While the book offers an exhaustive, historic chronicle of the community across India and their unique localised traditions, it also throws light on the diaspora and their impact across other lands. Soltes’ main challenge was to be sure that the entire narrative cohered. “By starting with such a broad opening and bringing things to narrow down in an organic sort of progression to the discussion of Siona’s work; and given how the diversity of India and the particularly rich religious diversity within Hinduism, both afford a very understandable context for the diversity of Judaism and of Jews in India. All of this made sense to me as a framework for the discussion that extends from the details of synagogues to the discussion of specific customs and ceremonies, to the account both by Siona of her experience as a Jew growing up in India and the outcome of all of that in her art,” he recalls.

The reader will find insight into three main Jewish communities thanks to three descriptive essays: Bene Israelis (Soltes), Baghdadi Jews (Jael Silliman) and Cochini Jews (Orna Eliyahu-Oran, Barbara C Johnson). The essays also cover the issue of Jews coming in general to South and East Asia, which adds another layer of complexity, especially for an American Jewish audience that, for the most part, knows so little about Jews in Asia or in India in particular.

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Bombay and finding “home”

Siona’s art elevates the essence of this book and is an extension to her Jewish identity that has transcended borders. “I am a Bene Israel Jew from India. My family gradually dispersed, mostly to Israel and America, but my parents remained in India. I am now also an American, living and working in New Jersey, but still recall the ornate synagogues of my childhood, the oil lamps, the velvet and silver-covered torahs, a chair left vacant for the Prophet Elijah in our Bombay synagogues. Having grown up in a predominantly Hindu and Muslim-dominated society, having been educated in Catholic and Zoroastrian schools, being raised Jewish in India and now living in America, I have always had to reflect upon the cultural boundary zones in which I have lived,” she explains.

Finding Home #79 (Fereshteh) “Ishq (Lilith)”; 17” x 15”; Gouache and 22K gold leaf on paper; 2006. Artist: Siona Benjamin

With such a background, the desire to “find home”, spiritually and literally, has always preoccupied her. It’s a concern to which many Americans can relate, she feels, as this comparatively younger nation was largely formed by immigrants and their descendants. “The feeling I have of never being able to set deep roots no matter where I am is unnerving, but on the other hand, there is something seductive about the spiritual borderland in which I seem to find myself. After searching for the perfect “home” I realise that home is where I make it and that my home now resides in my work, and in the memories that help me make the work. This forms a new type of home or many shifting and transforming homes that morph into new ones all the time; ever changing and always alive and breathing. I am excited to find this new concept of “home”,” she reasons.  

Art as the bridge

Being a transcultural artist, Benjamin believes that transculturalism will help in artistic and other ways to be a bridge between the traditional and the modern. “This bridging affects immigrants that have lived anywhere in the world, so that people can learn new ways to communicate and have artistic discourse with each other. A transcultural person is rather like a chameleon, being able to change his/her colours according to the situation and environment. Today’s world politics pushes one to take sides, either black or white. The grey scale in between needs to be explored so that when one makes final evaluations, it is painted with a fairness that allows us to learn about all points of view,” she explains.

Siona Benjamin and Ori Z Soltes

She also feels it’s important to view the world outside of the bubble of one’s own country, religion and race. “Art can be an important vehicle in this endeavour. This involves not just presenting to my audience the uniqueness of immigrant cultures, but going beyond this in exploring what is being born out of the specifics of that immigrant culture. Therefore I question what exactly is “home”? India has wonderful childhood memories; it influences my work and some of it is in the book.” 

Soltes is confident this title will resonate with all kinds of readers: “I hope that for a reader, be it an Indian, American, Israeli, Jewish, Christian, Muslim, Hindu, these issues will be of interest and perhaps a bit revelatory, about the varied synagogue architectural styles, the story of Siona’s years in Mumbai, and settling in America 30 years, and the analysis of her art.” Benjamin feels that “Indian Jewishness is in good hands, and Jews in India and Israel are helping keep it alive.” In fact, the Indian Jewish Heritage Center that co-sponsored this book is currently building an Indian Jewish museum in Israel, a project that she is associated with. “India has always been a multicultural country and Jews have never suffered anti-Semitism. I hope this will continue forever,” she signs off.