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June 25, 2009

Write Your Best Speech for the Big Day

If you were the greatest, most eloquent writer in the world, how would you tackle the job of summarizing your feelings for your child?

Resuscitated people who say they’ve glimpsed heaven report that there are luminous colors there we’ve never seen on earth. Perhaps there are also words there wondrous enough to express what we hold in our hearts for our children, but I don’t know what they are. We’re stuck with the thousands of words we know, none of which seem up to the task.

So it’s probably best right now to make your peace with the idea that whatever you say in a speech to your child, however long you go on, it’s never going to feel completely right or sufficient. If you’re making a speech from the bimah, the clergy and congregants would most definitely prefer that you keep your remarks short and to the point. You will have many more chances at the party to speak at length.

Parent speeches seem to fall into a few categories: The ones that are purely about the love, joy and pride we feel as parents; the ones that instruct the child on embracing Judaism; and those that do both.

There is at least one other type of speech: the spoken resume. This is the one that chronicles the child’s every achievement from birth. It sounds like a love-and-pride speech, because the information is presented that way: “and then after you led your team to victory in the semifinals, we were so proud that you were chosen MVP….” But we’re not fooled now, are we? These parents feel that certainly on this day, they’ve got bragging rights, and they aim to use them.

I don’t want to be judgmental, because my children move me to tears and, when faced with doing right by them in a speech, I’m just as perplexed and stammering as the next mom.

What Kids Want Their Parents to Say
First, kids don’t want to be embarrassed, so forget about telling those adorable stories from their baby and childhood years. And second, kids want you to recognize the hard work of bar/bat mitzvah preparation — but don’t detail their struggles. Your child does not want to be viewed as anything other than the cool, commanding individual he/she appears to be today.

It may sound strange, but I think many parents do feel that something changes about their child on bar or bat mitzvah day. Or perhaps something changes about themselves.

The tussles over Torah study are finished. You can’t hold his hand anymore; he goes on alone from here. There’s a great sense of dignity and majesty around him.

You may have heard him chant his portion before in the kitchen, but it’s quite another matter to see him up on the bimah, beautifully dressed, standing before the huge Torah scroll. And to see all eyes turn to him — they don’t see the baby you held in your arms or the goofy boy he was just yesterday. Today, he is a man.

What does your child want you to say before she goes? That you know how hard she worked, how much it took to get here. That you could never take for granted how complicated it is to be young and on the verge of adulthood — wanting to go, longing to stay. That you love the person she is and admire the person she’s becoming. That no matter how far away she goes, you will always be her home.

Listen to OtherParent Speeches
In choosing your own words, it’s a very good idea to attend as many bar and bat mitzvah services at your own synagogue as possible leading up to your own big day. If the synagogue allows parent speeches from the bimah, you will certainly hear enough to know what sounds right to you. You can even grab little phrases here and there that you might want to use.

Not to diminish what is special in each one, but parent speeches over the course of a year become a de facto essay contest, because everyone is trying to do their best with the same topic. You be the judge of who succeeds. Go and learn from them. In addition to the creative inspiration, it will make you very excited about how you’re going to feel when it’s your family’s turn.

Overcoming Your Nervousness
It’s normal to be nervous. On a day when we ask our child to get up in front of 100 people and risk embarrassment, it seems only fair that we should also venture it ourselves.

Fear of public speaking is one of the all-time top phobias. For some reason, most of us would prefer torture of some kind to five minutes in the spotlight being ourselves. If I had to name the fear, I would guess it’s some combination of not wanting to look or sound like an idiot, not wanting to be vulnerable in public and being unsure you have, or are worthy of, your friends’ love and support.

The amazing thing about this fear is that we have it even though we’ve seen countless speakers lovingly and sympathetically supported by audiences not even as intimate and supportive as the one that surrounds us at our child’s simcha. These people are your friends; you’re safe with them. They already know and accept you. They’re here for you. Moreover, everyone knows how hard it is to speak from the heart — one-to-one — much less on stage in front of a crowd.

No one’s going to judge the weaknesses in your performance. On the contrary, when someone gets up and says something we all feel — like what a miracle it is to love and be loved by a child — that’s when the magic happens. There’s instantly a special feeling in the room; the composition of the air seems to change, the way ozone before a thunderstorm makes everything glow.

It’s a sacred moment, a time to look within. So, while you may think everyone is focusing on the shakiness in your voice, they’re not paying attention to that. Nervousness is much less noticeable than it feels. And, if people do notice, they’re happy for you. Because having a voice that shakes with emotion means that you have loved deeply, one measure of a life well lived.

Preparation Is the Key
If you write a speech that you love, you should be excited about actually reading it on the big day. Notice I said “reading” it — a nervous person should not try to memorize, particularly since a lot of the worry will then center on whether, under pressure, you’re going to be able to remember everything just the way you wrote it. Practice your speech aloud, though obviously not in front of anyone who should hear your words for the first time on the big day.

Write your speech on little index cards you can easily tuck into even a small pocket or purse. Reading from cards also gives you a place to look, so you can forget about how many people are actually sitting there listening. If you’re speaking to your child, just look back and forth from that adorable face to the card. Pretend it’s just you and him.

Keep it short — anyone can survive talking for three minutes. Force yourself to breathe slowly and deeply and to talk at a normal pace. Keep in mind that most people have stage fright only before they start speaking — once you’re under way, you’re going to feel fine and maybe even enjoy it.

And remember, according to professional speaker Tom Antion, stage fright actually makes you better looking.

“Fear is your friend,” he said. “It makes your reflexes sharper. It heightens your energy, adds a sparkle to your eye and color to your cheeks. You are more conscious of your posture and breathing. With all these effects, you will actually look healthier and more physically attractive.”

If you’re still scared, think of it this way: You’re the parent of a teenager — nothing’s scarier than that.

You can do this. If public speaking is a fear of yours (as it is of many of the world’s top performers), make yourself give just a little speech. You will finish the bar or bat mitzvah with not just great memories but feelings of real satisfaction and renewed confidence in your own abilities.

Gail A. Greenberg is online at mitzvahchic.com. This article was adapted from a chapter in her best-selling book, “MitzvahChic: How to Host a Bar or Bat Mitzvah That Is Meaningful, Fun and Drop-Dead Gorgeous” (Fireside Books, 2006).

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How to Succeed in B’nai Mitzvah Without Really Trying!

So you want to have a bar or bat mitzvah … good. Here are a few tips on how to make it through the year leading up to the big day.

Managing Parental Stress
First, your parents will inevitably go crazy. Slowly, over time, you’ll see the telltale signs. It is important to detect the early-onset symptoms of a parent’s mounting stress: Are they unusually quiet at the dinner table? Do they sit in a corner making endless lists, humming “Sunrise, Sunset”?

By the time they start nudging you daily about practicing, it is important to take them by the hand, sit them down and pop in an old Betamax of their own embarrassing disco-era bar/bat mitzvah. Watch their service, look over their geeky photos and be sure to ridicule them as much as possible — it takes the edge off for you and reminds them how much work you are putting in. This bonding time with the folks will also help everyone keep things in perspective.

And if things get really tense, there is always a great book called “Who’s Bar/Bat Mitzvah Is This Anyway?” by Judith Davis (St. Martin’s Griffin, 1998). Quickly throw it toward the parental units and make a hasty retreat (or have it anonymously arrive to their attention via Amazon.com).

The Best Time at the Worst Possible Time
The bar/bat mitzvah is held at exactly the wrong time for a young adult to stand up in front of a crowd and proclaim their adulthood. This practice is from the olden days when a 13-year-old would already have his own wife and two kids — so be happy your biggest responsibility is picking the color for the suede kippot.

Your voice will crack up there — your face full of braces, your arms longer than they should be, and a pimple in the center of your nose. Anthropologists will one day use the haircut you’re so sure is timelessly cool right now to determine the exact month the photo was taken (see Mom’s Dorothy Hamill and Dad’s Flock of Seagulls cut).

In the movie, “Keeping the Faith,” Ben Stiller’s rabbi character explains to his vocally challenged bar mitzvah student that he should embrace his “suckiness.” So don’t stress. The truth is it’s not a performance; it’s a time to be with your community and celebrate the process of gaining knowledge and questioning — so enjoy it.

While it may be the most awkward time in life, your bar/bat mitzvah can be one of the best memories in the making, a true accomplishment — this can only happen by taking an active role in your preparation for that day.

For the Right Reasons
Make sure you are having a bar/bat mitzvah for the right reasons. What they don’t tell you is that according to Jewish law, simply turning 13 for boys and 12 for girls makes you a bar/bat mitzvah. So happy birthday — and let’s stop any of this mitzvah mania!

The bar/bat mitzvah ceremony has served to motivate Jews to obtain the first level of learning in Jewish life, but the goal of it really is the process before and the exploration that happens as you head into adulthood. So it is important to remember that preparing for the big day is more about preparing for life. Learn for the sake of learning.

With that spirit in mind, your bar/bat mitzvah can be one of the great milestones of life. You are making a public commitment to your family, your friends and yourself that you will continue to seek out knowledge and to wrestle with what tradition and culture have to offer. All of this said, there is no reason to do something only for the sake of tradition or because everyone is doing it — or because your parents promised you a new iPod or a Shetland pony.

The tradition you are learning about encourages you to question — so do that! Very often, it can feel like we are meant to fit a mold that we had nothing to do with forming. And if through the process of seeking and learning, you find that a bar/bat mitzvah service is not for you right now, there is nothing wrong with saying, “This isn’t for me.” The learning can be done no matter what — this is a great opportunity to study Hebrew, the stories, the history and traditions of the Jewish people, whether you throw a party or not. If anything, a genuine process like this continues the great tradition of questioning the tradition you’ve been handed.

Making It Meaningful
You may be asking yourself: “What can my family and I do to make this sometimes dusty old rite of passage fresh and inspiring?” You can make it your own while incorporating the best that the tradition has to offer.

A couple of helpful tools: Keep a journal during the process and refer back to it so you can chart how far you have come — this can be very fulfilling and a great thing to read when you’re older or show your own child one day.

Be sure you’re keeping in touch with the rabbi, cantor or whoever is officiating about how the service will run. These religious leaders can also be a great resource to you. They are not unapproachable — in fact, they will be thrilled that you are making the effort.

And sit down with your parents and let them know how it is going. Be honest; don’t tell them just what they want to hear. You don’t want to be three weeks out from the big day and only then share with your mom that you never learned how to read Hebrew. Whoops!

Bar/Bat Mitzvah at Any Age
Not everyone is ready to go through the rigorous preparation for a bar/bat mitzvah at 12 or 13. That’s OK! A 16-year-old who is even more mature and comes to this decision on his/her own may have a unique experience that is right for that individual. Many of the smaller synagogues in town will be more than happy to host the bar/bat mitzvah of an older student, who may be at a better position to evaluate all that comes with it. Still other synagogues have adult b’nai mitzvah programs with students older than your parents or grandparents — if you think adolescence is hard, try menopause.

Speaking of which, it would be super cool of you to involve your mom or grandma, who may have been left out of the process when they were children, living in less egalitarian times. It can be a great time in your family’s life, so try to involve everyone, especially younger siblings who definitely want to feel a part of it.

If You Don’t Belong to a Synagogue
If you don’t belong to a synagogue, there are other options, including planning a private service with a tutor/facilitator. Some of the most fun b’nai mitzvah services are the ones in a backyard, in a park or on the beach — Jews can pray anywhere! You could also choose to go to Israel for the big day — this can be a great way to score a free trip out of the folks. But be careful — without the structure of a synagogue program, it is important to find a tutor you really connect with and who is truly capable of coordinating the process. Tell Mom and Dad you want to interview more than one person for the job. 

A private bar/bat mitzvah can be even more personalized, which gives you the opportunity to take a more active role in developing the service. While preparing for a private service, there is a great chance to go shul hopping and see what all different types of services are like. Take this opportunity to check out a Christian service, a Muslim service — or really freak your parents out and tell them you’ve heard great things about the Church of Scientology. Being exposed to different religious experiences will help you in planning yours and give you a chance to see how varied practices are throughout the Jewish community and the world.

What Are You Saying Up There?
Often, b’nai mitzvah students will feel as if they are going through the motions — learning a bunch of gibberish they have not been given a clear understanding of. You’ll hear other kids on the playground say, “Yeah, I memorized it from a CD” or “I can read it, but I have no idea what the heck I’m saying.” These kids are losers.

If you are spending all this time learning a text, ask your tutor to point out the three-letter roots of the Hebrew words as well as go over basic vocabulary, prefixes and suffixes. Find an interlinear translation of the prayers with the English translation for each word written directly underneath each Hebrew word (check out a version of the Artscroll siddur that does just this). Often Hebrew words are a combination of more than one English word, and it can be incredibly fulfilling to “excavate” your passages so when you are reading the Hebrew up there, you have a real connection to what you are saying. Those listening can tell.

Practice Well and Often
It helps all the more with practicing if you know what you are saying. That said, your parents are going to be harping on you night and day to go over your Torah, Haftarah and prayers. Here is how best to handle that situation: Practice several times a week rather than forcing yourself to sit down for one extended practice session. It’s painful to sit there for an hour at a time; 15-25 minute sessions are much more doable and, actually, practicing more often will help you to better retain the text. You may want to practice in earshot of the parents, just to get them off your back.

It is helpful to get into a routine. Find an appointed time of the day — before a favorite TV show, before dinner or after dinner, in the car or on the bus on the way to school. Before bed is always a mistake — you end up falling asleep on your chumash and having nightmares that your father is about to sacrificially slit your throat!

Rabbi for the Day
Write a drash (speech) for the service — one that relates the weekly Torah portion to your own life. You are thinking: How could I possibly do this? True, this is no simple task. But rest assured many less intelligent and able than you have done it before. Yours will not simply be OK, but memorable. The best of speeches are those that culminate from an in-depth process of wrestling with the text, reading commentaries by other thinkers on the subject and talking it out with teachers, friends and parents. It is your chance to teach the community. You are the rabbi for the day.

So make sure it’s your own words — too often we let parents or teachers revise our work, so much that it is almost unrecognizable by the end of the editing process. The best speeches are those that were written by the students themselves and are from the heart. Definitely practice the speech several times and in front of others, but not so much so that it feels overly rehearsed — make sure to look up, smile and talk to us.

Repairing the World
Take on a volunteer service project during your bar/bat mitzvah preparation — it can be a chance to make the world just a little bit better. After all, there is plenty of learning to do outside of class. Many communities will describe this bar/bat mitzvah project as an effort toward tikkun olam (repairing the world). A good resource is SuLam: The Center for Jewish Service Learning (sulamcenter.org), which matches teens with vetted service-learning opportunities throughout Los Angeles.

We all can be overwhelmed by the problems out there in the world that need fixing; but if you hold tight to the notion that each of us can make a difference, one recycled water bottle at a time, you will find an option that will be meaningful to both you and those you are helping. Maybe do something new, something out of your comfort zone. You might say, “Hey, I’ve always wanted to knit blankets for orphan babies, but never had the time,” or “I want to raise money for endangered sharks, but was too scared to do so until now,” or “I know how to single-handedly resolve the Middle East peace process — just give me a chance.” Not to worry, there is an organization for just about everything and they will be happy to have you lend a hand.

The Bar Mitzvah Circuit
Now that you are 13 you have entered what is known as the “Bar Mitzvah Circuit.” Every weekend the question will be: “What time? Which place? What to wear? And who is it this time?”

As if there wasn’t enough pressure, all your friends are there at your bar/bat mitzvah. Try not to worry about what everyone will say about your big day in school on Monday, because by next Monday it’ll be on to some other pimply-faced victim. Don’t feel like your bar/bat mitzvah has to be like everyone else’s, or anyone else’s. The best services and parties are those that feel true to the person they are celebrating — not just having the dancing Lakers girls at the party because your friend Timmy had them.

The Big Day
So, you’ve reached the day in which you proclaim to the world that you are an adult … sort of. A word of caution: Your parents are going to cry. Let them. Also, a lot of people are going to want to kiss you and hug you and want to shake your hand — so be sure to pack hand sanitizer.

So many details will have gone into that day. It’s OK if a couple things go awry. By now you’ve mastered some impressive skills. It’s important to note that even the most accomplished Torah readers have someone next to them, following along, in case they need assistance. So go easy on yourself — it’s OK to make a mistake. Take a deep breath. A good rule of thumb while up in front of everyone — take a moment before each prayer, blessing and reading that you do. Of course, you want to do well and feel accomplished, but everyone sitting out there loves you and wants you to be great. As a last resort, you can always imagine everyone in his or her underwear … except Aunt Phyllis — that would make anybody nervous.

Todd Shotz is the founder of Hebrew Helpers (hebrewhelpers.com), a Los Angeles-based bar/bat mitzvah tutoring service, which works both in conjunction with many area synagogues as well as with families planning private services.

How to Succeed in B’nai Mitzvah Without Really Trying! Read More »

B’nai Mitzvah Bind Our Tradition of God, Torah, Israel

Who believes that the 13-year-old standing before the congregation is really a man or woman?

The bar/bat mitzvah ushers a child into the responsibilities of adulthood. It is not intended to magically transform a child into an adult. It is not about being a man or woman; it is about becoming one.

Judging by the way some families celebrate this simcha (joy), it does not succeed in transforming the parents into adults either. The sobriety, responsibility and seriousness of bearing the message of Torah into the world is, to say the least, incompatible with a girl wearing a gold crown and sitting astride a bejeweled horse while being led onto the yacht club’s strobe-lit dance floor.

At its best the bar or bat mitzvah is an assumption of the threefold-cord that binds our tradition: God, Torah and Israel.

God
This moment is the first free acknowledgment of the sovereignty of God. The tradition takes that responsibility seriously; if a child has been converted before b’nai mitzvah age, he or she can renounce the conversion at this age. For now the choice is fully understood.

This acknowledgment of God should be a powerful and humbling moment. God may be the same everywhere, but human beings are not. A bar mitzvah stands before creation and Creator, acknowledging that ultimate authority lies beyond the individual. The world is not random and pointless; a bar mitzvah is an assertion of the meaningfulness of God’s world and our place in it.

Torah
Being called up to the Torah is an implicit commitment to a lifetime of learning. The Torah is a book of the desert; the message is that in this unredeemed world, we all live in the wilderness. Everyone will encounter pain, loss, challenge and trial. If we assume that painlessness and lavishness are the birthright of our children, we lie to ourselves and to them about the world they will inherit. The Torah is wiser and truer. It is our map through the wilderness.

Israel
Finally, the bar or bat mitzvah comes before a community. The student steps into a line much larger than himself, his family, larger even than the Jewish world. She stands in the same trajectory as countless others before her, sharing a covenant of both history and destiny.

That sounds monumental for a 13-year-old. Yet the task is not too great. Rather we have sadly diminished our concept of what a human being at that age can be and achieve. With all the celebratory excess, we forget that the measure of a person’s worth is reflected not in what we give them but what we ask of them.

So each bar and bat mitzvah should be like every other. The desire to make one unique is a betrayal of its purpose. The point is to stand in a known place, a place reserved for Jews throughout history. This is the line of continuity. There is no line if each person stands aslant the other.

If we ask ourselves why in the modern world we still celebrate a bar mitzvah at 13, the tradition’s answer is clear. Everything has changed since the time of Abraham and Sarah, Moses and Ruth — language, dress, technology — everything except human nature.

The student is not a grown-up. For many reasons the entrance to marriage and the workplace are later than they once were. But biologically a child of this age is beginning the processes of growing up, just as children did in the time of the Bible and Talmud. Since Judaism honors culture, but is not enslaved to it, it makes sense to have our ceremony tied to something enduring — the way God made us, not the way society right now would have us be.

A child stands before the congregation not when he or she is an adult. We bring them before the congregation when they are on the portal of adulthood. If we are wise, we show them a vision of responsibility and possibility.

We celebrate what they might become. With joy but also trembling we hand them a sacred, cherished and ancient legacy. Then we embrace our child, tears in our eyes, conscious of the beautiful and painful passing of time, and we pray.

David Wolpe is senior rabbi of Sinai Temple (sinaitemple.org), a Conservative congregation in West Los Angeles.

B’nai Mitzvah Bind Our Tradition of God, Torah, Israel Read More »

Calendar Picks and Clicks June 27–July 3, 2009

SAT | JUNE 27

(PARTY)
Sababa goes chic with a new venue for its monthly singles-heavy soiree. Sababa Gold will be held at the decadent 24K Ultra Lounge in West Hollywood, a club that features gilded walls and chandeliers. In contrast, the cover charge and drink prices have taken a modest turn: cover is $15 and all non-premium drinks are $5 until 11 p.m. Sat. 9:30 p.m.-2 a.m. 24K Ultra Lounge, 7929 Santa Monica Blvd., West Hollywood. (310) 657-6650. ” title=”www.centertheatregroup.org” target=”_blank”>www.centertheatregroup.org.


SUN | JUNE 28

” title=”www.losangelesaccordionfestival.com” target=”_blank”>www.losangelesaccordionfestival.com.

(BENEFIT)
Emmy-winning television writer and producer Carol Leifer will read excerpts from her book, “When You Lie About Your Age the Terrorists Win,” at a community event benefiting Beit Issie Shapiro, a nonprofit providing services for children with special needs in Israel. A Q-and-A session, activities for children and breakfast are also included in the event, sponsored by the American Friends of Beit Issie Shapiro. Sun. 10 a.m.-noon. $75 (per family). Stephen S. Wise Temple, 15500 Stephen S. Wise Drive, Los Angeles.  (310) 801-8558. ” title=”www.rjchq.org” target=”_blank”>www.rjchq.org. 


MON | JUNE 29

(BOOK SIGNING)
Lewis Black, the host of Comedy Central’s “The Root of All Evil” and a regular on “The Daily Show With Jon Stewart,” writes in his recently released book, “Me of Little Faith,” that “If religion has taken over your life and you don’t want to think about it or laugh about it because it will upset you, do me a favor: Don’t read the goddamn book. Ever. And ever. Amen.” Black will be presenting and signing his printed and bound irreverent take on religion at two locations this week: June 29 at 8 p.m. $30 (show and copy of book). Largo at the Coronet, 366 N. La Cienega Blvd., Los Angeles. (310) 855-0350. And, June 30 at 8 p.m. Free. Barnes and Noble, 210 Americana Way, Glendale. (818) 545-9146. ” title=”www.cjhsla.org” target=”_blank”>www.cjhsla.org.


WED | JULY 1

(COMEDY)
Funnyman Elon Gold is granting L.A. audiences a sneak peak at his work in progress one-man show, “Elon Gold: Half Jewish, Half Very Jewish” before it premieres at the Montreal Just For Laughs Comedy Festival. Wed. 8 p.m. $10. Laugh Factory, 8001 Sunset Blvd., Los Angeles. (323) 656-1336, ext. 1. Calendar Picks and Clicks June 27–July 3, 2009 Read More »

Katrina Youth Take Center Stage to Heal in Festival Doc

Hilla Medalia was at an impasse with her documentary, “To Die in Jerusalem,” when she decided to accompany Broadway theater veteran James Lecesne to New Orleans, with her camera in tow. “Jerusalem” had been inspired by accounts of a teenaged Palestinian suicide bomber and her Israeli victim, and Medalia had hoped to bring their two grieving mothers together, but political red tape shut down the production. As she searched for a new project, she chanced to learn of Lecesne’s plans to visit another ravaged area inhabited by parents and children in crisis: the city of New Orleans, two years after Hurricane Katrina.

“I’m not a carpenter; I can’t build a house, but I know about the theater,” Lecesne says in Medalia’s new documentary, “After the Storm,” which had its world premiere on June 21 amid some 200 films at the Los Angeles Film Festival this week. It is one of seven contenders for the best documentary prize, to be announced on June 28. “I know how to tell a story … and I thought coming down here to help people tell their stories might help.” A second public screening was scheduled for Thursday, June 25, at The Regent.

“After the Storm” follows Lecesne and several other artists as they stage a hurricane-themed Broadway musical, “Once on This Island,” with youths still displaced by Katrina. “Some of the children were not living with their parents, and some had no running water in their homes — their conditions were worse than those I eventually saw in Palestinian refugee camps,” Medalia said. “They were in so much pain, many couldn’t discuss their feelings without shutting down or crying. But as they worked on the musical, you could see the show help them express their emotions — an outlet that allowed them to begin to heal.”

Healing in the aftermath of trauma has been a creative preoccupation for Medalia, who grew up near Tel Aviv, studied film at Southern Illinois University, and is now editing a documentary about the psychotherapy process for Israeli veterans with post-traumatic stress disorder.

“Just living in Israel, you always feel stressed,” Medalia said. “Is it normal to live in a country where everywhere you go people check your purse and your car, and you’re afraid to be in crowded public places? Even today, when I take the subway in New York, I fear that suddenly, someone could blow us up.”

“To Die in Jerusalem” — which Medalia eventually completed in 2007 — was inspired by a suicide bombing that occurred on March 29, 2002. An 18-year-old Palestinian woman, Ayat Al-Akhras, was standing outside a market when she reached into her purse and detonated a blast that killed Rachel Levy, a 17-year-old Israeli.

“I was struck by how similar the girls looked in side-by-side photographs in the newspapers; they could have been sisters,” Medalia said.

But the production stalled when she was unable to travel to the Dehaisheh refugee camp where Ayat had lived; it was around that time that Medalia’s friend, playwright Eve Ensler (“The Vagina Monologues”), returned from a philanthropic trip to New Orleans and convinced Lecesne to undertake a similar journey. Medalia volunteered to join him: “But we really didn’t have any specific plans,” she said. Instead, the project took shape when Lecesne stepped into the detritus-filled St. Mark’s center, previously a vibrant community hub, which was still closed two years after Katrina. Medalia’s cameras rolled as Lecesne and his Broadway friends held auditions for a benefit performance of “Once on This Island” to raise funds to reopen the center.

The mostly teenage actors were both talented and traumatized: “It was a real process to learn to speak to the children without hurting them,” Medalia said. “I would ask questions, and they’d start crying, so I had to figure out different ways of knowing them. Sometimes I learned more through their actions and behavior, rather than the things that they said. I had to trust that they would tell their stories through their affect, rather than their words.”

Medalia herself has had a lasting effect on her interviewees. One of the performers, who went on to study musical theater on a scholarship at New York University, plans to spend a semester abroad at Tel Aviv University. Meanwhile, relatives of the late Rachel Levy, who spent part of her childhood in Northridge, were planning to view “After the Storm” and reunite with Medalia at the Los Angeles Film Festival.

The message of “Storm” is how art can help rebuild a community. “I once met a pastor who taught art to Palestinian youth, and he always told me that the children who attended his center never participated in violent resistance or suicide bombings,” Medalia said. “You can see the same power of art to heal and to create meaning for these youths from New Orleans.”

For information, visit www.lafilmfest.com/2009.

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Two Generations of ReitmansProduce Laughs

Growing up in Ivan Reitman’s shadow couldn’t have been easy. With hits like “Animal House,” “Ghostbusters” and “Stripes,” Ivan produced and/or directed some of the most iconic Hollywood comedies of the past three decades. But that legacy didn’t stop his son, Jason Reitman, from becoming an important voice among a new generation of filmmakers. And while both Ivan and Jason Reitman work in the broad genre of comedy, their sensibilities are strikingly different. On the theme of pregnancy, for example, Ivan made “Junior” (1994), in which Arnold Schwarzenegger takes a stab at male childbearing. Although Ivan said he liked the film, it was a box-office flop. Jason, by contrast, directed “Juno,” a coming-of-age story about a precocious teen who becomes pregnant and puts her baby up for adoption. “Juno” was critically acclaimed, deeply politicized and awarded a best-original screenplay Oscar (the younger Reitman, 31, brought the elder, 62, to the Academy Awards as his guest).

The Reitmans shared a stage at Sinai Temple recently to talk about their careers with Rabbi David Wolpe. The discussion took on a role reversal, with Jason taking the lead and Ivan relaxing into an air of paternal pride.

What distinguishes father from son, filmmaker from filmmaker, is that they came of age in different eras. Ivan is the son of Holocaust survivors; his mother, Clara, survived Auschwitz and his father, Leslie, was a resistance fighter. They fled communist Czechoslovakia in 1950, when Ivan was 5, and moved to Toronto, where the couple worked at a local laundromat. Jason, of course, is the son of a famous Hollywood director, and was raised in Beverly Hills. Their approaches to filmmaking reflect their pasts. Once a penniless immigrant, Ivan sought commercial success with playful, profitable genre films. He dabbled in horror, the supernatural and summer camp comedies. Jason, on the other hand, grew up around privilege and is seeking to challenge his audience through satire and social commentary, as in “Thank You for Smoking” (2005), “Juno” (2007) and the forthcoming “Up in the Air,” starring George Clooney. 

What they share, however, is a knack for success and a keen understanding of how to entertain.

“I was terrified about becoming a director,” Jason told the crowd. “I knew what people thought about children of filmmakers — the presumption is that you’re a spoiled brat, you have no talent and most likely you have an alcohol or drug problem.”

At first, Jason avoided his dream and enrolled in medical school. His father sensed his disingenuousness, however, and intervened: “I said, ‘I’m sure you’ll be a great doctor,’” Ivan recalled, “‘but I don’t think there’s enough magic in it for you.’” The son returned to Los Angeles, sweet-talked his way into USC and produced a campus calendar to raise money for his first film.

Jason’s evolution as a filmmaker occurred alongside the digital revolution, which has significantly lowered production costs. Nowadays, anyone can buy an inexpensive camcorder and post a movie on YouTube.

“It’s much easier now than it was when I started,” Ivan said. “My first movie was made in college, and I had to borrow equipment and raise enough money to buy film stock — which is very expensive. Then it had to be processed.”

“You know what you sound like now,” Jason interjected, putting on his best old man voice. “In my day …” he grumbled mockingly.

Jason also had the advantage of the burgeoning of American film festivals, where new filmmakers can showcase their work. For him, in particular, they offered an opportunity to submit anonymously.

“Most people are trying to break from obscurity; I was looking for obscurity. I did not want to be considered my father’s son,” Jason said. But apart from the challenge of forging his own way, or that he spent summers on film sets, or that typical dinner guests at their house were stars like John Belushi and Bill Murray, Reitman said his childhood with a famous father was “normal.”

“It’s funny, because I read enough now about Hollywood that I’m surprised I didn’t experience more of these things that I hear about. I’ve never even seen hard drugs,” he said, adding, “I almost feel like I missed out on something there.”

By his father’s account, Jason’s remove from Hollywood’s corrupting powers is what gives him the ability to comment astutely. Growing up in Canada, Ivan Reitman developed a talent for American comedy. For him, directing requires him to be aware of infinite details from one moment to the next. Jason agreed: “I find directing to be a very reactionary job. It’s often more about your ability to react to what’s in front of you than create out of thin air.”

Both said directing is about finding a personal voice, though Ivan had difficulty pinning his own down. “My father’s filmic voice is joyful,” Jason jumped in. “He wants you to feel better walking out of the theater than you did walking in. He wants you to feel that there’s a haven in the world of his movies.”

Jason wants the opposite. “I had a very easy childhood, so it’s easy for me to make a movie that’s a lot more challenging to people and puts a hand up to them.” He said he hopes his movies raise questions, rather than provide answers.

Both Reitmans said they struggle to balance their ambitions with their commitment to their families. “Just being a parent and married and living in contemporary Western society is damn hard,” Ivan said, adding that he was always careful to schedule film shoots in the summertime so his family could be at his side.

Jason said he learned how to become a filmmaker watching his father work in the editing room, where he would spend countless hours. Now a father himself, Jason said he sees how hard it is to have balance in your life. “My mom said to my wife just before we got married, ‘You know, Jason’s going to have an affair — but it’s not with a woman, it’ll be with a movie,’” he said.

“The tough part is actually not when you’re away,” Jason added, “it’s when you’re there, but your mind isn’t.”

Their passion for their work led both Reitmans to early success: Ivan was 32 when he produced “Animal House” and Jason just 28 when he directed “Thank You for Smoking.” Youth is an obvious advantage in Hollywood, but peaking too soon makes the threat of irrelevance or failure more acute. Because of the length of his career, Ivan has had considerably more experience dealing with disappointment.

“I had this remarkable hot streak for almost 15 years, and I didn’t think I could fail, and suddenly I failed a bunch, and it was remarkably hard. I was really hard to be with,” Ivan said. Now Jason appears to be on a hot streak: He’s made only two feature films and both have received critical acclaim, something Ivan received less of, though he said, “I think that was good; I was always hungry, and the hunger focused my work.”

Asked how Judaism influences their work, Jason said that his talent as a director comes from a Jewish place.

“I think Jews are great storytellers, and I think it’s our legacy of storytelling that is the reason we still know who we are today. More importantly, I think we’re an open-minded people, and I try to make open-minded films. I take characters who are traditionally considered villains and look at them as human beings.”

“I can’t answer better than that,” Ivan said.

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‘Little Camp,’ Big Impact

Earlier this month, President Barack Obama made a somber visit to the Buchenwald concentration camp in Germany. He viewed the crematory ovens, the barbed-wire fences, the barracks, the guard towers.

Upon reaching a memorial at the so-called Little Camp, the most notorious section of Buchenwald, the president stopped, laid a rose and paused to reflect.

“He was shocked by the situation that the Americans encountered in 1945,” the director of the Buchenwald Memorial Foundation, Volkhard Knigge, said.

“He was deeply touched,” added Knigge, who guided Obama and German Chancellor Angela Merkel on their June 5 visit to Buchenwald.

It was a poignant moment, made all the more symbolic by the much-noted fact that Obama’s great uncle, Charlie Payne, was part of the 89th Infantry Division that liberated one of Buchenwald’s satellite camps. It was also a moment that might very well have never come to pass.

Indeed, had Obama’s Democratic predecessor tried to visit the Little Camp while still in office, he would have found little more than neglected trees and brush. It was only in 2001, after years of negotiations, that the Little Camp memorial that deeply touched Obama was finally erected — and then only through the persistence of an American government official named Warren Miller.

Miller first conceived of a memorial at the Little Camp in 1994, two years after he was appointed by the first President Bush to the United States Commission for the Preservation of America’s Heritage Abroad. The federal agency’s mission is to preserve sites of cultural and historical significance beyond U.S. borders, and it was on commission business that year that Miller visited Buchenwald. What he found was a place that bore little resemblance to the one committed to memory in “Night” by Little Camp survivor Elie Wiesel.

“I remember my first return to Buchenwald in the early 1990s,” Wiesel recalled to Miller in a letter years afterward. “The ‘big camp’ seemed intact, clean, silent: a museum. A thick forest of trees replaced the ‘small camp’ where thousands of Jews perished of hunger, disease and cruel violence.”

On a return trip in 1995 to commemorate the 50th anniversary of Buchenwald’s liberation, Miller proposed the idea of building a memorial at the Little Camp. That same year, the board of the Buchenwald Memorial Foundation, now known as the Buchenwald and Mittelbau-Dora Memorials Foundation, agreed to his proposal.

Miller spent the following two years soliciting more than $100,000 in private donations for the memorial — the United States Commission for the Preservation of America’s Heritage Abroad is a federal agency, but it relies on private donations for its projects — and convincing the German federal government and the state of Thuringia to pledge matching funds.

He also took on the arguably more difficult challenge of getting approval for the memorial from a 15-member curatorial council of historians, as well as from a number of advisory boards representing groups of Buchenwald survivors. In a place with as much moral symbolism as Buchenwald, even the smallest details became the subject of intense debate.

A series of delays held up completion of the memorial until 2001, and it was only the next year, seven years after it had first been proposed, that the memorial opened to the public. The long-overdue day the memorial was dedicated, Wiesel said at the time, “corrects an injustice.”

“When I undertook this project, I never envisioned the time and effort I would have to expend in order to see it through to completion,” Miller said. “Elie Wiesel and others warned me from the outset that there was little chance of such a memorial becoming a reality. But I am proud that I persisted, because I believe the memorial helps visitors to Buchenwald appreciate, to the extent it is possible, the enormous suffering of those who were imprisoned in the Little Camp.”

The Little Camp memorial has since become a central part of a visit to Buchenwald, which attracts more than half a million people from around the world each year.

The memorial was designed by New York architect Stephen Jacobs, himself a child survivor of Buchenwald. The stones used to build it were taken from a nearby quarry that sits across the slopes of the same mountain, Ettersberg, that Little Camp slave laborers were forced by the Nazis to mine.

Some elements of the memorial, such as the cobblestone path and gnarled tree trunk, are similar to those found at other Holocaust memorials elsewhere in Europe. The text inscribed on the wall of the memorial, however, stands out for its graphic language.

“With only one latrine, many inmates were forced to use their food bowls as night latrines,” reads one section of the 350-word inscription, which is repeated along the length of the wall in French, German, Hebrew, Polish and Russian. “By 1945, an ever-present stench of human excrement pervaded the site. Corpses lay about in the open as the death toll increased daily.”

Such a non-sanitized description of daily life and death in Nazi concentration camps is hardly the norm at memorial sites. But it is just such gut-wrenching language, said Miller, that shocks the passive visitor into actively contemplating the horrors of the Holocaust.

“I wanted visitors to the Little Camp to be shaken to the core by the memorial’s inscription,” said Miller. “I wanted them to say ‘Oh my God’ while reading it and walk out of the memorial a changed person. I am humbled that the president of the United States visited the memorial, and if it had a strong impact upon him, I am gratified.”

Oren Rawls is a freelance journalist and editorial consultant in New York.

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Party Like a (Bar Mitzvah) Rock Star

Most parents are willing to do anything to make their kids’ dream bar or bat mitzvah celebration come true, even if it means fulfilling rock-star ambitions — be they genuine or virtual.

If your son or daughter spends hours in the garage jamming on a guitar with friends or in front of the television on guitar-shaped peripherals playing games like “Guitar Hero” or “Rock Band,” venues around Southern California are ready and willing to host rock-themed bar or bat mitzvah celebrations.

West Hollywood’s House of Blues Sunset, the Saban Theatre in Beverly Hills, the Knitting Factory and Level 3 in Hollywood, and downtown’s Club Nokia and Grammy Museum at L.A. Live are among some L.A. rock destinations opening their doors for simchas. Room rentals range from as little as $500 to as much as $20,000, and setup and pricing systems vary between the venues.

As with any celebration, factors to consider include occupancy limits, catering, staffing and parking. But since your newly minted son or daughter of the commandment wants to live in the limelight a little longer, it’s also important to consider essentials like lighting, a sound system as well as a digital projector and screen.

When can we have the party?
The House of Blues, the Knitting Factory, Club Nokia, the Saban Theatre and the Grammy Museum offer private parties seven days a week, day or night, depending on what’s already booked for that week. Level 3 Hollywood cannot rent the venue on Saturday evenings from 9 p.m. to 2 a.m. because of an ongoing promotion with local radio station 102.7 KIIS-FM, which broadcasts live from the venue during those hours; their busiest bar/bat mitzvah times are Sundays 5 p.m.-9 p.m.

How long do we have the room?
At the House of Blues, a basic party is a four-hour event combined with a two- to three-hour lead time for load-in and setup. If the event is extremely large, the club is even willing to allow for a full day of loading, if necessary. A 2 a.m. closing time is the only absolute deadline at the Knitting Factory; the party must be wrapped up by then. Club Nokia, Level 3 Hollywood and the Saban Theatre have nothing set in stone, so times are negotiable. And a three-hour window is the preferred time span for rentals at the Grammy Museum.

How many people Can We accommodate?
Whether you have 20 friends or as many as 2,000, the House of Blues can comfortably fit all of them. Your range of friends can be 100-1,000 if you wish to take them to the Knitting Factory. The VIP room at Club Nokia can hold 50-350 people, but you can also pack in more than 2,300 people if you combine the VIP area with the main floor. The maximum capacity of Level 3 Hollywood is 600 guests, but even 200 people makes for a nice-sized party with ample room to dance and roam around. The lobby of the Saban Theatre can accommodate 500 guests comfortably. The Grammy Museum and its terrace combined house 400 partygoers.

How much will it cost?
Each venue sets their own standard for a basic rental cost so let’s begin with the starting prices. For the House of Blues Sunset, their daytime rates start at $5,000 for the Foundation Room or Porch Restaurant and $7,500 for their famous music hall. Their nighttime events start at $10,000 for the Foundation and Porch rooms, and the main hall can be yours for $15,000. The Knitting Factory has three rooms available with 21 different starting prices, but as a general guideline they have rooms starting at $1,100 and can go as high as $20,000 based on which room it is and what day it is. Club Nokia sets their price range from $500 to $15,000 depending on how fancy you want to get. Level 3 Hollywood has a basic rental price of $4,000. The Saban Theatre begins its pricing at $2,500 for the lobby alone. And you can set up shop at the Grammy Museum, including the terrace, for the beginning rate of $12,500.

What does all that money include?
For the House of Blues, the special events prices include all of their staff — from cocktail and food servers to bartenders and security. It also includes their tables, chairs, linens and props. The Knitting Factory tailors the event to suit your needs, so depending on what you want, they can most likely give you what you need and ignore what you don’t. Club Nokia gives you a four-walls rental, which includes all staffing and equipment. A rental at Level 3 Hollywood provides the venue, security and staffing for each event. Because they do not have a lighting and sound technician regularly on staff, an additional fee is required for this. The Saban Theatre’s rental fee is for use of the space only, but they do give special discounts to nonprofit organizations. Custodial, steward or security fees are an additional cost. The Grammy Museum gives you access to its space, but charges extra for insurance, wireless Internet, information technology support, extra staffing or entertainment and tenting.

Is access to the stage, soundand lighting systems included?
If you rent out the music hall or do a whole-house buyout at the House of Blues, that guarantees the use of their state-of-the-art sound and lighting system, which is operated by their in-house production team. However, there is an additional production fee depending on what the setup is. At the Knitting Factory, each room has its own stage with a lighting and PA system, so there are many options. They also have a video exhibition system including drop-down screens with digital projectors. Rentals include access to all the technology except for their in-house HD camera system. The standard sound and lighting package is included in basic costs for Club Nokia, Level 3 Hollywood and the Grammy Museum. The Saban Theatre negotiates the cost of sound and lighting system access according to the specifics of the event.

Can we play ‘Guitar Hero,’and does it cost more for the projection screen?
Denise Ronayne from the House of Blues said, “Our stage and venue is the perfect spot for ‘Guitar Hero’ or ‘Rock Band.’ We have done this here many, many times and the guests love it.” And happily, there is no additional cost for the projection screen.
Melissa Goodman from the Knitting Factory points out that, “We have the ability to set up for any screening, video games or presentations. However, for our smallest room, the Alterknit Lounge, screens must be brought in.”
Club Nokia’s rep, Mark Girton, said that they can provide a “Guitar Hero”-equipped area as needed, but they do not have a projection screen, so one must be brought in at an additional fee. 
Julie Briggs of Level 3 Hollywood is proud of the three screens over their dance floor and stage area. “There are also three plasma TVs at the entrance and two large spheres over the bar that project images. If you bring any DVD, they can route these images to any or all of these,” she said. They also have six Gobo lights to project any band logos. These high-tech gadgets are the reason that an additional fee is necessary for a tech expert.
The Saban Theatre has access to a movie screen that runs the width of the stage, and they do not charge extra for its usage.
The Grammy Museum also has the ability to set up for some rockin’ out to “Guitar Hero.”

Is catering included?
The House of Blues has three kitchens and two restaurants, and offers a wide variety of menu options for any private event, but they do allow some outside caterers to come in to host parties if so desired. The Knitting Factory typically does not allow any outside catering unless there is a kosher requirement. They have an exclusive partnership with a premiere Hollywood caterer that provides all their catering. Wolfgang Puck is the exclusive caterer for Club Nokia and the Grammy Museum. Level 3 Hollywood can provide a kitchen for an outside caterer or the restaurant next door is willing to provide any food needs. Kosher caterers are often brought in for Level 3 Hollywood events. Outside caterers are allowed at the Saban Theatre, but any caterer you plan on using must provide a certificate of insurance. Also keep in mind that for all venues, these fees do not include alcohol. If you want to keep the adults at the party happy with alcohol, you will have to shell out more money, and the amount will vary depending on whether it’s beer and wine or the hard stuff.

What about parking?
Valet service is offered at the House of Blues. For daytime events, the parking is $10 per car and it goes up to $15 for nighttime events. The parking at the Knitting Factory is handled by an outside company so they can help arrange for parking in the complex’s four-level parking structure, but they do not offer valet parking. For Level 3 Hollywood, parking at the Hollywood and Highland complex is fairly easy. With a validation from their venue, there is no charge for self-parking. Without a validation, there is a $2 charge for a four-hour period, with a maximum of $10 per day. There is also a $10 charge if you want the valets to park your vehicle. For Saban Theatre parking, the surrounding garages charge $10-$15 per car. At the Grammy Museum, parking is not included in the rental price, but they do have the ability to tack on validations for guests if it’s within the planner’s budget. That price will vary between $10-$20 per car. At Club Nokia, parking is not included in the basic rental cost. Parking at surrounding lots ranges from $5-$25 per car.

How far in advance do we need to book the venue?
The best thing to do for any venue, no matter what timetable you have, is to call and ask. But six to 12 months is a standard amount of notice for the House of Blues. Four to five months before is good enough for a Knitting Factory booking. For Club Nokia, certain parts of the year are busier than others. The staff at Level 3 Hollywood said they are used to the “drop-of-a-hat nature of Hollywood” and have accommodated last-minute bookings, but most clients prefer to book from four to six months out. The Saban Theatre’s Esther Adir said their availability varies — “We have had a wedding in the rotunda that was only booked four days in advance.” And Marcie Booth of the Grammy Museum said about booking, “The earlier the better.”

The main thing to keep in mind with any venue you choose is that all of them are willing to negotiate for the specific needs of the event. They want to please the guests, so don’t be afraid to make special requests. And don’t forget to have fun yourself — because for at least one day, you will be the proud parent of a world-famous rock star.

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Iranian Jews Join Los Angeles Protests

Photo by Karmel Melamed

As the violent protests against the outcome of Iran’s June 12 election escalated in their former homeland last week, countless local Iranian Jews have been among the thousands of Southern California Iranian Americans attending rallies at the Federal Building in Westwood. But even as scores of Jews have joined Iranians of various faiths in solidarity at the demonstrations, the Iranian Jewish community’s leadership has refrained from commenting publicly on the chaos unfolding in the streets of Iran’s cities.

Longtime leaders of the Iranian Jews here fear a possible retaliation from the current Iranian regime against the nearly 20,000 Jews still living in Iran. “Since the 1979 revolution, Jews have been used as leverage by the regime for a variety of reasons,” Elliot Benjamin, a local Iranian Jewish activist and attorney, said in an interview last weekend. “Therefore, as has been the case in the past, Iranian Jews in the United States are concerned that comments on the current crisis may be wrongly attributed to the community in Iran, taken out of context, used against them and create a backlash against the Jews — possibly with the intent to divert attention from the events of the past few days, with severe consequences.”

Frank Nikbakht, an Iranian Jewish activist and director of the L.A.-based Committee for Minority Rights in Iran, said Jews in Iran have sent messages about such fears to their family members living in Southern California.

“The Jews inside Iran are now extremely scared and cautious, because historically minorities were at risk and became scapegoats when there was chaos and upheaval in the society,” Nikbakht said. “Iran’s Jews are understandably very fearful, as most ordinary folks in Iran are, considering the dangers facing their children and young ones in particular.”

Sara G., an Iranian Jewish homemaker in West Los Angeles who asked that her name be withheld for fear of potential backlash against her family in Iran, said she was relieved when she finally received a phone call from her parents.

“My parents still live in Iran, and speaking with them a few days ago, they said the Jewish community is terrified, and Jews in the country have mostly remained at home to avoid getting caught up in the violence on the streets,” she said. “I’ve been worried sick myself and unable to sleep this past week over what will happen to my family there.”

Photo by Karmel Melamed

Although leaders in the local Iranian Jewish community declined to speak publicly with The Journal, they verified that as of June 21 they had not received any reports of anti-Semitic incidents in Iran, nor had there been official statements against the country’s religious minorities, other than some indirect warnings in some Iranian publications.

Asher Aramnia, events director at the Iranian Jewish Eretz Cultural Center in Tarzana, said the decision by local Iranian Jewish leaders to remain silent about the current political unrest in Iran is not new. Community members have used this method in order to survive for nearly 2,700 years in Iran, he said, recalling a popular saying Jews have told to children since as long ago as the turn of the 20th century in Iran.

“During the 1906 political crisis surrounding the Iranian Constitutional Revolution, the Jews were well-known for trying to remain neutral by saying ‘as has been dictated to us by the country’s Muslims, we also do not want a constitutional government,’” Aramnia said.

On June 20 and 21, a reported 4,000 local Iranian Americans of various faiths, including Jews, gathered in front of the Federal Building in Westwood in protest against the Iranian government’s recent violent crackdown on demonstrators seeking democracy in Iran.

The Los Angeles protesters included those opposed to any form of the current regime in Iran, along with supporters of the reformist presidential candidate Mir Hossein Mousavi. With bullhorns in hand, Mousavi supporters wore green bandanas and chanted “Death to the Supreme Leader [Ayatollah Ali] Khamenei!” and “We are united together with our brethren in Iran for freedom!”

Since June 13, the demonstrations at the Federal Building have been on-going in the evenings and on the weekends, attracting attention from local, national and international news media outlets.

And as the crisis over the elections has heated up in Iran, that country’s pursuit of nuclear weapons has taken a back seat in the public eye. Yet on June 18, the local Iranian Jewish group 30 Years After hosted an event at the Museum of Tolerance to discuss the continuing danger of Iran’s nuclear program. The gathering featured speakers from the New York-based group United Against Nuclear Iran, including former CIA Director R. James Woolsey, who criticized the Obama administration for not speaking out in full support of the demonstrators in Iran.

“I think it was correct for President Obama not to take sides before the election occurred, even though [Iranian President Mahmoud] Ahmadinejad has been extremely hostile to us,” Woolsey said. “But after the elections, that have been so clearly stolen, and the violence brought against the demonstrators by the regime, I think it is a very bad idea for us not to be supportive of the demonstrators.” Not doing so gives license to the clerics to crack down on the demonstrators, he argued.

Younger leaders of the Iranian Jewish community are not holding back like their elders; many said they are supportive of the Iranian students seeking democracy for their country.

“Among young Persian Jews in Los Angeles, the ‘issue’ of Iran has transformed from a policy question about a nuclear program, Holocaust denial and a threat to Israel, to a visceral fight for human rights, freedom and democracy,” said Sam Yebri, president of 30 Years After, an L.A.-based advocacy group for young Iranian American Jews. “Seeing young protesters who share so much in common with us marching, and now getting beaten and murdered in Tehran, has inspired young Persian Jews in Los Angeles with a pride in the people of Iran, which for too long had been dormant.”

Representatives at the Iranian Mission to the United Nations did not return calls for comment.

For more about the Iranian elections and to listen to a podcast interview with former CIA Director R. James Woolsey, visit Karmel Melamed’s blog Iranian American Jews: jewishjournal.com/iranianamericanjews/

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Early Expatriates Got the Cold Shoulder

The official policy of turning a cold shoulder to the Israeli expatriate population is well documented. Anna Schwarz, a graduate of Hebrew Union College-Jewish Institute of Religion, wrote her 2009 master’s thesis on Israelis living in Los Angeles, in which she discussed at length the Jewish American establishment’s reaction to Israeli immigrants in the 1970s and thereafter.

Prompted by the Israeli government’s disdain for the “deserters,” and fueled by their own apprehension that the Zionist ideal would be deemed a failure if Israelis were leaving the Jewish state in droves, American Jewish institutions reacted to Israeli immigrants in a variety of ways, ranging from hostility to suspicion to disappointment.

For many years, Los Angeles’ American Jewish community more or less ignored the growing population of Israelis in its backyard, perhaps expecting they would just return home eventually — and many did.

The first waves of Israeli immigrants were mostly men seeking education or economic opportunity. They “sat on their suitcases,” as the Hebrew saying goes, ready at a moment’s notice to go back to Israel with the fortune they had amassed or their tails between their legs. This transient mentality didn’t encourage a flourishing of cooperation between American Jews and Israelis. It also didn’t foster a sense of belonging or a connection between the immigrants themselves.

As the Israeli population continued to increase and the duration of their “visits” grew longer, the every-man-for-himself frame of mind began to change. Israelis started looking for ways to gather and socialize, reminisce about haaretz, speak their own language and assist one other.

A new Israeli consul general, Ron Ronen, friendly to his fellow sabras dwelling abroad, arrived in Los Angeles in 1989 and ushered in a new era of outreach to the community. The Federation and the Jewish establishment quickly followed his lead.

Haim Linder, a longtime activist in the community and vice president of the Council of Israeli Community (CIC), an organization promoting community unification and Israeli involvement since 2001, recently wrote a three-part history of Israelis in Los Angeles for the local Hebrew-language weekly, Shavua Israeli. In the articles, Linder, who moved to Los Angeles in 1981, chronicled the flurry of activity in the late 1980s and ’90s: the formation of the Israeli Business Network; the first Israeli Independence Day Festival in 1991; the grass-roots group, Israelis of Los Angeles (ILA), which later evolved into the CIC; an Israeli radio and television station; and the various initiatives in partnership with The Federation.

In 1990, Schwarz writes in her graduate thesis, a group of Israelis were trained to make phone calls in Hebrew for The Federation’s phone-a-thon to support Israel’s Operation Exodus — a first.

However, the honeymoon didn’t last. Relations between the Israeli community and the American Jewish establishment soon soured, and the organizations, many of which were Israeli branches of existing Jewish organizations, withered. At the core of the collapse was a fundamental difference in cultures and mentalities.

“It is difficult for Israelis to understand the critical importance a community plays in the Diaspora,” said Shoham Nicolet, executive director of the newly thriving Israeli Leadership Council, who has lived here since 2000. “In a sense, Israel is one big Jewish community that provides everything you and your children need to live as Jews. You don’t have to be active; you don’t have to be a member of anything, and you certainly don’t have to donate money in order to have a community.”

The American Jewish concept of paying for synagogue membership is foreign to Israelis. In Israel, you walk down the street to the nearest synagogue and pray, Nicolet said. For Diaspora Jews, a synagogue is the cornerstone of the community, whereas for most Israelis, a synagogue is a religious center, not a place to socialize or send your kids to school or attend book clubs.

“Persian Jews and Russian Jews came from the Diaspora; they had to build their own community and organizations in order to survive in those hostile environments,” explained Yoram Gutman, a veteran who has witnessed the evolution of the community. Gutman is executive director of the 20-year-old Israel Independence Day Festival at Woodley Park in the San Fernando Valley, which draws between 20,000 to 40,000 people every year to what he says is the largest gathering of Israelis in the United States.

“Israelis come from a country where the government takes care of everything, or you take care of yourself,” he explained. “Israelis don’t know how to live outside of Israel. They have to relearn how to live in the Diaspora.”

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