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Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74
(JTA) — Robert Crumb put the “x” in comix by setting to paper his basest sexual longings, including strong-legged Jewish women who were cowgirls and who went by the name Honeybunch Kaminski.
So when an actual strong-legged Jewish cowgirl named Aline Kominsky walked into his life, it was love at first sight, and never wavered.
Aline Kominsky-Crumb, who died Wednesday at 74 in France of pancreatic cancer, was late to the revolution her husband launched in comics a few years before they met, with his Zap Comix. The “x” was a signifier of what was then known as “underground” comics and referred to the unfiltered treatment of humanity that censorious publishers, politicians and public figures had all but washed out of the art.
She soon fully embraced the art form and then helped transform it.
Working with her husband and then on her own, Kominsky-Crumb brought to comics raw self-lacerating accountability and subverted crude stereotypes about Jewish women — including those peddled by her husband — by taking possession of them.
She started out as a self-acknowledged sex object reviled by second-wave feminists and became a hero of younger feminists for modeling unfettered sexual expression. She was the brassy Jewish stereotype who became the muse who guided her husband to a deeper consideration of Judaism.
Kominsky-Crumb, born Aline Ricky Goldsmith in 1948 in the Five Towns, a Jewish enclave on Long Island, had a Jewish upbringing that was in many ways conventional, horrifying and both at the same time. She wrote about the warmth of her grandparents’ home and how she sought in it succor and about the pressures her materialistic parents placed on her. She said she was named for a Five Towns clothing store, Aline Ricky, that sold French fashion knockoffs. She resisted her mother’s pressure to get a nose job.
In one autobiographical comic, she recalls seeing one Jewish girl after another coming into school after plastic surgery. “Me ‘n’ my friends developed a ‘big nose pride,’” she writes, and one of the characters says, “I could not stand to look like a carbon copy!”
She told fellow Jewish cartoonist Sarah Lightman about the ordeal. “Like, I kept my nose, but it was really a close call, because my mother had me in Doctor Diamond’s office and he measured my nose. I remember that. They took an instrument and measured your nose. And then he took a piece of paper and he said,’ look, we can make it look like this.’ And I said, ‘Oh my God.’ My mother said, ‘Oh, it’s gorgeous, gorgeous.’”
In her teens, Kominsky-Crumb fled the suburbs for Manhattan. She studied at Cooper Union, an art school, and lived on the Lower East Side, earning plaudits from her instructors for her painting, but getting bored. She had a baby and gave it up for adoption to a Jewish agency, an experience that scarred her, and later led her to become outspoken in advocating for abortion rights.
After she married Carl Kominsky, they moved to Tucson, Arizona, which she called “hippie heaven.” There, she left her husband for a cowboy who lived with two brothers and his father in what she said was “the middle of nowhere” where she helped out on horseback, albeit under the influence of hallucinogens. (She said her beau was killed in a shootout with a romantic rival after she left.)
In Tucson, she met two pioneers of underground comics, Kim Deitch and Spain Rodriguez. They encouraged her to move to San Francisco, which was the scene of the burgeoning movement.
She did and met Crumb at a party in 1971, within three years of his having created “Honeybunch Kaminski, the drug-crazed runaway” (1968) and “Dale Steinberger, the Jewish Cowgirl.” Kominsky-Crumb, who had kept her first husband’s last name because it sounded more “ethnic” than Goldsmith, was so taken with the her husband’s lustful Jewish imaginings, and how closely she physically resembled them, that when she started creating her own, she named her avatar “Bunch,” a shortened version of the character whose name most closely matched her own.
It was kismet, except it wasn’t at first. Crumb and Kominsky-Crumb got together, but maintained open relationships. Crumb endured Kominsky-Crumb’s dalliances with other men for decades, but Kominsky-Crumb was not as able (or willing) to reciprocate. When one of Crumb’s exes arrived at their commune in Mendocino, she told The Comics Journal in 1990, she was furious. “I had a total s— fit,” she said, “I was wearing these giant platform shoes. I ran out the door and I fell and broke my foot in six places.”
Crumb sent the ex on her way and entertained the recovering Kominsky with a pastime he and his brother worked out as children: They would co-create a comic.
That process drew the couple closer, and also became a decades-long unflinching chronicle of a relationship. A culmination, “Drawn Together,” was critically acclaimed when it came out in 2012.
In one passage in the 2012 book, she gently chides her husband for resorting to antisemitic tropes — although it was tropes about loud, slightly unhinged, sexually voracious Jewish women that drew them together.
One page depicts the couple in bed. Crumb is stung by an accusation of antisemitism from Art Spiegelman. (Spiegelman joined with Crumb to launch the underground comics scene in the 1960s, but they grew apart as Spiegelman, who would author the Holocaust chronicle “Maus,” sought to attach an overarching philosophy to the genre, while Crumb continued to crave crude authenticity.)
Crumb says that Spiegelman “seems to be taking my ruminations about the Jews as antisemitism … I certainly didn’t mean it as such.” Kominsky-Crumb draws herself into the panel, listening to her husband, as a little girl wearing tefillin, a T-shirt with “kosher” in Hebrew and a Star of David pendant. In the next panel, once again appearing as a grown woman in a negligee, she makes clear to Crumb why she feels vulnerable as a Jew in the marriage.
“Dahling, you do call the Jewish religion ‘Brand X’,” she says.. “Now I might even think that’s true in some ways … and I’m one o’ them … I’m allowed to say that!”
Crumb draws himself as wounded but also awakened. “Oh, I see … ulp.” Crumb dedicated his masterwork, “The Book of Genesis,” a searing illustrated narrative of the Bible’s first book, to Aline.
The Crumbs’ collaborative work was celebrated among aficionados, but it wasn’t until 1994’s “Crumb,” a documentary directed by Crumb’s close Jewish friend, Terry Zwigoff, that she emerged into the broader culture. A vibrant, peripatetic Kominsky-Crumb cares for their daughter, Sophie, and revels in their life in a small French village, where they had moved a few years earlier, while Crumb continues to hold back, playing the wounded, misunderstood artist.
It was an arrival of sorts for Kominsky-Crumb. She had for a time been marginalized even on the underground scene, her deceptively simple art derided as sloppy. She helped found the Wimmen’s Comix collective in 1972, and wrote about her Jewish upbringing in the first issue, a piece entitled “Goldie: A Neurotic Woman.” But she was soon frozen out because some of her colleagues thought her musings about longing to be dominated (and her tendency to dress that way to please Crumb) were denigrating to women. “The Yoko Ono of Comics,” is how the New York Times described her early years.
She left the collective and joined another Jewish woman artist, Diane Noomin, in launching “Twisted Sisters” in 1976. Its cover depicts hers seated on a toilet wondering “How many calories in a cheese enchilada.” The message to her erstwhile colleagues, who depicted women heroically, was clear: Kominsky-Crumb would indulge her full unvarnished self.
It would take decades, but a later generation of feminists would come to understand her autobiographical “Bunch” not as a self-loathing caricature but as a means of understanding ones whole self. In 2020, Lightman launched an interview with Kominsky-Crumb by reviewing a 1975 cartoon, “Bunch plays with herself” that shocked even the underground scene at the time with its graphic depictions of a woman exploring every corner of her body.
“I didn’t do it to be disgusting but it’s, like, about every horrible and fun thing you can do with your body,” Kominsky-Crumb told Lightman. “I think it’s an amazing piece of feminist art,” Lightman said in the interview, “because women are drawn to be gazed at, and [here we see] their bodily juices, and everything. … The last panel is the best. ‘My body is an endless source of entertainment’.”
In 2007, she and Crumb created a cover for the Jewish counterculture magazine Heeb, where she is cradling him in her arms. “”I feel so safe in the arms of this powerful Jewish woman!” Crumb says.
By 2018, she was scrolling through her phone to show a New York Times reporter pictures of Crumb cavorting with the grandkids. (Daughter Sophie in adulthood also is a comics artist.) The photos then transition to photos of women’s behinds, taken in Miami.
“I’m enabling his big butt fixation,” she said. “Well I don’t have a big butt anymore so I have to offer him something.”
“It was her energy that transformed the American Crumb family into a Southern French one, with her daughter Sophie living, marrying and having three French children there,” the official Crumb website said in announcing her death. “She will be dearly missed within that family, by the international cartooning community, but especially by Robert, who shared the last 50 years of his life with her.”
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The post Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74 appeared first on Jewish Telegraphic Agency.
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A new collection of Yiddish rhymes and games for children (and Yiddish students!)
עס קומט באַלד צו גיין דער יום־טובֿ פּורים, האָב איך פֿאַר אײַך לייענער צוגעגרײט שלח־מנות: אַ גוגל־דאָקומענט מיט מאַטעריאַלן פֿאַר קינדער און תּלמידים, געשעפּטע סײַ פֿון עלטערע פֿאָלקלאָר־זאַמלונגען, סײַ פֿון שאַפֿונגען פֿון דער נײַערער צײַט. ער געפֿינט זיך דאָ. װײַטער קענט איר לײענען פֿאַר װאָס איך האָב זיך אונטערגענומען אַזאַ פּראָיעקט, און זיך דערװיסן נאָך פּרטים װעגן די מאַטעריאַלן װאָס געפֿינען זיך דערין.
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אינעם הײַפֿעלע ייִדישיסטישע משפּחות צעשאָטענע איבערן ערדקײַלעך קומט נישט זעלטן אױס צו פֿילן, אַז עפּעס פֿעלט אונדז מאַטעריאַל װאָס זענען אי אױף ייִדיש אי זײ נעמען אױס בײַ די קינדער.
אָט דער כּלומרשטער דוחק שפּירט זיך אין פֿאַרשידענע תּחומען: אין גראַמען, געזאַנג, שפּילן, מעשׂהלעך — קורץ, אַלצדינג װאָס טראָגט אַרײַן פֿרײד און כּישוף אין לעבן פֿון אַ קינד. נישט אײן מאָל בין איך געזעסן און געהאָצקעט אַ קינד אױפֿן שױס און געװאָלט פֿרײלעך מאַכן, צוזינגען עפּעס אַ לידעלע אָדער אַ גראַם, נאָר פּונקט איז מיר נישט געקומען אױפֿן געדאַנק מער װי „פּאַטשע פּאַטשע קיכעלעך“, אָדער פּשוט שמײכלען און מאַכן גרימאַסן.
איז אַװדאי גוט, אַן עופֿעלע װעט נישט זײַן קײן גרױסער איבערקלײַבער, אָבער װיפֿל איז דער שיעור איבערצוקײַען די זעלבע צװײ־דרײַ גראַמען, אַז מיר פֿאַרמאָגן אַזאַ רײַכן קינדער־פֿאָלקלאָר מיט שפּילן און גראַמען? און פֿאַר װאָס זאָלן מיר כּסדר טאַנצן אױף פֿרעמדע חתונות, אָנקומענדיק צו איבערזעצונגען פֿון ענגלישע לידעלעך, אַז ס׳איז פֿאַראַן הונדערטער קינדערלידער אױף ייִדיש, אָדער סתּם ייִדישע לידער, סײַ לעבעדיקע סײַ רויִקע, צוגעפּאַסטע צו פֿאַרשידענע טעמעס און סיטואַציעס?
איך זאָג אַ „כּלומרשטער דוחק“ װײַל אין דער אמתן איז עס אַ נעכטיקער טאָג. אָט האָט ש. לעהמאַן צונױפֿגעזאַמלט און אָפּגעדרוקט אַ שלל מיט קינדער־פֿאָלקלאָר אינעם פֿאָלקלאָריסטישן־פֿילאָלאָגישן באַנד בײַ אונז יודען אין 1923. אָפּטײלן מיט קינדערלידער און קינדער־פֿאָלקלאָר קען מען אױך טרעפֿן אין די זאַמלונגען פֿון י. ל. כּהן, באַסטאָמסקי, בערעגאָװסקי און פֿעפֿער, און נאָך אַזעלכע. הײַנט, װוּ איז רוט (רבֿקה) רובינס קלאַנגאַרכיװ בײַם ייִװאָ, װאָס האַלט אין זיך גאַנצע פֿינעף טאַשמעס מיט קינדערלידעלעך? און, און, און… איר זעט שױן מסתּמא אַלײן די צרה.
מיר זענען נישט חלילה אָרעם, נאָר פֿאַרקערט: ס׳איז פֿאַראַן צו פֿיל, און װער האָט דאָס די צײַט צו צעקײַען, דורכזיפּן, און אָפּקלײַבן פֿון די אַלע מאַטעריאַלן? בפֿרט אַז אַ סך פֿון די זאַמלונגען זענען גאַנץ שלעכט געדרוקט אָדער דער טינט איז שױן אָפּגעשפּרונגען. אַראָפּצולײענען װאָס דאָרט שטײט איז נישט קײן קלײנער קונץ. און עלטערן פֿון קלײנע קינדער, אַזױ אױך פֿאַרהאַװעטע און פֿאַרהאָרעװעטע מיט די טאָג־טעגלעכע אַחריותן, זאָלן גײן גריבלען אין װיסנשאַפֿטלעכע שריפֿטן?
דערצו נאָך, אַז מע האָט זיך שױן יאָ אַ ביסל אָריענטירט אין די זאַמלונגען, דאַרף מען ערשט דערטאַפּן די, װאָס קענען שטימען מיט אונדזערע הײַנטצײַטישע השׂגות. װי למשל בײַם באַװוּסטן קינדערגראַם: „ציגעלע מיגעלע קאָטינקע / רױטע פּאָמעראַנצן / אַז דער טאַטע שלאָגט די מאַמע / גײען קינדערלעך טאַנצן“. נו, איך װײס נישט װי בײַ אַנדערע, אָבער איך קען באַשטײן, אַז דאָס זאָל בלײַבן אַ קוריאָז פֿונעם אַמאָליקן לעבן אין דער אַלטער הײם. נישט יעדע סחורה איז פּאַסיק פֿאַר הײַנטיקע קינדער.
װען סע קומט, װידער, צו ייִדישע לידער איז דער מצבֿ שױן אַ סך פֿױגלדיקער, אָבער די מענטשלעכע טבֿע איז פֿאָרט אַזאַ, אַז מע גײט זעלטן אַרױס פֿון די אײגענע דלתּ אַמות. „די גרינע קאַטשקע“ און „פֿלי, מײַן פֿלישלאַנג“ קענען דאָך אַלע, אָבער פֿאַראַן אַ סך פֿײַנע אַלבומען, נײַערע און עלטערע, פֿון דער סעקולערער װעלט און פֿון דער פֿרומער װעלט, צעשאָטן איבער דער אינטערנעץ, נאָר גײן זוכן אױף דער הײסער מינוט װען די קינדער פֿאַרלאַנגען „מוזי־י־י־י־ק!“?
כאַפּט מען זיך צו די אײן־צװײ באַליבטע און באַקאַנטע און שױן. װאָס שײך געזאַנג, זענען די מלאָטעק־ביכער אַװדאי אַ געװאַלדיקער אוצר, אָבער יעדעס מאָל גײן אױפֿמישן אַ באַנד און האָפֿן, אַז מע װעט אָנטרעפֿן אױף עפּעס גוטס, איז אױך נישט קײן פּלאַן. אַז מאַכט זיך יאָ אַ פּאָר פֿרײַע מינוט און מע װיל זיך אױסלערנען אַ נײַ ליד, דאַרף מען ערשט װיסן װוּ צו געפֿינען די גוטע סחורה.
צום גליק האָב איך אין די לעצטע חדשים יאָ געהאַט צײַט זיך אַ טונק צו טאָן אין דעם ים פֿון קינדער־פֿאָלקלאָר און קינדער־מאַטעריאַלן, צעשאָטענע איבער זאַמלונגען און װעבזײַטלעך, אָפּקלײַבן פֿון זײ אַזוינע װאָס זאָלן זײַן צוטריטלעך פֿאַר עלטערן און צוציִיִק פֿאַר די קינדער, און מאַכן פֿון דעם אַ שטיקל װעגװײַזער. דאַכט זיך, אַז דאָס קען אױך נוציק זײַן פֿאַר לערערס און תּלמידים, װאָס זוכן פֿריש, אינטערעסאַנט לערנװאַרג. דער װעגװײַזער באַשטײט פֿון פֿינעף אָפּטײלן:
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- גראַמען און לידעלעך. אין דער קאַטעגאָריע גײען אַרײַן קינדערגראַמען, סײַ צו יעדער געלעגנהײט, סײַ פֿאַר ספּעציפֿישע פֿאַלן אָדער קאָנטעקסטן, למשל: אַז דאָס קינד גיט אַ גרעפּס, אָדער אַז דאָס קינד טוט זיך אָן דאָס העמד, אָדער אַז מע דערזעט אַ שנעקל, צי אַ משה־רבינוס קיִעלע, אָדער אַז סע רעגנט… און נאָך אַ סך אַזעלכע.
- שפּילן. נישט נאָר האַנט־ און פֿינגער־שפּילן און גלאַט פֿאַרשפּילענישן, װי, צום בײַשפּיל, „באַראַן־באַראַן־בוץ“, „שׂרהניו װאָרעניע“, „אַ זעקעלע מעל“, „אין אַ שטעטעלע פּיטשעפּױ“, נאָר אױך שפּילן פֿאַר עלטערע קינדער, װאָס מע האָט אַ מאָל געשפּילן אין חדר און אין די הױפֿן — „בלינדע קו“, „פֿײגעלע פֿליט“, „רודענע ראַנע“, און פֿאַרשידענע שפּילן אין באַלעמס, מטבעות און ניסעלעך.
- רעקאָרדירטע מוזיק. נישט נאָר אַלבומען געמאַכט פֿאַר קינדער, נאָר אױך אַן אָפּקלײַב פֿון די שענסטע אַלבומען פֿאָלקסלידער װאָס קענען אױסנעמען אױך בײַ קינדער.
- געזאַנג. אין דעם אָפּטײל װערט געבראַכט אַ רשימה לידער װאָס מע קען זינגען מיט אָדער פֿאַר די קינדער, סײַ רויִקע סײַ לעבעדיקע, סײַ קינדערלידער סײַ גלאַט פֿאָלקסלידער, װי אױך לידער מיט באַװעגונגען — אַ שטײגער, „בלעטער“, „מיכלקו“, און „פֿון אַ קלײנעם גרינעם הױז“. בײַ יעדן ליד װערט געגעבן אַ לינק צום טעקסט און צו אַ רעקאָרדירונג.
- מעשׂהלעך. פֿון די פֿאָלקס־מעשׂיות און װוּנדער־מעשׂיות, פֿון בערן און לצים און כעלעמער חכמים און באַהאַלטענע אוצרות, װאָס מע פֿלעג דערצײלן די קינדער שבת אױף דער נאַכט, אָדער אין שול צווישן מינחה און מעריבֿ, אָדער װינטער הינטערן אױװן.
צום סוף געפֿינען זיך עטלעכע הוספֿות: װײַטערדיקע רעסורסן פֿאַר די װאָס װילן אַלײן אַרײַנקוקן אין די רױע מאַטעריאַלן, איבערזעצונגען פֿון פּאָפּולערע ענגלישע לידער (אַ מאָל מוז מען דאָך נאָכגעבן!), און אַ רשימה חיה־קלאַנגען אױף ייִדיש. האָט איר געװוּסט אַז אױף ייִדיש מאַכט דער בער „בו־בו“?
אַ לעצטע באַמערקונג: כאָטש דעם גרעסטן טײל מאַטעריאַל האָב איך געשעפּט טאַקע פֿון עלטערע מקורים, האָב איך אױך אַרײַנגענומען שאַפֿונגען פֿון דער מאָדערנער צײַט, צי פֿון דער פֿרומער־חסידישער װעלט, צי פֿון די ייִדישע שולן, צי פֿון אונדז ייִדישיסטן פֿון 21סטן יאָרהונדערט. איך האָף, אַז אינעם דאָזיקן װעגװײַזער װעט יעדער טרעפֿן עפּעס װאָס װעט געפֿינען חן בײַ די אײגענע קינדער, און באַװײַזן דערמיט אײַנצופֿירן אַ גרעסערע מאָס געװאָרצלטקײט און פֿאַרשידנקײט אין דער שפּראַכיקער סבֿיבה פֿון די קינדער (אָדער תּלמידים). טאָמער געפֿעלט עפּעס נישט, אָדער מע װיל עפּעס צוגעבן, מעג מען איבערלאָזן אַ קאָמענטאַר אינעם גוגל־דאָקומענט אַלײן, אָדער קען מען אַלײן אױפֿמישן די זאַמלונגען געבראַכטע אין די הוספֿות און דערבײַ אױפֿדעקן די אוצרות, װאָס װאַלגערן זיך נאָך הײַנט אין די פֿאַרגעלטע בלעטלעך און װאַרטן אױף זײער תּיקון אין די מײַלער פֿון ייִדישע קינדערלעך.
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Mass shooter at Canadian elementary school tweeted antisemitic content 2 days before attack, ADL finds
(JTA) — The shooter who killed eight people and wounded dozens more in one of Canada’s deadliest mass shootings Tuesday allegedly tweeted antisemitic content two days before the attack.
“I need to hate jews because the zionists want me to hate jews. This benefits them, somehow,” Jesse Van Rootselaar, the alleged Tumbler Ridge school shooter, tweeted on Sunday, according to research by the Anti-Defamation League’s Center on Extremism.
Authorities in British Columbia have identified Van Rootselaar, 18, as the shooter who killed six people at Tumbler Ridge Secondary School and two family members at home before also dying, apparently from a self-inflicted gunshot wound.
According to the ADL, Van Rootselar had a “troubling pattern of online radicalization” that included using WatchPeopleDie, a platform that glorifies violence and has been linked to several mass violence events.
The ADL also found what it believes to be Van Rootselar’s X account, which it says “regularly shared antisemitic and racist content and material glorifying previous mass killers, including the 2022 Buffalo supermarket shooter and the 2019 Christchurch mosque shooter.”
Additionally, the ADL said, “The Tumbler Ridge shooter’s X profile photo also featured an image of the Christchurch shooter superimposed over a Sonnenrad, a neo-Nazi symbol, and a transgender pride flag.”
Other recent mass shooters have been WatchPeopleDie users. In August, alleged Minneapolis shooter Robin Westman entered a Catholic mass at an elementary school and allegedly used a gun featuring antisemitic and anti-Israel writing to kill two children and injure another 17 people before dying of a self-inflicted gunshot wound. The gun also included writing with the name of the man convicted of the deadliest antisemitic attack in U.S. history, the 2018 mass shooting on a Pittsburgh synagogue.
The alleged shooter behind the January 2025 Antioch High School shooting, Solomon Henderson, was found to have extensive online documents that praised Adolf Hitler and included links to “groyper” content.
Authorities in British Columbia say they cannot speculate on the motive of Van Rootselaar, who they said dropped out of school in Tumbler Ridge, a town of about 2,500, about four years ago. The dead included a 39-year-old teacher; five students, ages 12 to 13; and Van Rootselar’s mother and 11-year-old stepbrother.
Tuesday’s attack was the deadliest mass shooting in Canada since a 2020 attack in Portapique, Nova Scotia, left 23 people dead, including the shooter. A gun buyback program was implemented days after that shooting, but has proven both logistically challenging and unpopular.
“To the students, the teachers, the parents, and every resident of Tumbler Ridge: all of Canada stands with you. May the memories of those lost be a blessing,” Canadian Prime Minister Mark Carney said in a statement Wednesday morning. “May this community, which has shown its resilience so many times before, once again find the strength to heal.”
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International social workers group set to vote on expelling Israeli union for ‘not acting to promote peace’
(JTA) — The Israeli Union of Social Workers could be booted from a global federation after at least three countries called for a vote on its expulsion on allegations of ethical breaches.
The countries — Ireland, Spain and Greece — charged that the Israeli union should have moved to seek exemptions from military service for its members or “issue a call for peace.” Their call for an expulsion vote escalated the International Federation of Social Workers’ January 2025 censure of the Israeli union over the alleged breaches, which the federation said violated ethics rules that say social workers “should not use weapons in their professional or personal capacities against people.”
The Israeli union has called for the vote to be abandoned while signaling that it remains committed to dialogue with Palestinian colleagues.
“Expelling or suspending a social workers’ union will not promote change — rather, it will promote polarization and radicalization, which arise in situations of isolation or perceived threat,” it said in a statement issued on Monday. “In our reality, this means that expulsion or suspension would hinder our ability to promote dialogue with our neighbors or with other countries. Those who oppose shared life between Israelis and Palestinians would welcome such an outcome. It would serve as an excuse to maintain extreme positions and continue fighting.”
In the statement, the Israeli union also said that the demand to request Israeli social workers be granted an exemption from military service was “entirely unimaginable within Israeli society.”
“Demanding that specifically during wartime (a war Israel did not initiate) social workers receive different treatment is not feasible in a society where military service is a universal civic duty,” the statement read.
The International Federation of Social Workers represents 141 national associations of social workers. It has previously sparred with the Israeli union, which it censured in 2018 for “failing to act as an independent professional voice on issues of occupation and Palestinian rights.” The 2018 censure was lifted in 2022 after the Israeli union invited the Palestinian Union of Social Workers to engage in dialogue.
The expulsion vote is set for Feb. 18 and will require a 75% majority to pass. Each member union gets one vote.
The vote comes as Israelis have faced marginalization in a range of international associations during the war in Gaza. The International Lesbian, Gay, Bisexual, Trans and Intersex Association, for example, suspended its Israeli affiliate in 2024 before reinstating it the following year.
The Jewish Social Work Consortium argued in a statement that the expulsion proposal at the International Federation of Social Workers “advances an ideologically driven effort to isolate Israeli social workers as a collective, based on nationality rather than actual professional conduct.”
“This is not principled critique or ethical debate. It is antizionism operating through professional institutions, denying Israelis moral complexity, collective legitimacy, and equal participation in global social work,” the statement continued. “When professional bodies adopt this framework, they normalize collective punishment under the guise of ethics.”
The consortium and several other Jewish groups have petitioned American and Canadian members of the international federation to “publicly oppose and refuse to endorse” the vote. The petition had gained over 10,000 signatures by Thursday morning.
“Ethical accountability must be based on individual conduct rather than identity or nationality,” the petition says. “This is not the time for silence as this motion carries grave consequences for our profession.”
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