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Netanyahu ally wants to stop Diaspora donors from funding pluralistic education in Israeli schools
(JTA) — In 2019, Israel’s Noam party drafted an internal report about an alleged plot by foreign forces to take control of the country’s schools in order to teach pluralistic values. At the time the party’s far-right leader, Avi Maoz, was a fringe politician with no authority to carry out the “cleansing” of which he dreamed.
Among the forces allegedly seeking to corrupt Israeli children, Maoz’s report named the European Union and the liberal New Israel Fund, both of which are longtime nemeses of the Israeli right.
But the plot to deny children what Noam considers a proper Jewish education doesn’t stop with the EU and NIF, according to the report. It also blamed many of the mainstream institutions of British and American Jewry, including the Reform movement’s Hebrew Union College, the Shalom Hartman Institute think tank, and U.S. donors to Israeli civil society organizations such as the Slifka and Mandel foundations.
“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, according to Haaretz. “I would be very happy to have sufficient power to be appointed minister of education, to cleanse the entire education system of all foreign influences and to add Judaism, tradition, heritage and Zionism to the education system.”
Maoz hasn’t been appointed minister of education, but his dream of banishing these groups came a little closer to reality in December when Benjamin Netanyahu cut a deal with Maoz to form his government. In negotiations, Maoz had secured an appointment as a deputy minister in the Prime Minister’s Office under Netanyahu with control over extracurricular content in schools through a new department called the Jewish National Identity Authority. A few weeks later, Netanyahu’s cabinet took a critical step toward putting Maoz in charge.
Amid headlines about Maoz’s ascendance, someone leaked to the Israeli newspaper Yedioth Ahronoth the Noam party’s 2019 education memo along with other internal reports focused on perceived enemies in the Israeli military and Justice Ministry, and on LGBTQ individuals in general.
While the Israeli press referred to the reports as “blacklists,” the backlash to them has become subsumed in the general outcry over Israel’s new far-right government, including the anti-gay politics popular among many new members and the plan to strip Israel’s judicial branch of some of its powers.
Yet it’s in the area of education that the Noam party has the clearest path forward to accomplishing a specific political goal. And success for Noam could lead to a new type of rift between Israel and American Jews. The organizations he attacks are more than charities for Israeli school children — through their billions of dollars in donations, the institutions of American Jewry made themselves into partners in the very founding and development of the Jewish state.
In his new position, he would oversee funding and accreditation for external programs in Israeli schools. Each school can choose from thousands of approved programs, which range from sexual education and bar mitzvah preparation, to the types of pluralistic lesson plans — often meaning alternatives to the strictly religious or strictly secular options offered in Israeli schools — that Maoz has railed against.
For Yehuda Kurtzer, the president of the Shalom Hartman Institute of North America, whose Israeli branch was named in the Naom report, Maoz’s rhetoric betrays ignorance about the integral role of outside contributions in Israeli history.
“It’s not clear to me that these folks understand the depth of how Diaspora Jews have invested in the whole infrastructure of Israeli civil society since the founding of the State of Israel,” Kurtzer said. “So the portrayal of this as somehow Diaspora Jews are burrowing under the system — well, that is basically the whole story of how Zionism succeeded.”
Mark Charendoff, a longtime executive in Jewish philanthropy, also pushed back against Noam.
“There is a long and positive history of Diaspora Jewry’s involvement with education in Israel,” said Charendoff , who currently serves as the president of the Maimonides Fund, an increasingly influential New York-based charity. “The Israeli school system should certainly protect its integrity but even [the medieval sage] Maimonides found wisdom he could learn from among other cultures and used it to enrich our own.”
The Noam party memos, at least one of which Maoz has endorsed as a blueprint for his tenure, were obtained by Israeli journalist Nadav Eyal, and recently shared with the Jewish Telegraphic Agency. Here are the American Jewish charities named in the memo and which of their programs were targeted:
The Cleveland-based Mandel Foundation is singled out for the leadership training it offers education professionals. The report says Mandel has spent more than $58 million on this effort and is accused of harboring a liberal agenda. Mandel programs have included training for educators from across the denominational spectrum.
The Abraham Initiatives, which is based in the United States, the United Kingdom and Israel and promotes equal rights for Israel’s Jewish and Arab citizens, is described as a Jewish-Arab left-wing group. The report also singles out the programs, schools and teacher trainings aimed at supporting reconciliation and coexistence between Jews and Arabs.
The Shalom Hartman Institute, with offices in Jerusalem and New York City, earns a mention in the memo thanks to its Be’eri Program for Pluralistic Jewish-Israeli Identity, which is dedicated to enhancing Jewish and democratic values among secondary school educators and their students in Israel.
American Judaism’s Conservative movement is implicated through the Schechter Institutes which it sponsors and the affiliated Tali Education Fund. Dozens of schools throughout Israel receive curriculum materials related to pluralistic Jewish culture and heritage from Tali.
The U.S.-based Reform movement makes the list thanks to the training offered to Jewish education teachers as part of a program run jointly by the Reform-affiliated Hebrew Union College and Hebrew University.
The New York City-based Alan B. Slifka Foundation is named in the memo as a supporter of the Abraham Initiatives and the Shalom Hartman Institute.
The Russell Berrie Foundation, which is headquartered in Teaneck, New Jersey, is included because of its contributions to the New Israel Fund and the Shalom Hartman Institute.
With offices in Israel and Silicon Valley, Israel Venture Network makes the list over its support for an independent program that trains all administrators in the Israeli school system.
Headquartered in New York City, the New Israel Fund is described as one of the main organs in the alleged conspiracy. “The New Israel Fund and funds affiliated with it have set out to take control of the education system,” read the first line of the report.
The organizations are named as “examples” in the memo, suggesting that the list is not exhaustive. Guilt by association with any of these groups would implicate a wide swath of American Jewry. IVN, or Israel Venture Network, for example, receives funding from the Jewish federations of multiple American cities and the Weinberg Foundation. The Abraham Initiatives lists numerous mainstream Jewish donors including the Klarman Family Foundation and late Supreme Court Justice Ruth Bader Ginsburg.
Kurtzer said the leaked memos didn’t come as much of a shock to him. Any organization that is “pro-democracy, pro-pluralism, and believes in strong relationships between Israel and the diaspora” is familiar with being targeted in this way, he said.
“Some of the elements of the far right have built a whole industry on classifying anybody who has commitments to any of these values and branding them as anti-democratic and anti-Jewish, anti-Zionist,” Kurtzer said. “It hasn’t really stopped our work in Israel, though, sometimes it makes it unpleasant and uncomfortable to have to fend off some of these accusations.”
One of the largest donors to Shalom Hartman Institute goes unmentioned in Noam’s report: the Claws Foundation, which has given the institute millions of dollars. It would be hard to condemn this particular foundation as a liberal interloper: Claws is run by Jeff Yass and Arthur Dantchik, a pair of American Wall Street billionaires and prominent libertarians who are reviled by the Israeli left. In 2021, Haaretz revealed that Yass and Dantchik are major donors to the Kohelet Policy Forum, an influential Israeli think tank behind many of the recent landmark initiatives of the right.
Maoz’s politics also fit awkwardly with those of his own political predecessors, said Eitan Cooper, executive vice president of the Schechter Institutes of Jewish Studies. Cooper helps run one of the programs targeted by Maoz, the Tali Education Fund, which provides a non-Orthodox Jewish curriculum to about 80 secular Israeli schools.
Cooper recalled how the Tali program got started in the 1980s with the help of Zevulun Hammer, who served as Israel’s education minister for many years while helping lead the National Religious Party. Noam is one of the offshoots to have emerged after the National Religious Party’s dissolution in 2008.
“Hammer was the one who adopted Tali as education minister,” Cooper said. “He thought it was great and in fact, he gave Tali its name.”
But Cooper also said that there had always been fringe members of Hammer’s circle who looked at Tali with skepticism because of its non-Orthodox orientation. Some even alleged that the program was run by covert Christian missionaries.
Prior experience has steeled Cooper for this moment, and he said he’s not particularly concerned that Maoz’s threats will pan out.
“This kind of negative response to what we do has always existed,” Cooper said. “The educational ministry continues on, it sets the criteria for the programs that are accepted. I really don’t know what he is positioned to do. He hasn’t done anything yet.”
He believes that the demand for Tali’s content ensures the program will carry on.
“Our target audience is still out there,” he said.
Nachum Blass, who chairs the education policy program at the Taub Center for Social Policy Studies in Israel, regards it as inevitable that Maoz will secure authority over external programs at schools. And Blass said that Maoz could proceed to cancel programs he didn’t like or block new programs.
“There are thousands of programs,” Blass said. “If Maoz wants to review every program and decide which to cancel, it’s a very long process, and he will face lawsuits and petition to the Supreme Court.”
But the bigger worry for Blass is the chilling effect of Maoz’s rhetoric.
“The real danger,” he said, “is that schools will censor themselves and not pick certain programs because they worry they doesn’t fit the spirit of the times.”
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Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
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NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’
(JTA) — A New Jersey church says it is “committed to engaging in dialogue, and teaching others about our heritage” after putting on a Christmas pageant that drew criticism for reflecting antisemitic stereotypes.
St. Mary Protectress Ukrainian Orthodox Church’s pageant, known as a vertep, featured an antagonist named Moshko who danced with the devil while wearing faux Hasidic garb like side locks and a black hat. The character was referred to as “zhyd,” a Ukrainian slur for “Jew.”
“We do not have any intention to promote harm or hatred with this pageant,” the church said in a statement issued on Facebook on Friday night. “However, we recognize some outside of our culture may assign elements of the performance to stereotypes when taken out of context which is inclusive of peoples historically present in eastern Europe.”
The church did not respond to a Jewish Telegraphic Agency request for comment prior to an initial report on the vertep earlier this month. It did not respond to an additional request for comment on Monday, following the statement. The church removed photos and video of the pageant from its Facebook page following the JTA report.
The vertep is a centuries-old Slavic Christmas tradition that emerged from puppet theater. In recent years, many Ukrainian Orthodox churches have removed material criticized as offensive. Since the current war between Russia and Ukraine began in 2022, one popular replacement for the Jewish antagonist has been a Russian character.
In its statement, St. Mary Protectress Ukrainian Orthodox Church emphasized that “the event does not target any specific group” but indicated that it could make changes in future pageants.
“The church is reflecting on this matter seriously and is committed to engaging in dialogue, and teaching others about our heritage while ensuring that future events continue to uphold the dignity, respect, and safety of all people,” it said.
The Anti-Defamation League of New Jersey, which said earlier this month that it was reaching out to St. Mary Protectress, told JTA on Monday that it had not been able to communicate with anyone from the church.
The church’s apology rang hollow for Lev Golinkin, a Jewish writer born in Ukraine who has advocated against the antisemitic elements of the traditional vertep.
“It’s not an apology, it’s more of an insult,” Golinkin said. “The problem is not the context. The problem is exactly that. It is in context perfectly.”
He added, “They’re making it seem that the people who are criticizing them … are the ones who have a problem because they don’t understand the culture.”
St. Mary Protectress is not the only Ukrainian church in the United States to import the antisemitic elements of the vertep from the old country. A church in Connecticut erected a backdrop poster for its pageant this year that included a Moshko character standing next to the devil.
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A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths
(JTA) — I’ve never read a Holocaust chronicle quite like Lore Segal’s autobiographical 1964 novel, “Other People’s Houses.” Mordant, unsentimental and sometimes painfully honest, it’s the story of an Austrian girl sent to England on the Kindertransport, as well as a portrait of the artist as a young refugee.
More than one of her legions of admirers have noted that Segal, who died in 2024 at the age of 96, was only one year younger than Anne Frank, and grew up to become the kind of writer Anne too might have become had she not died in Bergen-Belsen.
Segal’s work, which includes decades of stories in The New Yorker as well as a delightful children’s book, “Tell Me a Mitzi,” is also remarkable in its humility. Segal was adamant that memory — especially of traumatic events like the Holocaust — cannot be a perfect repository of truth. It’s not that authors couldn’t be trusted, but that neither the writer nor the reader should take anything for granted.
That challenge is captured in the title of a new exhibit mounted by the Leo Baeck Institute in New York: “And That’s True Too: The Life and Work of Lore Segal.” The title is a quote from “King Lear,” a favorite of Segal’s and a reminder to hold opposing truths in the same sentence, of resisting the false comfort of a single, final version.
“We tried to give you an insight into Laura’s ability to look at the world from many angles,” Karin Hanta, the exhibit’s curator, said at the exhibit’s opening on Thursday, just days before International Holocaust Remembrance Day.
At the event, actress Toni Kalem, who played Angie Bonpensiero on “The Sopranos,” read an excerpt from “Other People’s Houses.” Kalem, who met Segal years ago and discovered that their mothers shared the experience of the Kindertransport, spoke of Segal’s “unbridled curiosity” — a quality that runs through the display of photographs, manuscripts and family keepsakes.
Lore (pronounced “Laura”) Groszmann was born in Vienna in 1928; one month after the Nazi pogrom on Kristallnacht, she was sent to England and raised in a series of foster homes (her refugee parents would eventually arrive and find work as domestics). Later she would join her family in the Dominican Republic, and they eventually found refuge in Washington Heights, the Manhattan redoubt for German-speaking Jews. After she established herself as a writer, she became part of a circle of mostly Jewish writers in New York, including Cynthia Ozick, Vivan Gornick, Grace Paley, Norma Rosen and Gloria Goldreich. Her husband, book editor David Segal, was 40 when he died in 1970.
Hanta had hoped to write a biography of Segal, but when that project stalled, she pivoted. “With all the materials I had gathered,” she recalled at the opening, “why not stage an exhibition?”
The first iteration, mounted in Vienna’s Bezirksmuseum Josefstadt — located in the district where Segal grew up, and, as Hanta later discovered, near the hospital where she was born — drew thousands of visitors. The New York version, expanded and sharpened, shifts the focus westward, tracing Segal’s journey from prewar Vienna to Manhattan, where she lived for decades, taught generations of writers, and, according to the New York Times, came “closer than anyone to writing the Great American Novel.”
That novel, “Her First American,” appeared in 1985 and explored the uneasy intersection of race and Holocaust history through the relationship of a Jewish refugee and a Black intellectual. (LBI has scheduled an online event about Horace Cayton, Segal’s real-life lover and the inspiration for the novel.) “Other People’s Houses,” her first book, earned Segal a Guggenheim Fellowship, and her short-story collection “Shakespeare’s Kitchen” (2007) became a Pulitzer Prize finalist. All three books will be reissued in the spring of 2026 by the New Press, while Melville House is publishing a posthumous collection, “Still Talking.” Introduced by Gornick, it features the linked “Ladies’ Lunch” stories she wrote late in her career, about elderly Manhattan friends dealing frankly and often hilariously with the daily indignities of growing old.
The exhibit at the Center for Jewish History, where LBI catalogues the history and culture of German-speaking Jews, includes notebooks from Bedford College in London, where Segal studied after the war, filled with short stories entered into competitions. There are manuscripts marked and re-marked in a hand that never stopped revising. There are address books kept by her parents — one from England, one from the Dominican Republic — opened to pages that quietly testify to vanished worlds: cousins who hid behind kitchen curtains in France, friends who assumed false identities, children who never made it onto the trains.
One small object carries particular weight: a childhood friendship book, the sort in which relatives and friends inscribe poems and well-intentioned advice. Segal’s includes an entry from her first English foster mother, urging her to cherish friendship — advice that reads differently if you know, as Segal later wrote, that their relationship was fraught. Her father’s contribution, a drawing of a boy hiking in the mountains, echoes a story Segal drafted as a young woman about a prewar hike in the Alps with him. She revised that story at 90 and retitled it “Dandelion.” The New Yorker published it in 2019, 70 years after its first draft.
The exhibition is accompanied by a season of in-person and virtual programs, and Hanta has her own wish list of commemorative projects: She hopes that a park in Vienna where Segal played as a child might be renamed in her honor; that the exhibition might travel; that “Other People’s Houses” might be distributed free in Austria in 2028, the centenary of Segal’s birth and the 90th anniversary of the Kindertransport.
On opening night, before reading from “Other People’s Houses,” Kalem paused to apologize for the necessary cuts she made. “As you know, all her life, Lore was a master of meticulously crafting and scrupulously revising her work,” said Kalem. “So it feels like literary malfeasance on my part to attempt to edit a word of Lore’s story. It feels akin to cutting Shakespeare by shortening Hamlet’s soliloquy…. So Lore, I hope you understand and I hope you will forgive me.”
The exhibition also includes a video produced by Hanta and Segal’s grandson, Benny, which captures Segal late in life, still circling her subjects, still attentive to the elusiveness of truth. At the opening, Segal’s son Jacob spoke of his mother’s ambition and her modesty, her seriousness about art and her refusal to be undone by success or disappointment.
“She always made the world larger,” he said. “It’s smaller now.”
“And That’s True Too: The Life and Work of Lore Segal” runs through April 15 at the Center for Jewish History, 15 W. 16th St., New York, New York.
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