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For Orthodox Israeli teens, battling climate change can be a lonely fight
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with Jewish teens around the world to report on issues that affect their lives.
(JTA) — Abigail Lerer, a Modern Orthodox vegan teen from Ra’anana, Israel, is working on changing throwaway culture in her family. ‘’It makes me feel frustrated, there is just no need,’’ Lerer says about using single-use dishes at meals. To win over reluctant family members who worried about the inconvenience, she took on responsibility for washing the dishes and taking out the recycling.
Eventually, after years of slideshows and lectures, Lerer’s family came to understand her point of view. They don’t have single-use utensils in their home anymore and her mother even brings reusable containers to stores when she buys nuts and grains.
Now, Lerer just wants the rest of the county to catch up. There are few environmentalists in the haredi or “ultra-Orthodox” community, where religious leaders do not put a high priority on protecting the environment and where large families often rely on single-use plastic cutlery for the sake of convenience.
A study by Kantar Ministry of Environmental Protection found that 73% of the general population use single-use plastic regularly compared to 96% of the haredi population who do so. This year, Israel’s new finance minister rolled back high taxes on disposables after haredi Orthodox leaders complained that they unfairly targeted their lifestyle. Community activists argued that they compensate for the big environmental impact of single-use plastic by flying and driving far less than the general population.
Even among Modern or Religious Zionist Orthodox communities, who tend to be less insular and have fewer children than the haredim, environmental action still lags.
Lerer, who subscribes to a vegan, minimal-waste lifestyle, says the solution lies in leadership. If religious figures endorsed eco-conscious living as a Jewish obligation, then this would galvanize the necessary action, she said.
“You need to make it halachic and then people will care,” she says, meaning legal according to religious law. But, she is skeptical that this will occur due to the highly complex nature of the Jewish legal system.
Rabbi Dr. Natan Slifkin, who founded the Biblical Museum of Natural History in Israel, explores how traditional Judaism relates to science. He said the haredi Orthodox community doesn’t have the same level of concern for environmentalism because of insularity. ‘’They lack thinking about any issues that extend beyond their community,” he said. Because they are poorer than many other sectors of the population, economic considerations always come first, Slifkin said.
Bar Kaima was founded in early 2020 and aims to connect young Israelis to environmental causes. (Courtesy of Esther Hamou)
Nevertheless, environmental groups in religious circles do exist. Esther Hamou, 18, who dresses exclusively in second-hand clothes, volunteers in a religious environmental organization, Bar Kayma. The group uses arguments in the Torah such as tikkun olam — fixing the world — and baal tashchit — the prohibition against wanton destruction — to combat skeptics and to persuade religious Jews to be more sustainable.
This past January, Hamou organized an environmentally themed event for Tu Bishvat, the Jewish new year for trees. As part of her anti-plastic activism, Hamou requested that all attendees bring their own cup for refreshments. Despite her efforts in linking eco-friendly living to Judaism, Hamou finds that ‘’people just don’t want to hear it.’’
Penina Schorr is attempting to change this. The 14-year-old lives in a Modern Orthodox community in Jerusalem and tries to encourage her peers to avoid using throwaway plastic. They ‘’sometimes’’ listen. Schorr has been raised in a plastic-conscious home; they only use throwaway plastic in exceptional circumstances such as the day before Pesach, when strict rules require only kosher-for-Passover utensils for the holiday. However, her family’s attitude is not widespread, and most people in her community are far less vigilant.
She said that in Orthodox religious schools like hers there is a sense of ambivalence towards environmental issues. Her geography teacher, she said, justifies inaction, claiming that God would never destroy the world and that the claims of climate activists and scientists can’t be legitimate.
Practicality is also an obstacle. According to Ariel Shay, a volunteer at Plastic Free Israel, one of the main reasons Israelis with large families use single-use plastic is a fast cleanup after a meal.
Hadas Shlomi, 17, an activist from the north of Israel, feels alienated in her secular school because of her commitment to the environment: Peers mocked and teachers misunderstood her climate anxiety. Her parents are not on her wavelength either. She attributes the indifference of the older generation to the fact that they won’t be alive when the climate crisis peaks.
Shlomi appreciates the dedication of teens who are trying to convince their Orthodox friends and families to use fewer single-use plastics. As a leader of Strike for Future Israel, she knows the teens’ hearts are in the right place but sees the focus on individual actions as ineffective. Instead Shlomi lobbies the government to ban oil and gas drilling and pass a bill that sets a target of reducing emissions by 50% by 2030.
While these endeavors have not been successful yet, compounded by the transition to a new, more right-wing government in 2022 that is even more accommodating to haredi voters, Shlomi has the attention of some elected officials. In January 2022, the government required 30 hours of climate change education to the school year.
The changes apply to Israel’s secular and Religious Zionist school tracks. The government has sway in far fewer haredi Orthodox schools.
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The post For Orthodox Israeli teens, battling climate change can be a lonely fight appeared first on Jewish Telegraphic Agency.
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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.”