Uncategorized
As a child of survivors, I see my parents in every Ethiopian immigrant to Israel
(JTA) — Recently, I watched a mother reunite with her son for the first time in 41 years.
On May 9, I was part of a delegation of the Jewish Agency for Israel that accompanied Ethiopian olim (immigrants) from Addis Ababa to Ben Gurion Airport and new lives in Israel. The mother had made aliyah in 1982 as part of Operation Moses, when Ethiopian Jewish immigrants trekked for weeks through the Sudan, hiding out from authorities in the daytime and walking by moonlight, to reach Israeli Mossad agents, who were secretly facilitating their transport to Israel.
But the son, due to family circumstances, was left behind. And here she was on the tarmac, praying and crying, and the embrace they had when the now grown man walked down the stairs, that depth of emotion after decades of waiting and yearning, was something that I will never forget.
The Ethiopian Jewish community dates back some 2,500 years, from around the time of the destruction of the First Temple. We know that they have always yearned, from generation to generation, to be in Jerusalem. Most of the Ethiopian Jews emigrated to Israel during the 1970s and 1980s and in one weekend in May 1992, a covert Israeli operation, dubbed Operation Solomon, airlifted more than 14,325 Ethiopian Jews to Israel over 36 hours. Those coming today are being reunited with family members who came during one of these earlier operations.
On my four-day trip from Addis Ababa to Tel Aviv and Jerusalem, I listened to the stories of incredible perseverance, and of heartrending suffering, among Ethiopian Jews — our brothers and sisters. Close to 100,000 of them have made their way to Israel over the past 40-plus years, fulfilling this community’s centuries-long quest to come to Israel.
I heard about the Ethiopian Israeli who, as a 15-year-old, marched through Sudan with his family and lost three of his siblings to starvation. I heard the stories of families waiting, for months or years, for that moment of aliyah, as clandestine negotiations among government negotiators dragged on. It was so powerful to hear of the sacrifices they made and how strong the dream was, and is today, of coming to Jerusalem, to Israel.
RELATED: How Israel’s Falash Mura immigration from Ethiopia became a painful 30-year saga
And I thought of my own family’s journey — a different time, under different circumstances. But also a Jewish journey of perseverance, suffering and, for the fortunate among us, survival.
My parents were born in Poland in the 1930s. During World War II, my father and his family survived in a Siberian labor camp and then in a remote part of Poland. My mother’s family managed to get work papers, but her father did not have them. He survived the war by hiding under the floorboards of a barn on a farm where they were living. The woman who owned the farm did not know they were Jewish, so it was a harrowing day-to-day existence.
But my mother and father survived, managed to make it to liberation, and eventually came to the United States. They were first sponsored by the Birmingham, Alabama, Jewish community, and then made their way to New York and New Jersey, where our family has built a new life. We now have fourth-generation children growing up here in New Jersey, and we feel so fortunate for the lives we have.
Here is the essential difference from their story and mine: For my family, there was no state of Israel. Many members of my family perished in the Holocaust. There was nowhere for them to go.
This drives what I do. Today, everything has changed because we have a state of Israel, and we have a Jewish Agency that ensures that Jews can make aliyah and helps them make new lives in Israel.
Last year, after the Russian invasion of Ukraine, I traveled to Poland and stood at the border as thousands of Ukrainian refugees streamed across. I was standing only a few miles from where my grandfather hid under the floorboards of that barn about 80 years earlier. Back then, there was no one there to protect my family, no one to do anything for them. And here I was in 2022 standing amid a massive array of aid agencies, and the very first thing these refugees saw — whether they were Jewish or not — were signs with the Star of David, marking the Jewish Agency, the American Jewish Joint Distribution Committee and other Jewish groups.
While there has been significant hardship and struggle for the first generation of Ethiopian Jews in Israel, it was incredibly inspiring for me to meet members of the second generation — those who made the trek as children or teenagers in the 1980s and ’90s — who are now Israeli adults in positions of leadership and significant responsibilities. We heard from Havtamo Yosef, who immigrated as a young child from Ethiopia with his parents, and then watched his father become a street sweeper and his mother a housecleaner while he was growing up. Now he heads up the entire Ethiopian Aliyah and Absorption services for the Jewish Agency, ensuring that there are stronger absorption procedures, better education and firmer foundations for better lives for these new immigrants than there ever was for his family.
While there was no Israel for my family when we were refugees, there were — in Birmingham, Alabama; in Hillside, New Jersey; and everywhere along the way of my family’s journey — people who thought outside of themselves, who cared and took care of my relatives. This is my legacy and what motivates me today.
So when I stood on the tarmac at Ben Gurion earlier this month, I cried tears of sadness at the long family separations and tears of joy that today this Jewish journey continues, from Ukraine and Russia and Ethiopia to Israel. Today, there is a place to go and a people to welcome Jews on that tarmac, with an Israeli flag, a smile and a warm embrace, and a promise of better lives in freedom.
—
The post As a child of survivors, I see my parents in every Ethiopian immigrant to Israel appeared first on Jewish Telegraphic Agency.
Uncategorized
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.
Uncategorized
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.”
Uncategorized
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.”