Abstract: In this article, I discuss what I term “Jewface” minstrelsy performance and “Jewfaçade” display in three contemporary contexts with highly divergent historical backgrounds: East-Central Europe, the Iberian Peninsula, and the Jewish Autonomous Republic, a fictitious-sounding but real colony established by Stalin in far eastern Russia near China and still extant today. Jewface encompasses music, dance, theater, and extra-theatrical modes of performance, in which non-Jews dress up and act like “Jews,” as historically imagined; Jewfaçade encompasses museum-type installations, as well as architectural and decorative constructions, depicting imagined “Jewish” life. These “Diaspora Disneys” vary from the education- and tolerance-oriented to the crassly exploitative and commercial to the bizarrely confused. None have much to do with actual Jews, but all convey a tremendous amount regarding dominant “host” cultures’ anxieties over not only their roles in past persecution and genocide but also their own present cultures, politics, and positions in the wider world today. Further, they present a wide array of models of memoriological projection and desire, in what I explicate as spectra of “plethoric” to “voidic” memoriological scenarios and “negotiatory” to “constitutory” memoriological strategies.
Abstract: A “Jew-themed” restaurant provides its patrons with broad-brimmed black hats with foot-long sidecurls to wear, and the menu has no prices; patrons must bargain, or “Jew,” the staff down. A play billed as a tribute to a lost Jewish community ends in a gag: Death throws back his shroud to reveal an open-brain-pate wig, à la the horror flick Nightmare on Elm Street. In a “traditional Jewish wedding dance,” “Jewish wealth” is represented by a local luxury: vacuum-packed juice boxes. In parts of the world where Jews, once populous, have nearly vanished because of oppression, forced exile, and genocide, non-Jews now strive to re-enact what has been lost. In this essay, I will consider three general cases of what I term “Jewface” minstrelsy and
“Jewfaçade” display, in Krakow, Poland; the village of Hervás in western Spain; and Birobidzhan, capital city of Russia’s far-eastern Jewish Autonomous Region, which is known as Birobidzhan as well. Jewface-resembling the “blackface” prevalent in the United States in the nineteenth and twentieth centuries-is the practice of music, dance, theatre, and/or extra-theatrical types of performance, primarily by non-Jews, intended to convey notions of historical Jewish life and culture. Jewfaçade involves architectural and decorative constructions, again mainly by nonJews, meant to evoke ideas of the Jew in similar ways. Ruth Ellen Gruber, the team of Daniela Flesler and Adrian Pérez Melgosa, and other journalists and scholars have documented what Michael Brenner has called “Jewish culture without Jews” in Poland and Spain, as well as elsewhere in Europe (Brenner 1997: 152). However, no comparative study has been made, and no scholar has approached this topic with regard to Birobidzhan. I will provide brief overviews of Jewface and Jewfaçade activities in Krakow, Hervás, and Birobidzhan. I will then demonstrate the ways in which the notions of the figure of the Jew and of local Jewish history are performed, or acted out in these three comparative geographical contexts. These cases, as, in conclusion, I will argue, represent three very different approaches to public memory and memorialization with regard to the Jew, and perhaps in regard to troubled historical legacies more generally.
Abstract: In the Netherlands, religions are often positioned as opposite to secular ideals of women’s freedom. While women’s emancipation supposedly grants women their autonomy, religions are suspected of reaffirming gender inequality. In this religion-versus-emancipation dilemma, questions of the body are pertinent, since traditional religions are framed as restricting and regulating women’s bodies. Questions about modesty, sexual relations, clothing and food preparations often come up in such debates. There seems to be a particular tension for women who convert to religions that are often regarded as ‘gender conservative’, and this chapter sheds light on that field of tension. This expands the field of women’s conversion – which has typically focused on Islamic women – by employing a comparative analysis of interviews and participant observation with Jewish, Christian and Muslim Dutch women converts. Joining a religion that one was not raised in is a process of ethical self-fashioning through training and disciplining of both the body and mind. Converts have to learn how to eat, how to pray, how to dress and how to have sex in such a way that it permits them to give shape to their religious subjectivity and pious desires. What I found is that performing authenticity is a central and embodied characteristic of modern-day conversion stories in the ‘age of authenticity’. This performance is often played out through the sexual and gendered body and religious subject transformations were closely related to sexual self-fashioning. In order to understand these links between conversion, sexuality and the body, I focus on experiences and ideas about virginity and marriage, menstruation and homosexuality. In this chapter, I aim to show that sexual embodiments and ethics cannot be understood as either religious or secular, but rather as a new form of religious subjectivity within Europe as a space where authenticity has become the most important mode for selfhood.
Abstract: British state-supported Holocaust remembrance has dramatically grown in prominence since the 1990s. This monograph provides the first substantial discussion of the interface between public Holocaust memory in contemporary Britain and the nation’s changing religious-secular landscape.
In the first half of the book attention is given to the relationships between remembrance activities and Jewish, Muslim, Christian, and post-Christian communities. Such relationships are far from monolithic, being entangled in diverse histories, identities, power-structures, and notions of ‘British values’. In the book’s second half, the focus turns to ways in which public initiatives concerned with Holocaust commemoration and education are intertwined with evocations and perceptions of the sacred. Three state-supported endeavours are addressed in detail: Holocaust Memorial Day, plans for a major new memorial site in London, and school visits to Auschwitz. Considering these phenomena through concepts of ritual, sacred space, and pilgrimage, it is proposed that response to the Holocaust has become a key feature of Britain’s 21st century religious-secular landscape. Critical consideration of these topics, it is argued, is necessary for both a better understanding of religious-secular change in modern Britain and a sustainable culture of remembrance and national self-examination.
Abstract: This chapter situates France’s diverse Jewish community, the largest in Europe, in relation to Holocaust memory, exile from North Africa, the Israeli-Palestinian conflict, anti-Semitism and cultural (co-)production. The chapter begins by historically contextualising contemporary anti-Semitism and goes on to explore cultural representations, including Jewish-Muslim artistic collaborations. Contemporary anti-Semitism in France is driven by three main motivations which sometimes overlap, namely radical Islam, the Israeli-Palestinian conflict, and old anti-Jewish stereotypes. Education and cultural production (particularly collaborative, that is, through Jewish–Muslim cooperation) are particularly important in combating the conflation between Jews and Zionists, and in expressing solidarity between Jews and Muslims, who are both victims of racism in France albeit in the differing forms of anti-Semitism and Islamophobia.
