Siegen *Deli at
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a gateway that brings unaffiliated
Israelis and American Jews into great-
er engagement with Israel, each other
and Jewish life.
Two years ago, the Idan Raichel
Project, with a fusion of Ethiopian-,
Moroccan- and even Arab-Israeli
music, catapulted group leader Raichel
into stardom in the world music scene
(though his recently scheduled con-
cert in Detroit was canceled due to
poor advance ticket sales).
"It's the music of the streets of
Raichel tells JTA. "We have a
small melting pot onstage. What I'm
doing is Israeli music, even if for you it
may be world music:'
Aviv, who played in New York,
Florida and Tulsa, Okla., on her recent
U.S. tour, began her career with the
Idan Raichel Project. She has released
one CD since striking out on her own
and has another slated for the fall.
"I think Israeli music is still in the
process of revelation because it's a
young country that is so diverse and
colorful, and we are still asking each
other what tribe we're from:' she tells
JTA. "It's still hard to identify the
one characteristic that makes music
Israeli. Israeli music is very diverse
and rich, perhaps because of this
ingathering of the diasporas:'
Veteran Israeli journalist Yossi Klein
Halevi, whose dispatches in the New
Republic and elsewhere provide a
steady stream about depressing politi-
cal news from Israel, gushes when it
comes to Israeli music.
"There's so much vitality. There's
so much creativity:' Halevi says. "The
music is fantastic:'
But you can't build a sustainable
film industry around a single genius.
A functioning national film indus-
try must be able to crank out films
predictably, on schedule and on bud-
get that will find that local audience.
For Israel, the first to do that would
probably be Menachem Golan and his
coterie, churning out monetarily suc-
cessful films like the Lemon Popsicle
movies, dreadful action fare like
Operation Thunderbolt and the occa-
sional leaden literary prestige project.
It is fair to say that in the past
decade, it is more funding that has
coincided with the rise of a new, vital
and exciting generation of Israeli film-
makers — including this year's Oscar
nominee (for Beaufort) Joseph Cedar.
Sharon Rivo, director of the
National Center for Jewish Film, points
to two key factors as a partial explana-
tion for the upturn in the quality of
Israeli film: a dramatic rise in film
schools (today there are dozens) and
a crucial increase in funds for produc-
tion.
As she writes via e-mail, "The Film
Fund under the leadership of Katriel
Schory has forged partnerships with
European production companies and
TV companies such as ARTE and
Canal Plus. These co-productions
have seen large infusions of money
but also collaborative relationships
with seasoned filmmakers. Also, the
New Israeli Foundation for Cinema &
TV, run by David Fisher, has nurtured
filmmakers and infused funds into
production. [Additionally,] the TV
stations — Channel 2 and Yes — have
helped fund productions.
"In turn, production values have
risen dramatically, and the focus
on subjects of war and conflict has
shifted to human behavior, which
is universal. Interestingly there
seems to be an increasing number
of women directors and writers, and
their work often penetrates these
human issues."
The sudden rise of Israeli cinema is
reflected in the sudden appearance of
Israeli films and their makers in the
ranks of those receiving major awards
at film festivals.
We can expect Israeli film now
to be taken as seriously as Iranian,
Taiwanese, South Korean and
Argentine, to name only the most
recent of "new waves" in the filmic
sea. ❑
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Israel singer-songwriter Din Din
Aviv performs at New York's
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Museum of Jewish Heritage in
March.
Voted Best Greek Restaurant by
RESTAURANT
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May 15 • 2008 C17