Jewish women assimilating into a changing American society across the twentieth century navigated often conflicting gender roles. As they strove to achieve upward social mobility, they adapted Jewish assumptions of what women, especially married women, should do to accommodate American norms for middle class women. Their collective accomplishments registered in political activism, organizational creativity, strong support for feminism, religious innovation, and educational achievement in the face of antisemitism, stereotypes, and denigration.

When Judith Kaplan Eisenstein became the first American girl to mark her bat mitzvah on March 18, 1922—two years after women were guaranteed the right to vote in the US—she recalled “shock[ing] a lot of people,” especially her disapproving grandmothers. Today, American girls across the Jewish spectrum, from secular to ultra-Orthodox, mark their coming-of-age in various forms.

The Ben Ish-Hai, R. Joseph Hayyim b. Elijah, was a well-known Baghdadi Torah scholar. He wrote many responsa and halakhic books, which included his rulings on women’s halakhot.

Hinde Bergner holds a special place in Yiddish literature by virtue of the fact that her memoir of family life in a late nineteenth-century Galician shtetl is one of few extant Yiddish memoirs to describe the traditional Jewish family on the edge of modernity from the perspective of a woman. Her intimate portrayal of her life results in a valuable source for Jewish social, family, and women’s history.

A novelist, playwright, and ritualist, Esther M. Broner emerged on the literary scene in the early 1970s as a leading feminist writer. Her novels feature bitter, fearless, and funny characters. In other works, Broner has combined autobiography with feminist critique of Jewish tradition and created new rituals, such as her 1976 “Women’s Haggadah.”

Women’s vocal leadership in synagogue music began with zogerin (women prayer leaders) in the women’s gallery. In the nineteenth century, women began participating in mixed choral and community singing, and some opera singers acted as cantors in important Reform congregations. In the 1970s and 1980s, the Reform and Conservative movements began formally investing women as cantors, and today a plurality of cantors in liberal movements are women.

Incorporating biblical themes and Sephardic music into her dances, Yardena Cohen helped create a uniquely Israeli artistic culture. Cohen opened her Haifa dance studio in 1933 and maintained it for some seventy years, stressing creative dance. She continued to teach well into her nineties and in 2010 was awarded the Israel Prize for Lifetime Achievement.

In the Book of Tobit, Edna is Raguel’s wife, Sarah’s mother, and the mother-in-law of Tobias, Tobit’s son. Edna has no biblical namesake; unlike the other women named in Tobit, her name does not evoke images from the Hebrew Bible. Perhaps the author of Tobit means to recall Eden’s idyllic existence, or, more likely, to convey by the name something about the type of woman, wife, and mother Edna is.

The first American girl to publicly celebrate a bat mitzvah, Judith Kaplan Eisenstein went on to become a Jewish educator, composer, and musicologist. Her accomplishments included studying at the school that would later become Julliard, teaching at the Jewish Theological Seminary Teacher’s Institute, and writing a songbook for children.

Ritual behavior is one of the fundamental pillars of Judaism, and of all religions, whose concern is precisely with ultimate meaning and purpose. Since the 1970s, Jewish feminists have gained access to male-identified rituals, developed a wide variety of new rituals, and feminized core male rituals.

According to halakhah, women are responsible for obeying all of Judaism’s negative commandments and for observing most of the positive ones, including the Sabbath and all of the festivals and holy days of the Jewish year. In some instances, however, male and female obligations on these days differ.