The Dance Hall

2021 ◽  
pp. 148-172
Author(s):  
Sonia Gollance

Dances were an extremely popular entertainment for immigrants to New York around 1900, including eastern European Jews. Whether in commercial dance halls or neighborhood associations, dancing academies or saloons, writers identified dance spaces with youthful revelry and American capitalism. Yet this pursuit of fun and independence was a complicated endeavor, since leisure culture cost money at a time when working-class immigrants struggled to save their meager resources. Although dances promised romance and flirtation, they often also served as a reminder of the way American capitalist impulses complicated Jewish courtship and marriage patterns. Both Abraham Cahan (Yekl: A Tale of the New York Ghetto, 1896) and Kadya Molodovsky (From Lublin to New York: Diary of Rivke Zilberg, 1942) depict American dance culture ambivalently, whether reflecting on the great wave of eastern European Jewish immigration to the United States from 1881–1924 or American Jewish responses to the Holocaust.

Prospects ◽  
2001 ◽  
Vol 26 ◽  
pp. 295-335 ◽  
Author(s):  
Nancy Von Rosk

Recalling His Early Days in New York, Abraham Cahan declared that he “felt strongly drawn to the life of the city.” “My heart,” he wrote, “beat to its rhythm” (Marovitz, 17). Anzia Yezierska also remembers New York's Lower East Side at the turn of the century with affection in her autobiographical novel,Bread Givers. When her heroine Sarah Smolinsky is away from Hester Street, she longs for “the crowds sweeping you on like waves of a beating sea. The drive and thrill of doing things faster and faster” (129). For both of these Jewish immigrant writers, the spectacle of New York City embodied hope, liberation, and vitality, yet as they explore the immigrant's exhilarating and exasperating adaptation to urban life in America, they highlight the keen sense of loss on becoming American, on becoming modern. In their vivid depictions of late-19th-century New York life, both Cahan'sThe Rise of David Levinsky(1917) and Yezier-ska'sBread Givers(1925) detail in an especially dramatic fashion a story that had not been explored before in America's urban novel: the Eastern European Jewish immigrant's adaptation to America's consumer culture. Highlighting the role of mass-produced goods and new forms of leisure in constructing a modern, middle-class American identity, both novels examine the tensions and contradictions of immigrant life as a more communal culture of scarcity gives way to an individually oriented culture of material abundance.


Author(s):  
Kenyon Zimmer

This chapter explores how Eastern European Jews migrated to the United States. More than half made their homes in New York City, where Yiddish-speaking anarchist and socialist movements emerged from the sweatshops and tenement houses of Manhattan's Lower East Side. From the 1880s until well into the 1920s, anarchists constituted a “vital minority” within the American Jewish labor movement; Yiddish anarchism then grew to become the largest section of America's anarchist movement by the eve of the First World War. Along the way, anarchists created a vibrant revolutionary subculture deeply embedded in the larger “cultures of opposition” developed by immigrant Jewish workers and intellectuals.


Author(s):  
Annelise Orleck

This chapter traces the roots of East European Jewish women’s Socialism, feminism and labor radicalism in the Eastern European towns and cities where they were born during the late 19th century. It then follows Schendierman, Newman, Lemlich and Cohn as they moved to New York City and became involved in labor and women’s subsistence activism.


Author(s):  
Rachel Rojanski

Forverts (the Jewish Daily Forward or The Forward) was a Yiddish-language newspaper based in New York City that appeared as a daily for eighty-six years. It was the largest and most influential Jewish newspaper in the world, the most widely read socialist daily in the United States, and the foreign language newspaper with the largest distribution in the United States. Launched on 22 April 1897, Forverts was founded by a group of Yiddish-speaking members of the Socialist Labor Party (SLP). Abraham Cahan (b. 1860–d. 1951) was appointed its first editor. He left after a few months but returned in 1902 to lead the paper for some forty-eight years, until his death. Although Forverts was a Socialist paper, its readership encompassed the broad masses of eastern European Jewish immigrants in early-20th-century America, regardless of their political orientation. As many scholars have argued, Forverts played an important role in the Americanization of its readers, providing them with useful information about their new country and helping them integrate into American life. But it was an immigrant paper in a much deeper sense, too. By adapting ideological ideas and cultural trends from eastern Europe to the American reality, Forverts became instrumental in developing a new kind of secular Jewish identity. Its editorial policy was to preserve a socialist and nonreligious tone, to use simple Yiddish, to publish a range of articles—some more serious, others light—and to serve as a platform for both high-quality and popular literature (shund). As a result, Forverts contributed a great deal to the development of Yiddish literature, and many great Yiddish writers, including Isaac Bashevis Singer, published in its pages. The paper’s advice column—“a bintl brief” (a bundle of letters)—was especially popular. It regularly printed readers’ questions about important aspects of everyday life together with the editor’s responses reflecting his views on Jewish society and family life in America. No less important was the women’s page, which encouraged women to participate in the job market alongside their family roles. On the political front, Forverts supported the labor movement, participated in Jewish political debates during World War I, and fought immigration restrictions. In its early days, the paper featured anti-Zionist views, though this changed after the Balfour Declaration (1917) and Cahan’s trip to Palestine (1925). Demographic changes following immigration restrictions in the 1920s caused a gradual decline in its distribution. The paper continued as a daily until 1983, when it became a weekly. In 1990 an English-language weekly joined the Yiddish newspaper. Since early 2019, both the Yiddish and the English editions are entirely digital.


Slavic Review ◽  
2012 ◽  
Vol 71 (3) ◽  
pp. 489-515
Author(s):  
Steven Mansbach

Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.


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