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’d like to preface today’s post by saying that while I *wish* this were some sort of April Fool’s Day joke, it is not.
A friend just sent me this article about a controversial art installation in Germany. In this installation, now informally dubbed “Jew in a Box,” visitors can see, encased in glass, a living person of Jewish descent. They can ask that person questions about what it’s like to be a Jew in Germany, about Jewish beliefs – anything they have ever wanted to ask a Jewish person, they can pose the question to a Jew in a box.
When my friend (who is not Jewish) sent me this article, her email asked me just one question: “How do you feel about this?”
My immediate response to her, after reading the article, was “SO FREAKING WEIRD.”
There is something deeply unsettling to me about this exhibit – this stark presentation of “us” and “them”; a venue where people are literally put in boxes. I read the curator’s rationale, about how this will catch folks’ attention, and be in their face, and give Germans a chance to interact with a real, live Jew.
But is this the sort of interaction we want?
Why not actual interaction? Something more organic, and less disparate? Jewish docents, perhaps? Moderated conversations? An exchange, even if it’s still in-your-face? As an educator, it seems counter-intuitive to me to humanize someone, or some group, by putting an actual wall between people. It seems to me that this does not emphasize unique-ness, but other-ness. And isn’t that the problem Germany is still painfully recovering from, decades later?
I also had to wonder why on earth someone would get in the box. Who would volunteer? Luckily, the article covers this, with a volunteer Jew-in-a-box describing why he is participating in the installation:
“With so few of us, you almost inevitably feel like an exhibition piece,” volunteer Leeor Englander said. “Once you’ve been `outed’ as a Jew, you always have to be the expert and answer all questions regarding anything related to religion, Israel, the Holocaust and so on.”
I considered this. After all, I live in Jackson, Mississippi. I have been several people’s FJF (First Jewish Friend, y’all). I’ve had to answer questions about Jewish culture and religion, although I’m quick to point out that I can’t speak for all Jews. In other words, yes. I do understand what it’s like to feel ‘outed’ as a Jew in a place where we are so few. I do understand what it means to “feel inevitably like an exhibition piece,” as the installation volunteer puts it – but that doesn’t mean I would want to actually be an exhibition piece.
Still – this exhibition is resonating with some folks, even as it irks others. And here’s the real kicker, in case you didn’t already click on the link and read the whole article already – what museum is hosting this exhibit?
The Jewish Museum. And the curator, Miriam Goldmann, is Jewish.
By the way, the actual name of the exhibit is “The Whole Truth: Everything you always wanted to know about Jews,” and in addition to live people in boxes, it includes installation such as a wall posing the question How Can You Recognize a Jew?, with hats and yarmulkes and “traditional Jewish garb” on display in front of the wall.
The whole truth? How can you recognize a Jew? It reminds me of the last time I went to a zoo, and the various species of birds and monkeys were being described. The more I read about it and the more I thought about it, the more my initial reaction seems to sum it up: SO. FREAKING. WEIRD.
And more than that – a little frightening.
What do you think? Share your thoughts in the comments below…
The image above comes from a collection of photographs and papers that belonged to Adele Marcus of Pine Bluff, Arkansas. According to the narrative sent by her cousin, Adele was the daughter of Lithuanian and Russian immigrants, and lived in Pine Bluff her entire life, from 1914-2000. We have a dozen of her papers from religious school, an Arkansas Jewish Assembly program in Hot Springs and her high school diploma. Like most of our collections, we also inherited a handful of unmarked photographs.
Investigating and interpreting unlabeled photographs is both a challenge and a pleasure for museum professionals and other scholars. This one in particular (M. Wiesman? Hanging bananas? Feather head dress!?) , inspired me to use it as a teaching example on how to think critically about historical images. I like to engage students in “Be the Historian!” activities that incorporate artifacts, photos and documents to uncover stories from the past.
A favorite resource I use is called Artful Thinking and comes from Project Zero at the Harvard Graduate School of Education. They have developed teaching methods to help teachers use works of visual art and music in their curricula in ways that strengthen student thinking and learning. While these techniques were developed for young students to think critically about art, I’ve found that the same “thinking routines” can be adapted for studying historical photographs.
Used on a regular basis, a routine like the one below not only teaches critical thinking but also encourages students to make a habit of it.
I SEE / I THINK / I WONDER
Use the following series of questions to help explore this photo.
What do you see?
What do you think?
What do you wonder?
This set of questions helps guide students towards an understanding of what they are looking at. They can make make careful observations, thoughtful interpretations and stimulate curiosity for future learning.
So now great internet community of learners, it’s your turn! Try it out!
Click on the image to make it larger, stare into those Jewish merchants’ faces and be a part of the discussion here by answering the three questions. With enough seeing, thinking and wondering we will be able to better understand who these people were, what their community was like and how their experiences might relate to our own lives.