Despite the increase in the number of people serving in the IDF, who integrate - and especially those who integrate - into the labor market, the use of smart phones and social networks, and more, the ultra-orthodox public is still considered the most conservative and closed in Israeli society. However, it seems that the influences of the Western world are still deeply rooted in one of the most popular content worlds - Sector the comic.
"At the age of six, I saw Tin Tin's comics," says Batsheva illustrator, writer and comic artist Ingber-Helin, "it was the first time I came across colored comics and it was strange."
Miriam Yael (she signs with her first names) also creates comics, agrees and notes the influence of another famous comic creation: "My parents who immigrated from France also brought Asterix with them".
"I lived in Canada as a child," shares the veteran comic artist Racheli David, "and I was very influenced by the comic books that were common then, and actually still are today, like Disney. I was actually less connected to Marvel."
The last rib in the group, Yiffit Bernstein, surprises and points out: "I actually sat on Racheli's books."
So can you say you grew up on her?
Yiffit: "Yes. As a child and teenager I read her books for hours."
Miriam Yael: "Me too."
Batsheva: "Everyone knows Racheli in ultra-Orthodox society. There is no one who does not recognize her illustrations."
All four are ultra-Orthodox comics writers and illustrators.
Before the interview, which took place at Batsheva's home in Bnei Brak, I asked them to bring a drawing pad and paints for the photos, but it turns out that I was not very up to date - as those who live the work, they have long ago switched to comfortable work on an iPad.
Just like their illustrated works, they are also colorful and full of energy, when the conversation often wanders to other regions, but in the end it always converges on the characters and stories that have been transferred from their heads to the comic sections of the various ultra-Orthodox magazines and newspapers, or to books that have been sold in Israel and around the world in a multitude of languages such as Hebrew, English and even Yiddish.
Bat-Sheva (36) is remarried after becoming a widow from her first husband and a mother of three. She belongs to the first generation of ultra-Orthodox comic creators who grew up within the sector and is considered one of the most prominent ultra-Orthodox comics.
So is Racheli (43), married, mother of seven and grandmother to her grandson Maled, who at the age of six moved with her family to Toronto following her father - the former chief military cantor Haim Weiner.
A decade later, her family returned to Israel, and then she began painting professionally.
The young women in the group are Yafit and Miriam Yael, 24 years old.
Yafit, married and mother of two from Ashdod, an illustrator since childhood, has been involved in professional comics for almost a decade, holds a drawing show with the participation of the audience where she reveals her world as an illustrator, and also owns an independent book publisher.
Miriam Yael, who grew up in Bnei Brak and now lives with her husband in Jerusalem, has also been drawing since a young age and in recent years has turned the hobby into a profession.
The films Spider-Man, Thor and the other members of Marvel's Avengers, alongside the films of the DC cinematic universe that include, among other things, Batman, Superman and, of course, Wonder Woman starring Gal Gadot, revived the comic book characters that were created at the beginning of the last century.
These characters inspired four ultra-Orthodox comic book illustrators, as well as other popular comic books such as the young adventurer Tin Tin and the Gallic warrior Asterix.
"My father grew up in France," says Miriam Yael, "and he always told me that he and his brothers were divided into Camp Asterix and Camp Tin Tin. As children we already read it in Hebrew and we have all the booklets at home. Beyond pleasure, even as a child I studied the books from a professional perspective. In my estimation , many in the ultra-Orthodox public read these comics, and many ultra-Orthodox painters were also influenced by them. There is even an ultra-Orthodox illustrator who included Tin Tin in one of his books."
"I've been drawing since the age of 4," says Racheli, "My mother and grandmother have an artistic background. As a child, I didn't know ultra-Orthodox comics, and when we went to a drugstore in Canada I saw Superman and Spider-Man brochures, but for me personally, it's not an issue. I was more attracted to Disney."
Yiffit: "In first grade, I drew in my notebook a girl walking with a dog under the title 'I study in Bais Malka', which is the Yiddish pronunciation of the Beit Malka school of the Belez Hasids where I studied. I remember that everyone was enthusiastic about the drawing, especially because its combination with the caption made them laugh . That was the first time I realized that people relate to me because of a painting I drew and words I wrote. I was able to touch people with my painting, and for the first time I realized that I have power in my hands."
Batsheva: "From a young age I studied paintings. My parents loved to draw, and when my father drew a house and a tree I was fascinated and tried to copy according to his lines, I painted myself and kept asking him to draw me more pictures. I also copied in books to learn how to draw myself. I actually do I grew up on ultra-Orthodox comics. 'Zarkor' is a mythological ultra-Orthodox newspaper that was the first newspaper for ultra-Orthodox children to include comics. In the early years it was in black and white."
The forerunner of realism
As mentioned, the ultra-Orthodox comics scene began to grow at the end of the 1960s in the monthly "Zarkor", but its star really began to rise in the early 2000s, when the sector's newspapers and monthlies - such as "Yeded Na'eman", "HaModi", "Bakhilah", "Mifsha" and others - began to appear. Incorporate comic corners into them.
Slowly, many books were also published, most of them aimed at children and teenagers.
From the comics "Secret Garden" and "Housewife",
Two of the pioneers of ultra-Orthodox comics, on whose back generations of ultra-Orthodox comics were built, were not born within the sector.
The painter, illustrator and cartoonist Yoni Gerstein studied the profession in Paris and worked in the field as early as the 1960s, many years before he converted.
With his approach to religion, Gerstein abandoned the world of illustration, but some time later, on the advice of his rabbis, he returned to painting - only this time he adapted his works to his new lifestyle.
Gadi Polak, who was born in Russia, where he worked as a graphic artist and illustrator, also repented after immigrating to Israel and then began to incorporate messages into his illustrations that suited his ultra-orthodox worldview.
"When we came to visit Israel at the age of 14," says Racheli, "I went with my mother to Yoni. He drew me a personal painting and I framed it in my room. Through the paintings and the texts he created very smart and deep content."
Yiffit: "I read all his books and pamphlets. For many, many years he was one of the only illustrators in the ultra-Orthodox sector. And if he is the founding grandfather of the world of ultra-Orthodox comics, Gadi Polak is the founding father."
Bat Sheva: "There is no ultra-Orthodox home that doesn't have his comic books. He brought realism to ultra-Orthodox comics, the Russian style which is very accurate. He also ran a course for ultra-Orthodox illustrators, and to some extent created the next generation of ultra-Orthodox comic creators."
Batsheva was among his students for an academic painting course, and besides Polak she studied with a number of teachers.
Later she taught a digital illustration course herself for several years, including Racheli.
Miriam Yael had already studied with one of the graduates of the Batsheva course, while Yiffit, who also studied with a number of ultra-Orthodox illustrators, also turned to studies at non-Orthodox institutions, "I took a course in Bezalel both to get out of the classical ultra-Orthodox area and for the sake of my resume."
They all discovered a business initiative at a very young age, and for them turning the hobby into a profession was only a matter of time.
"In the 6th grade," Yafit recalls, "I drew, wrote, printed, made a cover, folded and created an improvised comic. I even sold it for 5 shekels."
Racheli produced comic books and sold them to her classmates even before she celebrated her Bat Mitzvah, and Miriam Yael published her drawings in a bulletin that her brothers published in the Talmud Torah where they studied.
She charged them 5 shekels for these paintings.
"I drew my first comic at the age of 8," says Batsheva, "at the age of 16 I started drawing and writing the first professional comic book, which was published four years later."
Besides the world of painting, writing is an integral part of their professional world.
"I always loved to draw," Miriam Yael points out, "but I was also very attracted to the world of writing. In the past I was sure that I would write scripts and direct films, but when I discovered that it was possible to combine drawing with writing and create comics, I focused on that. We were all drawn to comics because of the storytelling element in it. In comics, you tell a complete story that includes drawing and text. You are the director of your own world."
Yiffit: "I devoured books. To this day I read a lot. I have a dream to write a book."
Batsheva: "In the ultra-Orthodox public, visual media is less common. Comics are the last step before the transition to the world of movies, which is already much more complex for this public because of problematic content."
"Rejection gave me drive"
The beginning of most of them was not smooth and they encountered difficulties that required quite a bit of tenacity from them.
"When I finished my first book," recalls Batsheva, "I went to one of the major ultra-Orthodox book publishers. At first they showed enthusiasm, but a week later they told me it wasn't suitable. There were also those who said I wasn't that good a painter. It definitely gave me Drive to succeed. In the end, three years ago I rewrote my first book and it was published. In retrospect, my first rejection turned out to be a good thing because I got a much more mature and good book. In the end, even those who didn't believe in me at first rejoiced in my joy and cheered me on. As a woman of faith I know that the investment is indeed important, but God is the one who determines the degree of success."
"I really rocked to book publishers until I succeeded," says Miriam Yael.
Yiffit describes a similar situation: "I was constantly sending emails and proposals to the book publishers. At first I heard a lot of 'no,' but after I received a few positive answers, they suddenly started contacting me with requests for jobs."
"I grew up with a lot of encouragement and positive feedback that I draw beautifully and write well," says Racheli, adding that her hunger to succeed actually stemmed from comparing her works to those of others.
"I saw other people's books and paintings and I thought they were better than me. It spurred me on to raise the level, try to reach them and constantly improve."
The four of them wrote several sections and published a long series of books.
Miriam Yael has for years published a comic story in sequels in the magazine "Mifsha" and recently published it as a graphic novel for teenagers in two parts called "1:0".
She is expected to publish another book soon.
In the past she also illustrated children's books and textbooks.
Yiffit has so far published five books for the ultra-orthodox public, along with illustrations she provided for other people's books.
She recently founded a small and independent publishing house, under which three more books are expected to be published soon.
"Beyond the artistic aspect," she emphasizes, "it's also important for me to make a profit."
Bat-Sheva writes satirical comic strips for the ultra-Orthodox magazine "Comics" as well as for the "Mishpah" magazine, in one of which she described the world of an ultra-Orthodox housewife.
This section led to a series of books and finally to a play based on which a comedy combined with animation for ultra-Orthodox women will be staged this coming Hanukkah in the ultra-orthodox theater of Ofer Halevi.
Apart from that, she wrote and illustrated 28 books, some of which were translated into English and Yiddish, and also illustrated the "Israeli Talmud" series for children, published by "Yediot Books".
Rachel has already stopped counting the books she has written.
"We are talking about hundreds", she says, including books written for Jewish communities in the USA, France, the Netherlands, Argentina and more, books for the ultra-orthodox sector, illustrations for books for the general sector, as well as "illustrations for hundreds of board games".
Mutual responsibility
Over the years, and with the publication of their works throughout the sector, they began to receive inquiries from comic book creators at the beginning of their careers requesting that they review their works or recommend them to book publishers.
"Girls, how many times have you received inquiries from beginning painters asking for advice and guidance?" Rachel asks her friends.
"A lot," Yafit answers.
"There are painters to whom I regularly send works that I cannot accept," adds Batsheva.
"I send mainly to colleagues," emphasizes Miriam Yael, while Rachel says: "I don't send to people I don't know, unless I've seen a portfolio of her work."
Inspiration from a young age.
Right: the characters of Asterix and Tin Tin,
According to the data of the National Library, in 2021 99 comic books were published in Israel, an increase of about 50% compared to the year before.
The conservative estimate holds that the ultra-orthodox market dominates about half of the genre's books per year, and other estimates speak of an even higher figure.
"In my estimation, 80% of the books are written and illustrated by ultra-Orthodox artists," says Bat-Sheva.
"In the world of media and content, this is one of the most profitable areas in the ultra-Orthodox community," adds Miriam Yael.
Do you have to make concessions because you are ultra-Orthodox artists?
Racheli: "Family reality makes me give up. My paintings are very light because I don't have time to invest."
And it frustrates you?
"At the current stage of life, I'm completely at peace with it. I bring home a living, and for me that's what's important."
Yiffit: "Beyond a professional limitation, I have a limitation that a secular woman does not have. I am 24 years old, married and the mother of two children, and I already have a mortgage and obligations, so I have to work hard and earn. I have no time to waste."
Miriam Yael: "When you write comics for the ultra-orthodox public, you can't raise the level of violence and tension because it's not appropriate for the public. I have to think about the children who read me. Sometimes I think that if it weren't for the restrictions, I could stretch the boundaries even further in the plot. But in the end, everyone faces restrictions such and such".
Bat-Sheva: "In 'Ekrat Beit' it was apparently asked to get into women's and relationship matters, but I received comments from readers that many men and children read my comics, and as soon as I heard that I realized that I had a great responsibility. I have to think about how to subtly hint at things that are not It can be said openly. Not everything that is thought is said, and not everything that is said is painted."
Miriam Yael: "Do you change things according to feedback from the audience?"
Batsheva: "Definitely".
Yiffit: "I create with the existing cards. I don't feel any particular frustration. It's what's there, and that's what I work with."
Miriam Yael: "In ultra-Orthodox films, for example, which are mainly intended for women, it is not possible to cast male actors but only women. It is a kind of disconnection, therefore creating comics for girls fills the gap because all the characters appear in it. In the end, I think that the limitations actually make you transcend yourself and improve."
Unwarranted fear
Are female characters expressed in your works?
Batsheva: "In some currents it is not possible to draw women in books."
Yiffit: "There are no women, and there is also no contact between the characters."
Batsheva: "But today it's less common. In one of the stories about the time of the Crusaders, there was one hero. After thinking about it, I added a sister who helps him, and in the process goes on a journey herself and becomes another hero. At first I was afraid it wouldn't work, but in the end the readers really liked her ".
Yiffit: "I really like to talk about and express female empowerment, women's power. It's a long process I went through with myself, at the end of which I decided to move female characters to the front of the stage. In the 'National Geographic' magazine for ultra-Orthodox children where I write, there are two protagonists - a son and a daughter. In the original script I received The daughter helps the son, and I decided to change and rewrite so that the female character moved to the front. I also will not draw a daughter serving at a table for men. In my paintings, they will stand up and take it themselves."
"For me, anyone who wants to read a comic must first also read a book."
Racheli David, photo: Efrat Eshel
Miriam Yael: "I had a story I wrote in which the hero was a boy, but then I told myself there were enough boys and I changed it to a girl."
Yiffit: "By the way, Miriam Yael really brought comics about women only to the forefront."
How unusual is that?
"Very unusual," they all say.
"There is no other comic like this," says Yiffit, "in the rest of the works there are either only boys or girls next to boys, there are never only girls."
Miriam Yael: "It's a fictional story that combines stories and issues that are typical of ultra-Orthodox girls."
And why is it so precedent?
Yiffit: "Because there is a part of the ultra-Orthodox sector who will not buy books that are only about girls."
ideologically?
Yipit: "Yes".
Batsheva: "I don't agree. A few years ago I wrote a story about the purity of girls and they told me it wouldn't work because girls will read a story about boys but boys won't read a story about girls. It's a commercial matter. The general assumption was that boys wouldn't be interested in girls' stories. Maybe Today, when the market has grown, the discount has changed."
Yiffit: "Obviously, there are many commercial considerations in the opposition, but there is also a fear of modesty, which I think is unjustified."
"I have to think about how to subtly hint at things that cannot be said openly."
Bat Sheva Ingber-Helin, photo: Efrat Eshel
How were the reactions to the book?
Miriam Yael: "Very good. I know that a lot of boys have read my books."
How many illustrators are there in the ultra-orthodox sector?
"There are about 60 active illustrators, and I think half of them are women," notes Yiffit.
Batsheva adds that in her estimation "there are more illustrators, something like 80% women".
I see that you sign your books with your name and not a pen name.
Racheli: "Why do you need a pen there?"
This is what is customary in the ultra-orthodox sector, isn't it?
Yiffit: "Twenty years ago there were female painters who were ashamed, perhaps out of the conservatism of our society, but today there is no privilege to sign with a pen name. I need to be known and identified with the name Bernstein. This is my brand."
Miriam Yael: "There used to be fewer painters, so it was easier to sign with a pen name. By the way, I sign with my first names only because that's how I started from a young age, and if I add my last name now it will create complexity in terms of branding."
Batsheva: "In the past, the pen name was more accepted, but in the younger generation it has almost completely disappeared."
One of the things that characterized the ultra-orthodox comics over the years was the message conveyed through it, with an emphasis on moral stories based on Judaism.
The four comic creators continue this line but also add slightly more modern dimensions, some from their personal world.
"I oppose messages with a 'spoon'".
Miriam Yael, photo: Efrat Eshel
"At the center of a book I wrote, 'Arva Beni', there should have been a blind boy who integrates into society," notes Batsheva.
"After thinking, I decided to change the composition a little. I attached to him a group that are all children with disabilities."
Later, inspired by her brother who has special needs, "I added to them a fifth child who has autism. Beyond this issue, it is important for me to also flood the emotional issue, self-compassion, especially for women."
"Beyond female empowerment," says Yiffit, "it is important for me to write and paint about love and emotions, to convey the world of emotion through the language of paintings."
Miriam Yael states that it is important for her to speak to the hearts of the ultra-Orthodox girls.
"I want to speak to the inner world of girls. I grew up with female characters who were heroes and over the years that disappeared, and I want to revive it. Most of the ultra-Orthodox comic books are about boys and what interests boys. I want to change that, and from the responses I get that Something that people really lack."
Racheli: "I touch on a variety of fields, but it is especially important for me to emphasize that every woman can use her talent, given to her by heaven, the hard work and study, to provide for a family and lead a respectable career without it coming at the expense of the home and the children."
There are claims that the world of comics depresses culture and harms reading books. What do you think?
Racheli: "At my house, anyone who wants to read a comic must first also read a book."
"There is a part of the ultra-Orthodox sector that will not buy books that are only about girls."
Yiffit Bernstein, photo: Efrat Eshel
Yiffit: "I hardly ever read comic books, but mainly books. I will always prefer a good book to comics."
Miriam Yael: "Whoever says this does not know the culture of comics and the history of this world. The question is how do you as a creator use this tool and convey messages through it. If you convey low and shallow art, then it will indeed be shallow. I oppose messages with a spoon. In the end , in my opinion art does not stand on its own but is a tool for conveying messages, but even then it should be done with sophistication and make the readers find the message themselves."
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