In the early days of the Museum of the Southern Jewish Experience, photographer Bill Aron hit the road, capturing images of life in the Jewish South. These photographs led to a book, Shalom Y’All: Images of Life in the Jewish South, and also became an exhibit, Bagels & Grits, which still finds audiences through the ISJL’s museum department.
This image, Shabbat Cotton, remains one of the most iconic from this photographic series. Taken in Cary, Mississippi, at the home of the Lamensdorf family, the cotton in the background was due to be harvested – and the shot had to be snapped quickly, so the work could go on! The moment was captured, the cotton fields yielded their offering, and as the sun set, another week ended.
Shabbat shalom, y’all!
This blog post was written by Anna Stusser, a summer intern currently working in the Museum Department at the ISJL.
Vinyl records capture the imagination. In my hometown of Olympia, Washington, independent craft artists fashion bowls to and household items out of vinyl, appealing to the local indie market. In Brooklyn, the hipster set has revived an interest in vinyl records. I, too, have always seen the charm in the shape and vintage appeal of record players – which is why I became so excited when, in my first few days interning at the ISJL, I found some vintage LP records in the ISJL collection.
It is hard to imagine that modern day hipster twentysomethings, smoking cigarettes on a Brooklyn stoop, have anything in common with a small early-twentieth Southern Jewish congregation. (Other than maybe being Jewish – apparently, Jewish hipsters are their own subculture, and they’re into vinyl!)
But here they were, vintage vinyl records that would be prized today in Brooklyn, donated to the ISJL’s museum collection by a congregation in Columbia, Tennessee. Why were these vinyl records important to the daily life of their congregation? Why would Jews have vinyl records that they would consider important enough to donate to a museum that dedicates itself to Southern Jewish ethnography?
After discussing it with my supervisor and reviewing the titles of such records (some example: Kol Nidre and Eili, Eili), I began to understand that these vinyl records had been something less trendy, and more functional. More meaningful.
To listen to Cantor Moshe Koussevitzky Singing Aneinu, as featured on one of the records, you can play this recording on YouTube (unfortunately not available as an embedded video, but worth a listen!).
Jews worshiping in Columbia, Tennessee, in the first half of the twentieth century, had no full time rabbi to guide them. Many of the Jewish people living in the area commuted into Nashville for their spiritual needs. However, in the early part of the 1900s, a group of people started the Khal Kadosh Congregation, a name which means “Holy Community.” Bilingual services were held in Hebrew and English for a congregation of 16, just barely above the size of a minyan, took place on the second floor of community member Isaac Wolf’s store. Although they had no permanent location, the small congregation acquired an Ark and a Torah. The records from Columbia very likely supplemented the services provided. Unfortunately, Khal Kadosh did not survive past 1926, so we do not know for sure.
But it’s a likely conclusion that the Jewish people living in Columbia utilized vinyl records out of necessity, because that was the technology that was available at the time. Back then, vinyl wasn’t vintage. It was cutting edge.
Small congregations like the one once found in Columbia, TN, still exist today. In the South, many of them are served by the ISJL’s rabbinic department, led by Rabbi Marshal Klaven. From Skype B’nai Mitzvah lessons to sending out his Taste of Torah weekly emails, today’s virtual resources have replaced those found on vinyl.
Do you remember vinyl – or as a young adult, are you discovering it for the first time? We’d love to hear your vinyl stories, especially if you’ve ever listened to recordings of Jewish music!
I’m involved with a wonderful collection of people in Jackson who work hard to put on Figment, a participatory arts festival that we like to describe as an “art pot luck” party. Artists are asked to install pieces that encourage some kind of artistic participation.
My project was inspired during a meeting when the Figment team was trying to figure out a way to create a border around the festival, which was taking place on the streets of Jackson’s Midtown neighborhood. Earlier this year I had received information about a wonderful exhibit at the Yeshiva University Museum. It’s a Thin Line was an exhibit about the Manhattan eruv and included a fascinating short video about its history and significance. Inspired by this very public and creative Jewish tradition, I thought of adapting the practice for my Figment project.
My idea was to create a Figment Eruv that enforces the 11 principles of Figment within its borders. Really an inverse of the Jewish tradition, this eruv was intended to be a place in which people are reminded to keep the rules.
An eruv in Jackson, Mississippi? Certainly the first of its kind and I was ready for the challenge. I did a little research and figured out it would take about 3,000 feet of pink masonry twine, a 15 foot ladder and one handsome brave husband to climb said ladder. Over three days it took us about 5 hours to hang all of the string. I gained a new appreciation for ladder safety.
On the Tuesday afternoon before the festival, some guys who own the local garage along the route came out to see what we were doing. I worried they would be upset that we were stringing along the side of their building but the three men just looked up. Without questioning why we were doing it, they immediately began advising us on the best place to wind the string and how to avoid electrocuting ourselves on the transformer.
I’m glad they were amenable because it was important to me that this eruv not create barriers or borders with negative connotations within the neighborhood and its residents. I wanted it to create an inclusive temporary sacred space that separates the joyful Figment world from the ordinary and mundane.
During the weekend I had a great time watching visitors discover the eruv. They would bend down to read a short description of the project, then stand up, look to the sky and smile and they circled around to see how the string encompassed the area.
I was happy to have brought a secular interpretation of this often obscure religious practice to my neighborhood. Even my friends that have a pretty good Jewish education, probably because of being friends with me, had never heard of an eruv. It was a neat chance to talk with people about the tradition and why it works in this particular occasion.
Because one of the principles of Figment is “Leave No Trace”, on Sunday I pulled most of the string down. A few small pink knots were stuck up on the electric poles, tied around nails and staples. I decided not to worry about it. Much like a Jewish eruv represents the commandment to keep Shabbat, those tiny pink knots will represent the principles of Figment and be a reminder to sneak in just a little bit of that creative Figment spirit into ordinary mundane days.