by Jonathan B. Krasner
Long before Ben Platt was a Broadway sensation in Dear Evan Hansen, he was wowing audiences in Hebrew language productions at Camp Ramah California. Platt recalled playing Sky Masterson in a Hebrew language production of Guys & Dolls and even sang a few lines of “Luck be a Lady Tonight” (“Hey lady, tni li mazal”) in a November 2016 episode of Late Night with Seth Myers. Ramah was a formative experience for Platt, who credits it with keeping him engaged with Judaism. His memories of the Hebrew show tunes he performed help keep the connection solid all these years later.
One of the takeaways of Hebrew Infusion: Language and Community at American Jewish Summer Camps, the recently-published book that I coauthored with Sarah Bunin Benor and Sharon Avni, is the critical role that music plays in creating a Hebrew atmosphere at many Jewish summer camps. Often, multiple Hebrew music genres comprise a camp’s soundscape, with one form or another coming to the fore, depending on the context.
Hebrew singing has been heard in some form at Jewish summer camps since their inception at the turn of the twentieth century. Many of the early camps, particularly the philanthropically-funded “fresh air camps,” were charged with Americanizing the children of immigrants, while other privately operated camps attracted a middle-class and wealthy clientele.
the latest in a parade of prominent American politicians, celebrities and opinion-makers, including Bill Clinton, Cornell West and Madonna, to invoke the term. The Americanization of tikkun olam reflects its ubiquity in American Jewish life, where many religious and communal leaders identify it as a core Jewish value.