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In synagogues and on the streets, Israel’s new ‘faithful left’ is making itself felt
TEL AVIV (JTA) — “Everyone who answers, ‘Thank God’ when asked, ‘How are you,’ raise your hand,” Brit Yakobi asked the crowd of 700 people gathered in an Orthodox synagogue in Jerusalem.
The overwhelming majority of hands shot up.
“Everyone who is mortified with our current government, raise your hand,” continued Yakobi, the director of religious freedom and gender at Shatil, an Israeli social justice organization founded by the New Israel Fund.
Once again, almost every hand went up.
The display took place at a Jan. 25 conference billing itself as for Israel’s “faithful left” — a demographic that many consider nonexistent but which is seeking to assert itself in response to the country’s new right-wing government.
Israel’s politics leave little room for left-leaning Orthodox Jews. In the United States, the vast majority of Jews vote for Democrats, and even in Orthodox communities, where right-wing politics are ascendant, liberal candidates hold appeal for some. But in Israel, the official leadership of religious Jews of all stripes is firmly entrenched in the right — and their followers tend to vote as a bloc.
The hundreds of Orthodox Jews at the conference hope to change that dynamic, and have already started doing so by showing up en masse — and to applause — at the anti-government protests that have swept the country since the beginning of the year. But while their list of goals is long, they are also taking time to appreciate the unusual experience of being together.
A view of the attendees at the first meeting of Smol Emuni, the Faithful Left, in Jerusalem shows many kippahs — typically not associated with left-wing politics in Israel. (Photo by Gilad Kavalerchik)
“Just being in a room and realizing I’m not the only one like me was amazing,” attendee Shira Attias told the Jewish Telegraphic Agency. “The main takeaway for members of this niche and controversial group [is] to feel on their skin that they are not alone.”
Nitsan Machlis, a student and activist, agreed. “I’ve never seen so many people in a room together with whom I felt like I can identify with both religiously and politically.”
The conference took place inside the Heichal Shlomo synagogue, located adjacent to Jerusalem’s Great Synagogue at the same intersection as Israel’s prime minister’s official residence — a symbolic spot at the heart of Israel’s religious center.
“The fact that it was in Heichal Shlomo is quite significant because it’s a very Orthodox place,” said Ittay Flescher, educational director of an Israeli-Palestinian youth organization who attended the event. “It was chosen intentionally as an iconic Orthodox place, a place where Torah learning happens.”
That’s meaningful because members of the new government have disparaged critics of its policy moves as being anti-religious and opposed to Torah values.
According to haredi activist Pnina Pfeuffer, a member of the steering committee of Smol Emuni, which means faithful left in Hebrew, the conference was driven by the idea that leftwing values are an integral part of being Jewish.
“We’re not left-wing despite being religious, it’s part of how we practice our religious beliefs,” said Pfeuffer, who serves as the CEO of New Haredim, an umbrella organization for haredi education and women’s rights groups.
Organizer Mikhael Manekin, a veteran anti-occupation activist and religious Zionist, referred to it as a “very frum” conference, using the Yiddish word for the religiously devoted. Speakers heavily referenced both Jewish texts and previous generations of rabbis, such as Rabbi Ovadia Yosef, who famously ruled it permissible under religious law to surrender land for peace, and the Lithuanian scion, Rabbi Elazar Shach, who likewise supported Jewish withdrawal from the Palestinian territories if it meant preserving Jewish life. (Rabbanit Adina Bar-Shalom, Yosef’s iconoclastic oldest daughter, was among the conference speakers.)
Rabbanit Adina Bar-Shalom, the eldest daughter of former Israeli Sephardic chief rabbi Ovadia Yosef, addresses the conference of religious leftists in Jerusalem, Jan. 25, 2023. (Photo by Gilad Kavalerchik)
“All of us understand there can’t be activism without religious study,” said Manekin, who runs the Alliance Fellowship, a network of Jewish and Arab political and civic leaders.
While Judaism is not a pacifist religion per se, there is a central theme in rabbinic literature of virtue ethics and an emphasis for caring for the weak on the one hand, he said, and a skepticism towards violence and power on the other. “Our role is to second-guess anything with power.”
According to Manekin, the current brand of religious Zionism and ultra-Orthodoxy’s “very recent” move to the right are emulating secular nationalist ethics a lot more than they are Jewish traditions.
“When somebody like [National Security Minister Itamar] Ben-Gvir says, ‘We’re the landlords’ and ‘I run the show,’ that for me is a very non-traditional Jewish way of looking at the world,” he said.
“The immediacy with which we accept the current militantism of the religious right, when there are such clear rabbinic texts which don’t allow for that kind of behavior is insane,” he said. “The idea that Jews can walk around with guns on Shabbat is much more of a reform than the idea that Jews should support peace.”
The ambition around peace has set the faithful left apart from the wider anti-government protests, which have not focused on the Israeli-Palestinian conflict. A week after the conference, a Palestinian terror attack outside a Jerusalem synagogue that took the lives of seven residents after the Shabbat service put these beliefs to a test.
But Manekin said such events — another attack followed this week — would not change his worldview. “Our tradition is [that] the response to death is mourning and repenting. The political response shouldn’t be based on revenge but on what we think is for the betterment of our people,” he said after the Neve Yaakov attack.
Constant applause and cheers for our group of religious protesters, marching to join main event in Tel Aviv. pic.twitter.com/ohFMwpCeGc
— Hannah Katsman | חנה כצמן (@mominisrael) January 28, 2023
Despite hesitations from his co-organizers, Manekin was adamant about labeling the conference “left,” because, he said, among the fringes of the religious community is “a large group of people who are tired of this constant obfuscation of our opinions to appease the right who are never appeased anyway.”
According to Flescher, the left in Israel is no longer relevant “because it can’t speak the Jewish language.” Religious people often feel like the left is “foreign, and alien and even Christian in some regard,” he said.
One of the goals moving forward, Pfeuffer said, is to develop a religious leftwing language.
But as the conference demonstrated, even under the banner of the religious left lies a broad range of opinions. As Flescher put it: “The religious left is much more diverse than the secular left.”
Attias, who wears a headscarf for religious reasons, described herself thus: “I’m very progressive and I live in the settlements.”
Even though she is “very left economically,” Attias said, she refuses to label herself as a leftist because she remains “extremely critical” of the left which she says is often “very removed from Palestinians and poverty” and the issues it purports to champion.
Rabbi Hanan Schlesinger, a coexistence activist who lives in the West Bank settlement of Alon Shvut, described his experience at the conference on Facebook. “I have rarely felt so at home and so comfortable in a sea of kippot in Israel,” he wrote, alluding to the fact that in Israel, the style and presence of one’s head covering is widely seen as indicative of his or her religious orientation and politics alike.
The conference did not shy away from raising hot-button topics that not everyone in the room saw eye to eye on. “Because we tried to include as much of a left-wing range of opinions as we could, everyone at some point felt a little bit uncomfortable,” Pfeuffer said, noting that there was an LGBTQ circle and even references to “apartheid” by one speaker, Orthodox female rabbi Leah Shakdiel.
“If you’re very comfortable then you’re probably not learning something new,” Pfeuffer said.
One thing that made the conference stand out from other leftwing gatherings was the sense of hope and optimism.
“The general mood from punditry on the liberal left is all doom and gloom,” Manekin said.
The atmosphere at the conference, on the other hand, was “emotionally uplifting, energizing, and proactive,” he said. “This feeling of ‘we now have an assignment’ is very indicative of religious communities in general. That feeling that once you congregate, you can actually do quite a lot.”
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The post In synagogues and on the streets, Israel’s new ‘faithful left’ is making itself felt 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.”