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As Israel reels from violent attack on Palestinians, settler leadership remains unapologetic
JERUSALEM (JTA) – Despite resounding condemnation from across the world and efforts by Israeli prime minister Benjamin Netanyahu to denounce the outbreak of Jewish violence against Palestinians in the West Bank, settler leaders remain defiant and are backing members of their community involved in what has been described as the one of the worst events of Jewish mass rioting against Palestinians.
“In no way whatsoever do I condemn them,” veteran settler activist Daniella Weiss told the Jewish Telegraphic Agency.
“The shocking thing is that the government is unable to provide security to residents. This is very grave. I am not surprised that there was such an outburst,” said Weiss, a former mayor of the Kedumim West Bank settlement. “The pressure kept building up and the murder of the two brothers influenced people, as did the [recent] murder of two brothers in Jerusalem.”
The settlers’ attack centered on the Palestinian village of Hawara near Nablus, hours after a Palestinian gunman killed two young residents of the nearby Har Bracha settlement, Hillel Yaniv and his brother Yagel, 21 and 19. Hillel had just concluded his military service in a special program for yeshiva students and Yagel was due to finish a Magen David Adom emergency training course next week.
Following the terror attack, hundreds of settlers gathered to seek revenge from the neighboring village, unleashing their rage at residents who were not involved in the attack on the Yaniv family. They set alight 11 houses, damaged many others and burned 32 cars, according to initial data from the Palestine Red Crescent Society.
One settler said in a video clip from the scene as the rampage was underway that it was “a very moving experience.” With flames rising in the background, the settler, identified only as Rafael, added that the settlers “are torching everything that comes to hand.” In another video that was shared widely by critics of the settlers, a group of settlers is seen praying outside a Palestinian home on fire.
Settlers taking a break from carrying out a pogrom in Huwara to daven maariv (evening prayer). pic.twitter.com/OMbKmqXSRO
— Benzion Sanders (@BenzionSanders) February 26, 2023
A large number of settlers also proceeded to Burin village, where they were “escorted” by soldiers, Burin resident Munir Qadoos told JTA. The settlers broke windows, slaughtered two sheep and stole others, burned a barn and pelted homes with stones, he said.
“I felt that it was going to be my last day alive,” Qadoos said. ”Settlers have attacked us many times, but never have they gone so far into the village.”
Human rights organizations have documented a steady increase in settler violence directed at Palestinians in recent years, citing hundreds of cases of vandalism, harassment of Palestinians working their fields or harvesting olive trees and nightly raids into West Bank villages. Settler leaders have disputed these claims, noting that most claims were dismissed by the Israeli police. They have also argued that only a small group of extremists, mostly teenagers, are responsible for these violent attacks.
Qadoos said that on Sunday night, rather than stop the settlers, IDF soldiers “fired tear gas at residents who were trying to defend themselves.” Two people were transferred to the hospital after being struck by stones and five treated locally, he said. “Everyone in the neighborhood is afraid but they also say we will not be moved from here. As I see it, things will get even worse.”
The army did not respond to a request for its account of what transpired in Burin.
By Monday morning, as the extent of the damage became apparent, Israelis began to grapple with the consequences of the attack, described by some in the media as a “pogrom,” and whether it was an ominous sign of authorities losing control over Jewish extremists in the West Bank.
Palestinian Authority officials said about 400 settlers joined the attacks. Eight Israelis were detained but all had been released by Tuesday morning.
The violence marks a significant “escalation” because of the large numbers of settlers involved and the sense that they have backers in the government, foremost Religious Zionism leader Bezalel Smotrich and Jewish Power leader Itamar Ben-Gvir, said Menachem Klein, professor emeritus of political science at Bar-Ilan University in Israel.
Klein predicted there would be further such attacks. ”The radical settlers see they are kings with Ben-Gvir and Smotrich in power,” he said. “We will see more of these because they are built into the power balance.”
It was a test for Netanyahu’s two-month old government, made up of the center-right Likud in partnership with Smotrich and Ben-Gvir’s far-right parties.
“There is no place for anarchy. We will not accept deliberate harm to innocent civilians,” Netanyahu told the Knesset on Monday. But his coalition partners, who are aligned with the settlers and have supported their actions, did not all share this sentiment. Smotrich, who serves as finance minister but also holds the portfolio of settler affairs in the defense ministry, endorsed the idea of harsh vengeance in the immediate aftermath of the killing of the settlers, liking a tweet by a settler leader, Davidi Ben-Zion, that called for “erasing Hawara today” and for “no mercy.”
Palestinian health officials said that settlers also attacked Sunday night other nearby villages and that a 37-year-old man was killed by Israeli gunfire in Zaatara, two others were shot and wounded, a third stabbed and a fourth beaten with an iron bar. Ninety-five other Palestinians were treated for tear gas inhalation.
The umbrella group for settlers, the Yesha Council, remained silent about the violence, offering no response to a query by JTA. The council serves as the political arm representing more than 500,000 Jewish settlers in the West Bank (but not in East Jerusalem and the surrounding neighborhoods, where another 375,000 Jewish Israelis reside). The council does not control individual settlements, which range in their political views from more moderate towns such as those in Ariel and in the Gush Etzion and Ariel region, and the smaller settlements and outposts considered to be home to extremists.
Settler leader Daniella Weiss speaks during a protest for the return to the Evyatar outspot, near the West Bank city of Nablus, Feb. 18, 2022.(Sraya Diamant/Flash90)
By Sunday night, Smotrich changed tack, saying, “It is forbidden to take the law into one’s own hands and create a dangerous anarchy which could cost lives.”
But Ziv Stahl, director of Yesh Din, a human rights group which promotes legal action against violent Jewish settlers, claims that Smotrich’s action on social media was highly significant and could be interpreted by settlers as showing the spirit that should guide their actions.
“Even though it’s not an official policy to be violent towards Palestinians, if Ben-Gvir is in charge of police and enforcement against settler violence and Smotrich is in charge of illegal construction, you can do the math of what message the settlers get from that.”
Weiss indicated she had no misgivings that the 37-year-old Palestinian, identified as Sameh Akatsh, who had just returned from participating in an earthquake relief mission in Turkey, had died. “If he was killed, he was killed,” she said.
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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.”