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On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival
(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.
Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.
This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1.
“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”
The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva.
”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section.
Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.
Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.
Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.
Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.
Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”
Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”
Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)
Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage.
Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.
“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”
In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).
He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddler” translating a couple of sentences at a time between scenes.
Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.
Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls.
His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.
“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”
Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.
Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol” (“Never Say”), the anthem of the Vilna partisans.
And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.
He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.”
“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”
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The post On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival appeared first on Jewish Telegraphic Agency.
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The Iran war ended terribly for the US, and even worse for Israel
A war that began with immense ambition has ended with profound setbacks for both the United States and Israel.
With an emerging U.S.-Iran peace agreement, what initially appeared to be a historic demonstration of military dominance evolved into a vivid illustration of the limits of both Israeli and American power. The conflict also exposed profound failures in strategic competence within that alliance. Washington and Jerusalem planned effectively for the initial decapitation strikes, but were unprepared for the economic and geopolitical consequences that followed.
The result is a war that may ultimately strengthen the Iranian regime politically, despite the damage it suffered militarily; has weakened international perceptions of American military might; and has diminished both Israel’s own strategic circumstances and its most important alliance.
The opening phase of the war appeared spectacularly successful. Israeli intelligence and airpower decapitated large portions of Iran’s military and security leadership with astonishing speed, including by assassinating Supreme Leader Ali Khamenei. Key military infrastructure suffered major damage, and for a brief moment, it seemed plausible that the Iranian regime might genuinely face collapse or surrender on terms dictated by Washington and Jerusalem.
That perception proved short-lived.
Iran shifted the battlefield away from conventional military confrontation and toward economic coercion. Its closure of the Strait of Hormuz exposed the extraordinary vulnerability of the global economy to relatively inexpensive forms of pressure. Energy markets panicked almost immediately. Governments across Europe, Asia, and the Gulf pushed urgently for de-escalation.
The central strategic reality became impossible to ignore: the U.S.could not tolerate sustained economic disruption, and the Iranian regime has a strong stomach for suffering. The overwhelming military superiority of the U.S. and Israel effectively ceased to matter.
That asymmetry changed the balance of the conflict. And the resulting agreement appears to preserve much of Iran’s architecture of mischief, which the regime’s many critics had hoped to see dismantled.
Iran’s ballistic missile capabilities have been harmed but can be rebuilt; long-term reductions to that firepower are reportedly not on the table in a planned 60-day negotiation. The regime’s regional proxy network — including Hezbollah, the Houthis, Iraqi militias, Hamas, and Islamic Jihad — survives, even though Hezbollah and Hamas have been battered.
And as Israel is not a party to the ceasefire, it cannot advocate for more stringent terms on this front.
The regime itself remains firmly in power and may receive enormous sanctions relief and renewed economic access. Demands for democratic reforms seem to have been set aside, as has any kind of punishment for the regime’s massacre of thousands — and by some reports tens of thousands — of domestic protestors in January.
The latter aspect is especially galling given that President Donald Trump was driven to intervene because of the January massacre, after he promised Iranians that “help is on its way.” Upon launching the war, he declared that it would enable Iranians to “take your country back.”
Ironically, Trump in his first term pulled out of former President Barack Obama’s 2015 nuclear deal over objections that it provided funds for the regime while allowing it to run riot. Now, he is settling for an effective reconstitution of that deal — except one with substantially less American leverage.
The implications extend far beyond Iran itself. The war demonstrated that Tehran can generate immediate global economic panic through relatively cheap tools and can leverage that panic into diplomatic concessions. Before the war, fears about Iran’s ability to blackmail the world economy remained somewhat theoretical. After the war, those fears became a demonstrated geopolitical reality.
There is little evidence that either the American or Israeli governments understood in advance the degree to which the global economy had become vulnerable to this form of coercion. This, even though the blocking of the Strait of Hormuz was completely predictable and indeed expected by every strategist I’ve spoken to for decades.
This outcome may be most devastating for the Iranian people themselves. Many Iranians who despise the regime interpreted the opening phase of the conflict as evidence that the dictatorship might finally face genuine collapse. Instead, the regime not only survived but also regained leverage. The machinery of repression remains intact.
But this result is damaging for every party to this war aside from the Iranian regime.
The war has transformed perceptions of American power. For decades, the U.S. has anchored a global system built on the assumption that Washington could manage regional crises with some strategy in mind. That strategy wasn’t always brilliant, but it was rarely clueless. With the Hormuz confrontation, the world watched the U.S. confront a regional adversary with vastly inferior capabilities and fail to control events.
For Israel, the alliance Prime Minister Benjamin Netanyahu has spent years cultivating with the American right and with Trump personally has become dangerously fragile. As pressure mounted to stabilize energy markets and prevent wider regional escalation, Trump increasingly presented himself not as a partner coordinating with Israel but as a superior authority managing Israeli actions. He repeatedly framed Israeli military action as dependent on his approval. He cursed Netanyahu in public. He presented Israel as a vassal doing his bidding — something no U.S. president has previously done.
This will destabilize Israel, where much of the governing right previously viewed Trump as a uniquely reliable ally who would support Israeli military objectives without hesitation or conditions.
Previous American presidents pressured Israel privately while still preserving the outward presentation of a relationship between sovereign allies. Trump discarded much of that convention. The new perception weakens Israel’s deterrence dramatically. Plus, with bipartisan support for Israel in Washington even more completely collapsed than after the deleterious war in Gaza, and relations with much of Europe — Israel’s top trading partner — similarly deteriorated, Israel finds itself at a new peak of dangerous international isolation.
This strategic shipwreck bears no resemblance to the sweeping regional transformation that supporters of the war — myself included — initially envisioned. I assumed, partly because of the first days’ successes, that Trump and Netanyahu had a plan. This is not a mistake serious people are likely to make again.
The post The Iran war ended terribly for the US, and even worse for Israel appeared first on The Forward.
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Would Judaism have an issue with ‘Disclosure Day?’
Steven Spielberg is in his aliens exist era — but in truth, he’s been there since at least 1977. That’s when the director said NASA sent him a 20-page letter objecting to the release of Close Encounters of the Third Kind, fearful the public might take to watching the stars the way they did beaches after Jaws. Did this indicate there was something to hide?
“I really found my faith when I heard that the Government was opposed to the film,” he said.
Spielberg’s fascination with UFOs goes back even further. In 1964, five years before the moon landing, he made the 8 millimeter alien invasion flick Firelight, a 17-year-old’s dry run at the topics he’d later handle with Roy Neary and his mesa-like mound of mashed potatoes and the world’s loudest game of Simon.
He’d return to aliens again, with E.T., War of the Worlds and the critically reviled Indiana Jones and the Kingdom of the Crystal Skull. But the 79-year-old director has never been so forthcoming with his views on alien life as he has been on this current press tour for Disclosure Day, where he made the controversial claim that first contact might pose a problem for the faithful.
“Is God, our God only on this planet, or is God a God for every system where there’s civilization, intelligent life, and even developing life?” Spielberg asked on CBS Sunday Morning. This is one of the questions posed by Disclosure Day, which is about the tug of war between a group dedicated to broadcasting the truth about intelligent extraterrestrial beings, and the shady agency determined to keep it under wraps.
Many in the church — meaning Christians, who are represented in the film by ex-novitiate Jane (Eve Hewson) — have said such a disclosure would be a nonissue for their belief. But what of Spielberg’s own coreligionists?
“Within the classic Jewish perspective is the idea that to embrace reality is to embrace our creator,” Rabbi Josh Breindel, whose teachings on speculative fiction earned him the moniker “sci-fi rabbi,” said in an interview. “So, if we were to have irrefutable proof of alien life, then that’s an opportunity for us to celebrate our creator in whose image we were made, and then maybe to probe and say, ‘Where do we see echoes or resonances of that image in this other life form in their sentient discourse?’”
We need not only take Rabbi Breindel’s word for it. The question pops up as early as the Middle Ages.
Writing in the 14th Century, the Spanish philosopher Hasdai Crescas claimed life on other planets wouldn’t be an issue for Jewish faith. Our texts feature many apparent allusions to other worlds in which God has dominion.
A place called Meroz, mentioned in the Book of Judges, has been interpreted as being another planet. The school of Merkabah mysticism, inspired by Ezekiel’s vision of the wheel, is a sort of Judaism-forward UFO watcher group. If we’re talking biblically accurate angels, or even the revelation at Sinai, there’s plenty in the Hebrew Bible that appears otherworldly.
Disclosure Day, written by David Koepp from a story by Spielberg, is a chase film about Danny Kelner (Josh O’Connor), a whistleblower for a U.S. government-aligned group called Wardex, intent on studying alien life and technology and keeping their findings suppressed. Danny is a math genius, and in a relationship with Jane, the ex-nun played by Hewson. He’s carrying sacred cargo: a backpack full of flash drives with evidence of spacecrafts and a weird rod made by the alien life forms whose precise capabilities include, but are not limited to, letting you turn invisible or allowing you to control someone else’s body and swap eye colors with them in the process.
In an effort to explain why men in black SUVs are chasing them, Danny shows Jane footage of an alien interrogation. Her response to seeing a small creature tortured by humans is an odd one: She thinks people will worship them as deities.
Here the film stumbles. Jane’s concern about a breakdown in belief may be justified in the realization that we’re not alone, but her leap to calling extraterrestrials “supreme beings” feels unwarranted. Yes, they have impressive technology. Also yes, a human can wield their magic baton MacGuffins, provided they’re wearing surgical gloves.
The faith subplot takes a backseat in the end to a familiar Spielbergian preoccupation: his parents and what he’s inherited from them. We learn the aliens taught Danny math, “the language of the book of the universe,” and made Emily Blunt’s character, Margaret, a Kansas City weatherperson, into a supreme empath, like Star Trek’s Deanna Troi cranked up to 11. As established in The Fabelmans, Spielberg, a product of his engineer father and musician mother, is naturally both. (Gilding the lily of the parental metaphor, there’s a sequence with a train that’s hauling pianos.)
On their phones and on TV, the world will bear witness to “disclosure,” including scenes of emaciated and disemboweled little green men, recalling both images from the Holocaust and current conflicts including Gaza. (Spielberg made it so the coverup for these cruel experiments began in 1947, probably just to align with the year of the Roswell incident, but before that was explained, I was thinking of the UN partition plan.)
Sometime before, Jane makes a call to the abbess at her old nunnery.
Paraphrasing Genesis, she says God made humans his supreme creation, to which the Abbess (Elizabeth Marvel), applies a close reading: “his supreme creation on Earth.”
This view is consistent with rabbinic thought, and the Abbess’ subsequent line, “why would He make such a vast universe, yet save it only for us,” is essentially what the Lubavitcher Rebbe told microbiologist Velvl Greene: “for you to sit here and say there is no life outside of planet Earth is to put limitations on the Creator, and that is not something any of His creatures can do!”
A better question for Jews, perhaps, is if these aliens have a separate covenant with the creator.
If one is interested in the Catholic view, know that Pope Francis said he’d baptize aliens. As for how other sci-fi writers have treated on Jews in Space, Dune scribe Frank Herbert seems to believe the faith was uniquely durable, having made it the only religion from an Earthbound society to survive in an intergalactic reality.
One thing that’s striking about Spielberg’s latest foray into the galaxy is its implications for geo-politics.
The backdrop of Disclosure Day is one of military escalation said to rival the Cuban Missile Crisis. Colin Firth’s foppish Brit bad guy warns that the truth would “tip the balance in an already destabilized world.” This runs counter to works like Watchmen and Independence Day, which posit a great common cause when people are confronted with life forms from outer space.
The difference is that these aliens are no invaders. They come in peace to teach us a lesson in empathy. That, the film seems to say, is the true threat to the world order: that humans behave with humanity.
In the final minutes of the film, the truth comes out and we are given a simple message, conveyed first through click consonants, then a math equation, and finally a single English word: “Listen.”
“I saw that, and I was like, ‘Oh, that’s Shema,’” Breindel said. “If you get it you get it.”
The post Would Judaism have an issue with ‘Disclosure Day?’ appeared first on The Forward.
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14 arrested during rival protests outside Israeli real estate event held at London synagogue
(JTA) — LONDON — Fourteen people were arrested following clashes between pro-Israel and pro-Palestinian groups on Sunday outside an event promoting Israeli real estate being held at a London synagogue.
Seven of those arrested came from pro-Israel groups, while six were affiliated with pro-Palestinian groups, the Metropolitan Police told the Jewish Telegraphic Agency on Monday.
“The Great Israeli Real Estate Event” had drawn controversy for weeks, with multiple organizations including Amnesty International claiming the event organizers were selling “stolen” Palestinian lands in West Bank settlements and politicians including the mayor of London expressing opposition to the event.
The event organizers, meanwhile, told the Jewish News that all the properties being presented were located within Israel’s internationally recognized borders.
The event took place a day before a U.K. appeals court ruled that last year’s ban of a prominent anti-Israel group, Palestine Action, was legal.
The confrontation on Sunday followed similar ones in New York City and beyond over Israeli real estate events in recent months. A demonstration outside a Manhattan synagogue that was hosting such an event in November during which pro-Palestinian activists threatened violence spurred a new law constraining protests there.
London’s Metropolitan Police estimated that 1,000 people showed up to demonstrate outside Edgware United Synagogue, in northwest London. The department said it had coordinated with the Jewish Community Security Trust and deployed officers to deal with any disruptions. It also set up barriers to separate pro-Palestinian and pro-Israel groups.
During the confrontation, 14 arrests were made, including five for violent disorder, six for racial/religiously aggravated offenses, one for assault on an emergency worker, one for Public Order Act-related offenses, and one for common assault.
The Board of Deputies of British Jews’ acting president, Adam Cohen, said the group was “deeply disturbed at the wholly unjustified protest” outside a synagogue in a statement that reiterated that the event organizers had “publicly refuted claims that the event is marketing real estate over the Green Line” separating Israel from the West Bank.
The “false pretenses seems to be little more than an excuse to harass and intimidate members of the Jewish community,” Cohen said.
The protest was organized by an array of pro-Palestinian groups, including the International Centre of Justice for Palestinians, which issued a public letter criticizing the synagogue, and Jewish anti-Zionist groups. At least one Jewish anti-Zionist was arrested while protesting, according to a post by the groups on Instagram.
Under pressure ahead of the event, the original venue set to host it pulled out on Friday, the Jewish News reported. Registered attendees were sent messages via email and WhatsApp on Friday informing them of the change and learned about the new venue via an email at 11 p.m. Saturday that told them there would be ID checks and metal detectors at the doors.
The change in venue came following criticism from not just anti-Israel and pro-Palestinian organizations, but national politicians. Close to 100 members of parliament wrote a letter to Foreign Secretary Yvette Cooper calling on her to investigate what they said was event at which “land in cities and towns built on the forced displacement of Palestinian people including properties in Israeli settlements across the occupied West Bank will be available for purchase.”
They also argued allowing the sale of these properties would contribute to settlement expansion, which the U.K. government regards as a violation of international law.
London Mayor Sadiq Khan also expressed “concerns” about the event on Friday after Green Party leader Zack Polanski, a prominent critic of Israel, asked him about it during a public availability.
“I condemn any attempt to sell property in the settlements, be that in London or anywhere else in the world,” Khan said. “I share concerns about the Great Israeli Real Estate taking place in our city, which I oppose.”
The Board of Deputies said it was “very disappointing” that public figures had not acknowledged the event organizers’ claims about no West Bank properties being presented “and instead inflamed tensions through partial and misleading commentary.”
This latest confrontation with anti-Israel demonstrators comes at a time of heightened tension in the U.K. Jewish community, and particularly in Jewish neighborhoods in London, where many residents feel unsafe after a string of incidents including the arson of four Hatzola ambulances in March; attempted attacks on three synagogues; and the stabbing of two Jewish men in the Orthodox neighborhood of Golders Green in late April. Dozens of people have been arrested in connection with the incidents.
As part of a crackdown meant to protect Jewish communities, the British government has adopted policies that give law enforcement new latitude to constrain protests.
“New measures under the Crime and Policing Act, called for by the Board and community partners, will from the end of the month give police new powers to impose conditions on protests near places of worship,” Cohen said. “We are calling on the police to ensure such protests are kept a significant distance from places of worship to prevent intimidation to members of the Jewish community.”
This article originally appeared on JTA.org.
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