Hoopla Under the Huppah by Dori Weinstein (Five Flames Press, 2017) is the third instalment of the YaYa and YoYo series, which includes Sliding into the New Year, about Rosh Hashanah, and Shaking in the Shack, about Sukkot.
Targeted to 9-to-11-year-olds, Hoopla Under the Huppah features 11-year-old twins YaYa (Yael/Ellie) and YoYo (Yoel/Joel) Silver. Their Aunt Rachel is getting married to soon-to-be Uncle David, and they have been asked to participate. As the plans develop, YaYa and YoYo learn all of the rituals and traditions of a Jewish wedding. However, as the weeks pass, there are all kinds of good and bad adventures that the twins and their 13-year-old older brother, Jeremy, experience. As the ketubah, painted by the kids’ mother, the wedding ceremony and more evolve, YaYa worries about “the Evil Eye” and that she might be bringing bad luck to everything she touches.
Hoopla Under the Huppah offers opportunities for parents to discuss various Jewish traditions with their kids, while enjoying the humour of the Silver family. As an adult, I really enjoyed this book.
Weinstein grew up in New York, taught in public and Jewish schools and now lives in Minneapolis, Minn., with her husband and children, where she teaches preschool Hebrew.
Sybil Kaplanis a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.
Adir under the wedding canopy with his bride, Liat. (photo from UPnRIDE)
Forty days before his marriage, a wheelchair-bound Israeli man named Adir wrote to UPnRIDE Robotics, sharing his dream to stand under the chuppah with his bride, Liat. Chief executive officer Oren Tamari invited Adir to company headquarters in Yokne’am Illit to try the UPnRIDE 1.1 mobility device, now in transition from research-and-development to market.
“We saw he managed well with it, and we arranged for him to use the device during his wedding” on Nov. 12, Tamari told Israel21c.
The day after his wedding, Adir posted on UPnRIDE’s Facebook page: “Thank you all for [the] wonderful experience and magnificent night. Our chuppah was so amazing, people cried when [they] saw me standing and praying. My wife and I just want to say that you made our night as close as possible to perfection!!!”
UPnRIDE was invented by Amit Goffer, whose ReWalk robotic exoskeleton allows paraplegics to stand, walk, navigate steps and even run marathons. Goffer, who has a PhD in electrical and computer engineering, could not use ReWalk himself because he is a quadriplegic, paralyzed from the neck down. So he and Tamari formed a new company to develop an upright mobility solution enabling any wheelchair-bound person – quadriplegics, paraplegics, people with multiple sclerosis, cerebral palsy, ALS and traumatic brain injury – to recline, stand and navigate indoors and outdoors.
Jointed braces and harnessing straps provide support, while advanced motion technology and real-time computing ensure automatic balancing and stability on uneven terrain. Goffer said other types of standing wheelchairs can’t be used outdoors because of the danger of tipping over.
UPnRIDE is now raising funds, working toward U.S. Food and Drug Administration clearance and doing usability studies with all kinds of wheelchair users. A major study has begun at the U.S. Veterans Health Administration’s Centre of Excellence in New York to determine the benefits for UPnRIDE users. Many health problems are associated with long-term wheelchair sitting, from muscle atrophy to cardiovascular disease.
Goffer, chief technology officer and president of the company, doesn’t yet have his own UPnRIDE because the sample models are for testing. He borrows one on weekends and for special events, such as his daughter’s wedding last July.
Like Adir, he was able to stand under the chuppah and with his family for photos.
“My son and middle daughter were already married years ago,” he said, “and it was a very different feeling at the wedding of my ‘baby’ because I was standing like the rest of the family. I was also able to mingle with guests as never before.”
Eventually, Goffer expects UPnRIDE to become his everyday wheelchair. “I enjoy it because I can stand and sit easily whenever I want; I don’t have to be moved and lifted by someone else. It can recline, too, so it’s better for napping or receiving medical treatment.”
The smart wheelchairs are to be manufactured in a northern Israel factory run by Sanmina, an American electronics manufacturing services provider. Tamari said the company plans to use proceeds from the current funding round for marketing, establishing mass production and developing advanced and new models.
Israel21c is a nonprofit educational foundation with a mission to focus media and public attention on the 21st-century Israel that exists beyond the conflict. For more, or to donate, visit israel21c.org.
Best known for couture wedding gowns, Galia Lahav is one of the major players in the wave of Israeli designers making a mark on the international bridal industry. (photo from Instagram)
With fashion accessible at our fingertips via e-commerce, shopping apps and social media, the past few years have seen the rise of emerging designers from around the world. Along the way, a number of Israeli designers have won favour with the international fashion crowd, particularly celebrities and their stylists.
“I always say that talent has no geographical boundaries. If your vision is strong, the quality of your work is high and you know how to work with international markets, then your way to success is quick,” Israeli fashion blogger and Instagram influencer Roza Sinaysky told Israel21c.
Sinaysky, known on Instagram as @moodyroza, said she has seen a change in the Israeli fashion scene over the last two to three years, where more people are interested in fashion and willing to support young designers. The designers, she said, also are more aware of trends and the needs of the industry thanks to social media.
“The rise of social media made a huge difference in the fashion industry. For designers, it opened a lot of doors. When everyone can see your work, you never know who might reach out,” said Sinaysky.
Over the past few years, Israeli designers have been approached by Kensington Palace, Beyoncé, Serena Williams, Lady Gaga and many others to create custom pieces.
“I think it’s so great that Israel is recognized as a place of talents, not just technology. It makes me very proud to see local designers do so well abroad,” said Sinaysky.
Below are eight Israeli fashion and accessory designers making their mark internationally.
Shahar Avnet
What do Beyoncé and Eurovision winner Netta Barzilai (who was just in Vancouver for a concert) have in common? They both wear Shahar Avnet. The young Israeli designer made headlines last year when her custom-made, nude-coloured tulle gown was worn by Beyoncé on stage during her world tour with Jay-Z.
Avnet also designed the multicoloured kimono famously worn by Barzilai on the cover of her hit song “Toy.”
“My garments are for confident women who are fearless, intelligent and chic; women who are not afraid to be the centre of attention and making a statement,” Avnet told Vogue Italy.
The Tel Aviv-based designer’s tulle creations walk the line between art and fashion, often combining techniques such as drawing, embroidery and collage into a single dress.
Avnet graduated from Shenkar College of Engineering, Design and Art in 2016, receiving her first international exposure when her final project was chosen to represent the school at the International Catwalk during Graduate Fashion Week in London, England.
Avnet’s bold colours and unusual, feminine silhouettes have caught the attention of celebrity stylists and magazines. Other celebrities who have worn Avnet’s dresses include American actresses and singers Zendaya and Kelly Rowland, and members of the Israeli band A-WA.
Marei1998
Designer Maya Reik launched Marei1998 several seasons ago, almost immediately earning praise from the fashion world for her classic-modernist design sensibility – an unusually subdued approach for a designer her age (1998 refers to the year Reik was born).
Drawing upon Reik’s love for European cities and vintage nostalgia, Marei1998 offers a twist on classic luxury, reviving traditional styles like the robe coat and wrap dress. The brand’s claim to fame is its faux fur coats, which have become a celebrity-approved go-to for a sustainable statement. Last year, Marei1998’s eco-fur was spotted on model Bella Hadid and actress Priyanka Chopra.
Marei1998 has presented its collection in Milan the past few seasons and has had several successful trunk shows with online retailer Moda Operandi, which says “the young Israeli is living proof that elegance doesn’t come with age.”
A by Anabelle
Anabelle Tsitsin, the 26-year-old designer behind celebrity-approved shoe brand A by Anabelle, drew upon her background in fine arts to launch a collection of luxury footwear in 2016 that features unexpected and playful embellishments like crystals, feathers and fur. All the shoes are made of Italian leather and fabrics in Parabiago, a town just outside Milan known for its history of footwear craftsmanship.
The brand’s signature style features an architectural A-shaped heel, worn by celebrities like Victoria’s Secret model Josephine Skriver and actresses Katharine McPhee and Logan Browning. In 2017, Halle Berry wore A by Anabelle’s lace-up “starlette” shoes during an interview with Ellen DeGeneres on The Ellen Show.
Although based in Israel, the brand has started to make its rounds on the international style scene and social media thanks to influencers and fashion bloggers like Maja Malnar, Camila Carril and Cristina Musacchio.
Nili Lotan
Israeli-born, New York-based designer Nili Lotan launched her namesake brand in 2003. The label, which revolves around timeless slip dresses, simple cargo pants and elevated basics, is tomboy meets luxury, making it a go-to for model-off-duty style.
Though Nili Lotan has been a mainstay in Tribeca since the store opened in 2006, it has been pushed toward the spotlight in the last several years thanks to an ever-expanding list of celebrity followers, like Gigi Hadid, Rihanna, Jennifer Lawrence, Gwyneth Paltrow and Kaia Gerber. The brand has been referred to as Hadid’s “wardrobe secret weapon” by Vogue, with frequent images of the model in Lotan’s designs flooding Instagram.
Galia Lahav
Best known for couture wedding gowns, Galia Lahav is one of the major players in the wave of Israeli designers making a mark on the international bridal industry.
Led by head designer Sharon Sever, the brand’s embellished, forward-thinking designs have been worn by Beyoncé, Serena Williams, Ciara, Jennifer Lopez and many others – Lahav made headlines when Beyoncé chose a dress from the label’s Victorian Affinity collection to renew her vows with husband Jay-Z. Another defining moment came when the designer created six custom-made, cream-coloured gowns for Williams’ wedding party.
Dresses from Lahav’s line of evening wear have made frequent red carpet appearances, with their plunging necklines and figure-hugging sequins adorning stars like model Shanina Shaik, actress Sarah Hyland and singers Ciara and Halsey.
Alon Livne
While Alon Livne opened his Soho, N.Y., atelier and ready-to-wear showroom in 2017, he has been designing under the label Alon Livne since he founded his studio in Tel Aviv in 2010.
With three separate lines – bridal, evening and ready-to-wear – Livne has gained a following of international brides, celebrities and lovers of bold, fearless fashion.
Lady Gaga is among the brand’s A-list fans, having worn several custom gowns by Livne over the last years. His avant-garde, innovative designs have also been worn by Beyoncé, Nikki Minaj, Jennifer Lopez, Naomi Campbell and many others. One of his dresses made waves when it was worn by actor Johanna Mason in the film Mockingjay, part of the four-movie Hunger Games franchise.
Inbal Dror
Beyoncé’s gown is from the Inbal Dror Fall 2016 Bridal collection. (photo from Inbal Dror)
Inbal Dror began designing wedding dresses in 2014, pioneering the style of the “red carpet bride,” with her glamorous, figure-hugging styles that were new to the bridal industry at the time.
Since then, the brand has dressed high-profile brides around the world. In 2017, Dror was contacted by the royal family about possibly making the wedding dress for Meghan Markle’s wedding to Prince Harry. Though the newly appointed Duchess of Sussex chose a different dress in the end, the famous inquiry solidified Dror as one of the biggest names in bridal.
Dror had previously dressed Beyoncé for the Grammys in 2016, proving that wedding dresses aren’t just for brides.
Tuxe
When Meghan Markle wore a silk Boss bodysuit by Israeli designer Tuxe for an evening out with Prince Harry in February 2018, the style was immediately backordered until May.
Tuxe was founded by Tamar Daniel, who was born in Jerusalem, raised in London, and graduated from the Shenkar College in Ramat Gan. She founded her Philadelphia-based bodywear line in 2015, focusing on transforming the bodysuit, once a 1990s staple, into a chic, modern garment.
Her collection includes a range of bodysuits with names like Boss, CEO, Pacesetter, Game Changer and Expert, and has become particularly popular with professionals and religious communities, Daniel told Vogue in an interview. Prices range from about $80 for a simple sleeveless bodysuit to $463 for a cashmere turtleneck version.
“We’ve been royally approved!” the brand posted on Instagram after Markle was photographed wearing the bodysuit. “We absolutely love Meghan for all she has done for women’s rights and are honoured to be worn by someone who encapsulates what we stand for as a brand. She uses her spotlight to be an inspiration and she definitely is to us!”
Israel21cis a nonprofit educational foundation with a mission to focus media and public attention on the 21st-century Israel that exists beyond the conflict. For more, or to donate, visit israel21c.org.
Prince Harry with Meghan Markle wearing Tuxe’s Boss bodysuit. (photo from Beretta/Sims/REX/Shutterstock via Israel21c)
Since announcing her engagement to Prince Harry last November, all eyes have been on Meghan Markle’s style. Coats, shoes, dresses and other fashion items worn by the bride-to-be have sold out in minutes. It’s no surprise that after she wore a bodysuit by Israeli designer Tuxe for an evening out with her betrothed, the style is now backordered until May.
The couple, set to marry in May, went to London’s Goldsmiths’ Hall for the Endeavour Fund Awards, which recognize injured servicemen and women. Known for her dressed-down-meets-royal style, the former actress layered Tuxe’s silk Boss bodysuit underneath a tailored black Alexander McQueen suit. On her feet, she wore Manolo Blahnik pumps.
“We’ve been royally approved!” the brand posted on Instagram after Markle was photographed wearing the bodysuit. “We absolutely love Meghan for all she has done for women’s rights and are honoured to be worn by someone who encapsulates what we stand for as a brand. She uses her spotlight to be an inspiration and she definitely is to us!”
Tuxe founder Tamar Daniel was born in Jerusalem, raised in London and is a graduate of Shenkar College of Engineering and Design in Ramat Gan. She founded her Philadelphia-based bodywear line in 2015, focusing on transforming the bodysuit, once a 1990s staple, into a chic, modern garment.
Her collection includes a range of bodysuits and has become particularly popular with professionals and religious communities, Daniel told Vogue in an interview. Prices range from about $80 for a simple sleeveless bodysuit to $463 for a cashmere turtleneck version.
Tuxe may not be the first Israeli designer that Markle has had her eye on. In December, news broke that Israeli designer Inbal Dror had been approached by the royal family to provide a sketch of a potential dress for Markle’s upcoming wedding to Prince Harry.
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Selections from the 2017 Inbal Dror catalogue. The Royal family is rumoured to have approached Dror for a sketch of a potential wedding dress for Meghan Markle. (photo from Inbal Dror via Israel21c)
On Dec. 18, 2017, Israel21c posted the story, “Is Meghan Markle going Israeli for her wedding dress?”:
It’s rumour, it’s conjecture, and it’s probably an awful lot of wishful thinking, too, but that’s not stopping Israelis from getting excited at the thought that Meghan Markle may choose an Israeli wedding designer for her dress on the big day.
All the kerfuffle began when news broke that Israeli designer Inbal Dror had been approached by the Royal family to provide a sketch of a potential dress for Markle’s wedding to Prince Harry in May.
Dror, who began making wedding dresses in 2014, favours sensual red-carpet glamour, with plunging necklines and figure-hugging hand-woven dresses. It’s quite a step away from traditional royal wedding gowns that usually err on the side of caution.
This isn’t the first time that Dror has been approached by celebrities for designer dresses. In 2016, pop diva Beyoncé wore a sheer high-necked white lace Inbal Dror bridal gown to the Grammy Awards.
“Beyoncé casually wore a wedding dress to the Grammys,” read the headline of Elle magazine afterwards, adding as a sub-head: “The queen can do as she pleases.”
“It was an amazing moment to see one of my favourite stars wearing one of my designs,” Dror told Brides after seeing Beyoncé in her dress. “I can’t even begin to explain the feeling. I am so excited for what is yet to come!”
Dror, a graduate of Shenkar College of Engineering and Design, sells her dresses for between £6,000 and £9,000 (about $10,500 to $16,000 Cdn) at the Morgan-Davies Bridal boutique in London – with fittings by appointment only. All of her outfits are individually made, and are based on 30 different measurements.
In an interview with Bridal magazine in 2015, Dror said, “A wedding is such a significant event in a woman’s life, and it’s how she feels wearing the dress that emphasizes her features, [which] can make her feel like the queen of the night.”
Israel21cis a nonprofit educational foundation with a mission to focus media and public attention on the 21st-century Israel that exists beyond the conflict. For more, or to donate, visit israel21c.org.
Noa Koler in The Wedding Plan, which screens Nov. 9 at Fifth Avenue Cinemas. (photo from Roadside Attractions)
The grin-inducing trailer for The Wedding Plan nonetheless suggests one question – did Israeli filmmaker Rama Burshtein sell out?
The Orthodox writer-director’s acclaimed debut, Fill the Void, was an uncompromising story of a young Orthodox woman grappling with her parents’ and community’s expectations regarding her prospective husband. In contrast, The Wedding Plan, while also being chuppah-bound, appears from the trailer to be a romantic comedy designed to entertain.
In fact, The Wedding Plan is a high-stakes emotional journey about an observant woman in her 30s who’s so unhappy that she resolves to wed on the last night of Chanukah – with no groom in sight – after her fiancé breaks up with her mere weeks before their appointed date. Michal’s family and friends counsel against such a bold, risky and potentially devastating strategy, but she remains undeterred.
The film contains plenty of witty one-liners but, as the Israeli trailer conveyed, it’s not a disposable sitcom. Burshtein has assuredly not sold out. She simply trusted her U.S. distributor’s marketing strategy, even if some ticket-buyers are misled.
“If you think you’re going to see a romantic comedy and you get something more, that’s good,” said Burshtein. “You get something stronger and that’s OK.”
The Wedding Plan screens on Nov. 9, 4 p.m., at Fifth Avenue Cinemas as part of this year’s Vancouver Jewish Film Festival.
Both of Burshtein’s films raise a curtain on the lives of Orthodox women, in part through honest conversations they have among themselves when men aren’t around. The characters reject the idea that Orthodox women are subservient to men and, unsurprisingly, so does their creator.
“For me,” said Burshtein, “being religious is liberating. It’s not killing or closing or not letting me express my thoughts.”
Burshtein goes even further, asserting that women are the creative force.
“The art world is women,” she said. “[Orthodox] men don’t make films, they don’t cook, they don’t paint.”
Burshtein originally pitched The Wedding Plan as a television series, but, after getting the green light and embarking on the script, she decided it would be a feature film. Although she doesn’t say it, a movie is seen by more people around the world than an Israeli TV show.
“I’m writing from my world to the outside world,” the filmmaker explained in a phone interview during a press day in Washington, D.C. “Not [just] to secular people but to non-Jews. It opens a window to my world to people who know nothing about my world.”
Burshtein was born in New York and became religious while she was in film school in Jerusalem in the 1980s. She admits she didn’t expect the attention her films have received abroad, but at the same time isn’t surprised they touch audiences far beyond Tel Aviv and New York.
“We live in an age when women find their partner pretty late,” she said. “And sometimes they don’t. It’s very hard to find someone that you really want to share your life with. [My films] connect to that. All over the world, it’s the same thing, the same heart.”
The Wedding Plan is unmistakably and unapologetically set in the Orthodox community but the crux of the film is Michal’s urgent personal quest. Although her ostensible goal is to get married, a raw and powerful opening scene makes it clear that what she really craves and seeks is the respect of a committed partner.
Michal’s striving is universal and at times absurd, which spawns the film’s humour. Because she has no time to waste, Michal (played by the fearless Noa Koler) confronts every prospective suitor with direct questions and shockingly honest confessions that derail and discomfit them.
Michal’s pain and desperation are palpable through the laughs, to the point where she makes a pilgrimage to Ukraine to the grave of Rabbi Nachman of Breslov. That’s not an incidental detail, for Burshtein is a proponent of Rabbi Nachman’s philosophy.
“We can handle despair, and we can handle hope,” she said. “The film is that movement between the two. You should be a fighter in the movement, and not get lost in the movement.”
The Vancouver Jewish Film Festival runs Nov. 2-9 at Fifth Avenue Cinemas and Nov. 10-12 at the Rothstein Theatre. For tickets and the full schedule, as well as the trailer for The Wedding Plan, visit vjff.org.
Michael Foxis a writer and film critic living in San Francisco.
To all those who believe in marrying for love, Montreal-based matchmaker Rabbi Yisroel Bernath asks, “What happens when the romance fails?”
Bernath is spiritual director at Chabad of Notre-Dame-de-Grâce and a chaplain at Concordia University. Known by some as “the Love Rabbi,” he is at the centre of the documentary Kosher Love, which can be see at this year’s Vancouver Jewish Film Festival on Nov. 5, 4 p.m., at Fifth Avenue Cinemas.
The film’s mostly light tone and creative compilation, which includes animation, make for an interesting peek into the ultra-Orthodox world and how its members meet one another, marry and start a family. Bernath seems like an affable man, even though he divides North America’s Jews into only three groups – those who watch Seinfeld and eat bagels, those who are Orthodox and those who are Chassidim – never mind the scores of other affiliations and levels of observance.
What is particularly compelling is that Bernath is open to hearing, if not being swayed by, different points of view. There is one scene between the rabbi and a married couple he matched, in which the woman is comfortable and confident enough to strongly present her opinion that love is a vital part of a relationship. She doesn’t back down when Bernath accuses her of being overly romantic, but rather digs her heels in and tells him, with some vehemence, that she doesn’t agree with him.
Viewers also meet a nightmare mother and son. The mother, whose daughters have both married, is quite obnoxiously desperate to marry off her 33-year-old son. But the man-child YoNatan, a DJ, is clearly more in love with himself and his music than he could ever be with anyone else. YoNatan was never going to add to Bernath’s total of 50-plus successful matches.
As the Montreal Gazette noted in its review, “Regardless of the personalities in Kosher Love, it really transcends religion in touching on universal themes. It is the view of Bernath that love develops over time, but that in today’s fast-paced world, few have the patience to wait.” When and how love develops, and how it can be nurtured, are all worthwhile ideas to consider, and director Evan Beloff offers a charming and engaging introduction to some Jewish thoughts on the subject.
Beloff will be at the film festival’s Nov. 5 screening. For tickets and the festival schedule, visit vjff.org.
Judging from its ritual text, the ketubah (marriage contract) that is read aloud during a Jewish wedding ceremony isn’t the most exciting, romantic or joyous document. It spells out a husband’s fundamental Jewish legal obligations to his wife – food, clothing, conjugal rights – and guarantees the sum that the husband will pay his wife in the event of a divorce. Yet, increasingly, today’s ketubah designs are anything but dry and transactional. Going beyond placing a plain document in a basic picture frame, or using common designs such as a view of Jerusalem or the kabbalistic Tree of Life, ketubah artists and consumers alike are developing more elaborate and personalized tastes.
Morgan Friedman, chairman and “lead muse” of thisisnotaketubah.com, calls his initiative “the first company to do outlandish ketubot,” starting in 2011. Friedman said he “wanted a ketubah with super-crazy modern art” leading up to his wedding in 2010, but couldn’t find one. He approached his wife-to-be’s friend, Argentine artist Yael Magenheim, and she designed a ketubah to match his wedding, whose theme was the colour orange. Today, Magenheim is the artistic director for thisisnotaketubah.com, which has created 3,000 ketubot to date. Most customers order designs that the website already offers, but Friedman has a separate site, bespokeketubah.com, featuring commissioned artworks.
“My official reaction and what I tell [customers] is, ‘Whatever makes you happy.’ What makes the world a wonderful place is that different people have different preferences,” Buenos Aires-based Friedman told JNS.org, reflecting on some unique ketubot he has designed, such as one commissioned for a dragon-loving couple who are Game of Thrones fans.
Adriana Saipe was also inspired to enter the ketubah art business through the process of designing her own ketubah, in 2013. For customized ketubot – which make up 20% of her business on inkwithintent.com, the rest coming from existing designs – the Vermont-based artist said she often starts “with a place that has significance” for the couple. She asks them questions like where they met, where they’re living and where they’ve traveled together. For instance, one ketubah the artist is currently working on features landscapes from Miami, Pittsburgh and Providence, three cities where the couple has lived.
Saipe also hides “little secrets” in her designs. In a ketubah for a couple that enjoys rowing, she added boathouses along a river amid a nighttime Philadelphia cityscape; the average observer might not notice the small boathouses, but they are there for the couple to appreciate, Saipe explained, describing this design choice as the difference between the “outer layer that’s art on the wall” and the “inner story for the couple.”
Although Friedman cites 2011 as the advent of the “outlandish” ketubah, other artists estimate that elaborate, unique or customized ketubot were popularized at least two decades ago.
“The current trend to have modern art ketubahs began around the end of the 1990s,” said San Antonio-based artist Nishima Kaplan, who runs artketubah.com. “I was one of the first few artists to be involved in this trend, which was customer-driven. In the 1990s, the technology didn’t allow for just-in-time ketubah prints, so people who wanted an artistic piece with a unique text had to commission a handmade piece. I made a lot of these in the early 2000s. Now, there is such a wide selection of artistic designs on the internet that can be ordered with any text, so there is less demand for handmade pieces that are artistic but not personal, the unique designs that reflect a couple’s life continue to be desired.”
Jerusalem-based artist Danny Azoulay took up ketubah design nearly 20 years ago, when Israel’s tourism minister asked him to design award certificates for companies slated to be named as the top 50 businesses for tourism in the Jewish state. At least 10 people who saw examples of the certificates in Azoulay’s store commented that they would make for compelling ketubot, prompting the artist to pursue that niche.
Azoulay, who runs ketubahazoulayart.com, recalled that, when he first began designing ketubot, most Judaica production took place in China and India, where manufacturing costs are lower than they are in Israel. He understood that he couldn’t compete with sellers of standard mass-produced Judaica items, and needed a niche such as the ketubah. Simultaneously, more customers were asking him to produce commissioned ketubot.
Saipe, who has produced about 1,000 ketubot, said that, based on her conversations with consumers of various ages, the trend of elaborate designs began “somewhere between the 1980s and 2000.”
“There’s a really interesting dichotomy among ketubah artists themselves,” she said, noting that, on the one hand, there are “well-established” artists who produce ketubot with a classic old-world feel, and, on the other hand, there has been the emergence during the last five years of “contemporary” artists who employ “modern symbolism and modern times” in their designs.
What’s the reason behind the trend? The artists agree that customized ketubot are simply indicative of the popularity of personalized art in general, in addition to reflecting the personalization of various aspects of weddings.
“Everyone loves personalized art. This is not a new thing,” said Kaplan, who has created more than 3,000 ketubot since 1998. That said, some couples’ desire to alter and personalize the ketubah’s age-old Aramaic ritual text may also play a role in the trend of commissioned designs, she said.
“Once a couple begins thinking about a text they want that is different from the traditional one on their parents’ ketubah, it may be a natural next step to wanting an art ketubah,” said Kaplan.
Left to right, Laura Luongo (Mindy), Melanie Preston (Georgeanne), Michelle Weisbom (Meredith), Devon Oakander (Tripp), Christine Reinfort (Trisha) and Yvette Benson (Frances) in Metro Theatre’s production of Five Women Wearing the Same Dress. (photo by Tracy-Lynn Chernaske)
The wedding reception thrown by Metro Theatre Vancouver will be one of the most engaging and fun that you’ve attended – without the hangover or other morning-after regrets. Well, not necessarily, anyway.
Five Women Wearing the Same Dress is at Metro to March 12 and it is well worth seeing. Not only will you be supporting a wonderful theatre space but some very entertaining theatre, as well.
Two Jewish community members are among the five women at this over-the-top Knoxville, Tenn., wedding – Michelle Weisbom as Meredith and Melanie Preston as Georgeanne. Meredith is the younger sister of the bride, Tracy, who none of the bridesmaids, including Meredith, like. Georgeanne was a friend of Tracy’s in high school but Tracy’s then fiancé, Tommy, caused a lasting rift. And Tommy is a recurrent topic among the bridesmaids – he is what you would call a real shmuck.
We meet the bridesmaids after the wedding, just as the reception at Tracy’s parents’ home is starting. The women are decked out in teal sleeveless taffeta dresses that wouldn’t look half bad but for the huge sash with a bow that wraps about the butt, and the hat with a bow to match.
Frances (Yvette Benson) is the first to take refuge in Meredith’s bedroom. Tracy and Meredith’s cousin, Frances is a believer, and every time she is offered a drink, a smoke, a joint, she declines, giving as her reason, “I’m a Christian.” One of the best exchanges in the play is between Frances and Trisha (Christine Reinfort), another former high school friend of the bride, who describes herself as “the reigning queen of the bad rep.” They argue about the difference between having the right to an opinion versus imposing your opinion on others, and Frances’ accusation at one point, “That is secular humanism talking!” is hilarious – and thought-provoking – in context.
Rounding out the bridal party is the groom’s sister, Mindy (Laura Luongo). A lesbian whose coming out was almost universally poorly received, except by her cousin Tripp, Mindy is high-strung and somewhat defensive. She is also clumsy and a compulsive eater, at least in stressful situations, which this wedding is for her and her fellow bridesmaids.
The one man in the cast is Tripp (Devon Oakander), who we meet late in the play, though we hear about him earlier, as Trisha finds him attractive and talks about him with the other women. She tries to resist his charms, as she has slept with many, many men to date and been hurt many times. The scene between Trisha and Tripp is delightful, though it is one spot at which the play loses a bit of its momentum. It is unclear why playwright Alan Ball (whose credits include American Dream, True Blood, Six Feet Under) needed have a male character in the play at all. Perhaps to defend his sex? Show clearly that there are some good men out there?
The only criticisms of Metro’s Five Women lie with the writer. He touches on a number of themes – religion, homophobia, AIDS, sexual abuse, drug use, race, wealth, etc. – and the points are sometimes lost. As well, there are a few moments where the story drags a bit. But director Don Briard has done a fantastic job with this production overall. All of the actors have just enough of a Southern twang that the play is well-situated geographically, and the set of the play, which premièred in 1993, puts it firmly in its temporal space. The actors have a great chemistry and interact with each other convincingly. You really will feel as if you’re the sixth bridesmaid in the room – though much more comfortably dressed.
Five Women is recommended for audiences age 16+. For tickets ($24/$21, two for $35 every Thursday), call 604-266-7191 or visit metrotheatre.com.
Mazal tov. Mabrouk. Congratulations. No matter one’s religion or language, a wedding is generally a joyous occasion.
While there is no apparent consensus, varying reports say that between 60% and 80% of all marriages in the United States are performed in a religious ceremony. Where do the religious wedding traditions come from? What are the similarities and differences between the marriage traditions of the three Abrahamic religions – Judaism, Christianity and Islam?
The most obvious similarity between Jewish, Christian and Islamic marriages is that, in each case, the tradition requires that the union be between a bride and a groom of the same religion. In other words, according to the letter of the religious law, intermarriage is forbidden.
The Torah, New Testament and Quran indulge in many stories designed to warn men against marrying women who worship foreign gods or are nonbelievers.
Deuteronomy 7:3-4 states, “Do not intermarry with them. Do not give your daughters to their sons or take their daughters for your sons, for they will turn your children away from following me to serve other gods, and the Lord’s anger will burn against you and will quickly destroy you.” For Christians, 2 Corinthians 6:14-17 explains that one should not be “yoked together with unbelievers,” and should “touch not the unclean thing” if one wants to be received by the Lord. In Sura 60:10, Muslims learn, “Do not maintain your marriages with unbelieving women.”
In Israel, where couples can wed only through religious ceremonies administered by the Chief Rabbinate, the intermarriage rate is relatively low. The 2015 Israeli Democracy Index survey found more than one-third of both Jewish (36%) and Arab (38.8%) Israelis support organizations that work to prevent Jewish women from marrying Arab men, even if their activities are radical and/or violent.
In the United States, however, intermarriage is almost the norm. The 2013 Pew Research Centre survey of American Jews found an intermarriage rate of 58%, up from 43% in 1990 and 17% in 1970. Among non-Orthodox Jews, the intermarriage rate is 71%.
How do these intermarried couples plan their weddings? Are the traditions similar enough to make it work?
The modern idea of a secular marriage based on love is rooted in Christianity. But, according to Karen Armstrong’s The Gospel According to Woman, the first detailed account of a Christian wedding in the West dates back to the ninth century and was identical to the old nuptial service of ancient Rome. This is likely because, at its core, Christianity looks down upon marriage.
In the New Testament (Matthew 22:23-30), Christians are taught that in heaven there are no marriages. St. Paul describes marriage as a last resort for those who cannot restrain themselves, saying that being chaste is the ideal.
In contrast, there are deep Jewish and Islamic marriage traditions that begin even before engagement. Arranged marriages – or the use of a shadchan (matchmaker), in Jewish terms – is something that’s not only condoned, but encouraged by both faiths.
Rabbi Etan Mintz, leader of B’nai Israel Synagogue in Baltimore, said matchmaking is experiencing a resurgence. There are now any number of religious- and secular-rooted websites helping couples meet and match. Likewise, there’s a growing phenomenon of executive matchmakers.
In the time of the Talmud, Jewish engagement (erusin) looked very different than it does today, Mintz explained, as engagement and marriage nuptials (nissu’in) were different ceremonies that took place about one year apart. When a man wanted to marry a woman, he would ask her father for permission, and documents of commitment would be signed. During that time, the couple was able to plan their lives, but no direct or immodest contact was allowed.
Today, the erusin and the nissu’in ceremonies generally happen at the same time – under the chuppah (wedding canopy). The ceremonies are divided by the reading of the ketubah (marriage contract).
An Islamic bride’s hand is decorated as part of the henna pre-wedding ritual. (photo by Ibtisam Mahameed)
This is not too different from how Muslim engagement practices look today, in some circles. Ibtisam Mahameed, a Muslim woman from the village of Faradis in Israel, told JNS.org that, in order for a couple in her town to get engaged, the man and his family must meet with the woman’s family.
“The boy has to come and sit in the parents’ house and say he wants to marry the daughter. The parents have to agree. If they don’t agree, the couple cannot be married,” she explained.
If the parents agree, then the village sheikh will come to the house of the woman’s parents and go over Muslim marriage law – what is owed to the bride and groom, the obligations of the man to the woman, and the ramifications of divorce.
“The rights are fully explained before the wedding,” Mahameed said.
Both Muslims and Jews enjoy rich pre-wedding rituals.
The Jewish bedeken (veiling ceremony) is “so powerful,” said Mintz. Often marking the first time a bride and groom are seeing each other after a week of separation before the wedding, the bedeken is wrought with emotion.
While one understanding of the bedeken is that it relates to the fact that the biblical patriarch Jacob was forced to marry Leah instead of Rachel when the brides were switched by their father Laban – and, by extension, today, the groom symbolically makes sure he is marrying the right bride by checking and then veiling her – Mintz said there are other more spiritual interpretations of ritual.
“Rabbi Shlomo Carlebach asks, ‘If the purpose is to make sure she is the right one, why does he veil the bride at the bedeken? Shouldn’t he be taking the veil off?’ Carlebach says the radiance of the bride is so powerful under the chuppah, so beautiful, that the chatan (groom) veils her. That intensity, that beauty, is just for the two of them in their own personal space,” Mintz said.
Mahameed described Islam’s “henna” ceremony as powerful and intimate, too. She said the groom’s best friends and relatives gather in his home to mix and paint the henna dye. Then, they mix more of the dye to deliver to the bride. Carrying a uniquely woven basket with a golden plate of henna, the groom and his mother walk hand-in-hand to make the henna delivery to the bride.
