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Israel to invest $40 million in North American Jewish day schools
(JTA) — Citing “a major crisis in Jewish education,” Israel’s Diaspora ministry plans to pour about $40 million into training educators at Jewish schools in the United States and Canada.
Amichai Chikli, Israel’s minister of Diaspora affairs, announced the initiative, called “Aleph Bet” after the first two letters of the Hebrew alphabet, on Monday. He hopes enrollment will increase at Jewish day schools, fearing that “we are losing large parts of the Jewish people,” and said the initiative would “focus on training teachers for Jewish education and Israel studies as well as principals for Jewish day schools,” according to the Jerusalem Post.
Chikli did not elaborate on how his ministry would spend the allocation of NIS 150 million, nor did he detail when funds could start making their way into North American Jewish schools. His office did not respond to a request for comment. Israel’s governing coalition plans to approve a state budget next week, ahead of a May 29 deadline.
North American Jewish schools have received varying levels of Israeli government support for years, according to Paul Bernstein, CEO of Prizmah, a nonprofit supporting Jewish day schools. He said staff members of day schools were optimistic about the additional funding despite lacking details about where it would go.
“There’s quite a lot of chatter. People are excited by the fact that the State of Israel really sees the importance of Diaspora education, and is recognizing that the strength of the Diaspora is integral to [a] strong Israel and strong relationships,” Bernstein said. “Irrespective of all that’s going on in the world, that is a very positive and important long-term development.”
The announcement comes at a time of tension between Israel’s right-wing governing coalition and North American Jewish communities. A chorus of U.S. Jewish leaders has criticized the government’s proposed overhaul of Israel’s judiciary, and last month, Israeli Prime Minister Benjamin Netanyahu canceled a speech at a signature conference of North American Jews in Tel Aviv in the face of anti-government protests. Chikli, who assumed his role in January, has defended the judicial overhaul while acting as an ambassador of sorts to an often skeptical audience of Diaspora Jews.
Chikli, whose father is a Jewish educator in Mexico, had previously indicated that he sees Jewish day schools abroad as an important destination for Israeli aid. He has said repeatedly — including on Monday — that children who do not attend Jewish day schools are at risk of being lost to the Jewish people.
“We are in the midst of a crisis where it is possible to lose an entire generation of Jews,” he said during the funding announcement.
Early in his tenure, Chikli floated the idea of working with philanthropists to subsidize day school tuition in the Diaspora. More recently, he has signaled that covering tuition — which can range from several thousand dollars at haredi Orthodox yeshivas to more than $40,000 a year — is less of a priority.
“Jewish education in private schools is very expensive, and at times out of range for the average family,” he told Hamodia, a haredi publication, in April. “This is where we step up to the plate. This isn’t to say we’re giving out free scholarships … but we invest, as noted earlier, in the teachers, in the school systems, to ensure Jewish education, and continuity of Jewish generations. We want to raise the pride of Jewish studies teachers.”
Attending a Jewish school is widely considered a strong predictor of lasting Jewish identity, although that may be because parents who prioritize Jewish identity are more likely to send their children to Jewish day school. Enrollment in Jewish schools in North American Jewish schools is growing, largely because of the growth of Orthodox communities, where the vast majority of children attend private Jewish schools.
Outside of those communities, most North American Jewish children do not attend Jewish day schools. But the pandemic saw Conservative, Reform and nondenominational day schools grow as well, according to a survey by Prizmah, following more than a decade of decline. The survey found that schools have maintained those enrollment gains even as the pandemic has ended.
Meanwhile, Hebrew schools and other supplemental Jewish schools have shrunk by nearly half since 2006, according to a recent report by the Jewish Education Project. Chikli did not specify whether any of the new funding could go to such schools
Chikli’s father, Eitan Chikli, is the rector of the Hebraic University in Mexico City, which receives some funding from his son’s ministry. Previously, he was the longtime director general of Israel’s TALI Education Fund, which promotes pluralistic Jewish education in Israeli schools and also produces materials for use in Jewish schools abroad.
The elder Chikli told the Jerusalem Post in January that he would not discuss the funding his university receives with his son, who he said is fastidious about avoiding conflicts of interest. But he said that teacher training was an urgent problem for Jewish schools.
“The biggest problem Jewish people in the Diaspora face today is Jewish education and lack of a high level of teachers for Judaic studies,” Eitan Chikli said in January. “The most difficult problem is that there is no new generation of proper teachers for Hebrew and Judaism.”
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The post Israel to invest $40 million in North American Jewish day schools 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.”