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Remembering Meir Banai, an Israeli Musician at the Forefront of a Rebellion against Secularism

Jan. 16 2017

Last Thursday the celebrated pop musician Meir Barnai died at the age of fifty-five. Banai, a member of what might be termed the royal family of Israeli rock, never became religiously observant, as did his brother Evyatar and cousin Ehud (also highly successful recording artists). But like them he was at the forefront of a movement among secular Israelis to rediscover the Jewish religion, as Daniel Gordis writes:

Ḥayyim Naḥman Bialik, David Ben-Gurion, Shimon Peres, Eliezer Ben-Yehudah and dozens of others of the giants of early Zionism were raised in Orthodox homes and—to one degree or another—abandoned the rigors of that way of life. They sought sanctity not in the synagogue but in their ancestral homeland. They replaced prayer with labor. They ached not for ritual purity, but for the dirt of the land of Israel and the messiness of state-building. Early Zionism was, in many ways, a rebellion against Judaism. . . .

Somewhere along the line, though, Israelis’ infatuation with secularism began to crack, and their anger at the religion of their great-grandparents began to give way to curiosity. . . . [B]y the late 1970s, and with increased energy thereafter, younger generations of Israelis . . . wanted to be part of the conversation that had been Judaism for centuries. . . . Meir [Banai] was . . . swept along by the interest in religion and issued albums like Sh’ma Koli [whose name was taken from party of the Yom Kippur liturgy] that included songs like “L’kha Eli” (“To You, My God”), the words for which were composed by the medieval Jewish sage, Abraham ibn Ezra.. . . .

Banai’s life and work was a reminder that it is never too late to ask ourselves what the Jewish state is all about. There are many ways to answer that question, of course, but the move from the secularism of Israel’s early generations to the heartbreak of 1973 to the religious inquisitiveness of recent decades suggests that more than anything, Israel is the place where Jews have come to reimagine what Jewish peoplehood might mean when it resides in its ancestral homeland and is coupled to sovereignty.

Read more at Tablet

More about: Arik Einstein, Arts & Culture, Israel & Zionism, Israeli music, Judaism in Israel

The Summary: 10/7/20

Two extraordinary events demonstrate something important about Israel’s most fervent adversaries. One was a speech given at something called The People’s Forum (funded generously by Goldman Sachs), which stated, “When the state of Israel is finally destroyed and erased from history, that will be the single most important blow we can give to destroying capitalism and imperialism.”

The suggestion that this tiny state is the linchpin of a global, centuries-old phenomenon like capitalism goes well beyond anything resembling rational criticism. Even if Israel were guilty of genocide, apartheid, and oppression—which of course it is not—it would not follow that its destruction would help end capitalism or imperialism.

The other was an anti-Israel protest that took place in front of New York City’s Memorial Sloan Kettering Cancer Center, deemed “complicit” in Israel’s evils. At organizers’ urging, participants shouted their slogans at kids in the cancer ward, who were watching from the windows. Given Hamas’s indifference toward the lives of Gazan children, such callousness toward non-Palestinian children from Hamas’s Western allies shouldn’t be surprising. The protest—like the abovementioned speech—deliberately conveyed the message that Israel is the ultimate evil and its destruction the ultimate good, cancer patients be damned.

The fact that Israel’s adversaries are almost comically perverse does not mean that they can be dismissed. If its allies fail to understand the obsessive and irrational hatred that it faces, they cannot effectively help it defend itself.

Read more at Mosaic