Jewish History: Israel
A leading spy for the Nili ring during World War I, Sarah Aaronsohn fought to free Palestine from Turkish rule and withstood torture for her ideals; she committed suicide after arrest by Turkish authorities and was later described as a Jewish Joan of Arc. The semi-military role Sarah carved for herself, her activity, and her voluntary death made her an icon and a model of a new “Hebrew” femininity.
Women faculty members in the higher education system in Israel share with their sisters in other Western developed countries characteristics regarding proportions, promotions, and positions. They constitute a small minority of the total tenure-track faculty, with somewhat larger minorities in the humanities and social sciences, and very small minorities in the physical sciences and engineering.
Adato enlisted in the IDF in 1973 and in due course served successively as commander of the two central Women’s Corps training bases (1994–1997), commander of the Women Teacher-Soldiers unit, and commander of the women in Nahal, where she directed the assistance given to immigrants from Ethiopia and the USSR. In 1997, she was promoted to the position of head of the Women’s Corps as a brigadier general at a time when the corps was in the process of being radically reorganized.
Chava Alberstein is a singer-songwriter (both lyricist and composer) who by the end of 2004 had recorded over fifty albums, not including singles and song collections.
She was the only woman among the early members of the Mosad, which smuggled Jews out of Europe and into Palestine in an attempt to circumvent the aliyah restrictions of the British Mandatory authorities. Late in World War II Aliav-Klüger was among the first representatives of the Yishuv to meet with Holocaust survivors on European soil and come to the aid of the she’erit ha-pletah (surviving remnant). In early 1949 Aliav-Klüger returned to Israel and, like many of her Mosad comrades, joined the Zim national shipping company. In 1974 she was selected as Woman of the Year by the National Council Of Jewish Women in the United States in honor of the release of her book, The Last Escape, describing her activities with the Mosad le-Aliyah Bet between 1938 and 1941 (published originally in English and translated into Hebrew).
During her term of office, Almog stressed the importance of appropriate training for new recruits and established the base at Julis for absorbing them. The number of annual officer courses was increased, a training course for women officers in the Operational Branch was established, new occupations, such as airborne doctors, were opened for women officers and institutional posts increased.
Passionate, principled, provocative, and above all path breaking, Shulamit Aloni has left a greater imprint on Israeli political life and public discourse than any woman to come of age after Israel’s independence.
Women have played an important part in the American Jewish Congress (AJCongress) since the organization was first established after World War I.
Established in 1925 to create vocational schools for religious girls in Palestine, AMIT, an American-based religious Zionist organization, has helped shape the educational and social welfare landscape in the State of Israel for eight decades.
A justice on Israel’s Supreme Court since May 2004, Edna Arbel was born in Jerusalem on June 22, 1944.
Like the biographies of other figures prominent at the time of the establishment of the state of Israel, that of Shoshana Arbeli-Almozlino parallels the history of Zionism and the founding of the state, from her childhood in a traditional Iraqi family and membership in the Zionist underground in Iraq, through her immigration to Palestine and the founding of Kibbutz Neve Or, to her term as a member of the Knesset and her services as Israel’s Minister of Health.
A number of studies from the mid-1980s onward have demonstrated the impact of the Holocaust on visual art, in particular for artists who themselves experienced the agony of the Holocaust, but also among their contemporaries. These artists portrayed the Holocaust’s atrocities and responded to the horrific trauma through various forms of expression. Now, more than sixty years after the Holocaust, it is apparent that its impact has carried over into the works of so-called “second generation” artists as well.
The 1970s were a conceptual and political period in Israeli art. Art during these years expressed the plural form—of the nation, the society and of modern art.
Until the 1970s women were always a minority among Israeli artists and most of them either followed the men or worked outside the leading artistic movements. Although the early twentieth-century Yishuv (the Jewish settlement in Palestine) was a pioneering society with egalitarian ideals, it was (like every society in the world) ultimately led and directed by men, and so too were the various artistic groups.
Miriam Baratz was a founding member of Deganyah Aleph, the first socialist Zionist farming commune in pre-state Israel. She advocated for communal childcare and education, and for a cooperative and egalitarian economic structure. The gender paradigm she helped establish at Deganyah set a precedent of egalitarianism for the entire kibbutz movement.
An “out-liar,” as she called herself, Barr was an activist in multiple worlds: breast cancer, feminism, Judaism, education and the Israeli peace movement.
In order to examine the subject of women in ethnic dance in Israel (as well as pre-State Palestine), one must define the various categories that come under this heading and explain what distinguishes and what unites them. The unique mode of ethnic dance in Israel is more properly referred to as dances of various ethnic communities, encompassing both Jewish and non-Jewish ethnic groups. This article, devoted to the role of women in ethnic dance, may be divided into two primary topics: the first concerns the role, state and function of women in the dances of the various ethnic communities, and the second, individual women who contributed to the cultivation and development of ethnic dances through their work in creating, studying and organizing this field.
In the largest Jewish immigrant wave since the 1920s, nearly three hundred thousand Soviet Jews settled in the United States after 1970. More than two-thirds of all Jewish immigrants to the United States since 1980 have been from the (former) Soviet Union. Women, who comprised fifty-three percent of those who arrived during the wave’s peak, between 1970 and the 1990s, came to the United States with an unusually high degree of professional and technical skills. In contrast to the 16.5 percent of American women who worked as engineers, technicians, or other professionals, over two-thirds of Soviet Jewish émigré women had worked in these occupations prior to their arrival. As is consistent with their occupational status, these Soviet Jewish women immigrants were also highly educated. Their average number of years of schooling was 14.2. Despite their high degree of educational and occupational attainment, women’s salaries in the USSR were only fifty-seven percent of those of men.
Until 1920, dance—like other artistic activities—was virtually nonexistent in Palestine, then a neglected province of the Ottoman Empire. The Bezalel Academy of Art and Design (founded in 1906) operated in Jerusalem, while Tel Aviv had two modest music conservatories, Shulamit (founded in 1910) and Beit Ha-Levi’im (founded in 1914). Attempts were also made to set up small symphony orchestras and amateur theater, but these soon folded. There were no dance or drama schools or even auditoriums. Under the more liberal administration of the Mandate for Palestine given to Great Britain by the League of Nations in April 1920 to administer Palestine and establish a national home for the Jewish people. It was terminated with the establishment of the State of Israel on May 14, 1948.British Mandate which went into effect in 1920, waves of immigration increased until, by the middle of the 1920s, the Jewish population reached about ninety thousand. (There were 83,790 Jews in Palestine according to the first British census in 1922). The character of immigration also changed: while previously most of the immigrants had been young idealists who arrived as individuals, most of those who arrived during the third Lit. "ascent." A "calling up" to the Torah during its reading in the synagogue.aliyah (1919–1923) were entire families, primarily from eastern Europe. They increased the population in urban settlements, built on the sands of Tel Aviv, and gave momentum to the development of the arts, particularly dance.
“All the links in the chain of Devorah’s life cast a light of great activity and influence on her surroundings, both near and far. Love of her motherland was the main force behind all her writings (and actions) and intermingled with everything: home, village, motherhood, the farm, teaching new immigrants and their children, the fate of her sons in battle and her bereavement.” Thus Rahel Katznelson-Shazar eulogized the new Hebrew woman as exemplified by Devorah Dayan.
Barbara Berman Dobkin is the pre-eminent Jewish feminist philanthropist of the end of the twentieth and beginning of the twenty-first century. Her vision, dedication, generosity and financial commitment have contributed significantly to changing the landscape of Jewish women’s organizations and funding in both North America and Israel. In her central pursuit of the full equality and integration of women and women’s issues into every aspect of Jewish life, Dobkin co-founded Ma’yan: The Jewish Women’s Project and has served as the chair of The Jewish Women’s Archive and the ten million dollar Hadassah Foundation. She has also been a pioneering donor-activist on Jewish gay and lesbian issues, in progressive Israeli organizations, and in the U.S. women’s funding movement, and has garnered a national reputation as a speaker on issues of women’s philanthropy and leadership.