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How do teenagers fit Judaism into their after-school activities? Spoiler: Many don’t.
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with teens across the world to report on issues that impact their lives.
(JTA) — When youth group leader Evan Shrier first started organizing events for his peers at Temple Kol Tikvah in Woodland Hills, California, he was excited to take on the leadership role. Two years later, he struggles to keep the spark alive in his work now that so few young people show up after their b’nai mitzvah.
“I got to watch it grow and watch 20-30 people, mostly high schoolers and some 8th graders, coming to events, and now it just hasn’t really been the same,” Shrier, 17, said. “We still try to put on really fun events, but it doesn’t feel very rewarding when there’s one person besides the board that comes to them.”
Shrier is experiencing what many religious leaders witness every year: a drop off of synagogue participation after b’nei mitzvah. As teens grow older, some struggle with making time for religious activities because their focus is pulled by sports and extracurricular activities that build their college resumes.
“When I apply to college for kinesiology and to be on the track team they’re going to look at my sports medicine and running team” experience, says Shrier. “They’re not going to look as much at Kol Tikvah.” While he still makes time for Kol Tikvah, he says he needs to prioritize activities that get him merit scholarships for college.
A 2016 report commissioned by the San Francisco-based Jim Joseph Foundation found that Jewish teens feel torn on how to balance their secular and non-secular activities, and more often choose to prioritize the former.
Most surveyed said that they don’t consider Jewish activities as chosen free time. Instead, they look at them as a meaningful third category between school obligations and fun pastimes. The students — between 12-and-a-half and 17 years of age — said that having Jewish friends impacted their involvement in Jewish activities.
The report also found that encouraging “cognitive competence” among teens is a key factor for engagement in Jewish activities. “They’re seeing the world around them, they’re building their identity, they’re developing values,” stated Rabbi David Kessel, former BBYO chief program officer, in the report. “And if we help them do so in a sophisticated and engaging way by providing these content-rich experiences, they will come and they will resonate with it.”
Many organizations are working hard to provide such “content-rich experiences.” For example, BBYO provides leadership training, community service and Jewish education for teens. The Religious Action Center of Reform Judaism funds the social justice program L’Taken for high schoolers across the United States, where they learn how to lobby senators and representatives in Washington, D.C. Another organization, Moving Traditions, teaches the importance of personal wellbeing, justice and caring relationships through a Jewish lens. The emphasis on leadership and tikkun olam — social justice — in these organizations bridges teen’s Jewish and secular interests through meaningful and “[non-]boring Jewish content,” said Kessel.
Kessel and the 2016 Jim Joseph study also suggest that teens are more likely to engage in Jewish activities that are compelling and add value to their lives. Said Shrier: “I carry myself through life a lot differently with the values I see in Judaism and that I’ve created for myself through my connection with Judaism. There’s a lot of things I do now that I wouldn’t do if I hadn’t connected with the temple, and I’m really happy that I do them.”
However, teens are involved in other enriching, secular activities that compete with Jewish extracurriculars, causing the teens to grapple with how to spend their limited time.
Ava Naiditch, 16, of Los Angeles, ranks soccer as her most important extracurricular. As a Reform Jew, she resonates with the youth group culture at her temple and wants to stay involved in activities such as confirmation, but has a life-long commitment to her sport. She says she can’t stop soccer now to make more time for her Jewish activities because it would feel like quitting and abandoning years of dedication and hard work.
Academic pursuits also pull teens’ attention away from synagogue. Orli Adamski, 15, from New York City, serves on the editorial board for jGirls+ Magazine, a publication for teen journalists, and may pursue writing in college. The magazine offered her professional, resume-building experience, which was her primary goal in joining. “It being a Jewish magazine was just a bonus,” Adamski said.
However, for some teens, pulling away from synagogue does not mean they cut themselves off from their Jewish community.
Julien Deculus hasn’t been active in the synagogue where he got bar mitzvahed seven years ago, but the 20-year-old is still close to friends he made at the Los Angeles temple.
“The relationships I fostered at temple extended outside temple youth groups so I did not feel like I was losing connection to the Kol Tikvah family,” he said.
The relationships teens develop at temples connect them more with Judaism than synagogue itself in some cases.
“I do care about Judaism but I care more about the connection and the friendships that come along with it,” said Nathan Gaffin, 16, a junior from Waltham, Massachusetts. “I can confidently say that if I didn’t have a lot of friends at my temple, I would not go as much, although I still do feel Judaism is very important.”
Gaffin co-founded the Jewish Student Union at his high school, where only about 30 out of 1,800 students are Jewish. “It’s very important to have that small, safe space where we can say what we want without feeling threatened, we can have fun, and make connections with people that are similar to us,” he said. Gaffin’s club addresses topics like antisemitism in pop culture and at school along with intersectionality within Judaism. He also makes sure there is time for light-hearted activities and just hanging out.
Gaffin dedicates a lot of his time to his tennis team, while also working as an assistant Hebrew school teacher at his synagogue, and on the board of his temple chapter of United Synagogue Youth. During the tennis season, Gaffin misses a lot of his Hebrew school classes, but says “he doesn’t feel like he’s missing out on too much,” but wishes he could make time for both.
Naiditch regrets not staying involved in Jewish activities because, like Gaffin, they provided a “safe place” where she felt comfortable discussing the prejudice Jews face. Especially with the recent backlash regarding rapper Kanye West’s antisemitic tweets, talk amongst ignorant teens has spread antisemitism around her school. She realizes how uncomfortable she feels and misses the connection she had at her synagogue. Naiditch wants to join her temple’s confirmation class, even though it conflicts with her Youth and Government meetings.
Making the time to engage in Jewish activities isn’t a big concern for Charlotte Saada. “If it weren’t for my parents’ connection to Judaism, I wouldn’t be as connected as I am,” says the 16-year-old from Los Angeles, whose family attends a Conservative synagogue.
She takes part in her family’s religious activities, like weekly Shabbat, but acknowledges that once she moves out and becomes more independent, she will likely not maintain her family’s traditions because she’s “too lazy” and would rather spend her time building her crocheting business.
Time management is a challenge for all young people, but Shrier, the youth group leader, won’t trade in his Jewish connection. “Even though I don’t have the time, I love the temple and the little time that I have to give I want to give,” he 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.”