The findings will be formally presented at the Senate in Palazzo Giustiniani on March 3.
According to the CDEC, anti-Israel animus was a key ideological driver of the surge in antisemitism.
Uncategorized
‘An American Tail’ musical adaptation hopes its Jewish immigration story will resonate in 2023
(JTA) — Itamar Moses was 10 years old when he watched “An American Tail” at his Jewish day school in California. He was struck by the 1986 film, an animated musical about a family of Russian-Jewish mice who immigrate to America. Even though he was surrounded by Jewish classmates and teachers, he had never seen a cartoon with Jewish protagonists.
“Watching this mainstream hit American animated movie where the central character and the central family were specifically Jewish — it was unusual,” Moses told the Jewish Telegraphic Agency. “I think there was something that felt inclusive to us about that.”
Now a Tony Award-winning playwright, Moses has adapted the children’s classic for the stage. “An American Tail the Musical” will premiere at the Children’s Theatre Company in Minneapolis on April 25 and run through June 18. Along with writing by Moses, who won his Tony for a Broadway adaptation of the Israeli film “The Band’s Visit,” the new production features familiar songs such as “Somewhere Out There” and new music and lyrics by Michael Mahler and Alan Schmuckler (“Diary of a Wimpy Kid the Musical”). The team hopes to tour the show if it has success in Minneapolis.
The original film created by Don Bluth and Steven Spielberg follows the journey of a young, tenacious mouse named Fievel Mousekewitz. Fievel’s family lives below the human Moskowitz family in Shostka, a city in the Russian Empire, in 1885. Spielberg, who had yet to make “Schindler’s List” or widely address his Jewish family history, named the character after his maternal grandfather — Phillip or “Fievel” Posner — an immigrant from Russia.
The movie begins with the Mousekewitzes and the Moskowitzes celebrating Hanukkah when Cossacks tear through Shostka in an antisemitic pogrom, together with their animal counterparts — a battery of evil cats. The Mouskewitzes flee Europe and board a ship to America, where Papa Mouskewitz (voiced by Nehemiah Persoff) promises “there are no cats” and “the streets are paved with cheese.” But a thunderstorm at sea washes Fievel overboard, leaving his devastated parents and sister to arrive in New York City without him. Although they believe he did not survive, Fievel floats to shore in a bottle and sets out to find his family.
Of course, he quickly learns there are cats in America — along with corruption and exploitation. Fievel is sold to a sweatshop by Warren T. Rat, a cat disguised as a rat. A crooked mouse politician called Honest John (a caricature of the real Tammany Hall boss John Kelly) wanders Irish wakes, scribbling dead mice’s names in his list of “ghost votes.” But Fievel finds camaraderie with other immigrant mice rallying for freedom from the cats’ attacks and Warren T. Rat’s extortion. He befriends Italian mouse Tony and Irish mouse Bridget, who join the quest to reunite his family.
The film’s metaphors will be presented similarly in the stage version, which is also set in the 1880s, although Moses has expanded its lens on the immigrant groups that populated New York at the time. The musical will incorporate more “mice” communities, such as Chinese, Caribbean and Scandinavian mice, along with African Americans and former slaves.
A scene from rehearsal. (Kaitlin Randolph)
“An American Tail” was part of a shift in mainstream media toward Jewish representation, said Jennifer Caplan, an assistant professor of Judaic Studies at the University of Cincinnati who has studied this cultural change.
“It came out in 1986, and then ‘Seinfeld’ premiered in 1989,” Caplan told the JTA. “People point to 1989 as this moment when representations of Jews changed. There was this feeling in the late ‘80s that people were looking for new, different, possibly even more explicit representations of Jews.”
Yet despite the movie’s resonance with children like Moses, some film critics complained that it wasn’t Jewish enough. Critics Gene Siskel and Roger Ebert gave the film “two thumbs down” on a 1986 episode of their program “At The Movies,” calling it “way too depressing” for children and arguing that it “chickened out” of an explicitly Jewish story. Ebert noted that while most adults would understand the Mousekewitzes were Jewish, the word “Jewish” never appears in the film, potentially leaving young audiences in the dark.
“This seems to be a Jewish parable that doesn’t want to declare itself,” he said at the time.
Unlike in Art Spiegelman’s graphic novel “Maus,” where Jews are mice and Nazis are cats, the cat-and-mouse metaphor of “An American Tail” is expansive. The cats represent a universal force of oppression — Cossacks in Russia or capitalists in America — while the mice encompass all persecuted immigrants, regardless of their religion, ethnicity or national origin.
Caplan admitted that some might not have seen it as a Jewish story at the time.
“In 1986, we’re right at the birth of the multicultural push in American schools,” said Caplan. “You’ve got kids who are learning about the melting pot. I think if you are not looking for the coded Jewishness and you’re not familiar with it, then this just seems like a movie about immigrants.”
But Moses, who said the movie held a “mystical place” in his imagination, did not view the story’s broad allegory as a shortcoming. Instead, he saw an opportunity to pull its continuous thread for a message he hopes will feel relevant today: that while immigrants discover inequality and abuse in America, the forces of injustice are changeable, and that people can overcome life’s harsh realities through “grit and hard work and coming together.”
“That message is always timely, but definitely coming out of the last few years and the conversations that America is having about immigration,” said Moses. “I wanted to tell this story that’s really a fable, so you can get at these ideas indirectly as opposed to in a dry, didactic way.”
Jodi Eichler-Levine, a Jewish studies professor at Lehigh University, argued the tale’s success lies in being a “story of Jewish immigration that appeals to non-Jews as well” and called the movie a “fairytale about America.” It premiered 100 years after the Statue of Liberty’s dedication in 1886, amid centennial celebrations of the country’s immigration history. In the film, the statue comes alive, winking at Fievel and his sister once they find each other and look west at the vast expanse of the United States.
Itamar Moses won acclaim for adapting “The Band’s Visit” for Broadway. (Courtesy of Moses)
Whether viewers still buy into the optimistic crescendo of “An American Tail” remains to be seen. Do Americans still believe, as Moses hopes, that immigrants and oppressed peoples can unite to overthrow the tyrants of unfettered capitalism? A Gallup poll from February showed that Americans’ satisfaction with the country’s level of immigration has dropped to 28%, the lowest point in a decade.
Moses is betting that children’s theater has a way of refreshing themes adults have exhausted with political discourse. Children want to grapple with the ideas at the core of the show, he said, such as “the needs of the individual and the needs of the collective, the need to go out on your own but still remain connected to your family and your background.”
“The most successful material for kids tends to engage with real things that they’re thinking about and worrying about,” he said.
Today, another wave of families has fled Fievel’s hometown: though Shostka was part of the Russian Empire in the 19th century, it is now in the Sumy region of northeastern Ukraine. The Sumy Oblast was among the first regions stormed by Russian forces in February 2022 and continues to suffer daily shelling. Eichler-Levine expects that global refugee crises will only continue to broaden the appeal of a migration story.
“The ideas [in An American Tail] are sadly relevant for most of the planet right now, given that climate change and devastation from war are leading to another tremendous wave of global migration,” said Eichler-Levine.
—
The post ‘An American Tail’ musical adaptation hopes its Jewish immigration story will resonate in 2023 appeared first on Jewish Telegraphic Agency.
Continue Reading
Uncategorized
Memories of a subway passenger
דערצויגן געוואָרן אין דער שטאָט ניו־יאָרק, בײַ אַ משפּחה וואָס האָט נישט פֿאַרמאָגט קיין אויטאָ, האָב איך אַ גרויסן חלק פֿון מײַן לעבן „אויסגעלעבט“ אויף דער אונטערבאַן („סאָבוויי“). הגם הײַנט פֿאָר איך בדרך־כּלל מיט מיט דער מחוץ־שטאָטישער באַן „מעטראָ־נאָרט“, מוז איך מודה זײַן, אַז מײַנע יאָרן אויף דער אונטערבאַן האָבן זיכער געהאָלפֿן צו אַנטוויקלען בײַ מיר דאָס געפֿיל פֿון אַן עכטן ניו־יאָרקער.
אין עלטער פֿון 11 יאָר, למשל, זענען איך און מײַן 10־יאָריקע שוועסטער, גיטל, יעדע וואָך, נאָך די קלאַסן, געפֿאָרן מיט דער אונטערבאַן פֿינף סטאַנציעס צו אונדזער פּיאַנע־לעקציע. וואָס איז דער חידוש, פֿרעגט איר? איר קענט זיך אויסמאָלן, אַז צוויי אומשולדיקע מיידלעך, טראָגנדיק קליידלעך און צעפּלעך, זאָלן הײַנט פֿאָרן, אָן שום באַגלייטונג פֿון אַ דערוואַקסענעם — אויף דער אונטערבאַן? איך — נישט. פֿונדעסטוועגן, מיין איך, אַז דאָס האָט אונדז געגעבן אַ געוויסן נישט־באַוווּסטזיניקן קוראַזש, וואָס פֿעלט הײַנט די קינדער, וואָס זייערע עלטערן מוזן זיי פֿירן אינעם אויטאָ פֿון איין אָרט צום צווייטן.
איך האָב ליב געהאַט צו לייענען די רעקלאַמעס אין וואַגאָן. איך געדענק, למשל, די מעלדונגען וועגן דעם יערלעכן שיינקייט־קאָנקורס, „מיס סאָבווייס“. עטלעכע וואָכן פֿאַרן קאָנקורס, איז אין יעדן וואַגאָן געהאָנגען אַ בילד פֿון די זעקס פֿינאַליסטקעס. פֿלעג איך מיט גיטלען איבערלייענען זייערע קליינע ביאָגראַפֿיעס — בדרך־כּלל, סטודענטקעס, סעקרעטאַרשעס, זינגערינס, און טענצערינס — און דיסקוטירן מיט איר, ווער ס׳וואָלט געדאַרפֿט געווינען די „אונטערערדישע קרוין“. איך פֿלעג זיך אָפֿט מאָל חידושן, ווי אַזוי איינע מיט אַ גרויסער נאָז אָדער געדיכטע ברעמען האָט דערגרייכט אַזאַ מדרגה, אַז איר פּנים זאָל באַצירן יעדן וואַגאָן פֿון דער ניו־יאָרקער באַן־סיסטעם.
איך האָב זיך אויך געלערנט מײַנע ערשטע שפּאַנישע זאַצן אויף דער אונטערבאַן. אין יעדן וואַגאָן איז געהאָנגען אַ וואָרענונג אויף ענגליש און אויף שפּאַניש: „די רעלסן פֿון דער אונטערבאַן זענען געפֿערלעך. אויב די באַן שטעלט זיך אָפּ צווישן די סטאַנציעס, בלײַבט אינעווייניק. גייט נישט אַרויס. וואַרט אויף די אינסטרוקציעס פֿון די קאָנדוקטאָרן אָדער דער פּאָליציי“. גיטל און איך האָבן זיך אויסגעלערנט אויף אויסנווייניק די שפּאַנישע שורות, און זיי איבערגעחזרט אַזוי פֿיל מאָל, ביז די ווערטער האָבן זיך בײַ אונדז אַראָפּגעקײַקלט פֿון דער צונג ווי בײַ אמתע פּוערטאָ־ריקאַנער. און ס׳איז אונדז צו ניץ געקומען: אַז מיר זענען געשטאַנען ערגעץ צווישן מענטשן, און געוואָלט אויסזען ווי אמתע שפּאַניש־רעדער, האָבן מיר אויסגעשאָסן די שפּאַנישע שורות מיט אַזאַ טראַסק, אַז אַ נישט־שפּאַניש רעדער וואָלט געקענט מיינען, מיר טיילן זיך מיט עפּעס אַ זאַפֿטיקער פּליאָטקע.
מײַנע דרײַ בנים האָבן שטאַרק ליב געהאַט צו פֿאָרן אויף דער אונטערבאַן. קינדווײַז פֿלעגן זיי צודריקן די פּנימלעך צו די פֿענצטער, סײַ ווען די באַן איז געפֿאָרן אין דרויסן, סײַ אינעם פֿינצטערן טונעל. מײַן עלטסטער, יאַנקל, האָט צוויי מאָל געפּרוּווט צו פֿאַרווירקלעכן זײַנס אַ חלום: צו פֿאָרן, במשך פֿון איין טאָג, אויף יעדער ליניע פֿון דער גאַנצער סיסטעם, פֿון דער #1 ביז דער #7; פֿון דער A־באַן ביז דער Z. (מע דאַרף האָבן אַ מאַטעמאַטישן קאָפּ דאָס אויסצופּלאָנטערן.) ביידע מאָל האָט יאַנקל באַוויזן צו פֿאָרן אויף אַלע ליניעס… אַחוץ איינער. נישט קיין חידוש, אַז בײַ אונדז אין דער היים איז יאָרן לאַנג געהאָנגען אינעם שפּריץ אַ פֿירהאַנג מיט אַ ריזיקע מאַפּע פֿון דער אונטערבאַן.
הײַנט האָב איך אַ ספּעציעלע הנאה צו פֿאָרן אויף דער אונטערבאַן מיט מײַנע אייניקלעך. פּונקט ווי עס האָבן קינדווײַז געטאָן זייערע טאַטעס, קוקן זיי אויך אַרויס פֿון פֿענצטער און קאָמענטירן וועגן אַלץ וואָס פֿליט פֿאַרבײַ. ווער ווייסט? אפֿשר וועלן זיי אויך מיט דער צײַט זיך אויסלערנען די ציפֿערן און אותיות פֿון יעדער באַנליניע און דערבײַ אַליין פֿאַרוואַנדלט ווערן אין עכטע ניו־יאָרקער.
The post Memories of a subway passenger appeared first on The Forward.
Uncategorized
Trump administration files lawsuit against UCLA, saying it failed to protect Jewish and Israeli employees
(JTA) — The Department of Justice filed a federal lawsuit Tuesday accusing the leadership of UCLA of allowing an antisemitic work environment on campus, intensifying the Trump administration’s long-running scrutiny of the Los Angeles campus.
The lawsuit, filed in federal court in the Central District of California, alleges UCLA failed to protect Jewish and Israeli faculty and staff from harassment following the Hamas-led Oct. 7, 2023, attack on Israel and the protests that spread across American universities afterward.
The complaint was filed the same day President Donald Trump is scheduled to deliver the first State of the Union address of his second term, in which he is expected to cite the administration’s broader confrontations with higher education institutions as evidence of its successes. It also comes roughly three months after nine Justice Department attorneys resigned from the government’s University of California antisemitism investigation, telling the Los Angeles Times they believed the probe had become politicized.
The lawsuit says that antisemitic conduct at UCLA became widespread after Oct. 7 and persisted through the 2023-24 academic year. According to the lawsuit, Jewish and Israeli employees were subjected to threats, classroom disruptions, antisemitic graffiti and, at times, were blocked from parts of campus during protests.
The government places particular emphasis on the spring 2024 Royce Quad encampment, when pro-Palestinian demonstrators established a tent protest in the center of campus. The Justice Department alleges UCLA failed to enforce its own campus rules, allowing protests that disrupted university operations and contributed to what it describes as a hostile workplace.
“Based on our investigation, UCLA administrators allegedly allowed virulent anti-Semitism to flourish on campus,” Attorney General Pamela Bondi said in a DOJ press release announcing the lawsuit. Harmeet K. Dhillon, who leads the department’s Civil Rights Division, described the alleged incidents as “a mark of shame” if proven true.
UCLA officials rejected the government’s characterization, pointing instead to changes made under Chancellor Julio Frenk.
“As Chancellor Frenk has made clear: Antisemitism is abhorrent and has no place at UCLA or anywhere,” vice chancellor of strategic communications Mary Osako said in a statement. She cited investments in campus safety, the launch of UCLA’s Initiative to Combat Antisemitism, the reorganization of the university’s civil rights office, the hiring of a dedicated Title VI and Title VII officer and strengthened protest policies.
“We stand firmly by the decisive actions we have taken to combat antisemitism in all its forms, and we will vigorously defend our efforts and our unwavering commitment to providing a safe, inclusive environment for all members of our community,” Osako said.
Frenk, who is Jewish, has spoken publicly about antisemitism in higher education. In an essay published by the Jewish Telegraphic Agency last year, he invoked the history of German universities under Nazism, warning that those institutions “never recovered after driving Jews out” and urging American colleges to confront antisemitism while preserving academic freedom and open debate.
The new lawsuit follows earlier legal battles over campus protests at UCLA. In July 2025, the university agreed to pay $6.13 million to settle a lawsuit brought by Jewish students and a Jewish professor who said demonstrators had blocked access to parts of campus. Under that agreement, UCLA said it would ensure protesters could not restrict movement or access to university spaces.
Campus tensions over speech and security have continued more recently. Bari Weiss, the journalist and founder of The Free Press, withdrew this month from a scheduled appearance at UCLA as part of the Daniel Pearl Memorial Lecture series. Weiss had been invited to speak on “The Future of Journalism” but canceled the event, citing security concerns ahead of the lecture.
The post Trump administration files lawsuit against UCLA, saying it failed to protect Jewish and Israeli employees appeared first on The Forward.
Uncategorized
Antisemitism Spikes to Record Levels in Italy, New Data Shows
A protester uses a pole to break a window at Milano Centrale railway station, during a demonstration that is part of a nationwide “Let’s Block Everything” protest in solidarity with Gaza, with activists also calling for a halt to arms shipments to Israel, in Milan, Italy, Sept. 22, 2025. Photo: REUTERS/Claudia Greco
Antisemitism in Italy surged to record levels last year, according to newly published figures, as Jews and Israelis across Europe continued to face a relentlessly hostile environment including harassment, vandalism, and targeted attacks.
In Italy, the Milan-based CDEC Foundation (Center of Contemporary Jewish Documentation) confirmed that antisemitic incidents in the country almost reached four digits for the first time last year.
Of 1,492 reports submitted through official monitoring channels, the CDEC formally classified a record high 963 cases as antisemitic, according to the European Jewish Congress and Union of Italian Jewish Communities (UCEI), the main representative body of Jews in Italy.
By comparison, there were 877 recorded incidents in 2024, preceded by 453 such outrages in 2023 and just 241 in 2022. The data fits with several reports showing antisemitism surged across the Western world, especially the US and Europe, following the Palestinian terrorist group Hamas’s Oct. 7, 2023, massacre across southern Israel.
“The main ideological matrix that has fueled hatred against Jews is anti-Semitism linked to Israel – i.e., the transfer of anti-Jewish myths, such as blood libel, racism by election, and hatred of mankind,” the organization stated.
In May, for example, a restaurant in Naples ejected an Israeli family, telling them “Zionists are not welcome here.” Months earlier, demonstrators at a January protest in Bologna vandalized a synagogue, painting “Justice for a free Gaza.”
Most of the incidents, 643, occurred online on digital platforms, while 320 involved physical acts such as graffiti, vandalism, and desecration of synagogues in addition to discrimination, threats, and assaults.
The surge in antisemitism came amid multiple surveys showing pervasive antisemitic attitudes among the Italian public.
Around 15 percent of Italians consider physical attacks on Jewish people “entirely or fairly justifiable,” according to one survey published in September.
The survey, conducted on Sept. 24-26 by the pollster SWG among a national sample of 800 adults, found that 18 percent of those interviewed also believe antisemitic graffiti on walls and other public spaces is legitimate.
About one-fifth of respondents said it was reasonable to attack professors who expressed pro-Israeli positions or for businesses to reject Israeli customers.
Months earlier, in June, the Italian research institute Eurispes, in partnership with Pasquale Angelosanto, the national coordinator for the fight against antisemitism, polled a representative sample of the country’s population and found that 37.9 percent of Italians believe that Jews “only think about accumulating money” while 58.2 percent see Jews as “a closed community.”
About 40 percent either did not know or did not believe that 6 million Jews died in the Holocaust, and the majority of respondents — 54 percent — regarded antisemitic crimes as isolated incidents and not part of any broader trend.
The report also showed elevated levels of anti-Israel belief among younger Italians, with 50.85 percent of those 18-24 thinking that “Jews in Palestine took others’ territories.”
The Institute for Jewish Policy Research estimates the number of Jews in Italy as ranging from 26,800 to 48,910 depending on which standards of observance one selects. Eurispes places the number at 30,000.
In January, the Anti-Defamation League released the newest results of its Global 100 survey which found that 26 percent of Italians — 13.1 million adults — embrace six or more antisemitic stereotypes.