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In Haifa, a university serves as a base for Arab-Jewish coexistence — and a place to tackle global problems
HAIFA — On a recent chilly morning, six Israeli Druze women gathered in a room at the University of Haifa library to discuss the joys and frustrations of living in a modern, Jewish, largely secular country.
Chatting in Arabic and Hebrew, many of the women, all students at the university, spoke about the challenges of balancing their traditional Druze identity with their modern Israeli aspirations.
“I spend two hours each way to come to school. But my education is so important, I’d do it even if I spent 10 hours a day,” said Walaa Bader, 20, an Arabic literature and music major from Horfeish, a Druze village of some 6,000 souls near the Lebanese border.
Adan Bader, 22, said she became secular four years ago in part to focus on her studies.
“I was a religious girl, but our religion doesn’t encourage young women to study,” she said. “At this stage of my life, I wasn’t ready for a full commitment to my religion.”
The get-together was part of a series of weekly meetings organized by Yael Granot, director of social engagement at the University of Haifa’s student dean office. It’s part of the university’s larger social and educational mission: to serve Israel’s Arab population and build bridges between Israeli Arabs and Jews.
Aside from being a world-class center for higher learning with over 18,000 students, the university runs various coexistence programs to facilitate dialogue and mutual respect between Jewish and Arab students. One is the Jewish-Arab Community Leadership Program, which facilitates dialogue and multicultural social interaction through joint community projects.
“In addition to creating scientific knowledge, our main mission is the expansion of professional opportunities for all members of society,” University of Haifa President Ron Robin said when he began his tenure as president. “We embrace the rich tapestry of communities that make up Israeli society.”
Approximately 40% of the university’s students are Arabs, including some 300-400 Druze women. Druze constitute an Arabic-speaking faith group with some 150,000 adherents in Israel, most of whom live in highly conservative villages in northern Israel. About 70% of all Arab students at the University of Haifa are women.
“We’re very proud to be Druze, and very proud to be Israeli,” said Bader. “But we are doubly marginalized because, even within the Arab minority, we’re not Muslims. And the Basic Law puts a question mark on our sense of belonging to Israeli society,” she said, referring to a 2018 law enshrining Israel’s identity as a Jewish state that many Arab Israelis complained relegated them to second-class status.
Granot sees her role as helping the Druze students balance their personal backgrounds with their academic and professional interests. The Druze women in her group recently created mentoring groups for Druze teenagers to encourage them to pursue higher education.
This approach is part and parcel of the university’s mantra of “thinking locally and acting globally.”
Druze high school students discuss “soft skills” with University of Haifa student mentors during a weekly meeting in the northern Galilee village of Horfeish, Israel. (Amal Merey)
On the local level, the university is trying to create a new broad and inclusive middle class. Its campus, located in a part of Israel with significant Jewish and Arab populations, strives to serve as an oasis of coexistence. Among the university’s joint community projects is Hai-fa Innovation Labs, a start-up incubator whose programs focus on social innovation and impact entrepreneurship.
On the global level, this university located on the Carmel mountains with sweeping views of the Mediterranean Sea has a strong research focus on the environment. At the university’s Leon H. Charney School of Marine Sciences, scientists are studying how to improve seawater desalination — a major source of Israel’s water supply. Among the elements most critical to sustainable desalination, experts say, are ensuring the quality of drinking water while reducing byproducts of the desalination process. The school is actively monitoring these issues to protect Israel’s coastal and marine environments and provide guidance globally for how to replicate successes worldwide.
The university’s Leon Recanati Institute for Maritime Studies is partnering with the Scripps Center for Marine Archeology at the University of California San Diego to investigate the long-term impacts of climate change and rising sea levels in the eastern Mediterranean.
Students and scientists at the Charney school are exploring the viability of using ocean plants as sustainable food sources to meet the needs of the globe’s rapidly expanding human population.
As the university celebrates its 50 th year, it has aligned its academic strategic plan with the United Nations’ 17 Sustainable Development Goals (SDGs) aimed at eliminating poverty, hunger and discrimination worldwide.
On a concrete level, the university has mounted a $150 million fundraising campaign to build infrastructure, expand research areas and update its technology.
Back in Granot’s group, students are figuring out their own ways to effect change.
“We put a great emphasis on providing tools for social entrepreneurship and letting students work and find their own voice for social change,” Granot said.
In one initiative, the group asked 15 local Israeli municipalities to identify a cause or problem they’d like the students to tackle.
In Acre, a city in northern Israeli that saw violence break out between Arabs and Jews during Israel’s 2021 conflict with Hamas in Gaza, 10 students — five Arabs and five Jews — worked together to map out challenges. They came up with a plan in which Jewish and Arab youth in Acre would create joint tours in Hebrew and Arabic for local schools. The students get about $2,850 each for their participation and are expected to volunteer 140 hours a year. The tours are expected to begin in the coming months.
The university also has enlisted two institutions, Beit HaGefen and the Boston-Haifa Partnership, for a project in which students are encouraged to utilize their creativity, activism and aspirations to design initiatives and opportunities for shared spaces in Haifa. In the program, 15 students of diverse backgrounds — native-born Israeli Jews, Arabs, Christians and Druze, as well as new immigrants from Russia, Ukraine and Ethiopia — meet on Tuesdays with local entrepreneurs while conducting tours of Haifa.
“Our main objective is to get them to know their city, with all its challenges and complexities, and make them into active citizens working toward social change,” Granot said. “Even people born here don’t really understand the richness of this city. We’d like them to experience that.”
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The post In Haifa, a university serves as a base for Arab-Jewish coexistence — and a place to tackle global problems appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”