Southern & Jewish
Southern & Jewish celebrates the stories, people, and experiences – past and present – of Jewish life in the American South. Hosted by the Goldring/Woldenberg Institute of Southern Jewish Life, posts come from educators, students, rabbis, parents, artists, and many other “visitors-to and daily-livers-of” the Southern Jewish experience. From road trips to recipes to reflections, we’ll explore a little bit of everything – well, at least all things Southern and/or Jewish. Shalom, y’all!
This piece was written jointly by Lonnie Kleinman and Lex Rofes.
An article about the soon-to-be-released film
recently appeared in the Jewish Daily Forward, a publication we both read regularly and respect immensely. The article, written by Leida Snow, is entitled “Selma Distorts History by Airbrushing Out Jewish Contributions to Civil Rights.” The assertion that Selma under-represents Jewish involvement in the Civil Rights movie and “distorts” history is a claim with which we strongly disagree.
Full disclosure: We have not yet seen ‘Selma,’ which opens January 9. What we have seen is Ms. Snow’s article. Therefore, we are not responding to any alleged inaccuracies in the film– only the inaccuracies in Ms. Snow’s own piece.
Before articulating any philosophical disagreement, we believe it is important to first mention a few factual inaccuracies. We point out these inaccuracies not to demean the author, but because the historical events referenced are so crucial to our country’s history, and should be presented thoughtfully and accurately.
Snow refers to “thousands” of Freedom Riders “riding into Mississippi” in 1964. In fact, the Freedom Riders rode in 1961, and there were only 436 total riders. She also incorrectly implies that James Chaney, Andrew Goodman, and Michael Schwerner were freedom riders. The murder of those three civil rights workers was a tragedy that, as Snow states, provoked national outrage, but they were not involved with the Freedom Rides. We believe that, when stating “Freedom Riders,” Ms. Snow means to refer to the 1964 Mississippi Freedom Summer Project, which was indeed characterized by “well over a thousand volunteers, mostly white,” risking their lives to come to Mississippi.
Factual inaccuracies aside, the broader message of her piece is deeply troubling. As the title suggests, Ms. Snow believes that the film’s failure to include Jews undermines its credibility. She states that by “excluding” Jews, the movie misses a “great teaching moment.”
We see things differently.
As Jews, we are certainly inspired by Jewish veterans of the Civil Rights movement. That said, the Civil Rights movement of the 1960s, and the story of Selma specifically, was not “our” story. The story of Selma was about fighting to achieve justice for African-Americans, living in an unjust society.
To be sure, this movie could have mentioned Jews. It could have featured inspirational Freedom Summer veterans, as Snow asserts—and just as easily, while we may not like to admit it, it could have featured Jews like Sol Tepper, who wrote dozens of articles for the Selma Times Journal advocating for segregation and was quite hostile towards Civil Rights advocates. Good or bad, Jews could have been included more—but that’s not the focus of this film. This omission is not a “distortion.”
Selma’s producers include several people of color. Its director, Ava DuVernay, was the first ever black female director to be nominated for a Golden Globe—a great milestone in film history. It is all too common for the stories of African-Americans to be told by people who are not African-American, and we all have the right to tell our own stories.
Let’s think about what Snow’s criticism would look like if directed at a movie written by Jews about Jewish oppression.
There are many movies about the Holocaust, and some of them speak only to the experiences of Jews, without including righteous Gentiles (may their memories be for a blessing). These movies have not “distorted” history. They have chosen to focus specifically on the lives of Jews who were the subject of incredible discrimination and hatred, and that editorial decision is a reasonable one. Just as we would expect Catholics to watch a Holocaust film without criticizing the editorial choice not to includecourageous acts by Catholics, we should be able to watch a film about others’ struggles without demanding that we share the spotlight.
Rabbi Abraham Joshua Heschel once said that a core aspect of being a Jew is “the ability to experience the suffering of others.” As many of us head to theaters to watch Selma, let’s seek to hone that skill. Let’s seek to better understand the story of African-Americans – their history, their struggles, and their suffering. Doing so might not teach us much about any particular Jews. But it could teach us something about what it means to be Jewish.
The Jewish world is full of debates.
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