Abstract: Tarkastelemme kahden eri etnografisen aineiston pohjalta suomenjuutalaisten naisten kokemuksia antisemitismistä nyky-Suomessa. Aineistomme koostuu Ruth Illmanin Minhag Finland -hankkeessa tehdyistä suomenjuutalaisten haastatteluista (2019–2020) ja Elina Vuolan Ruumiillinen uskonto -hankkeessa tehdyistä haastatteluista (2015–2016). Vuola haastatteli vain naisia, Illmanin aineistossa on sekä naisia että miehiä. Keskitymme artikkelissamme naisiin. Myös antisemitismin kokemukset ovat joiltakin osin sukupuolittuneita. Pääasiallisena teoreettisena tulokulmana käytämme Helen Feinin (1987) kulttuurihistoriallista määrittelyä, jonka mukaan antisemitismillä on rakenteellinen, diskursiivinen ja yksilöllinen ulottuvuus. Fein kuvailee antisemitismiä kolmiona, jonka pohja on yhteiskunnan rakenteisiin upotettu juutalaisvastaisuus, joka ilmenee tietämättömyytenä, ymmärtämättömyytenä tai suorana syrjintänä. Tämän päälle rakentuu diskursiivinen ulottuvuus, joka tuo esille kulttuurisidonnaiset tavat puhua juutalaisuudesta, ja näyttäytyy stereotypioina ja ennakkoluuloina yleisessä keskustelussa. Kolmion huipulla ovat yksilön kokemukset suorasta tai välillisestä antisemitismistä omassa arjessaan. Tarkastelemme, miten Feinin malli näkyy (tai ei näy) aineistoissamme ja sitä, miten sen avulla voidaan jäsentää haastateltavien kokemuskertomuksia. Sukupuoliteoreettinen lähestymistapa puolestaan auttaa ymmärtämään koetun antisemitismin sukupuolittuneisuutta. Feinin malli osoittautui käyttökelpoiseksi, mutta jäykäksi tavaksi jäsentää arkisiin kokemuksiin keskittyvää etnografista aineistoa. Lisäksi havaitsimme, että paikkasidonnainen ja kokemuksiin keskittyvä analyysimme tuo uutta tietoa antisemitismin ilmenemismuodoista ja siinä tapahtuneissa muutoksissa Suomessa. Suomenjuutalaisten naisten kokemuksissa antisemitismi sekä uhan ja pelon tunne ovat lisääntyneet.
Abstract: This article explores how Jews in Finland relate to the musical traditions of their synagogues and the changes that have occurred in the customs over time and as the result of various cultural and spiritual influences. Based on ethnographic data, it focuses on rituals, liturgy, and music as contexts for negotiating relationships between the institution and the individual, memory practices, and contemporary innovation – being and doing Jewish, to use concepts from the vernacular religion framework. The article outlines the historical development of Minhag Finland, the vernacular liturgical customs. It concludes that the “turn to traditions” should be stated in the plural, as several Jewish customs, cultures, and context are engaged in the negotiations around liturgy. This is not just a way to freeze time and preserve the status quo. Instead, seeking for meaningful models in the past paves the way for change – especially when turning toward a broad range of traditions.
Abstract: This article draws on an ongoing research project that seeks to document ethnographically everyday Jewish life in Finland today. Based on the framework of vernacular religion, it approaches religion “as it is lived” (Primiano 1995) and analyses the many expressions and experiences of rules in day-to-day Jewish life as part of complex interactions between individuals, institutions, and religious motivations. Historical data, institutional structures and cultural context are put in dialogue with individual narratives and nuances, described as “self-motivated” ways of “doing” religion.
In this article, we seek to investigate what a vernacular Jewish approach to making, bending, and breaking rules amounts to in a community where increasing diversity and deep-reaching secularity contest and reshape traditional boundaries of belonging. What rules are accepted, adopted and appropriated as necessary or meaningful for being and doing Jewish? Our analysis traces how static values and conceptions of “Jewishness” give way to more flexible subjective positions as our interviewees struggle to find religiously and culturally significant models from the past that can be subjectively appropriated today. Both everyday quandaries and existential questions influence their ways of crafting vernacular religious positions. Focusing on formal and personal rituals related particularly to family life and foodways, the article shows how rules are revisited and refashioned as the traditional boundaries between sacred and secular, gendered practices and ethnic customs, are transgressed and subjective combinations are developed.
Abstract: This article introduces a new analytical model for researching vernacular religion, which aims to capture and describe everyday religiosity as an interplay between knowing, being, and doing religion. It suggests three processes that tie this triad together: continuity; change; and context. The model is envisaged as a tool for tracing vernacular religion in ethnographic data in a multidimensional yet structured framework that is sensitive to historical data and cultural context, but also to individual narratives and nuances. It highlights the relationship between self-motivated modes of religiosity and institutional structures, as well as influences from secular sources and various traditions and worldviews.
The article is based on an ongoing research project focusing on everyday Judaism in Finland. The ethnographic examples illustrate how differently these dynamics play out in different life narratives, depending on varying emphases, experiences, and situations. By bringing together major themes recognized as relevant in previous research and offering an analytical tool for detecting them in ethnographic materials, the model has the potential to create new openings for comparative research, because it facilitates the interlinking of datasets across contexts and cultures. The article concludes that the model can be developed into a more generally applicable analytical tool for structuring and elucidating contemporary ethnographies, mirroring a world of rapid cultural and religious change.
Abstract: Gershom Scholem argued in his momentous book Major Trends in Jewish Mysticism (1941, 34) that as the traditional Hasidic way of life was extinguished by the Holocaust, the last ‘authentic’ form of Jewish mysticism came to a close: “it has become again what it was in the beginning: the esoteric wisdom of small groups of men out of touch with life and without any influence in it”. Nevertheless, practices stemming from Kabbalah and Jewish mystical sources have since the turn of the millennium become more popular than ever inside as well as outside Jewish communities in Europe and North America, relocating and reframing traditional practices for a late-modern, urban, liberal and inclusive spiritual milieu. But are such vernacular practices to be seen as ‘authentic’ continuations of the tradition, or merely as vulgar commodification? Here, the views of contemporary researchers differ significantly.
This chapter’s point of departure is this controversy over ‘authenticity’ in research on Jewish mysticism. A vernacular religion perspective is applied as a means of untying the knot that has formed through the unfruitful juxtaposing of classic and contemporary Jewish mysticism. Discourses of authenticity are exemplified by a case study dealing with contemporary practices of niggunim singing: (mainly) wordless melodies sung as a means of elevating the soul to God, repairing the world and strengthening the divine presence in the world. Niggunim is a practice with roots in Hasidic Judaism, which is currently experiencing a renaissance within contemporary Jewish spirituality. Ethnographic material has been gathered among Jews from progressive milieus in London to shed light on the practice in general, and this chapter analyses how the practitioners reflect upon authenticity.
Abstract: This article focuses on religion and change in relation to music. Its starting point is the argument that music plays a central role as a driving force for religious change, as has recently been suggested by several researchers of religion. Music is seen to comprise elements that are central to contemporary religiosity in general: participation , embodiment, experience, emotions, and creativity. This article approaches the discussion from a Jewish point of view, connecting the theoretical perspective to an ethnographic case study conducted among progressive Jews in London with special focus on music, religious practice, and change. The article outlines the ongoing discussion on religion and change by focusing on features of individualism, personal choice, and processes of bricolage, critically assessing them from an inclusive point of view, focusing on individuals as simultaneously both personal and socially as well as culturally embedded agents. The analysis highlights a visible trend among the interviewees of wanting to combine a radically liberal theology with an increasingly traditional practice. In these accounts musical practices play a pivotal yet ambiguous role as instigators and insignia of religious change. As a conclusion, insights into more 'sonically aware religious studies' are suggested. We need a kind of … something that retains the tradition; that holds on to these precious traditions and rituals, the music and all the rest – but with an open mind and a much more questioning and open approach to Jewish law. In these words Rebecca 1 expresses what she strives to achieve in her work as an innovative yet historically perceptive and liturgically informed can-1 The names of the persons interviewed have been anonymised, and common Jewish names are used as aliases. See the reference list for or more detailed information about the ethnographic research material and research method.
Abstract: Jewish musical practices stemming from Kabbalah and Hasidic mystical traditions are currently the object of growing attention among a variety of different Jewish communities in Europe and North America, as well as in non-Jewish spiritual circles. This article focuses on contemporary practices of niggunim – the (mostly) wordless melodies with roots in Hasidic Jewish traditions, sung, chanted and sometimes danced in preparation for, or as a form of, ardent prayer. The practice is seen as an example of the expressive, engaging, emotional and embodied forms of prayer that currently attract many Jews of different institutional attachments. As niggunim travel into new contexts, they are reframed and reconsidered in order to meet the needs and expectations of contemporary religious communities, characterised by a liberal and egalitarian, global and transformative religiosity. The article seeks to explore the different functions niggunim are put to today and the motives which drive different people to engage in the practice. The analysis is based on ethno-graphic material in the form of in-depth interviews conducted among progressive Jews in the London area. As a conclusion, the article suggests an approach to contemporary niggunim practices that incorporates perspectives from both literature and ethnography in order to deepen the understanding of the motives for and functions of singing niggunim today
