Amy Schumer is one of America’s most loved and successful comedians. Her career is built on a true riches-to-rags-to-riches story and is firmly centered on growing up in an unconventional Jewish upbringing.

Jewish women made overwhelming contributions to the creation of the field of Screendance.  Maya Deren, Amy Greenfield, Anna Halprin, Yvonne Rainer, Meredith Monk, and others have created a legacy of socially conscious dance for the screen that collectively exhibits and performs principles of Jewish ritual and practice. Many of these artists share a focus on social justice and a collective approach to what might be called a feminist Jewish art form.

In the early twenty-first century, Haredi cinema began to flourish, first in Israel and then in the United States and elsewhere. Haredi women have made films that focus on relationships among women, that are often much more aesthetically elaborate than Haredi men’s films, and that address issues that until recently were considered taboo.

Rama Burshtein’s films are among the most important created by a Haredi woman. Her first commercial film was shown exclusively to Haredi women, but Burshtein found the conventions of Haredi cinema poorly suited to her artistic aspirations, and her later films were aimed at the nonreligious world.

In various parts of Brazil, women have taken on important roles for the Israeli dance establishment as a sociocultural practice within their Jewish communities. The text presents the names of some pioneer women in this process and other ones that have been preserving this traditional Jewish expression of dance for years.

Medieval European representations of Jewish women by Christian authors reveal anxieties about Jews and their imagined intentions. Some of these writings portray young Jewish women as easily seduced by Christian men and Christian teachings; others depict a beautiful but malevolent Jewish woman who leads a Christian boy to his ritual death. Another motif, supposed sexual liaisons between a ruler and a Jewish woman, expresses Christian perceptions of Jewish threats to the Christian state.

Award-winning cultural anthropologist Ruth Behar has conducted groundbreaking research in Spain, Mexico, and her native Cuba. Her innovations in cultural representation have transformed ethnographic writing and reached a broad, non-academic audience through her film, poetry, personal essays, and young adult fiction.

Esther Brandeau was born in southwestern France around 1718, descended from exiles of the Inquisition in Iberia. Brandeau passed as Christian and male across France for five years before setting sail as Jacques La Fargue. Doubly outed at or en route to Québec, Brandeau | La Fargue was ultimately deported from New France, purportedly for refusing to convert to Christianity.

Julie Eichberg Rosewald was America’s first woman cantor. Known as the “Cantor Soprano” at Temple Emanu-El in San Francisco, she served between 1884 and 1893. Rosewald enjoyed a brilliantly successful career in opera as well as being a composer, author, teacher, and professor of music.

A dancer, choreographer, educator, writer, and collaborator, Liz Lerman is among the dance field’s prominent public intellectuals, bringing deeply researched ideas about dance and community across fields as diverse as genetics, history, ethics of justice and reconciliation, and the science and religion of the origins of the universe. She draws consciously on the Jewish value of tikkun olam—healing the world—in her work.

Diane Noomin was an acclaimed cartoonist and editor and the creator of her alter ego, DiDi Glitz. Noomin was a central figure in women’s comics beginning with the early feminist publications of the 1970s. In 2011 she published an anthology of her work, Glitz-2-Go: Diane Noomin Collected Comics.

Mirra Burovsky was the first Jewish actress to star in the mainstream Russian theater. Her stormy life and career brought her to center stage of Jewish cultural, intellectual, and social ferment in Tsarist and revolutionary Russia, Weimar Germany, and mandatory Palestine. Her third marriage, to psychoanalytist Max Eitingon, and the career of her son Yuli Khariton, “the father of the Soviet atomic bomb,” created the background for a continuing espionage controversy.

Zohra El Fassia was a renowned singer and recording artist in twentieth-century Morocco. Her life story moves between the burgeoning colonial recording industry in the Maghrib to North African immigrant histories in the south of Israel. El Fassia’s soulful music and powerful persona have resonated with generations of artists and activists who look to her for the unheard stories of Jews in the Arab and Muslim world and of Mizrahi Jews in Israel.

Ladino or Judeo-Spanish Sephardic songs are primarily a women’s repertoire. The two main traditions are that of northern Morocco and the Eastern Mediterranean, primarily today’s Turkey, Greece, the Balkans.

The arrival in pre- and post-state Israel of Jewish immigrants from Europe, the Middle East, and North Africa resulted in a culturally diverse proliferation of music, much of which involved performance and composition by Jewish women. Jewish women have also contributed significantly to the development of music education and music scholarship, being involved in music studies publications and projects as well as the development of music education institutions.

Aída Bortnik was an Argentine journalist, dramaturge, and screenwriter who wrote the first Argentine screenplay nominated for an Academy Award (“The Truce,” 1974), an award she later won for best foreign film in 1986 (“The Official Story”). Bortnik was also the first Argentine to pen a screenplay that addressed the military dictatorship (1976-1983) and the first Latin American admitted as a permanent member of the Academy of Motion Picture Arts and Sciences.

Ana María Shua is an Argentine writer and screen writer who is internationally known as a specialist in short stories, in particular micro fiction tales, which are stories of just two or three lines of extension. She is well known in the Hispanic world as the Queen of the Microstory and employs her writing to narrate various aspects of the Jewish experience.

Australian pianist Florence Menk-Meyer took Europe by storn with her musicianship during her first visit there in the 1880s. She was a favorite of audiences overseas and in Australia for many decades, her achievements as a pianist compared to Liszt and other legendary masters