Scholars have identified a range of variables that predict public health compliance during COVID-19, including: psychological, institutional and situational variables as well as demographic characteristics, such as gender, location and age. In this paper, we argue that religious affiliation is also a clear predictor for compliance with public health guidelines. Based on a sample representative survey (N = 800) of Haredi Jews in Israel, we found that Haredi Jews mostly followed COVID-19 health regulations. Among the respondents who were non-compliant, however, we found large divergences which mostly reflected religious affiliation. While members of Lithuanian and Sephardi communities reported following guidelines, Hasidim, a more charismatic sub-group, were 12% and 14% more likely to flout public health guidelines than their Lithuanian and Sephardi counterparts, respectively. Despite this inner diversity, all Haredim were portrayed in Israeli media as one homogeneous group that was blamed for flouting public health guidelines and spreading COVID-19. Based on these findings, we argue for the importance of public health messaging that attends to diverse aspects of religious dogma, practice and observance by creating partnerships and sustainable relationships between different actors and stakeholders. In addition, we found that compliance was also shaped by knowledge about COVID-19 and public concern. Taking these findings together, health communication that acknowledges religious diversity while providing critical knowledge about the pandemic is key to developing and implementing community-focused interventions and public health programs. Practically, these insights help to improve pandemic governance as well as contributing theoretically to the study of public health relations and religion by highlighting how discourses around health vary and how differently positioned actors shape representations of responsiveness and health compliance.

An intimate account of Orthodox family planning amid shifting state policies in IsraelIn recent years, Israeli state policies have attempted to dissuade Orthodox Jews from creating large families, an objective that flies in the face of traditional practices in their community. As state desires to cultivate a high-income, tech-centered nation come into greater conflict with common Orthodox familial practices, Jewish couples are finding it increasingly difficult to actualize their reproductive aims and communal expectations. In The State of Desire, Lea Taragin-Zeller provides an intimate examination of the often devastating effects of Israel’s steep cutbacks in child benefits, which are aimed at limiting the rapid increase in the ultra-Orthodox Jewish population. Taragin-Zeller takes the reader beyond Orthodox taboos, capturing how cracks in religious convictions engender a painful process of re-orientating desires to reproduce amidst shrinking public support, feminism, and new ideals of romance, intimacy and parenting. Paying close attention to ethical dilemmas, the book explores not just pro-ceptive but also contraceptive desires around family formation: when to have children, how many, and at what cost. The volume offers a rare look at issues of contraception in the Orthodox context, and notably includes interviews with men, making the case that we cannot continue to study reproductive choice solely through the perspectives of women. The State of Desire is a groundbreaking anthropological approach to the study of religion and reproduction, and a remarkably intimate account of the delicate balance between personal desires and those of the state.

Following the digitization of archival records of ethnographic work conducted among Yemeni Jews in the early 1970s, we presented these findings to the same community at the same location, fifty years later. In this renegotiation, our interlocutors radically undermined the credibility of our archival material. We analyze the audience’s reactions and the way they reflect different ethnographic dynamics, contextualizing their critical position in the tensions between archival knowledge and lived repertoire in general, and specifically in relation to traumatic experiences of Yemenis in Israel. Finally, we discuss how the suspicion toward the archive is embedded in larger current discourses on “truth” and “facts” and how in this context, it can be beneficial to scrutinize tradition archives in a community setting.

A growing interest in Claude Lefort is bringing to light his radical insights on modern democracy, totalitarianism, and human rights. While the notion perhaps most closely associated with Lefort is that of ‘the empty place of power,’ this article offers a reading of Lefort from a unique angle: his concept of the myth of the One. I demonstrate that to Lefort, the phantasmagorical appeal of the One – the desire for harmony, unity and stability – is the force that continually endangers the democratic project, while the distinctive and unavoidable characteristic of democratic society is its ‘inability’ to name itself as One – a coherent and established social self. Thus, the main challenge of society is its symbolic self-institution. The discussion illuminates Lefort’s singular stance in the study of totalitarianism (Arendt), his rejection of the imaginary (next to Castoriadis), his debt to the structuralism scheme (Lévi-Strauss), as well as his conversation with anarchist voices (La Boétie, Clastres) and with psychoanalysis (Lacan). Ultimately, what Lefort coins ‘symbolic division’ condenses the pledge of democracy to embrace a neurotic self, a bodiless body, a nameless identity in an empty space of power. As such, Lefort’s anti-myth of the One promises to be a vexing objective.

This article examines the heritage potential of postcards following the donation of the David Pearlman Holy Land Postcard Collection to the Folklore Research Center at the Hebrew University of Jerusalem. The heritagisation of postcards is attributed to the transformation in the meaning of postcards from a souvenir or a communication device to a collectable through Pearlman’s cataloguing and classification practices, as well as in the process of the institutionalisation of his collection and its digitisation. The value of postcards as a heritage object is discussed through an analysis of ‘used’ postcards produced around the June 1967 War. It discloses momentary incomplete but heterogeneous networks of a mobile object. Considering the ways in which local situations are practiced as part of a global modernity, I argue that the heritage of postcards manifests their innate mobility; they are both tangible material objects and intangible in the way they engage with postal practices. Each postcard in its mobile existence offers a fragment of an experience that ties myths and history to its present. The potential value of the Pearlman collection lies in the way many such fragments are available at once, reflecting one another as a kaleidoscopic heritage.

This paper explores thumb-typing as a cultural technique stemming from the mutual development of typing interfaces and practices. Focusing on the work of the typing fingers, it examines how the assignment of thumbs to be the primary writing digits is an innovation that correlates—and in some respects causes—textual and social changes that are central to digital culture. It argues that thumb-typing embodies recursive relations between behavioral patterns, technological infrastructure, and textual creation. The analysis shows how the invention of the typewriter keyboard introduced the fingers to typing, and how developments of digital media refined the finger-work in interacting with the device, resulting in thumb-typing. The new functionality of the thumb as an executing rather than supporting finger, promotes a novel equivalency and interchangeability in finger employment to typing. This, I propose, problematizes traditional concepts of textuality, its performance, and authorship.

This article explores body–voice entanglements in TikTok through the prism of ventriloquism. It suggests that TikTok is an app of network ventriloquism, that is, an audiovisual technology–based web of dissociations and reconfigurations of users’ bodies and voices. Yiddish serves as a case study for how TikTok’s features build an infrastructure for language, heritage, and cultural activism. We analyze YiddishToks as an instantiation of the ways TikTokers embody actual technolinguistic and ventriloquistic interconnections as well as bond with past generations. YiddishTokers interlace times and spaces and recontextualize Yiddish media history. TikTok’s algorithm participates in this reanimation of Yiddish’s past; it is a transparent, audible director that prompts the network off-stage. TikTok is an algorithmic network ventriloquism app that mediates between human and non-human voices.

Despite growing interest in community-level science literacy, most studies focus on communities of interest who come together through particular science, environmental or health-related goals. We examine a pre-existing community—ultra-Orthodox Jews in Israel—with a particular history and politics vis-à-vis science, technology, and medicine. First, we show how Haredi cosmologies and culture come together to critique science as an epistemology while engaging with science as a technology. Then, we demonstrate how community-based medical experts serve as both science-related knowledge mediators and gatekeepers. Whereas Haredi Jews are constantly critiqued for their low levels of individual secular and science education, these community-based webs of knowledge seemingly position Haredi individuals with knowledge that surpasses the average “secular” Israeli. This case study develops unique analytical tools in the growing field of community-level science literacy, while pushing forward conversations about self-ascribed experts, knowledge gatekeeping, and the socio-political contexts of group critiques of science.

Until recently, Haredi (ultra-Orthodox) Jews in Israel were mainly examined through the lens of the “isolated enclave model.” Yet the Haredi sector has undergone radical changes in a wide array of social and cultural spheres. Many of the traits that exemplified Israeli yeshiva fundamentalism at its inception, such as uncompromising dedication to Torah study, the exclusion of women from public life, sizeable families, male asceticism, and community-wide segregation, have all been called into question by community members and modified by grassroots forces. In this chapter, we offer an overview of contemporary Haredi Judaism while using three trends of religious revival – fundamentalism, charismatic manifestations and ritualization. Analytically, these trends can be identified globally, among many other religious groups. Like in other countries, Jewish men and women have reacted to monotheistic ideals of religiosity and produced a variety of new religious experiences that fuse paganism, shamanism, aspects of Buddhist spirituality with new-age spiritualties and Judaism. Demonstrating these trends in the Israeli case, we also build on feminist and critical studies to offer a more nuanced look at fundamentalism, charisma and group worship taking gender, race and inner-communal power struggles into account.

Documentary photography has undergone a process of devaluation in post-apartheid South Africa. In response, Patricia Hayes has introduced the term “empty photographs” into the scholarly conversation, using it to designate images that have been derided as “‘bad,’ ‘boring,’ or repetitious” in post-apartheid settings (“The Uneven Citizenry,” 189). This article revisits a subset of such images to contest their seeming emptiness—pallbearers escorting dead activists to their graves during political funerals in late-apartheid South Africa. Focusing specifically on Afrapix photographer, Gille de Vlieg’s images of Themba Dlamini’s funeral in Driefontein in 1990, the paper restores their local history to view and unpacks the visual cultural and material cultural circuits of militant mourning in which they were embedded. It then uses various orders of metonymy in the visual field to comment on the “necropolitics” of the apartheid regime (Achille Mbembe, “Necropolitics”). The paper concludes with a reflection on Ariella Azoulay’s notion of the “civil gaze” (Civil Imagination) and considers what unfolds when a reckoning with the differential distribution of death that characterizes necropower reorients this faculty away from the individual photograph towards series, genre or corpus.