In his article on the latest crisis in the Conservative movement, “United Synagogue Turns Inward” (Feb. 11), Stewart Ain lists as one of the reasons “that the best and brightest” are migrating to post-denominational or Modern Orthodox settings.
I fully agree, and point out one example why this is happening.
How are we to respond when Jewish cultural institutions are accused of hurting Israel’s cause by presenting exhibits, films or performances critical of particular aspects of the Jewish state’s policies?
These complaints have been heard of late from a small but vocal number of critics of the JCC in Manhattan and the Foundation for Jewish Culture, two institutions with a proud record of supporting Israel and Jewish artists, nurturing their work and helping to create and strengthen Jewish identity, culture and community.
F. Scott Fitzgerald famously said there are no second acts in American lives, but Natan Sharansky — a Russian “prisoner of Zion,” and now an Israeli public figure — has had an exquisite second act to rival the agony of his first.
History doesn’t often provide happier endings and beginnings than the one experienced 25 years ago this week, Feb.11, 1986, when Sharansky was freed after nine brutal years in the Soviet Gulag, crossing the Glienicke Bridge over the Havel River, walking from East Germany to West Berlin and freedom.
Three years ago, singer-songwriter Debbie Friedman officially joined the faculty of the Hebrew Union College-Jewish Institute of Religion School of Sacred Music in New York. Now, that same school, which ordains Reform cantors, will bear her name.
It is understandable that Israeli leaders and citizens alike are watching the fast-moving events in Egypt — and possible reverberations in Jordan — with great trepidation.
Peace with Egypt, formalized in 1979, has been anything but warm, but it has been real and enduring, and it has allowed Israel to focus its defenses on other threats, including Hamas and Hezbollah terrorism and the terrifying prospect of a nuclear Iran.