Carlebach and Controversy
In her article, Blustain argues that there are three core reasons to raise this issue even after Carlebach's death:
- Silence. Though a veil of silence protected Carlebach and damaged his accusers during his lifetime, silence is not an acceptable response to these charges.
- Power. Part of why Shlomo was able to continue his work despite these allegations is because of his power as a charismatic leader, who not uncommonly abuse their power, sexually and otherwise.
- Community responsibility. The Jewish community has a responsibility to protect its members and speak out against injustice.
Notably, in twentieth-century America, Carlebach-written melodies have become a common component of religious and cultural forms of Jewish expression, especially in synagogue settings. Some communities have even come to call themselves a “Carlebach minyan[1]” to mark themselves in this way. Such Carlebach-linked ritual practices can mark to survivors of sexual assault, whether allegedly at the hands of Carlebach or others, particular messages regarding Jewish communal spaces that protect abusers and silence their accusers. At the same time, the presence of these same “Carlebach minyans” has served as a starting point for communities to have conversations about sexual assault and harassment.
This controversy around Carlebach continues to divide the people who were at the House of Love and Prayer today. Some people support the women who have come forward with allegations and believe that it is important to discuss this side of Carlebach's life. They are able to reconcile the fact that their charismatic leader, by whom they were deeply moved and to whom they maintain devotion even to this day, was not perfect. Conversely, others contend that it is unacceptable to discuss the allegations against Carlebach because he is no longer alive and cannot defend himself.
Regardless of one's orientation on this issue, the accusations of sexual harassment, abuse, and assault against Carlebach remain a critical part of his legacy, and this exhibition on the House of Love and Prayer would be incomplete without acknowledging this storm. For these reasons, particularly in light of the late 2017 emergence of the #MeToo and Silence Breakers movement, it is crucial to address these allegations herein.
All of this said, the House of Love and Prayer is a window into a specific time and place in Jewish history in the San Francisco Bay Area. It is a reflection of the intersection between the convergence of multiple phenomena: a Post-Holocaust form of Jewish identities, the Hippie movement, the Counterculture revolution, New Religious Movements, the city of San Francisco, and a charismatic Jewish religious leader. Though Shlomo Carlebach is unmistakably a foundational component of the House and Love and Prayer, the House of Love and Prayer was, and continues to be, much more.
Further Reading:
Sarah Imhoff, “Carlebach and the Unheard Stories,” American Jewish History, 100:4 (October 2016).
Laura E. Adkins, “Should We Still Be Singing Shlomo Carlebach’s Songs in the #MeToo Era?,” The Jewish Daily Forward, December 7, 2017.
Sharon Rose Goldtzvik, “It’s Time To Stop Singing Shlomo Carlebach’s Songs,” The Jewish Daily Forward, December 7, 2017.
Asher Lovy, “A Follow Up on Carlebach and the Abuse He Committed,” Hareiani.com, November 20, 2016.
“Jewish Survivors of Sexual Violence Speak Out,” Jewish Survivors of Sexual Violence Blog.
[1] A minyan is an edict found in the Talmud requiring a quorum of ten adult males, or, in many contemporary communities, males and females, in order to be able to recite particular Jewish prayers.