Usually, it’s a single, sad menorah stuffed in the corner — literally or figuratively — when sorry attempts at inclusivity are attempted at this time of year, triggering mixed emotions for those who know that Chanukah is not a major Jewish holiday but still expect something . . . more . . . given that in mainstream settings the assumption still, too often, is that it is an equivalent to Christmas or Easter. The half-thought-out “Happy Holidays” can be a reminder that someone’s most important holidays, which finished months ago, received no recognition.

Going to the Wadsworth Atheneum’s Festival of Trees & Traditions over the years has not been much of an exception this this. When it began in 1974, it was straight up called A Holiday Festival of Trees, and the creations were explicitly described as Christmas Trees. Only in 1998 did the name change to what we know it as now — the Festival of Trees & Traditions. The event was redesigned with “multiculturalism” (the term used at the time) in mind with the addition of Kwanzaa and Hanukkah displays.

The Festival of Trees & Traditions exhibit leveled up this year. Maybe the museum realized past events were not nearly as multicultural as the name suggested. Maybe the Wadsworth went hard because 2024 marks the 50th year of the festival. Whatever the reason, there’s a lot to see and talk about.

What helped? In one room is a family’s menorah and dreidel collection which by itself would have been a larger showing than what Chanukah received for attention there in recent memory. I would have liked to know a bit more about the objects on display, if any had a particular story, but even without that context I could appreciate this collection, which was separate from the donated holiday objects that were for sale.



There were also far more Chanukah-related objects for sale than usual. The mandala-covered dreidel painted by Ryvkah Chaya Art on behalf of Temple Sinai is stunning, and not just because the top is about two feet tall.




“From Trash to Treasure” is a menorah made from recycled boxes and plastic bottles, by Harriet Winograd on behalf Kehilat Chaverim — serving the function of reminding/educating people that the community is big enough to include alternative congregations.




Love & Light, a 4 ft menorah by Erika Hope, is another not afraid to let Hanukkah take up space.




Much of the representation of Chanukah this year comes from Kenny Zablotsky (Channan Tzvi), a West Hartford artist who has four pieces, maybe more, throughout the exhibit.




His pieces are distinctive — lots of charms and resin on oversize menorahs, for instance.




Looking closer, you can see the intentional positioning of the charms and other elements: dreidels, gelt, hamsa.




At least some of his pieces could not be purchased through the museum, with tags redirecting interested parties to his JewishJoy website.




Get right in there and look






What I wondered as I went from room-to-room, knowing I was not able to see every last display: is this amount of diversity going to be the new standard going forward, or is this a one-off?




In addition to the Chanukah displays there is a Kwanzaa display; running until mid-April 2025 is the multimedia “Divine Geometry” exhibit of Islamic Art (not pictured).




What else stands out is that placement of exhibit objects seems more intentional than in past years.




This looks like “Sam the Skater Girl” being placed in the Post WWII and Abstraction Gallery.




You can find Cookie Monster holding something yellow and blue, and from atop a tree, pointing toward a wreath featuring yellow and blue handprint menorahs.




In Avery Court, the very pink Hartford Flavor Company tree is next to pink artwork.






An object without any identifying information, serves as a backdrop for performances in Avery Court and almost echoes the “Spruced Up Maine Shutter” across the room.




The last day to see Festival of Trees & Traditions is December 15, 2024.


For full list of artists and display locations, see the Wadsworth’s map.