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A conveniently timed conference offers Israel educators a safe space to explore complex feelings
CHICAGO (JTA) – At one point ahead of an international conference on Israel education, as raucous anti-government protests filled the streets of Israeli cities, conference organizers considered leaning into the tension created by the news: What if they focused one day of the gathering on conflict, and the next day on hope?
Ultimately, they decided “you can’t divorce the two,” in the words of Aliza Goodman, one of the organizers.
“If you separate them, then it means one is devoid of the other and vice versa,” said Goodman, director of strategy and research and development for the iCenter, the Israel education organization that hosted the conference in Chicago in March.
Israel educators, Goodman said, need to hold “the complexities together with the hopes for us to be able to move forward as human beings.”
That emotional challenge lay at the center of the conference, the iCenter’s fifth, called iCON 2023. The conference covered standard topics in Israel education, ranging from Hebrew literature and language to representations of Jews and Israel in popular culture to a bevy of subtopics related to the Israeli-Palestinian conflict.
But the turmoil that has rocked Israel this year felt no less prominent. In sessions and on the sidelines, the more than 500 participants discussed the Israeli government’s proposed judicial overhaul, its far-right cabinet ministers and the preservation of Israel’s democratic character.
Conference attendees said they faced dual challenges: understanding the political issues at play and reckoning with what they mean for teaching about Israel. Their thoughts on the current historical moment suggested that those challenges would persist even though Israel’s government announced a pause on the judicial overhaul shortly after the conference concluded.
“We are responsible for doing something, don’t get me wrong, but my immediate responsibility is trying to really get a handle on understanding it for myself and for my students,” said Rebecca Good, the assistant director of education at The Temple, a Reform synagogue in Atlanta.
Good has found herself fielding new questions about Israel, mostly from adult congregants, “but we know that the questions and the feelings that are coming from the adults naturally play out in the home,” she said. In response to the perceived need she has recognized from her students, her synagogue planned a town hall-style meeting that took place in late March.
“It’s almost like you do triage, right? When things like this happen, it’s like, ‘OK, how are you?’” Good said. “You have to address that first and then you figure out what is needed and try to make that happen for people.”
Conference attendees included Hebrew school and day school teachers, executives from communal organizations, summer camp professionals, campus activists, young adult Israeli emissaries and more. iCON Program Director Ari Berkowicz estimated that 75% of the conference participants came from North America and 24% from Israel. Others joined from places like Mexico and the United Kingdom.
Educator Noam Weissman addresses the audience at a session of ICON 2023 at the Marriott Marquis in Chicago, Illinois, March 15, 2023. (Rachel Kohn)
“One of The iCenter’s approaches to education is to make all that we teach and all that we learn about both timely and timeless, but the current moment obviously has an impact on who we are as educators and who we are as learners,” said Berkowicz. While the sessions scheduled for iCON 2023 remained mostly unchanged, the facilitators, speakers, and educators were “different people” from what they had been three or six months ago due to the upheaval in Israel, he said.
“They aren’t the same people that they were even yesterday or two days ago,” Goodman added in an interview at the conference. “All of this is impacting them at the core.”
Questions and anguish about the judicial overhaul — and other Israeli government policies – filtered into the conference programming. A campus professional, who asked not to be identified because she wasn’t authorized by her employer to speak to the press, shared a practical concern during a breakout group: If the government follows through on its call to limit the Law of Return, which currently affords automatic Israeli citizenship to anyone with one Jewish grandparent, what should she say to a student who wants to go to Israel but no longer falls under the government’s revised definition of who is a Jew?
In a nearby group, an Israeli expat from Dallas named Meirav said she likes that Israel doesn’t separate between religion and state. But she fears for women’s rights under a religiously conservative regime.
Another group endeavored to understand the specifics of the proposed judicial overhaul, comparing newspaper articles with Wikipedia text as they struggled to confirm how judges are appointed in Israel.
“It’s not only in America or everywhere else – I’m not sure everyone in Israel understands exactly what’s going on and the ramifications,” said Etty Dolgin, the Israeli-American principal of a Chicago-area Hebrew-immersion preschool and after-school program, in a different session. “I don’t know that anybody really knows what the ramifications are going to be.”
Former Jewish day school principal Noam Weissman, whose lecture at the conference drew a standing-room-only crowd of some 150 people, said in an interview that the current moment is an important one for Israel educators to be able to contextualize.
“Part of why cultural literacy is important is because history informs the present,” Weissman said. “People like to jump to judicial reforms, but if people don’t know about Israel’s lack of a constitution, it’s hard to be conversant in that.”
Weissman, the former head of Los Angeles’ Shalhevet High School who is now executive vice president of OpenDor Media, where he develops educational content on Judaism and Israel, said in his session that the goal of Israel educators shouldn’t be defending the country but “understanding and connecting.” He’s grateful, he said, that “the Israel education world has really, from a professional perspective, moved on from hasbara,” a Hebrew term for public relations or advocacy on Israel’s behalf.
“When someone recently said to me, ‘I don’t envy Israel educators at this moment’ … I actually said I feel zero pressure,” Weissman told his audience. “You feel pressure when you’re trying to defend everything Israel does. That’s the world of Israel advocacy, where you train young people to defend Israel. … If my job is to defend something that I have no interest in defending, this doesn’t work.”
Good said she appreciated the “brain trust” of fellow Israel educators she gets to interact with at the conference. At the same time, she likened the sense of uncertainty she is feeling these days to the concerns many Americans have felt in recent years when looking at their own fraught political landscape.
“That kind of feeling we all get, like, ‘Where could this go?’” she said. “That’s as best as I can put it.”
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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.”