Uncategorized
At this unique yearlong Torah study program in Jerusalem, students are encouraged to ask ‘Why?’
JERUSALEM — Walk the streets of Jerusalem on any given weekday morning, and you will discover there’s no shortage of intensive Torah study in this city that symbolizes the beating heart of the Jewish people.
Yet among the many yeshivas and seminaries it’s rare to find a beit midrash, or Jewish study hall, marked both by a commitment to egalitarian values and serious Torah study — not to mention one where Jews of color, LGBTQ+ Jews, converts, and Jews from marginalized groups are integral to the community.
The Conservative Yeshiva, which is part of the Fuchsberg Jerusalem Center, threads that unique needle: It is a place in central Jerusalem where leaders and seekers from all backgrounds come to deepen their Jewish scholarship and find their place in Jewish tradition.
“Students come here with a sense of intellectual integrity and honesty to engage with traditional texts,” said Liz M.K. Nelson, a former kollel student from the yeshiva originally from Detroit who is now the yeshiva’s recruiter. “They come here on their individual journeys, with their different approaches to Judaism, with a real sense of determination to pursue their individual spiritual goals in an intentional community.”
Even when it comes to Jewish texts that challenge their views and values, Nelson said, “Here they can grapple with them in a space where everyone is dedicated to working through them with a sense of commitment to tradition, community, and integrity.”
The Conservative Yeshiva offers a range of programs, from summer experiences to winter break learning programs to partnerships that can lead to a master’s degree in Jewish education or even the rabbinate.
But the flagships of the institution are its long-term learning programs.
Called Lishma — a Hebrew term that means doing or learning for its own sake — the program welcomes post-college students of any age. The Lishma program is currently accepting applicants for the fall; it is open to both full-time and part-time students.
Students from the Lishma and Advanced Halakhah programs eat with faculty at a weekly community lunch. (Jonny Finkel)
Orah Liss, a native of Frankfurt, Germany, who was raised in a Masorti home (the equivalent of Conservative Judaism outside of North America), came to Lishma after completing a Jewish studies program in Sweden focused on Jewish literature, history and philosophy. Liss, 26, was looking to learn more from and about traditional Jewish texts.
“I wanted to build the familiarity with it — not just the what, but the why. I wanted to read the Talmud and have an understanding of it,” Liss said. “For me the halacha is very important, as is the traditional prayer service, so I wanted a place with the traditional aspects along with egalitarianism.”
The generous spirit of the yeshiva community became evident when Liss was saying Kaddish for her grandmother, she said. Even on days when there were no scheduled prayer services, she said, “I asked for people to come for a minyan and on every day people showed up.”
Some students use the year at Lishma as a stepping-stone to rabbinical school. A new track called Omek (Hebrew for “depth”) offers specialization in areas that expands students’ Jewish literacy and breadth of spiritual knowledge on the pathway to becoming a rabbi at one of the seminaries with which the Yeshiva works — such as the Jewish Theological Seminary in New York and the Ziegler School of Rabbinic Studies in Los Angeles.
The focus isn’t just Jewish study, but also community building, immersion in authentic Jewish living and even innovation in worship.
Devorah Gillard, 66, a Lishma student from Nova Scotia, Canada, said she came to the Conservative Yeshiva at the Fuchsberg Jerusalem Center to learn Torah in an open environment.
“The Conservative Yeshiva encourages you to ask and explore and expand. You are not judged. They hear what you have to say — your doubts and fears —and they help you to grow,” she said.
Raised as an evangelical Christian, Gillard’s lifelong spiritual journey led her to convert to Judaism eight years ago. She’s now a board member of the Canadian Foundation for Masorti Judaism in Toronto. “I wanted to understand what it meant to be Jewish, to get to the depth of Torah,” Gillard said.
Ejnat Willing discusses the Talmud in a class at the yeshiva in the Fuchsberg Jerusalem Center. (Jonny Finkel)
She said her fellow students have a zeal to engage with Judaism and do good in the world that’s infectious.
“These are people who are really serious about their religion and God and don’t just daven,” or pray, Gillard said. “They are more aware of the environment, food insecurity and inclusion. They go after what they want to do in this world.”
The Lishma program draws some 30 students a year to its Jerusalem campus from near and far. They study Talmud, Tanakh, and Midrash as well as Jewish philosophy and prayer in a way that seeks to accommodate modern scholarship and the contemporary world. Students come from all kinds of levels of Jewish knowledge and Hebrew proficiency; the Fuchsberg Jerusalem Center offers supporting programs to bring people up to speed as needed.
Allan Fis-Calderon spent most of his 20s advancing his career as a movie scriptwriter in Mexico City. But when the Covid-19 pandemic shut the world down, Fis-Calderon, 30, began to revisit his desire to study Torah. His rabbi from the city’s egalitarian Beit El Masorti synagogue suggested he look into the Conservative Yeshiva.
“So far this has been the best experience in my life — to experience Judaism from a liberal place where they take me into account. I feel at home and part of the group,” he said. “This has given me the opportunity to study Torah and develop myself as a Jew.”
Being in Israel at this crucial moment, where it feels like society is deeply divided, has made him appreciate Israel even more, Fis-Calderon said.
Much of the learning is conducted using the traditional Jewish method of chevruta, where students learn in pairs, but there is also plenty of classroom time with teachers.
Rabbi Joel Levy, the rosh yeshiva (yeshiva head), said his goal is to move every student along on their own journey of Jewish discovery.
“This is an immersive environment but not a coercive one. People need space and time to work out their relationship with Judaism and literacy,” Levy said. “Some people will come out of the other end saying they want to keep Shabbat and others will not keep Shabbat. I consider it a success when that decision has been made as an informed adult.”
Levy’s job, he said, is to create a space where people can take their own search seriously and openly.
The students who come to the Conservative Yeshiva hail from a range of Jewish denominations, races, ages, sexual orientations and gender identities. Though each may be in their own place in their individual religious journey, they learn and experience Jerusalem and Israel together as members of a Jewish community, he said.
“It is a total privilege to be with a group of people who are thinking about and searching for how to translate the wisdom and value of our tradition to today’s beautifully complex world,” Levy said.
—
The post At this unique yearlong Torah study program in Jerusalem, students are encouraged to ask ‘Why?’ 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.”