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Far-right Israeli minister finds enemy in JDC, the mainstream American Jewish aid group
(JTA) — An American Jewish group that has provided aid to Jewish communities in crisis for more than a century has become the target of one of Israel’s newly empowered far-right ministers.
Itamar Ben-Gvir, who serves as national security minister, said on Wednesday that he was shutting down a program dedicated to reducing violence in Arab Israeli towns. His reason: The program is operated by the American Jewish Joint Distribution Committee, which he called a “leftist organization.”
“JDC is a nonpolitical organization and has been so since our founding in 1914,” Michael Geller, a spokesperson for JDC, told the Jewish Telegraphic Agency.
Ben-Gvir’s characterization baffled many across the Jewish communal world who know the JDC as a nonpartisan group with an extensive track record of providing humanitarian aid to Jews in distress.
To them, Ben-Gvir’s criticism of the group is the latest sign that the rupture of political norms in Israel extends beyond the judicial reforms advanced by the government, which have drawn unprecedented protests.
“To call the JDC a left-wing organization is a joke. It is not political in any way,” said Amnon Be’eri-Sulitzeanu, co-CEO of the Abraham Initiatives, a nonprofit that works toward an “equal and shared society” for Jewish and Arab Israelis.
Be’eri-Sulitzeanu, who is Jewish, said he anticipated changes by the right-wing government, which was inaugurated in December. But he was surprised by Ben-Gvir’s announcement.
“I could expect revisiting collaboration with organizations that are branded as civil rights or human rights or Israeli-Palestinian organizations,” he added. “But the JDC — it’s very strange.”
Founded in 1914 by the American Jewish banker Jacob Schiff to aid Jews living in Palestine, the “Joint” has distributed billions of dollars in assistance across 70 countries — including, over the last year, to 43,000 Ukrainian Jews amid the war there. It played a central role in aiding Holocaust survivors following World War II, as well as in the resettlement of Jews from the former Soviet Union.
Among its biggest sources of support are Jewish federations, the nonpartisan umbrella charities found in nearly every major North American Jewish community.
“JDC is an apolitical organization that has worked with every government since the establishment of the State of Israel, providing critical services to the elderly, youth-at-risk, people with disabilities and other underserved populations across all sectors, including Haredim and Arab-Israelis,” the Jewish Federations of North America said in a statement. “JDC’s activities are a living and breathing example of the Jewish values of tikkun olam and tzedakah that guide Jewish Federations’ work every day,” Hebrew phrases that connote the Jewish imperative to repair the world, as well as charity.
JDC staff packing matzahs and haggadahs for online seders in Odessa, Ukraine, April 7, 2022. (JDC)
In Israel, the group funds and operates efforts to help needy populations — including immigrants, the elderly, people with disabilities and people living in poverty. Those efforts often involve working with the government, which in 2007 gave the JDC Israel’s most prestigious prize for its work. This year, according to a spokesman, the group is spending $129 million on Israel initiatives.
The JDC’s government-funded programs include the anti-violence effort that Ben-Gvir is targeting. It was made possible last year due to nearly $1 billion in funding to curb crime in Arab communities by the previous governing coalition, which was centrist. The allocation followed lobbying by Arab and civil society organizations, including the Abraham Initiatives, which is now monitoring how the money is being used as well as its impact.
Arab citizens of Israel make up 84% of crime victims despite comprising just 20% of the population, according to government data released last year that showed a sharp rise in the proportion of Arab Israelis who had experienced violent crime.
Many in Arab communities have called for heightened law enforcement and have charged Israeli police with making inadequate efforts to keep their communities safe. This week, commenting on the shooting death of an Arab Israeli woman, Arab Israeli opposition lawmaker Ahmad Tibi accused Ben-Gvir of being “occupied with other matters,” such as clashes with the attorney general and police officials in Tel Aviv. “Maybe the time has come for senior officials to demonstrate responsibility when it comes to crime organizations and weapons running rampant,” Tibi said.
Other initiatives have aimed to tackle the violence in ways that go beyond policing. The program that Ben-Gvir said he is shutting down is one of them. Called Stop the Bleeding, it involves multiple government ministries as well as local community groups and education efforts and has operated in seven cities with large Arab populations, including a Bedouin town and Lod, a city with significant Arab organized crime networks that also has a large Jewish population.
Be’eri-Sulitzeanu said the program was already starting to bear fruit and had contributed to a slowdown in a multi-year rise in murders. Canceling the program, he said, reflects the current government’s general approach to tackling Israel’s problems.
“It’s not about collaboration. It’s not about hearing the concerns and pain and hopes and needs of the Arab community,” he said. “It’s about doing everything unilaterally, and really without a lot of care for the lives of those people. I think that’s what we are watching.”
MK Ahmad Tibi attends a meeting at the Knesset in Jerusalem, Dec. 6, 2022. (Olivier Fitoussi/Flash90)
A year ago, around the time when the previous government awarded the Stop the Bleeding contract to the JDC, Bezalel Smotrich, a key Ben-Gvir ally who was then an opposition lawmaker and now serves alongside Ben-Gvir as finance minister, proposed that Israel create a “command center” of “all of the relevant entities” that provide humanitarian assistance to Ukrainian Jewish refugees. Included on his list, alongside the Israeli Foreign Ministry and Red Cross: the JDC.
The JDC is not the first mainstream group to be targeted by far-right members of Israel’s new right-wing government, whose signature legislative effort aims to sap the power and independence of the country’s judiciary. That legislation has given rise to a sweeping protest movement and to grave warnings about Israel’s future from a broad range of public figures — including elder statesmen, foreign governments and religious leaders.
Avi Maoz, the leader of the anti-LGBTQ Noam Party who briefly held a leadership role in Israel’s Education Ministry, compiled a list of American and British groups that he believes are trying to impose their liberal values on Israeli schoolchildren. “We must protect our people and our state from the infiltration of the alien bodies that arrive from foreign countries, foreign bodies, foreign foundations,” Maoz once said. Maoz has since resigned from that role, saying that he did not think he was being sufficiently empowered to fulfill his goals by Prime Minister Benjamin Netanyahu’s government.
But Be’eri-Sulitzeanu said he remains concerned about civil-society programs, especially those falling under the purview of far-right ministers including Ben-Gvir or those funded by American Jews, whom some on the right perceive as universally liberal.
People who are paying attention to local governance in Israel expect further tensions around initiatives that do not match Ben-Gvir’s attitudes about harsh policing. Ben-Gvir wants officers to have the right to shoot Arabs who throw stones, has called for a crackdown on anti-government protesters and is increasingly clashing with police officials who believe his orders could jeopardize public safety. Multiple former police commissioners have called for his dismissal.
“Ben-Gvir has his own political agenda and he has his own ax to grind, and at the moment, I think he’s not keen on developing services of the Arab population, either in security or juvenile delinquency or education,” said Amos Avgar, who worked for the JDC in Israel, Russia and the United States for 30 years until 2010, including as chief programming officer.
Avgar emphasized that the JDC has always studiously avoided political activity. “If there’s one thing that the JDC is not, it is not political,” he said. “It always shied [away] from anything that had the smell of politics and never dealt with any project by political agenda.”
It’s unclear how quickly Ben-Gvir’s announcement, made during a government meeting and first reported by Israel’s public broadcaster, will ultimately translate into changes. Geller, the JDC spokesman, said the organization had learned about the criticism only from the media, not from Ben-Gvir’s office. Later, amid an outcry, Ben-Gvir’s office said the funding decision had followed a review of contracts that revealed missing documentation from the JDC, a charge that the JDC denied.
Amnon-Sulitzeanu said he didn’t have high hopes for the program’s future.
“I think the first [characterization] is unfortunately going to be the correct one — that he is actually intending to stop it, which is very unfortunate because it is among the more serious programs that are willing to deal with this catastrophe,” he said. “And it shows again that the current minister is not so much interested in saving lives of Arab citizens.”
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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.”