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‘Now it’s our turn to support him’: Crowds throng funeral of Israeli-American man killed in West Bank
RA’ANANA, Israel (JTA) — Recurring bouts of laughter were some of the most remarkable moments of the funeral of Elan Ganeles, the 27-year-old Jewish American from West Hartford, Connecticut, who was shot dead this week when driving through the West Bank.
Descriptions of an incredibly kind, open minded, funny, brilliant and humble young man came in sharp contrast to calls by the official representative of the Israeli government at the funeral to avenge the death of those who harm Jews in the Land of Israel.
“No one will raise a hand against a Jew in the Land of Israel,” said the representative, Rabbi Michael Eliyahu, who serves as Israel’s minister of heritage and is a member of the far-right Jewish Power party.
The contrast played out throughout the funeral, attended by nearly a thousand people in Ra’anana, a suburb of Tel Aviv.
Friends and family members remembered Elan as a caring and unique individual who brought joy to their lives, while those who did not know the recent Columbia University graduate, who was in Israel for a friend’s wedding, framed his heartbreaking story as the latest tragedy in Israel’s decades-old conflict with the Palestinians.
As Ganeles’ brothers and friends took turns, standing before his body wrapped in a shroud and laid out before them, they alternately choked up and laughed as they told stories about his love for learning and, for his friends, his disarming frankness and his “annoyingness.”
Mourners surround the grave of Elan Ganeles, killed Feb. 27 in the West Bank, at his funeral in Raanana, March 1, 2023. (Orly Halpern)
“Elan was intelligent, curious, goofy, idiosyncratic – and most famously lovably annoying,” said Akiva Raklin, a close friend of Elan, who knew him “since birth,” as people laughed aloud. “I know calling someone annoying at their funeral is a little less than traditional, but Elan was the only person on the face of the earth for whom this characteristic was absolutely positive in every way.”
Ganeles, recalled Raklin, would pose “intrusive questions” to his closest friends, making them “blush and cringe,” but they all saw his behavior for what it was: an expression of closeness and caring. “With every comment he made, no matter how irritating it was or how uncomfortable it would make someone, it would just make them closer to him,” he said, sparking chuckles and laughs from those who clearly knew him well.
Some of Ganeles’s friends came from abroad to attend the funeral, as did his family’s rabbi from Young Israel of West Hartford, who accompanied his physician parents on their trip to Israel.
“Elan was the ultimate friend,” said Ari Zaken, his roommate from New York, recounting a conversation they had in which Ganeles pulled out a list of over 100 close friends he made sure to keep in touch with.
Ganeles, an avid learner, traveler and birdwatcher, lived a life packed with knowledge and friends.
“He completed two majors in college, only one of which he planned to use, just because he loved to learn,” said his younger brother, Gabe. “He worked two jobs simply because he had so much interest in what he could learn from both. He was our resident expert in geography, history, travel, birds. He loved trivia and made trivia games for family and friends and he was able to finish the hardest crosswords in record time.”
Gabe ended his eulogy, breaking down in sobs: “Elan was my brother, my best friend and a huge inspiration to me. And I will miss him,”
On Monday, Elan dropped Gabe off at a train station in the north and then made his way south on Route 90, which passes through the length of the West Bank, alongside the border with Jordan, on his way to attend a friend’s wedding in Jerusalem that night. On the road that goes around the city of Jericho, he was shot by a Palestinian gunman.
“I was so lucky that I got to spend the last week of his life with him,” said Gabe, recalling their trips through historical sites in Israel in the past week. ”He used his unique skill of complete unabashedness to bring people together at every chance he got,” said Gabe. “Despite his brashness, Elan was the most thoughtful person I know.”
The Ganeles family tried to avoid turning his funeral into a political event and reportedly requested TV networks not to attend the ceremony. “He’s a friend of ours, not just another victim,” said Jamie Landau, 27, who went to a five-month ulpan in August 2015 with Elan Ganeles on kibbutz Sde Eliyahu. Afterwards, both joined the Israeli army. Elan served in the Mofet Unit as a computer programmer, working on soldiers’ salaries.
Nevertheless, Heritage Minister Michael Eliyahu had a clear message: “I tell you as a minister in the state of Israel … I say, ‘we failed’ and we need to do everything so that won’t happen.” The newly appointed cabinet minister went on to call for revenge following Elan’s murder. “It’s not acceptable that a Jew who comes to this country will be scared to be here,” Eliyahu said. “And if we do have haters, may God avenge their blood and we will avenge their blood.”
As the funeral was being held, Israeli forces raided a Palestinian refugee camp adjacent to the city of Jericho, not far from where Ganeles was killed, and apprehended four Palestinians, one of them suspected of carrying out the shooting attack that killed Ganeles and the other of assisting him. Another Palestinian was killed during the raid.
People pack the funeral of Elan Ganeles, who was killed in a shooting attack in the West Bank, in (Flash90)
Hundreds of people attended the funeral, filling Ra’anana’s old cemetery to the brim. More watched from outside the cemetery walls, listening to a live feed of the eulogies on each others’ cell phones. The majority were religious and did not know Ganeles, showing up out of a sense of duty and a wish to pay respect to the slain Jewish American visiting Israel. Some marched in with large Israeli flags, giving the private funeral ceremony an air of a national event.
Elan Ganeles was raised in a Modern Orthodox family in Connecticut and attended yeshiva in Israel after graduating from high school. He then decided to stay in Israel and served for two years in the IDF before returning to the United States to attend college.
Liora Lutrin, a 15-year-old student from Amit Rananim religious girls’ high school, who made aliyah a year and a half ago, stood with her classmates singing “Our brothers of all of the House of Israel.”
“We came with our school to show respect,” said Lutrin, who had five earrings in her right ear and wore a gray T-shirt and an above-the-knee black skirt. “He sacrificed his life to come here and be a soldier in Israel and even though he didn’t die as a soldier, he supported our country and now it’s our turn to support him.”
Or Cohen, a 25-year-old student wearing sandals, who came during a lunch break from his yeshiva in Ramat Gan, said it “was the least I could do.” Cohen, originally from Otniel settlement, said, “I heard he’s a new immigrant, someone whose parents don’t live here. I came in identification with the pain of the people, to show respect for my brother, who was murdered. This is bigger than us.”
After the funeral ended, dozens of people lingered near the grave.
After the funeral of Elan Ganeles in Ra’anana, Israel, friends loitered by the grave while a beggar, a common presence at Israeli funerals, sat nearby. (Orly Halpern)
Joining them was Mordechai Goldberg, a 70-year-old religious beggar with a stained white shirt and a cheap black suit jacket, who arrived from Jerusalem to attend and to panhandle at the cemetery, a common sight in Israeli cemeteries. Goldberg entered the circle of people around his grave and began saying the Kaddish prayer. The crowd automatically answered with ‘Amen.’ When the prayer ended, he began calling for the death of Arabs. “We will all pray to God that all of the Arabs die under our feet, now,” said Goldberg as some of the people responded with ‘Amen,’ while others remained baffled by the call.
“I don’t think that would represent Elan’s opinions,” said a young religious woman with an American accent, whose eyes were red from crying, and whose brother was another of Elan’s ‘best friends.’ “He wasn’t like that,” she said.
Indeed, Elan’s uncle, Dov Ganeles told the Jewish Telegraphic Agency that Elan marveled over his uncle’s friendship with an Arab colleague.
“He thought it was lovely that such a relationship could exist and be normal,” said Dov Ganeles. “He was proud of that, that that relationship could exist. It was something to cherish.”
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The post ‘Now it’s our turn to support him’: Crowds throng funeral of Israeli-American man killed in West Bank 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.”