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March comes in with a roar of new Yiddish music

(New York Jewish Week) — As they say in the mameloshn (mother tongue), “Dos Yidish lid iz umetum.” In other words, “Yiddish song is in the air.”

This month a collection of new Yiddish songs will be performed for the first time in America at a Manhattan museum; two Brooklyn blues musicians will release their recordings of old Yiddish folk songs and a new web site preserving the work of a couple who played a pivotal role in promoting Yiddish song is set to debut. 

If all that weren’t enough, the stars of the Yiddish stage will also appear at an event celebrating the woman who was dubbed “the Sherlock Holmes of Yiddish song.”

“Because we all have this weird relationship with Yiddish, every project that people do takes it to a different place,” Alex Weiser, director of public programs at YIVO, told the New York Jewish Week. “Interesting, weird things are currently happening with Yiddish song.”

Read on for ways to get your Yiddish on. 

Sister act

As part of Carnegie Hall’s multi-venue celebration of women in music, on Sunday, March 5,  the Paul Shapiro Quartet takes the stage at the Museum of Jewish Heritage in Battery Park to perform “Di Shvester: The Sisters.” The sisters (by another mother, anyway) in this concert of Jewish and Yiddish music are Eleanor Reissa, the singer/director/actress who is fluent in Yiddish, and Cilla Owens, the superb jazz vocalist who teaches at Hunter College and can sing in Yiddish as well. 

Reissa and Owens will perform some songs by the Barry Sisters, the Bronx-born trio of the mid-20th century who brought Yiddish songs into the mainstream. One of the songs they will perform is based on a poem by the Yiddish poet Aliza Greenblatt, aka Woody Guthrie’s mother-in-law. In a cross-genre segue, Reissa and Owens will follow “Zumer Bay Nakht Oyf Dekher” (“Summer At Night On The Roof”) with “Up On the Roof,” the Carole King/Gerry Goffin sung memorably by Laura Nyro.

Shapiro, whose albums for John Zorn’s Radical Jewish Culture series were critically acclaimed, has worked with Owens, who has spent most of her life in Crown Heights, since 1990. Shapiro first started collaborating with Reissa, who grew up in Brownsville, at Yiddish New York in 2017.

“To me they’re both Brooklyn royalty,” said Shapiro, who hangs his fedora in the Lower East Side’s Grand Street Co-ops.

“When I sing with Cilla, I feel like I’m home,” Reissa said

The two vocalists have appeared together several times in Shapiro’s Ribs and Brisket Revue, which began at the now-shuttered Cornelia Street Café. 

Percussionist Ricky Gordon, right, and Jeremiah Lockwood, the front man for The Sway Machinery, form the duet Gordon Lockwood. (Courtesy)

A right to sing the blues

For the entire month of March a free five-song EP titled “Once Upon a Time the Fire Burned Brighter: Ballads from the Yiddish Gothic” is available for download. Created by the Brooklyn-based blues performers Gordon Lockwood, these are re-interpretations of Yiddish folk songs, three of them by Lifshe Schaecter Widman, a Yiddish folksinger who begot the Yiddish poet Beyle Schaechter-Gottesman, who begot the Yiddish scholar and former newspaper editor Itzik Gottesman, now a senior lecturer in Yiddish language and culture at the University of Texas at Austin whose Yiddish Song of the Week blog is an important source for lovers of Yiddish song. 

The EP will be accompanied by videos of the five songs, plus additional multimedia that will be viewable online. Gordon Lockwood may sound like a Canadian folk singer, but it is actually a duo comprised of percussionist Ricky Gordon, who performs with Wynton Marsalis and has collaborated with Spike Lee, and Jeremiah Lockwood, the front man for The Sway Machinery, a brass-heavy world music band. Lockwood, a card-carrying ethnomusicologist with a PhD from Stanford, recently produced an album of music that features several Hasidic cantors from Brooklyn. In April, Gordon Lockwood will perform their “Once Upon A Time” repertoire in New Haven and New York.

Yiddish royalty 

On March 23, the life of Chana Mlotek — the late, great musicologist, folklorist and archivist, who curated the Yiddish music collection at the vaunted YIVO archives will be celebrated at YIVO’s West 16th St. headquarters. Nine descendants of the Mlotek clan will participate, along with actors Reissa and Steven Skybell, who played Tevye in the Yiddish production of “Fiddler On The Roof.”

Singers will include Lorin Sklamberg of The Klezmatics and Sarah Gordon of the Brooklyn Yiddish rock band Yiddish Princess. Gordon is the daughter of the late Adrienne Cooper, often referred to as the “mother of the Yiddish revival.” The evening’s musical director will be Zalmen Mlotek, Chana and Yosl’s son and artistic director of the National Yiddish Theatre Folksbiene.

On March 20, the Workers Circle is expected to launch The Yosl and Chana Mlotek Collection of Yiddish Song, a website that turns the Mloteks’ three-volume “Pearls of Yiddish Song” anthology into a searchable multimedia resource. Consisting of more than 400 Yiddish songs, the web site will include content curated from YouTube and TikTok, according to an email from the publicist.

The Mlotek collection adds another important resource to a field that includes YIVO’s collection of 4,000-plus Yiddish songs, a project directed by Barbara Kirshenblatt-Gimblett and featuring the field recordings of the late musicologist Ruth Rubin, and many in the Yiddish song scene are looking forward to it.

“We’ve been waiting for this for many, many years,” said Linda Gritz, a retired molecular biologist active in the monthly sing at the Workers Circle in Brookline, Massachusetts. The group has been meeting online during the pandemic and unable to use the couple dozen copies of each Mlotek book, so it has had to create PDFs of 30 songs for its monthly virtual gatherings.

“When it’s online, people could request any song from any book and we could put the URL in the chat and go to it,” said Gritz. “That’ll be an amazing resource.”

Songs for and about refugees

On March 26, “Pleytem Tsuzamen” (“Refugees Together”) will be performed at the Museum of Jewish Heritage-A Living Memorial to the Holocaust. Two performances of Josh Waletzky’s Yiddish song cycle will mark the American debut of the work, which was first performed in 2019 at the Weimar Republic of Yiddishland gathering in Germany. Performers will come from Latvia, Germany, England and Canada, and Brooklyn violinists Jake Shulman-Ment and Deborah Strauss are part of the cast.

“It’s fitting that we’re doing it a couple of weeks before Pesach [Passover] because there’s a Pesach theme that goes through a lot of the songs,” said singer Daniel Kahn, who lives on a houseboat in Hamburg and plays accordion in the production. “It’s incredible how prescient and universal Josh’s song cycle has proven to be…. Those songs and their themes of displacement and upheaval resonate with the liberational traditions within Yiddishkayt [secular Yiddish culture] and Jewish practice.” 

English and Ukrainian supertitles will make the two-hour concert, co-sponsored by National Yiddish Theatre Folksbiene, accessible to non-Yiddish speakers.


The post March comes in with a roar of new Yiddish music appeared first on Jewish Telegraphic Agency.

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A new book explores the vibrancy of pre-war Warsaw

The Last Woman of Warsaw
Judy Batalion
Dutton, 336 pages, $30

Don’t be misled by the title of this debut novel by Judy Batalion, nor by her previous book, The Light of Days, about the role of Polish-Jewish women in the anti-Nazi resistance.

Though the specter of the Holocaust looms over The Last Woman of Warsaw, the novel is not really Holocaust fiction. It does not portray a final female survivor of that embattled city. Its subject is instead the odd-couple friendship of two young Jewish women embroiled in the artistic and political ferment of pre-World War II Warsaw.

For Batalion, recreating the atmosphere and quotidian life of this cosmopolitan city, which once elicited comparisons to Paris, was a major aim. “In our contemporary minds, historical Warsaw conjures images of gray and death,” she writes in a lengthy author’s note. But that shouldn’t negate its more vibrant past. “Long before Vegas,” Batalion writes, “Warsaw was the capital of neons, its night skyline dotted with glittering cocktail glasses and chefs carrying platters of roasts. Much of this artistic production was Jewish.”

Even this brief excerpt shows that Batalion isn’t much of a prose stylist. But awkward locutions and diction mistakes aside — including the repeated use of “cache” when she means “cachet” — Batalion generally succeeds in immersing readers in Warsaw’s lively urban bustle and heated street politics. Here, skating on the edge of catastrophe, Polish Jews of varying ideologies and backgrounds face off against antisemitic persecution and violence.

Batalion’s handling of the historical backdrop is defter than her fledgling fictional technique. The narrative of The Last Woman of Warsaw is a plodding and repetitive affair that ultimately turns on an improbable coincidence.

The plot involves the sudden disappearance of a photography professor with communist ties and the halting efforts of the novel’s two protagonists to find and free her. The pair, whose initial antagonism mellows into friendship, are Fanny Zelshinsky, an upper-middle-class Warsaw University student, and Zosia Dror, who hails from a religious shtetl family. Her adopted surname references the Labor Zionist group that now claims her loyalty. Despite their differences, the two women have in common a desire to shake off the past and forge new lives. They also share an attraction to a single man, Abram, who can’t seem to decide between them.

When the story begins, Fanny is engaged to the perfectly nice, highly suitable Simon Brodasz, whom she’s known since her teenage years. Her mother is pushing the match. But Fanny is not in love and dreads the loss of freedom marriage entails. Her true passion is photography – in particular, fashion photography, to which she brings an idiosyncratic, modernist flair.

Zosia’s passion is political activism, and she aspires to a more prominent leadership role in Dror. Like Fanny, she is at odds with her mother, who is urging her to return to the shtetl for the festivities preceding her sister’s wedding.

What brings these women together is the arrest of the famous photographer Wanda Petrovsky, to whom both are connected. Wanda is one of Fanny’s professors, and Fanny needs her help to enter a potentially career-making exhibition. Wanda also happens to be a political activist, a leader of Zosia’s Zionist group, and Zosia hopes she’ll provide her with a visa for Palestine.

As Batalion’s narrative alternates between their perspectives, the antisemitic fervor in Warsaw mounts. Polish right-wing groups have started terrorizing Jews. Police invade clubs where Jewish comedians are mocking antisemitism. At Warsaw University, where Jewish students already have been subject to admissions quotas, the humiliation of being consigned to a “Jew bench” in class comes as a humiliating shock to Fanny.

Zosia, by contrast, has seen far worse. She and her family were victims of one of the murderous pogroms that periodically roiled the Polish countryside. She has been traumatized by the burning of her home, her father’s injuries and the refusal of her neighbors to offer refuge from the catastrophe.

In late 1930s Warsaw, Polish Jews are fighting back – with protests, hunger strikes and more. But what will any of this accomplish? Will Wanda attain her freedom, with or without the help of her protegees? Will Zosia and Fanny successfully defy their families and find meaningful lives? Which woman will Abram ultimately choose? And will any of this matter as both Poland and Polish Jewry hover on the brink of destruction?

Batalion answers these questions in an epilogue describing the fate of both women and of Fanny’s photographs, which eventually take a political turn, and in her author’s note. In the note,  she reveals that all four of her own grandparents “spent their young adulthoods in interwar Warsaw.” That heritage helps account for her  own passion: “to memorialize Warsaw’s golden age of creativity and the Jewish art and culture that, along with six million lives, was also decimated in the Holocaust.” A worthy endeavor, however clumsily executed.

The post A new book explores the vibrancy of pre-war Warsaw appeared first on The Forward.

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Mahmoud Khalil’s anti-Zionist case to Jews shows the case for skepticism

Mahmoud Khalil wants to reassure the Jewish community. In an extensive new interview with the Forward, the pro-Palestinian protest leader recognized “a Jewish connection” to Israel, and promised that a free Palestine would include safety and security for Jewish residents.

And yet I read the interview and felt a sense of alarm.

Not because Khalil seems insincere. I believe he means much of what he says. But rather because his attempts to instill confidence fall short in ways that illuminate exactly why so many Jews remain afraid and skeptical of the anti-Zionist movement.

Serious causes for serious concerns

Khalil describes himself as a pragmatist. In his activism, however, he envisions a utopia.

He is adamant that a two-state solution preserving a Jewish majority in Israel is a nonstarter. He argues, instead, for a democratic country — or multiple countries — across Israel, the West Bank and Gaza, with equal rights for all and the right of return for Palestinian refugees.

“I know it might sound like a very ideal utopia,” he told the Forward‘s Arno Rosenfeld, “but this is what we should aspire for.”

Khalil is concerned that Jewish fear is an obstacle to Palestinian liberation, and suggests that this fear is misplaced. “People think that we want to drive all Jews to the sea,” he said. “We don’t believe that.”

But history has long shown that Jewish safety without Jewish autonomy often proves conditional. In the ideal that Khalil advances, Israel would lose the self-determination that leads so many Jews to view it as a safe haven. My late grandfather, who was deported to a Siberian gulag by the Soviets from Lithuania —  where about 90% of his fellow Jews were murdered by the Nazis — put it simply: Israel was a place where he felt his fate was in his own hands.

Nor is apprehension of anti-Zionism misplaced. Report after report has cataloged persistent harassment of Jews, threats of violence against Zionists, and invocations of antisemitic tropes within anti-Zionist movements. Yes, there are moderates, many of whom are driven by a commitment to a better future for Palestinians. But there are also extremists, and scenes on campuses and city streets around the world have shown that their tactics often prevail.

Adding to Jews’ sense of alarm are decades of violence within Israel — including the Second Intifada and Hamas’ Oct. 7, 2023 attack — and globally, including recent violence against American Jewish institutions. Jews are not scared because we misunderstand the aims of the anti-Zionist movement. We are scared for good reason.

Political abstractions

A genuine effort at reassurance would engage with that truth. Instead, Khalil dances around it, suggesting that the thing we’re worried about doesn’t actually exist. He says, for example, that the pro-Palestinian campus movement did a good job of keeping antisemitism at bay. It did not.

Even when it comes to the well-established facts of Hamas’ Oct. 7 massacre, he demurs: “I wouldn’t rule out that Hamas targeted civilians,” he said, “but I wouldn’t confirm it either.”

When referencing the excesses of pro-Palestinian campus protests, Khalil retreated into vague language. “There were maybe some bad actors,” he said. His denunciations of antisemitism remained safely generic: “some anti-Zionist actions may touch on antisemitism that we absolutely oppose.”

Who, exactly, is “we” here?

Political movements are not abstractions. They consist of real people doing real things. When excesses are common enough, they become characteristic. This is something I’ve long argued about the Israeli right as well. We cannot dismiss settler violence or anti-Palestinian abuses as fringe when they keep escalating and enjoy support from those in power.

It’s easy to say you oppose antisemitism or suffering by Palestinians, or that a utopian future is possible if we all look past our fear. It’s much harder to look within your political coalition and call out the specific negative acts your allies have committed — or acknowledge their very real consequences.

Denial and Oct. 7

Circle back to Khalil’s alarming equivocation about Oct. 7.

He frames the killings as civilians being “caught up” in violence, not targeted by it. Notice the evasive grammar: Khalil says “there were crimes committed” and Hamas has “a responsibility,” rather than “Hamas committed crimes.”

Khalil does explicitly say that he thinks Hamas is “not up to the Palestinian aspiration for liberation” and that he “doesn’t believe in political Islam.” But for someone so attuned to the language of liberation and justice, he is remarkably comfortable with passive voice when it comes to Hamas carrying out horrific murders on Oct. 7.

As I’ve previously written, the evidentiary record is overwhelming. Amnesty International and Human Rights Watch, organizations critical of Israel, independently concluded that Hamas deliberately and systematically targeted civilians. In one intercepted call, a Hamas terrorist bragged to his parents, “Look how many I killed with my own hands! Your son killed Jews!”

Neutrality on established facts is no different than denialism. If you are trying to reassure Jews but can’t acknowledge that Hamas killed Jews as such, any reassurance you have to offer will ring hollow.

A practical peace

Khalil says he is opposed to any violence against civilians but cannot dictate what Palestinians who experience Israeli human rights abuses should do. He says he understands why Palestinians turn to resistance, even violence, in the face of oppression.

But if you say you understand why decades of oppression push Palestinians toward resistance, then you should also understand why decades of terrorism push Israelis toward aggressive security measures, including ones that harm Palestinian civilians. If every act is merely a justified reaction to a prior act, we will end up in a world in which it’s too easy to argue that all violence is legitimate, rather than none of it.

The deep culture of mutual suspicion that this painful history has bred may be the biggest obstacle to Khalil’s utopian vision.

I share Khalil’s aspirations for peace. But Israelis, even most liberals, leftists and the millions who have protested the right-wing government, say they won’t accept a one-state solution. One 2025 poll by The Institute for National Security Studies, an independent think tank affiliated with Tel Aviv University, found that only 4% of all Israelis, and 1% of Israeli Jews, prefer a one-state solution with equal rights. Palestinians, too, are skeptical of a single state with equal rights.

At the same time, many Israelis oppose a two-state solution. So do many Palestinians. The people who live in the region hold complicated and often contradictory ideas of the path forward, and Khalil does not necessarily speak on their behalf.

Any anti-Zionist looking to reassure Jews needs to, at minimum, acknowledge that Hamas killed civilians deliberately, because they were Jews; condemn specific instances of antisemitism rather than just the concept in the abstract; and ask why Jews are scared right now, rather than telling us we shouldn’t be.

Yet Khalil’s reticence to be honest about his own movement’s flaws is a mirror of our own. Supporters of Israel have long been reluctant to name the failures of the Israeli right and to reckon with how settlements and the occupation harm Palestinians.

Khalil recounts being born in the Palestinian refugee camp Khan Eshieh in Syria, and raised on stories of his grandparents’ expulsion from a village near Tiberias. He was shot by an Israeli soldier when he was just 16. His effort to nevertheless engage with Israeli perspectives, like by reading Ari Shavit, is admirable. Jews should similarly listen to Palestinian perspectives and sit with Palestinian stories, including Khalil’s and those of Palestinians living today in the West Bank and Gaza.

The only way for any of us to build a durable political movement is to be exactingly honest about the ways in which we have, so far, failed, and to ask others with open ears: Why are you so scared?

The post Mahmoud Khalil’s anti-Zionist case to Jews shows the case for skepticism appeared first on The Forward.

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Mahmoud Khalil’s reassurances are bad for Jews but even worse for Palestinians

In his recent interview with the Forward, prominent Palestinian activist Mahmoud Khalil attempted to address claims that he’s an antisemite, that he supports Hamas, and that as a leader of Columbia’s anti-Israel encampments he helped foster hostility towards Jewish students and Jews generally.

Khalil says he’s offended by such claims, but by refusing to say whether Hamas deliberately targeted civilians on Oct. 7, confirmed by both Amnesty International and Human Rights Watch, how is he not providing coverage for Hamas?

The Forward attempts to present Khalil as a pragmatic moderate. But someone who can’t confirm what human rights investigators documented about the worst massacre of Jews since the Holocaust is not offering any real reassurances. Instead, he is only offering a performance.

An even deeper problem with Khalil is not what it means for Jews, but what it does to Palestinians. I say this as someone who has spent time in places where the gap between rhetoric and reality gets people killed.

In 2004, I was a young Marine officer building one of the first successful Iraqi military units in Iraq’s restive Al Anbar Province. My soldiers were mostly Shia, and many bore marks of torture from Saddam Hussein’s prisons, including scars and missing fingers.

One evening, I was watching the news with my Iraqi officers. We watched reports of Israeli tanks pushing into Gaza. I braced for anger and protests and was shocked when they started cheering for the Israelis. One of them quickly explained to me that Saddam had used the Palestinian cause to distract from his own atrocities at home. His support and alliance with Yasser Arafat and other Palestinian leaders was not out of solidarity, but rather as a tool of domestic control. My Iraqi soldiers had paid the price.

After leaving the Marines I visited Lebanon and Jordan, while working to help many of our translators we had left behind. During these visits, I walked through Sabra and Shatila, where Lebanese militias massacred hundreds, possibly thousands, of Palestinian civilians in 1982. I visited refugee camps in Jordan, not tents but cities, brick and mortar, generations deep, people suspended in political amber while the leaders who claimed to speak for them extracted whatever use they could.

During these visits, it was hard not to conclude that Palestinian suffering had been prolonged not only by Israel, but by a regional order that finds Palestinian statelessness useful. Khalil’s vision fits that order perfectly. It offers Palestinians justice in theory, but in reality only guaranteeing them decades of more suffering and tragedy. The people who benefit are not Palestinians in Gaza, but those who have built careers on book deals, speaking fees and endowed chairs on a cause they have no interest in resolving.

The brutal, tragic, and awful reality is that there is not a nation-state on Earth, maybe other than Iceland, that was not created through conflict and displacement. Throughout the Americas, it was the catastrophe that befell indigenous peoples, swept aside by European settlers over centuries of conquest and disease. Most of Western Europe’s borders hardened through revolution and the violent suppression of regional identities. Poland was erased from the map for a hundred years, then reconstituted after two world wars through mass population transfers that uprooted millions. The partition of India and Pakistan in 1947 displaced 15 million people and killed up to two million more. China’s borders were drawn through civil war, revolution, and the subjugation of non-Han peoples.

Every post-Ottoman Arab state, Jordan, Syria, Lebanon, Iraq, was created by European colonial powers drawing lines through tribal and sectarian areas with indifference to the consequences that are still felt today. The entire modern state system is built on this foundation: land taken, people moved, suffering endured, and eventually, when both sides accepted finality, a durable peace.

Either Khalil believes every nation-state on Earth should be dismantled, or he is applying a standard that exists for Jews and Jews alone. The entire Arab world spans 13 million square kilometers and nearly half a billion people. Israel barely covers 22,000 square kilometers and is home to only 7 million Jews. Khalil doesn’t call for the dissolution of Jordan, doesn’t demand China answer for Tibet, or push for the right of return for millions of Hindus and Muslims displaced by the partition of India and Pakistan. He saves that demand for the one Jewish state on Earth, a nation smaller than New Jersey, surrounded by a region that has tried to destroy its people repeatedly. This is antisemitism through the vocabulary of liberation.

Look at where peace has actually come from. Northern Ireland’s Troubles killed thousands over 30 years, a conflict soaked in ancient grievance, religious identity, and competing claims to land and sovereignty that each side considered non-negotiable. It ended not when one side achieved its maximal demands, but when the Good Friday Agreement gave both communities something short of victory and something better than war. Unionists did not get the permanent British Ulster they wanted. Republicans did not get the unified Ireland they had fought and died for. They got a future. In the Balkans, a decade of wars that produced ethnic cleansing, mass atrocity, and the worst European violence since World War II finally yielded to exhaustion and the hard work of partition and negotiated borders. The map that emerged was not just. It was livable. That distinction, between justice as an absolute and peace as a possibility, is the one Khalil refuses to make.

Khalil’s vision has been tried, in different forms and different names, for 70 years. It has not produced peace. It has produced more of exactly what he says he wants to end.

The only path forward is the one he refuses: two peoples, two states, a future neither side fully wants, but both can live with. Everything else is a jobs program for people who profit from the conflict, paid for in Palestinian lives.

His reassurances are hollow to Jews. They are fatal to Palestinians.

The post Mahmoud Khalil’s reassurances are bad for Jews but even worse for Palestinians appeared first on The Forward.

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