotblat.

The mathematician and physicist Alexander Friedmann pioneered the theory that universe was expanding governed by a set of equations he developed now known as the Friedmann equations. Arno Allan Penzias, the physicist and radio astronomer co-discoverer of the cosmic microwave background radiation, which helped establish the Big Bang theory, the scientists Robert Herman and Ralph Alpher had also worked on that field. In quantum mechanics Jewish role was significant as well and many of most influential figures and pioneers of the theory were Jewish: Niels Bohr and his work on the atom structure, Max Born (Schrdinger equation), Wolfgang Pauli, Richard Feynman (Quantum chromodynamics), Fritz London work on London dispersion force and London equations, Walter Heitler and Julian Schwinger work on Quantum electrodynamics, Asher Peres a pioneer in Quantum information, David Bohm (Quantum potential).

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,[44] Freud developed therapeutic techniques such as the use of free association and discovered transference, establishing its central role in the analytic process. Freuds 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.[45] 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.[46]

John von Neumann, a mathematician and physicist, made major contributions to a number of fields,[49] including foundations of mathematics, functional analysis, ergodic theory, geometry, topology, numerical analysis, quantum mechanics, hydrodynamics and game theory.[50] In made also a major work with computing and the development of the computer, he suggested and described a computer architecture called Von Neumann architecture and worked on linear programming, self-replicating machines, stochastic computing), and statistics. Emmy Noether was an influential mathematician known for her groundbreaking contributions to abstract algebra and theoretical physics. Described by many prominent scientists as the most important woman in the history of mathematics,[51][52] she revolutionized the theories of rings, fields, and algebras. In physics, Noether’s theorem explains the fundamental connection between symmetry and conservation laws.[53]

More remarkable contributors include Heinrich Hertz and Steven Weinberg in Electromagnetism; Carl Sagan, his contributions were central to the discovery of the high surface temperatures of Venus and known for his contributions to the scientific research of extraterrestrial life; Edward Witten (M-theory); Vitaly Ginzburg and Lev Landau (GinzburgLandau theory); Yakir Aharonov (AharonovBohm effect); Boris Podolsky and Nathan Rosen (EPR paradox);Moshe Carmeli (Gauge theory). Rudolf Lipschitz (Lipschitz continuity); Paul Cohen (Continuum hypothesis, Axiom of choice); Laurent Schwartz (theory of distribution); Grigory Margulis (Lie group); Richard M. Karp (Theory of computation); Adi Shamir (RSA, cryptography); Judea Pearl (Artificial intelligence, Bayesian network); Max Newman (Colossus computer); Carl Gustav Jacob Jacobi (Jacobi elliptic functions, Jacobian matrix and determinant, Jacobi symbol). Sidney Altman (Molecular biology, RNA); Melvin Calvin (Calvin Cycle); Otto Wallach (Alicyclic compound); Paul Berg (biochemistry of nucleic acids); Ada Yonath (Crystallography, structure of the ribosome); Dan Shechtman (Quasicrystal); Julius Axelrod and Bernard Katz (Neurotransmitter); Elie Metchnikoff (discovery of Macrophage); Selman Waksman (discovery of Streptomycin); Rosalind Franklin (DNA); Carl Djerassi (the pill); Stephen Jay Gould (Evolutionary biology); Baruch Samuel Blumberg (Hepatitis B virus); Jonas Salk and Albert Sabin (developers of the Polio vaccines); Paul Ehrlich (discovery of the Bloodbrain barrier); In fields such as psychology and neurology: Otto Rank, Viktor Frankl, Stanley Milgram and Solomon Asch; linguistics: Noam Chomsky, Franz Boas, Roman Jakobson, Edward Sapir, Joseph Greenberg; and sociology: Karl Marx, Theodor Adorno, Nathan Glazer, Erving Goffman, Georg Simmel.

Beside Scientific discoveries and researches, Jews have created significant and influential innovations in a large variety of fields such as the listed samples: Siegfried Marcus- automobile pioneer, inventor of the first car; Emile Berliner- developer of the disc record phonograph; Mikhail Gurevich- co-inventor of the MIG aircraft; Theodore Maiman- inventor of the laser; Robert Adler- inventor of the wireless remote control for televisions; Edwin H. Land – inventor of Land Camera; Bob Kahn- inventor of TCP and IP; Bram Cohen- creator of Bittorent; Sergei Brin and Larry Page- creators of Google; Laszlo Biro – Ballpoint pen; Simcha Blass- Drip irrigation; Lee Felsenstein – designer of Osborne 1; Zeev Suraski and Andi Gutmans co-creators of PHP and founders of Zend Technologies; Ralph H. Baer, “The Father of Video Games”.

In some places where there have been relatively high concentrations of Jews, distinct secular Jewish subcultures have arisen. 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.

Literary and theatrical expressions of secular Jewish culture may be in specifically Jewish languages such as Hebrew, Yiddish 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 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, 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”.[55]

In Modern Judaism: An Oxford Guide, Yaakov Malkin, Professor of Aesthetics and Rhetoric at Tel Aviv University and the founder and academic director of Meitar College for Judaism as Culture in Jerusalem, writes:

Secular Jewish culture embraces literary works that have stood the test of time as sources of aesthetic pleasure and ideas shared by Jews and non-Jews, works that live on beyond the immediate socio-cultural context within which they were created. They include the writings of such Jewish authors as Sholem Aleichem, Itzik Manger, Isaac Bashevis Singer, Philip Roth, Saul Bellow, S.Y. Agnon, Isaac Babel, Martin Buber, Isaiah Berlin, Haim Nahman Bialik, Yehuda Amichai, Amos Oz, A.B. Yehoshua, and David Grossman. It boasts masterpieces that have had a considerable influence on all of western culture, Jewish culture included – works such as those of Heinrich Heine, Gustav Mahler, Leonard Bernstein, Marc Chagall, Jacob Epstein, Ben Shahn, Amedeo Modigliani, Franz Kafka, Max Reinhardt (Goldman), Ernst Lubitsch, and Woody Allen.[11]

Other notable contributors are Isaac Asimov author of the Foundation series and others such as I, robot, Nightfall and The Gods Themselves; Joseph Heller (Catch-22); R.L. Stine (Goosebumps series); J. D. Salinger (The Catcher in the Rye); Michael Chabon (The Amazing Adventures of Kavalier & Clay, The Yiddish Policemen’s Union); Marcel Proust (In Search of Lost Time); Arthur Miller (Death of a Salesman and The Crucible); Will Eisner (A Contract with God); Shel Silverstein (The Giving Tree); Arthur Koestler (Darkness at Noon, The Thirteenth Tribe); Saul Bellow (Herzog); The historical novel series The Accursed Kings by Maurice Druon is an inspiration for George R. R. Martin’s A Song of Ice and Fire novels.[56][57][58]

Another aspect of Jewish literature is the ethical, called Musar literature. Among recipient of Nobel Prize in Literature, 13% were or are Jewish.[59]

Hebrew poetry is expressed by various of poets in different eras of Jewish history. Biblical poetry is related to the poetry in biblical times as it expressed in the Hebrew bible and Jewish sacred texts. In medieval times the Jewish poetry was mainly expressed by piyyutim and several poets such as Yehuda Halevi, Samuel ibn Naghrillah, Solomon ibn Gabirol, Moses ibn Ezra, Abraham ibn Ezra and Dunash ben Labrat. Modern Hebrew poetry is mostly related to the era of and after the revival of the Hebrew language, pioneered by Moshe Chaim Luzzatto in the Haskalah era and succeeded by poets such as Hayim Nahman Bialik, Nathan Alterman and Shaul Tchernichovsky.

The Ukrainian Jew Abraham Goldfaden founded the first professional Yiddish-language theatre troupe in Iai, 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.

Yiddish theater, most notably Moscow State Jewish Theater directed by Solomon Mikhoels, also played a prominent role in the arts scene of the Soviet Union until Stalin’s 1948 reversal in government policy toward the Jews. (See Rootless cosmopolitan, Night of the Murdered Poets.)

Montreal’s Dora Wasserman Yiddish Theatre continues to thrive after 50 years of performance.

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 anti-Semitic 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 sicle, writes that

The area where Jewish influence was strongest was the theatre, especially in Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, Erwin Piscator, Walter Hasenclever, Ferenc Molnr and Carl Zuckmayer, and influential producers like Max Reinhardt, appeared at times to dominate the stage, which tended to be modishly left-wing, pro-republican, experimental and sexually daring. But it was certainly not revolutionary, and it was cosmopolitan rather than Jewish.[62]

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.

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 migrs 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 Opra comique form) was the Jewish Ludovic Halvy, niece of composer Fromental Halvy (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 tearsand 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 Schnberg 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 anti-Semitism 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 Italian Catholic.[74]

The ranks of prominent Jewish producers, directors, designers and performers include Boris Aronson, David Belasco, Joel Grey, the Minskoff family, Zero Mostel, Joseph Papp, Mandy Patinkin, the Nederlander family, Harold Prince, Max Reinhardt, Jerome Robbins, the Shubert family and Julie Taymor. Jewish playwrights have also contributed to non-musical drama and theatre, both Broadway and regional. Edna Ferber, Moss Hart, Lillian Hellman, Arthur Miller and Neil Simon are only some of the prominent Jewish playwrights in American theatrical history. Approximately 34% of the plays and musicals that have won the Pulitzer Prize for Drama were written and composed by Jewish Americans.[75]

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 Talmudic parables. During the post-Emancipation period in 19th-century Europe, many Jews translated great European plays such as those by Shakespeare, Molire 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]

In the era when Yiddish theatre was still a major force in the world of theatre, over 100 films were made in Yiddish. Many are now lost. Prominent films included Shulamith (1931), the first Yiddish musical on film His Wife’s Lover (1931), A Daughter of Her People (1932), the anti-Nazi film The Wandering Jew (1933), The Yiddish King Lear (1934), Shir Hashirim (1935), the biggest Yiddish film hit of all time Yidl Mitn Fidl (1936), Where Is My Child? (1937), Green Fields (1937), Dybuk (1937), The Singing Blacksmith (1938), Tevya (1939), Mirele Efros (1939), Lang ist der Weg (1948), and God, Man and Devil (1950).

The roster of Jewish entrepreneurs in the English-language American film industry is legendary: Samuel Goldwyn, Louis B. Mayer, the Warner Brothers, David O. Selznick, Marcus Loew, and Adolph Zukor, Fox to name just a few, and continuing into recent times with such industry giants as super-agent Michael Ovitz, Michael Eisner, Lew Wasserman, Jeffrey Katzenberg, Steven Spielberg, and David Geffen. However, few of these brought a specifically Jewish sensibility either to the art of film or, with the sometime exception of Spielberg, to their choice of subject matter. The historian Eric Hobsbawm described the situation as follows:[81]

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).

The first radio chains, the Radio Corporation of America and the Columbia Broadcasting System, were created by the Jewish-American David Sarnoff and William S. Paley, respectively. These Jewish innovators were also among the first producers of televisions, both black-and-white and color.[82] Among the Jewish immigrant communities of America there was also a thriving Yiddish language radio, with its “golden age” from the 1930s to the 1950s.

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.”[83]

One of the first televised situation comedies, The Goldbergs was set in a specifically Jewish milieu in the Bronx. While the overt Jewish milieu of The Goldbergs was unusual for an American television series, there were a few other examples, such as Brooklyn Bridge (19911993) and Bridget Loves Bernie. Jews have also played an enormous role among the creators and writers of television comedies: Woody Allen, Mel Brooks, Selma Diamond, Larry Gelbart, Carl Reiner, and Neil Simon all wrote for Sid Caesar; Reiner’s son Rob Reiner worked with Norman Lear on All in the Family (which often engaged anti-semitism and other issues of prejudice); Larry David and Jerry Seinfeld created the hit sitcom Seinfeld, Lorne Michaels, Al Franken, Rosie Shuster, and Alan Zweibel of Saturday Night Live breathed new life into the variety show in the 1970s.

More recently, American Jews have been instrumental to “novelistic” television series such as The Wire and The Sopranos. Variously acclaimed as one of the greatest television series of all time, The Wire was created by David Simon. Simon also served as executive producer, head writer, and show runner. Matthew Weiner produced the fifth and sixth seasons of The Sopranos and later created Mad Men. More remarkable contributors are David Benioff and D. B. Weiss, creators of Game of Thrones TV series; Ron Leavitt co-creator of Married… with Children; Damon Lindelof and J. J. Abrams, co-creators of Lost; David Crane and Marta Kauffman, creators of Friends; Tim Kring creator of Heroes; Sydney Newman co-creator of Doctor Who; Darren Star, creator Sex and the City and Melrose Place; Aaron Spelling co-creator of Beverly Hills, 90210; Chuck Lorre, co-creator of The Big Bang Theory and Two and a Half Men; Gideon Raff, creator of Prisoners of War which Homeland is based on; Aaron Ruben and Sheldon Leonard co-creators of The Andy Griffith Show; Don Hewitt creator of 60 Minutes; Garry Shandling, co-creator of The Larry Sanders Show; Ed. Weinberger, co-creator of The Cosby Show; David Milch, creator of Deadwood; Steven Levitan, co-creator of Modern Family; Dick Wolf, creator of Law & Order; David Shore, creator House; Max Mutchnick and David Kohan creators of Will & Grace. There is also a significant role of Jews in acting by actors such as Sarah Jessica Parker, William Shatner, Leonard Nimoy, Mila Kunis, Zac Efron, Hank Azaria, David Duchovny, Fred Savage, Zach Braff, Noah Wyle, Adam Brody, Katey Sagal, Sarah Michelle Gellar, Alyson Hannigan, Michelle Trachtenberg, David Schwimmer, Lisa Kudrow and Mayim Bialik.

Jewish musical contributions also 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. Some music, however, is unique to particular Jewish communities, such as Israeli music, Israeli Folk music, Klezmer, Sephardic and Ladino music, and Mizrahi music.

Before Emancipation, virtually all Jewish music in Europe was sacred music, with the exception of the performances of klezmorim during weddings and other occasions. The result was a lack of a Jewish presence in European classical music until the 19th century, with a very few exceptions, normally enabled by specific aristocratic protection, such as Salamone Rossi and Claude Daquin (the work of the former is considered the beginning of “Jewish art music”).[84] After Jews were admitted to mainstream society in England (gradually after their return in the 17th century), France, Austria-Hungary, the German Empire, and Russia (in that order), the Jewish contribution to the European music scene steadily increased, but in the form of mainstream European music, not specifically Jewish music. Notable examples of Jewish Romantic composers (by country) are Charles-Valentin Alkan, Paul Dukas and Fromental Halevy from France, Josef Dessauer, Karl Goldmark and Gustav Mahler from Bohemia (most Austrian Jews during this time were native not to what is today Austria but the outer provinces of the Empire), Felix Mendelssohn and Giacomo Meyerbeer from Germany, and Anton and Nikolai Rubinstein from Russia. Singers included John Braham and Giuditta Pasta. There were very many notable Jewish violin and pianist virtuosi, including Joseph Joachim, Ferdinand David, Carl Tausig, Henri Herz, Leopold Auer, Jascha Heifetz, and Ignaz Moscheles. During the 20th century the number of Jewish composers and notable instrumentalists increased, as did their geographical distribution. Sample Jewish 20th-century composers include Arnold Schoenberg and Alexander von Zemlinsky from Austria, Hanns Eisler and Kurt Weill from Germany, Viktor Ullmann and Jaromr Weinberger from Bohemia and later the Czech Republic (the former perished at the Auschwitz extermination camps), George Gershwin and Aaron Copland from the United States, Darius Milhaud and Alexandre Tansman from France, Alfred Schnittke and Lera Auerbach from Russia, Lalo Schifrin and Mario Davidovsky from Argentina and Paul Ben-Haim and Shulamit Ran from Israel. There are some genres and forms of classical music that Jewish composers have been associated with, including notably during the Romantic period French Grand Opera. The most prolific composers of this genre included Giacomo Meyerbeer, Fromental Halvy, and the later Jacques Offenbach; Halevy’s La Juive was based on Scribe’s libretto very loosely connected to the Jewish experience.

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’s Symphony 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).

The great songwriters and lyricists of American traditional popular music and jazz standards were predominantly Jewish, including Harold Arlen, Jerome Kern, George Gershwin, Frank Loesser, Richard Rodgers, and Irving Berlin.

Deriving from Biblical traditions, Jewish dance has long been used by Jews as a medium for the expression of joy and other communal emotions. 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. 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.”[85] 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.

Jewish humor is the long tradition of humor in Judaism dating back to the Torah and the Midrash, but generally refers to the more recent stream of verbal, frequently self-deprecating and often anecdotal humor originating in Europe. Jewish humor took root in the United States over the last hundred years, beginning with vaudeville, and continuing through radio, stand-up, film, and television. A significant number of American comedians have been or are Jewish.[citation needed]

Compared to music or theater, there is less of a specifically Jewish tradition in the visual arts. The most likely and accepted reason is that, as has been previously shown with Jewish music and literature, before Emancipation Jewish culture was dominated by the religious tradition of aniconism. As most Rabbinical authorities believed that the Second Commandment prohibited much visual art that would qualify as “graven images”, Jewish artists were relatively rare until they lived in assimilated European communities beginning in the late 18th century.[86][87] It should be noted however, that 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.[88] 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 is the only survivor[89] as well as the Jewish catacombs in Rome.[90][91]

A Jewish tradition of illuminated manuscripts in at least Late Antiquity has left no survivors, but can be deduced from borrowings in Early Medieval Christian art. 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. However, for a period of several centuries between about 700 and 1100 CE there are scarely any survivals of identifiably Jewish art.

Middle Age Rabbinical 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.[92] 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.[93]

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.[94] 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”.[95] 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.

During the early 20th century Jews figured particularly prominently in the Montparnasse movement, and after World War II among the abstract expressionists: Alexander Bogen, Helen Frankenthaler, Adolph Gottlieb, Philip Guston, Al Held, Lee Krasner, Barnett Newman, Milton Resnick, Jack Tworkov, Mark Rothko, and Louis Schanker as well as among Contemporary artists, Modernists and Postmodernists.[96] Many Russian Jews were prominent in the art of scenic design, particularly the aforementioned Chagall and Aronson, as well as the revolutionary Lon Bakst, who like the other two also painted. One Mexican Jewish artist was Pedro Friedeberg; historians disagree as to whether Frida Kahlo’s father was Jewish or Lutheran. Gustav Klimt was not Jewish, but nearly all of his patrons and several of his models were. Among major artists Chagall may be the most specifically Jewish in his themes. But as art fades into graphic design, Jewish names and themes become more prominent: Leonard Baskin, Al Hirschfeld, Ben Shahn, Art Spiegelman and Saul Steinberg.

Jews have also played a very important role in medias other than painting; in photography some notable figures are Andr Kertsz, Robert Frank, Helmut Newton, Garry Winogrand, Cindy Sherman, Steve Lehman,[97] and Adi Nes; in installation art and street art some notable figures are Sigalit Landau,[98]Dede,[99] and Michal Rovner.

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 large number of the medium’s foremost creators have been Jewish.[100]

Max Gaines was a pioneering figure in the creation of the modern comic book when in 1935 he published the first one called Famous Funnies.[101] In 1939 he founded, with Jack Liebowitz and Harry Donenfeld, All-American Publications (the AA Group).[102] The publication is known for the creation of several superheroes such as the original Atom, Flash, Green Lantern, Hawkman, and Wonder Woman. Donenfeld and Liebowitz were also the owners of National Allied Publications which distributed Detective Comics and Action Comics. That company was also a precursor of DC Comics.

In 1939 the pulp magazine publisher Martin Goodman formed Timely Publications,[103] a company to be known, since the 1960s, as Marvel Comics. At Marvel, Artists such as Stan Lee, Jack Kirby,[104]Larry Lieber and Joe Simon created a large variety of characters and cultural icons including Spider-Man, Hulk, Captain America, Iron Man, Thor, Daredevil, and the teams Fantastic Four, Avengers, X-Men (including many of its characters) and S.H.I.E.L.D.. Stan Lee attributed the Jewish role in comics to the Jewish culture.[105]

At DC Comics Jewish role was significant as well; the character of Superman, which was created by the Jewish artists Joe Shuster and Jerry Siegel,[100] is partly based on the biblical figure of Samson.[106] It was also suggested the Superman is partly influenced by Moses,[107][108] and other Jewish elements. More at DC Comics are Bob Kane, Bill Finger and Martin Nodell, creators of Green Lantern, Batman[100] and many related characters as Robin, The Joker, Riddler, Scarecrow and Catwoman; Gil Kane, co-creator of Atom and Iron Fist. Many of those involved in the later ages of comics are also Jewish, such as Julius Schwartz, Joe Kubert, Jenette Kahn, Len Wein, Peter David, Neil Gaiman, Chris Claremont and Brian Michael Bendis. There is also a large amount of Jewish characters among comics superheroes such as Magneto, Quicksilver, Kitty Pryde, The thing, Sasquatch, Sabra, Ragman, Legion and Moon Knight, of whom were and are influenced by events in Jewish history and elements of Jewish life.[109]

In 1944 Max Gaines founded EC Comics.[110] The company is known for specializing in horror fiction, crime fiction, satire, military fiction and science fiction from the 1940s through the mid-1950s, notably the Tales from the Crypt series, The Haunt of Fear, The Vault of Horror, Crime SuspenStories and Shock SuspenStories. Jewish artists that are associated with the publisher include Al Feldstein, Dave Berg, and Jack Kamen.

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 novel A Contract with God.[111] The Eisner Award was named in his honor, and is given to recognize achievements each year in the comics medium.

In 1952, William Gaines and Harvey Kurtzman founded Mad, an American humor magazine. It was widely imitated and influential, affecting satirical media as well as the cultural landscape of the 20th century, with editor Al Feldstein increasing readership to more than two million during its 1970s circulation peak.[112] Other known cartoonists are Lee Falk creator of The Phantom and Mandrake the Magician; The Hebrew comics of Michael Netzer creator of Uri-On and Uri Fink creator of Zbeng!; William Steig, creator of Shrek!; Daniel Clowes, creator of Eightball; Art Spiegelman creator of graphic novel Maus and Raw (with Franoise Mouly).

In Animation, Jewish animators role is expressed by many: Genndy Tartakovsky is the creator of several animation TV series such as Dexter’s Laboratory and Samurai Jack;[113]Matt Stone co-creator of South Park; David Hilberman who helped animate Bambi and Snow White and the Seven Dwarfs; Friz Freleng, Looney Tunes; Ralph Bakshi, Fritz the Cat, Mighty Mouse: The New Adventures, Wizards, The Lord of the Rings, Heavy Traffic, Coonskin, Hey Good Lookin’, Fire and Ice, and Cool World;[114]Alex Hirsch, creator of Gravity Falls; Dave Fleischer and Lou Fleischer, founders of Fleischer Studios; Max Fleischer, animation of Betty Boop, Popeye and Superman. Several companies producing animation were founded by Jews, such as DreamWorks, which its products include Shrek, Madagascar, Kung Fu Panda and The Prince of Egypt; Warner Bros., which its animation division is known for cartoons such as Looney Tunes, Tiny Toon Adventures, Animaniacs, Pinky and the Brain and Freakazoid! .

Jewish cooking combines the food of many cultures in which Jews have settled, including Middle Eastern, Mediterranean, Spanish, German and Eastern European styles of cooking, all influenced by the need for food to be kosher. Thus, “Jewish” foods like bagels, hummus, stuffed cabbage, and blintzes all come from various other cultures. The amalgam of these foods, plus uniquely Jewish contributions like tzimmis, cholent, gefilte fish and matzah balls, make up Jewish cuisine.

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School of Jewish Music | www.hebrewcollege.edu

Jewish music enriches the spirit. It is the soul of Jewish prayer and the heart of Jewish life.

The School of Jewish Music nurtures future Jewish liturgical leaders through its cutting-edge cantorial ordination program, certificate programs for paraprofessionals and master’s degree concentrations.

Graduates integrate deep knowledge of text, liturgy and tradition with musical creativity to provide spiritual, educational, musical and pastoral leadership in congregational and Jewish communal settings.

Our programs include:

Cantorial Ordination for Spiritual and Educational Leadership

A three-year, full-time residential program, providing future cantors with the tools they need to serve 21st-century congregations. Classwork, vocal arts, private cantorial coaching and internships are combined in one comprehensive curriculum. > Learn more Certificate Program in Jewish Sacred Music

Designed for congregants, lay leaders, cantorial soloists and “gabbaim.” Coursework may be done online or in a combination of online and on-campus courses, and include individualized cantorial coaching. > Learn more

Prayer Leader Summer Institute

The School of Jewish Music offers eight weeks of pluralistic programming in leading services and teaching music during the summer. The institute is open to students, lay leaders, teachers, and musicians interested in Jewish liturgical music and honing their musical skills. Learn moreabout the 2016 Institute.

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Silicon Valley Jewish Music Festival – Addison-Penzak JCC …

The next festival will be held Sunday, June 11, 2017, from 4:00pm-9:00pm.

The festival takes place on the JCC’s athletic field, so bring a blanket or lawn chairs. There will also be food vendors, artisan vendors, a KidZone, and more. For more information, contact the JCC at MusicFest@apjcc.org or 408.357.7411.

View photos of the 2015 festival here!

Silicon Valley Jewish Music Festival is made possible, in part, through Gold levelsponsorshipsby Bill Lister/Coldwell Banker and Fry’s Electronics, and Silver level sponsorships by Bankers Network Corp., Neal Fearn/Morgan Stanley, Good Samaritan Hospital,Hagafen Cellar, Integrated Wealth Management, Dr. Melody Lynd, Inc., San Jose Youth Symphony, and SkinSpirit Skincare Clinic and Spa. The APJCC is proud to be a part of the Initiative on Jewish Peoplehood, co-funded by the Koret Foundation and the Taube Foundation for Jewish Life & Culture, and supported further by the Jewish Federation of Silicon Valley and other generous supporters.

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The Heartbeat of Jewish Music

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With the advent of the brand new year of 5777, Benny Friedman releases a melodious good year wish to the community, an upbeat song called “Bsefer Chaim.”

“Lchaim, Lchaim, Lchaim Tovim…” goes the refrain, and Benny hopes the gentle but cheerful notes will inspire people to prepare for the new year with a sense of optimism.

Just in this one short Tefilla, we make eight requests of Hashem for the upcoming year,” says Benny, “because this is our tradition: hold nothing back, Daven for everything, and start the year confidently with incredible faith and trust that when we ask for good things, our dear Father in Heaven will certainly provide it.

Referencing the Baal HaTanya’s famous parable of a king visiting the people in the field and greeting them all smilingly and lovingly, Benny says he hopes the song will remind Yidden that even more than we want to be blessed, Hashem wants to bless us. Who wouldn’t be ecstatic to hear that? So let’s greet the year joyfully.

The song is composed by Eli Klein, arranged by Eli Klein and Yitzy Berry and produced by Sruly Meyer.

May 5777 indeed bring about the greatest blessings to everyone who needs them. “Lchaim, Lchaim, Lchaim Tovim!”

Enjoy.

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Bar Mitzvah, Bat Mitzvah and Jewish Wedding Planning …

Milestones Party & Event Planning Guide is the area’s most complete planning and resource guide for Bar Mitzvahs, Bat Mitzvahs and Jewish Weddings. Use this guide to spend less time planning your event and more time enjoying the experience. We help you understand and enjoy the religious experience and traditions of Bar Mitzvahs, Bat Mitzvah and Jewish Weddings. Print editions are available free of charge to assist families in the greater metropolitan Baltimore, Washington DC, and Chicago areas plan their events. And our award winning Bar/Bat Mitzvah & Jewish Wedding shopping directory is available in most cities.

In this one convenient location you will find everything you need to put together a fabulous and memorable simcha for your Bar Mitzvah, Bat Mitzvah or Jewish Wedding!

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Becoming A Bar Mitzvah – About.com Religion & Spirituality

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Updated July 27, 2016.

Bar Mitzvah literally translates as “son of commandment.” The word “bar” means “son” in Aramaic, which was the commonly spoken vernacular language of the Jewish people (and much of the Middle East) from around 500 B.C.E. to 400 C.E. The word “mitzvah” is Hebrew for “commandment.” The term “bar mitzvah” refers to two things: it is used to describe a boy when he comes of age at 13-years-old and also refers to the religious ceremony that accompanies a boy becoming a Bar Mitzvah. Often a celebratory party will follow the ceremony and that party is also called a bar mitzvah.

This article discusses what it means for a Jewish boy to “become a Bar Mitzvah.” For information about the Bar Mitzvah ceremony or celebration please read: “What Is a Bar Mitzvah?”

When a Jewish boy turns 13-years-old he becomes a “bar mitzvah,” whether or not the event is marked with a ceremony or celebration. According to Jewish custom this means that he is considered old enough to have certain rights and responsibilities.

These include:

Many Jews talk about becoming a bar mitzvah as “becoming a man,” but this is not correct. A Jewish boy who has become a bar mitzvah has many of the rights and responsibilities of a Jewish adult (see above), but he is not considered an adult in the full sense of the word yet. Jewish tradition makes this abundantly clear. For instance, in Mishnah Avot 5:21 13-years-old is listed as the age of responsibility for the mitzvot, but the age for marriage is set at 18-years-old and the age for earning a living at 20-years-old. Hence, a bar mitzvah is not a full-fledged adult yet, but Jewish tradition recognizes this age as the point when a child can differentiate between right and wrong and hence can be held accountable for his actions.

One way to think about becoming bar mitzvah in Jewish culture is to think about the way secular culture treats teens and children differently. A teenager below the age of 18 does not have all of the legal rights and responsibilities of a full adult, but he is treated differently than younger children. For instance, in most U.S. states children can legally work part-time once they are 14-years-old. Similarly, in many states children younger than 18 can marry with special parental and/or judicial consent. Children in their teens can also be treated as adults in criminal proceedings depending on the circumstance of the crime.

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Jewish music – Wikipedia

Jewish music refers to the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and 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. Edward Seroussi has written, “What is known as Jewish music today is thus the result of complex historical processes”.[1] A number of modern Jewish composers have been aware of and influenced by the different traditions of Jewish music.

The history of religious Jewish music spans the evolution of cantorial, synagogal, and Temple melodies since Biblical times.

The earliest synagogal music of which we have any account was based on the system used in the Temple in Jerusalem. The Mishnah gives several accounts of Temple music.[2] According to the Mishnah, the regular Temple orchestra consisted of twelve instruments, and a choir of twelve male singers.[3] The instruments included the kinnor (lyre), nevel (harp), shofar (ram’s horn), atzotzrot (trumpet) and three varieties of pipe, the chalil, alamoth and the uggav.[4] The Temple orchestra also included a cymbal (tziltzal) made of copper.[5] The Talmud also mentions use in the Temple of a pipe organ (magrepha), and states that the water organ was not used in the Temple as its sounds were too distracting.[6] No provable examples of the music played at the Temple have survived.[7]

After the destruction of the Temple in 70 AD and the subsequent dispersion of the Jews to Babylon and Persia, versions of the public singing of the Temple were continued in the new institution of the synagogue. Three musical forms were identified by scholars of the period, involving different modes of antiphonal response between cantor congregation: the cantor singing a half-verse at a time, with the congregation making a constant refrain; the cantor singing a half-verse, with the congregation repeating exactly what he had sung; and the cantor and congregation singing alternate verses. All of these forms can be discerned in parts of the modern synagogue service.[8]

Jewish liturgical music is characterized by a set of musical modes. These modes make up musical nusach, which serves to both identify different types of prayer, as well as to link those prayers to the time of year, or even time of day in which they are set. There are three main modes, as well as a number of combined or compound modes. The three main modes are called Ahavah Rabbah, Magein Avot and Adonai Malach. Traditionally, the cantor (chazzan) improvised sung prayers within the designated mode, while following a general structure of how each prayer should sound. There was no standard form of musical notation utilised by the Jews and these modes and synagogue melodies derived from them were therefore handed down directly, typically from a chazzan to his apprentice meshorrer (descant). Since the late eighteenth century, many of these chants have been written down and standardized, yet the practice of improvisation still exists to this day.

The synagogal reading of the parashah (the weekly extract from the Torah) and the haftarah (section from the Prophets), may recall the melodic tropes of the actual Temple service. Ashkenazic Jews named this official cantillation ‘neginot’ and it is represented in printed Hebrew versions of the Bible by a system of cantillation marks (sometimes referred to as neumes). In practice the cantillation often echoes the tones and rhythms of the countries and ages in which Jews lived, notably as regards the modality in which the local music was based.

Synagogues following traditional Jewish rites do not employ musical instruments as part of the synagogue service. Traditional synagogal music is therefore purely vocal. The principal melodic role in the service is that of the hazzan (cantor). Responses of the congregation are typically monophonicthe introduction of a choir singing in harmony was largely a nineteenth-century innovation. However, during the mediaeval period among Ashkenazi Jews there developed the tradition of the hazzan being accompanied for certain prayers by a bass voice (known in Yiddish as singer) and a descant (in Yiddish, meshorrer). This combination was known in Yiddish as keleichomos.[9]

There are many forms of song which are used in Jewish religious services and ceremonies. The following are notable examples.

With the piyyutim (liturgical poemssingular: piyut), dating from the first millennium after the destruction of the Temple, one stream of Jewish synagogal music began to crystallize into definite form. The hazzan sang the piyyutim to melodies either selected by themselves or drawn from tradition. Piyyutim have been written since Mishnaic times. Most piyyutim are in Hebrew or Aramaic, and most follow some poetic scheme, such as an acrostic following the order of the Hebrew alphabet or spelling out the name of the author. A well-known piyyut is Adon Olam (“Master of the World”), sometimes attributed to Solomon ibn Gabirol in 11th century Spain.

Pizmonim are traditional Jewish songs and melodies praising God and describing certain aspects of traditional religious teachings. Pizmonim are traditionally associated with Middle Eastern Sephardic Jews, although they are related to Ashkenazi Jews’ zemirot (see below). One tradition is associated with Jews descended from Aleppo, though similar traditions exist among Iraqi Jews (where the songs are known as shbahoth, praises) and in North African countries. Jews of Greek, Turkish and Balkan origin have songs of the same kind in Ladino, associated with the festivals: these are known as coplas. Some melodies are quite old, while others may be based on popular Middle Eastern music, with the words composed specially to fit the tune.

Zemirot are hymns, usually sung in the Hebrew or Aramaic languages, but sometimes also in Yiddish or Ladino. The words to many zemirot are taken from poems written by various rabbis and sages during the Middle Ages. Others are anonymous folk songs.

The baqashot are a collection of supplications, songs, and prayers that have been sung for centuries by the Sephardic Aleppian Jewish community and other congregations every Sabbath eve from midnight until dawn. The custom of singing baqashot originated in Spain towards the time of the expulsion, but took on increased momentum in the Kabbalistic circle in Safed in the 16th century, and were spread from Safed by the followers of Isaac Luria (16th century). Baqashot reached countries all round the Mediterranean and even became customary for a time in Sephardic communities in western Europe, such as Amsterdam and London.

Nigun (pl. nigumim) refers to religious songs and tunes that are sung either by individuals or groups; they are associated with the Hassidic movement. Nigunim are generally wordless.

Changes in European Jewish communities, including increasing political emancipation and some elements of religious reform, had their effects on music of the synagogue. By the late eighteenth century, music in European synagogues had sunk to a low standard. Charles Burney visiting the Ashkenazi synagogue of Amsterdam in 1772, wrote:

At my first entrance, one of the priests [i.e. the hazzan] was chanting part of the service in a kind of ancient canto fermo, and responses were made by the congregation, in a manner which resembled the hum of bees. After this three of the sweet singers of Israel […] began singing a kind of jolly modern melody, sometimes in unison and sometimes in parts, to a kind of tol de rol, instead of words, which to me, seemed very farcical … At the end of each strain, the whole congregation set up such a kind of cry, as a pack of hounds when a fox breaks cover … It is impossible for me to divine what idea the Jews themselves annex to this vociferation.[10]

In England however the singing of the chazan Myer Lyon inspired the Methodist minister Thomas Olivers in 1770 to adapt the melody of the hymn Yigdal for a Christian hymn, The God of Abraham Praise.[11] Many synagogue melodies were used by Isaac Nathan in his 1815 settings of Lord Byron’s Hebrew Melodies, and the popularity of this work drew the attention of Gentiles for the first time to this music (although in fact many of Nathan’s melodies were not Jewish in origin, but contrafacta adapted from European folk melodies).[12]

Franz Schubert around 1828 made a choral setting of Psalm 92 in Hebrew for the Vienna chazan Salomon Sulzer.[13] German congregations commissioned works from other Gentile composers, including Albert Methfessel(de) (17851869).[14]

Later in the century, as synagogues began to utilize choirs singing in Western harmony, a number of hazzanim, who had received formal training in Western music, began to compose works for the synagogue, many of which are still in use today in the congregations of their countries. These included Sulzer in Vienna,[15]Samuel Naumbourg in Paris,[16]Louis Lewandowski in Berlin,[17] and Julius Mombach in London.[18]

Secular Jewish music (and dances) have been influenced both by surrounding Gentile traditions and Jewish sources preserved over time.

Around the 15th century, a tradition of secular (non-liturgical) Jewish music was developed by musicians called kleyzmorim or kleyzmerim by Ashkenazi Jews in Eastern Europe. The repertoire is largely dance songs for weddings and other celebrations. They are typically in Yiddish.

Sephardic music was born in medieval Spain, with canciones being performed at the royal courts. Since then, it has picked up influences from across Spain, Morocco, Argentina, Turkey, Greece and various popular tunes from Spain and further abroad. There are three types of Sephardic songstopical and entertainment songs, romance songs and spiritual or ceremonial songs. Lyrics can be in several languages, including Hebrew for religious songs, and Ladino.

These song traditions spread from Spain to Morocco (the Western Tradition) and several parts of the Ottoman Empire (the Eastern Tradition) including Greece, Jerusalem, the Balkans and Egypt. Sephardic music adapted to each of these locals, assimilating North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish maqam mode.

Salamone Rossi (1570 c. 1630) of Mantua composed a series of choral settings called “The Songs of Solomon”, based on Jewish liturgical and biblical texts.

Most art musicians of Jewish origin in the 19th century composed music that cannot be considered Jewish in any sense. In the words of Peter Gradenwitz, from this period onwards, the issue is “no longer the story of Jewish music, but the story of music by Jewish masters.”[19]Jacques Offenbach (18191880), a leading composer of operetta in the 19th century, was the son of a cantor, and grew up steeped in traditional Jewish music. Yet there is nothing about his music which could be characterized as Jewish in terms of style, and he himself did not consider his work to be Jewish. Felix Mendelssohn, the grandson of the Jewish philosopher Moses Mendelssohn, continued to acknowledge his Jewish origins, even though he was baptized as a Reformed Christian at the age of seven. He occasionally drew inspiration from Christian sources, but there is nothing characteristically Jewish about any of his music.

At the end of the 19th and beginning of the 20th centuries many Jewish composers sought to create a distinctly Jewish national sound in their music. Notable among these were the composers of the St. Petersburg Society for Jewish Folkmusic. Led by composer-critic Joel Engel, these graduates of the St. Petersburg and Moscow Conservatories rediscovered their Jewish national roots, and created a new genre of Jewish art music. Inspired by the nationalist movement in Russian music, exemplified by Rimsky-Korsakov, Cui and others, these Jewish composers set out to the “Shtetls”the Jewish villages of Russiaand meticulously recorded and transcribed thousands of Yiddish folksongs. They then set these songs to both vocal and instrumental ensembles. The resulting music is a marriage between often melancholy and “krekhtsen” (moaning) melodies of the Shtetl with late Russian romantic harmonies of Scriabin and Rachmaninoff.

The Jewish national revival in music was not only in Russia. A number of Western European composers took an interest in their Jewish musical roots, and tried to create a unique Jewish art style. Ernest Bloch (18801959), a Swiss composer who emigrated to the United States, composed Schelomo for cello and orchestra, Suite Hebraique for violin and piano, and Sacred Service, which is the first attempt to set the Jewish service in a form similar to the Requiem, for full orchestra, choir and soloists. Bloch described his connection to Jewish music as intensely personal:

It is not my purpose, nor my desire, to attempt a ‘reconstitution’ of Jewish music, or to base my work on melodies more or less authentic. I am not an archeologist…. It is the Jewish soul that interests me … the freshness and naivet of the Patriarchs; the violence of the Prophetic books; the Jewish savage love of justice…[20]

As a child in Aix-en-Provence, Darius Milhaud (18921974) was exposed to the music of the Provenal Jewish community. “I have been greatly influenced by the character” of this music, he wrote.[21] His opera Esther de Carpentras draws on this rich musical heritage. Mario Castelnuovo-Tedesco (18951968), an Italian composer who immigrated to America on the eve of World War II, was strongly influenced by his Sephardic Jewish upbringing. His second violin concerto draws on Jewish themes, as do many of his songs and choral works: these include a number of songs in Ladino, the language of Sephardic Jews.

The 1930s saw an influx of Jewish composers to British Colonial Mandatory Palestine Territory, later Palestine/Trans-Jordan and Palestine/Israel, among them musicians of stature in Europe. These composers included Paul Ben-Haim, Erich Walter Sternberg, Marc Lavri, dn Prtos, and Alexander Uriah Boskovich. These composers were all concerned with forging a new Jewish identity in music, an identity which would suit the new, emerging identity of Israel. While the response of each of these composers to this challenge was intensely personal, there was one distinct trend to which many of them adhered: many of these and other composers sought to distance themselves from the musical style of the Klezmer, which they viewed as weak and unsuitable for the new national ethos. Many of the stylistic features of Klezmer were abhorrent to them. “Its character is depressing and sentimental”, wrote music critic and composer Menashe Ravina in 1943. “The healthy desire to free ourselves of this sentimentalism causes many to avoid this…”.[22]

From these early experiments a large corpus of original Israeli art music has been developed. Modern Israeli composers include Betty Olivero, Tsippi Fleischer, Mark Kopytman and Yitzhak Yedid.

From the earliest days of Zionist settlement, Jewish immigrants wrote popular folk music. At first, songs were based on borrowed melodies from German, Russian, or traditional Jewish folk music with new lyrics written in Hebrew. Starting in the early 1920s, however, Jewish immigrants made a conscious effort to create a new Hebrew style of music, a style that would tie them to their earliest Hebrew origins and that would differentiate them from the style of the Jewish diaspora of Eastern Europe, which they viewed as weak.[23] This new style borrowed elements from Arabic and, to a lesser extent, traditional Yemenite and eastern Jewish styles: the songs were often homophonic (that is, without clear harmonic character), modal, and limited in range. “The huge change in our lives demands new modes of expression”, wrote composer and music critic Menashe Ravina in 1943. “… and, just as in our language we returned to our historical past, so has our ear turned to the music of the east … as an expression of our innermost feelings.”[24]

The youth, labor and kibbutz movements played a major role in musical development before and after the establishment of Israeli statehood in 1948, and in the popularization of these songs. The Zionist establishment saw music as a way of establishing a new national identity, and, on a purely pragmatic level, of teaching Hebrew to new immigrants. The national labor organization, the Histadrut, set up a music publishing house that disseminated songbooks and encouraged public sing-alongs ( ). This tradition of public sing-alongs continues to the present day, and is a characteristic of modern Israeli culture.

Mizrahi music usually refers to the new wave of music in Israel which combines Israeli music with the flavor of Arabic and Mediterranean (especially Greek) music. Typical Mizrahi songs will have a dominant violin or string sound as well as Middle Eastern percussion elements. Mizrahi music is usually high pitched. In today’s Israeli music scene, Mizrahi music is very popular. A popular singer whose music typifies the Mizrahi music style is Zohar Argov.

A number of non-Jewish composers have adapted Jewish music to their compositions. They include:

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Bar and Bat Mitzvah – Wikipedia

Bar Mitzvah (Hebrew: ) and Bat Mitzvah (Hebrew: ) (Ashkenazi pronunciation: “Bas Mitzvah”) (plural: B’nai Mitzvah for boys (or boys and girls), and B’not Mitzvah Ashkenazi pronunciation: “B’nos Mitzvah” for girls) are Jewish coming of age rituals.

Bar () is a Jewish Babylonian Aramaic word literally meaning “son” (), while bat () means “daughter” in Hebrew, and mitzvah () means “commandment” or “law” (plural: mitzvot). Thus bar mitzvah and bat mitzvah literally translate to “son of commandment” and “daughter of commandment”. However, in rabbinical usage, the word bar means “under the category of” or “subject to”. Bar mitzvah therefore translates to “an [agent] who is subject to the law”. Although the term is commonly used to refer to the ritual itself, in fact the phrase originally refers to the person.

According to Jewish law, when Jewish boys become 13 years old, they become accountable for their actions and become a bar mitzvah. A girl becomes a bat mitzvah at the age of 12 according to Orthodox and Conservative Jews, and at the age of 13 according to Reform Jews.[citation needed] Prior to reaching bar mitzvah age, the child’s parents hold the responsibility for the child’s actions. After this age, the boys and girls bear their own responsibility for Jewish ritual law, tradition, and ethics, and are able to participate in all areas of Jewish community life. Traditionally, the father of the bar mitzvah gives thanks to God that he is no longer punished for the child’s sins (Genesis Rabba, Toldot 23:11). In addition to being considered accountable for their actions from a religious perspective, b’nai mitzvah may be counted towards a minyan (prayer quorum) and may lead prayer and other religious services in the family and the community.

Bar mitzvah is mentioned in the Mishnah (Ethics of the Fathers, 5:21) and in the Talmud. In some classic sources, the age of 13 appears for instance as the age from which males must fast on the Day of Atonement, while females fast from the age of 12. The age of b’nai mitzvah roughly coincides with physical puberty.[1] The bar or bat mitzvah ceremony is usually held on the first Shabbat after a boy’s thirteenth and a girl’s twelfth birthday.

Reaching the age of bar or bat Mitzvah signifies becoming a full-fledged member of the Jewish community with the responsibilities that come with it. These include moral responsibility for one’s own actions; eligibility to be called to read from the Torah and lead or participate in a minyan; the right to possess personal property and to be legally married according to Jewish law; the duty to follow the 613 laws of the Torah and keep the halakha; and the capacity to testify as a witness in a Beth Din (Rabbinical court) case.

Many congregations require pre-bar mitzvah children to attend a minimum number of Shabbat prayer services at the synagogue, study at a Hebrew school, take on a charity or community service project, and maintain membership in good standing with the synagogue. In addition to study and preparation offered through the synagogue and Hebrew schools, bar mitzvah tutors may be hired to prepare the child through the study of Hebrew, Torah cantillation and basic Jewish concepts.

The widespread practice is that on a Sabbath early in his thirteenth year, a boy is called up to read from the weekly portion of the Law (five books of Moses),[2] either as one of the first seven men or as the last, in which case he will read the closing verses and the Haftarah (selections from the books of the Prophets); and if he is unable to read, to recite at least the benediction before and after the reading.[3] He may also give a d’var Torah (a discussion of some Torah issue, such as a discussion of that week’s Torah portion) and/or lead part or all of the prayer services.

In Orthodox circles, the occasion is sometimes celebrated during a weekday service that includes reading from the Torah, such as a Monday or Thursday morning service.

Some communities or families may delay the celebration for reasons such as availability of a Shabbat during which no other celebration has been scheduled, or due to the desire to permit family to travel to the event. However, this does not delay the onset of rights and responsibilities of being a Jewish adult which comes about strictly by virtue of age.

The obligation to lay tefillin begins when a boy reaches bar mitzvah age. In some Orthodox circles, however, the custom is for the bar mitzvah boy to begin putting on tefillin one to three months before his bar mitzvah. This way, by the time he is obligated in the commandment, he will already know how to fulfill it properly.[4]

Bar mitzvah festivities typically include a seudat mitzvah, a celebratory meal with family, friends, and members of the community. Others may celebrate in different ways such as taking the bar or bat mitzvah on a special trip or organizing some special event in the celebrant’s honor. In many communities, the celebrant is given a certificate. According to the Orthodox view, the bar mitzvah boy is so happy to be commanded to do mitzvah and earn reward in the next world for his efforts, that he throws a party and has a festive meal.[dubious discuss]

Bar and bat mitzvah parties in America are often lavish affairs held at hotels and country clubs with hundreds of guests.[5][6][7] The trend has been mocked, most notably in the movie Keeping Up with the Steins. Rabbi Shmuley Boteach says that over-the-top bar mitzvah parties were already common when he was growing up in Miami in the 1970s.[8]

Today many non-Orthodox Jews celebrate a girl’s bat mitzvah in the same way as a boy’s bar mitzvah. All Reform and Reconstructionist, and most Conservative synagogues have egalitarian participation, in which women read from the Torah and lead services. In Orthodox communities, a Bat Mitzvah is celebrated when a girl reaches the age of 12.

The majority of Orthodox and some Conservative Jews reject the idea that a woman can publicly read from the Torah or lead prayer services whenever there is a minyan (quorum of 10 males) available to do so. However, the public celebration of a girl becoming bat mitzvah in other ways has made strong inroads into Modern Orthodox Judaism and also into some elements of Haredi Judaism. In these congregations, women do not read from the Torah or lead prayer services, but they occasionally lecture on a Jewish topic to mark their coming of age, learn a book of Tanakh, recite verses from the Book of Esther or the Book of Psalms, or say prayers from the siddur. In some Modern Orthodox circles, bat mitzvah girls will read from the Torah and lead prayer services in a women’s tefillah. Rabbi Moshe Feinstein, a prominent Orthodox posek, has ruled that bat mitzvah celebrations are permissible, but should not be held in a synagogue, because then they would be construed as imitating Reform and Conservative customs; in any case, they do not have the status of seudat mitzvah.[9] Rabbi Ovadiah Yosef holds that it is a seudat mitzvah.[10]

The event is celebrated by joyous festivity, the bat mitzvah girl delivering on this occasion a learned discourse or oration at the table before the invited guests, who offer her presents, while the rabbi or teacher gives her her blessing, accompanying it at times with an address.[11]

There were occasional attempts to recognize a girl’s coming of age in eastern Europe in the 19th and 20th centuries, the former in Warsaw (1843) and the latter in Lemberg (1902). The occasion was marked by a party without any ritual in the synagogue.[12]

According to the archivist at the Great Synagogue in Rome, the custom of a young woman being called up in synagogue before the entire community dates back to the early years of the Roman Jewish community approximately 2,300 years ago. The community recognized her as “being of age” and acknowledged her in a public fashion. This would support more modern documents that record an Orthodox Jewish Italian rite for becoming bat mitzvah (which involved an “entrance into the minyan” ceremony, in which boys of thirteen and girls of twelve recited a blessing) since the mid-19th century.[13] There were also bat mitzvah rituals held in the 19th century in Iraq.[14] All this may have influenced the American rabbi Mordecai M. Kaplan, who held the first public celebration of a bat mitzvah in the United States, for his daughter Judith, on March 18, 1922, at the Society for the Advancement of Judaism, his synagogue in New York City.[15][16] Judith Kaplan recited the preliminary blessing, read a portion of that week’s Torah portion in Hebrew and English, and then intoned the closing blessing.[15] Kaplan, who at that time claimed to be an Orthodox rabbi, joined Conservative Judaism and then became the founder of Reconstructionist Judaism, influenced Jews from all branches of non-Orthodox Judaism, through his position at the Jewish Theological Seminary of America. At the time, most Orthodox rabbis strongly rejected the idea of a bat mitzvah ceremony.[citation needed]

As the ceremony became accepted for females as well as males, many women chose to celebrate the ceremony even though they were much older, as a way of formalizing and celebrating their place in the adult Jewish community.[17]

Instead of reading from the Torah, some Humanist Jews prefer a research paper on a topic in Jewish history to mark their coming of age.[18][19][20] Secular Jewish Sunday schools and communitiesincluding those affiliated with the Congress of Secular Jewish Organizations and the Arbeiter Ring (Workmen’s Circle)encourage the youngsters to select any topic that interests them and relates to the Jewish part of their identities.

The kibbutz movement in Israel also encouraged the celebration of the bar mitzvah. All those coming of age in the community for that year would take on a project and research in a topic of Jewish or Zionist interest. Today many kibbutz children are opting for a more traditional bar mitzvah celebration.[citation needed]

Among some Jews, a man who has reached the age of 83 will customarily celebrate a second bar mitzvah, under the logic that in the Torah it says that a normal lifespan is 70 years, so that an 83-year-old can be considered 13 in a second lifetime. This practice has become increasingly uncommon.[21]

A Bark Mitzvah is a pseudo-traditional observance and celebration of a dog’s coming of age,[22][23] as in the Jewish traditional bar mitzvah and bat mitzvah. The term has been in use since at least as early as 1977,[24] and Bark Mitzvahs are sometimes held as an adjunct to the festival of Purim.[25]

Bar or bat mitzvah celebrations have become an occasion to give the celebrant a commemorative gift. Traditionally, common gifts include books with religious or educational value, religious items, writing implements, savings bonds (to be used for the child’s college education), gift certificates, or money.[26] Gifts of cash have become commonplace in recent times.[when?] As with charity and all other gifts, it has become common to give in multiples of 18, since the gematria, or numerical equivalent of the Hebrew word for “life”, (“chai”), is the number 18. Monetary gifts in multiples of 18 are considered to be particularly auspicious and have become very common for the bar and bat mitzvah. Many b’nai mitzvah also receive their first tallit from their parents to be used for the occasion and tefillin where this is appropriate. Jewelry is a common gift for girls at a bat mitzvah celebration. Another gift for the bat mitzvah girl are Shabbat candlesticks because it is the duty and honour of the woman to light the candles.[citation needed]

The modern method of celebrating becoming a bar mitzvah did not exist in the time of the Hebrew Bible, Mishnah or Talmud. Passages in the books of Exodus and Numbers note the age of majority for army service as twenty.[27] The term “bar mitzvah” appears first in the Talmud, the codification of the Jewish oral Torah compiled in the early first millennium of the common era, to connote “an [agent] who is subject to the law,”[28] and the age of thirteen is also mentioned in the Mishnah as the time one is obligated to observe the Torah’s commandments: “At five years old a person should study the Scriptures, at ten years for the Mishnah, at 13 for the commandments . . .”[29][30] The Talmud gives 13 as the age at which a boy’s vows are legally binding, and states that this is a result of his being a “man,” as required in Numbers 6:2.[31] The term “bar mitzvah”, in the sense it is now used, cannot be clearly traced earlier than the 14th century, the older rabbinical term being “gadol” (adult) or “bar ‘onshin” (legally responsible for own misdoings).[3] Many sources indicate that the ceremonial observation of a bar mitzvah developed in the Middle Ages,[30][32] however, there are extensive earlier references to thirteen as the age of majority with respect to following the commandments of the Torah, as well as Talmudic references to observing this rite of passage with a religious ceremony, including:

While the traditional age to hold a bar or bat mitzvah is 13 (12 for girls), some adults choose to have bar or bat mitzvah rituals at an older age, some of whom had them as children and some who did not have them as children. Since the 1970s, the adult bar and bat mitzvah have been growing in popularity.

Bar/Bat Barakah means, in Aramaic, “Son/Daughter of the Blessing”. In honour and recognition of Jewish traditions, including Zeved habat and Bar and Bat Mitzvah, some Christians have begun to conduct a Bar and Bat Barakah ceremony to pronounce blessings upon their children.[33]

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Bar and Bat Mitzvah – Wikipedia

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