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Rashida Tlaib: The idea of uprooting Israeli settlements is ‘something I struggle with’
WASHINGTON (JTA) — In a recent speech, Rep. Rashida Tlaib said she struggles with the idea of uprooting Israeli settlements in the West Bank, comparing the evacuation of settlements to the displacement of Palestinians during and after Israel’s 1948 War of Independence.
The Democratic congresswoman, who is Palestinian-American, made the remarks on Monday via Zoom to a group of Jewish high school students who gather virtually to hear from Palestinians. The Jewish Telegraphic Agency obtained a recording of the Zoom call.
During her appearance, one of the students asked her about Israeli West Bank settlements, which much of the international community considers illegal. In response, the Michigan representative invoked the “Nakba,” the term meaning “catastrophe” that Palestinians use to describe their displacement during and after the 1948 war.
“Some settlements have been there for so long, right?” she said. “And just the idea around taking families that — that’s been their home — it’s just completely uprooting, forcibly displacing. It’s something I struggle with because, like, we’re doing it all over again, right? This happened during the Nakba.”
Tlaib immediately qualified that “you can’t compare” the Nakba to the removal of settlements, saying that Palestinians endured more violence than uprooted settlers when they were dispersed or expelled. Palestinians, she said, also deserved “restorative justice.” But she appeared to have difficulty accommodating the idea of removing families who had lived in their homes for generations.
“Some generations now don’t know anything but that community, that is in the eyes of the United Nations and many others and agreements, it’s illegal,” she said. “So I don’t know how we do it.”
The remarks signal that Tlaib, perhaps the most outspoken critic of Israel in Congress, has something in common with many right-wing Zionists whom she otherwise opposes: an aversion to evacuating settlements. Tlaib supports the one-state solution — in which Israelis and Palestinians would live together in a single country with equal rights — and proponents of similar visions have said that, in such a scenario, Israeli settlers could remain where they are.
But pro-Palestinian politicians rarely evince sympathy for settlers, and in the past, Tlaib has been a vehement critic of Israeli settlements. Her statement Monday appears to be the first time she has expressed these sentiments publicly.
“I’m idealistic as well, and people think I’m a little corny, but I know I just think we can all live together equally,” she said later in the 35-minute talk. “I really believe we can have a state where all of our Jewish neighbors across the country can feel safe.”
Tlaib’s office did not respond to repeated requests for comment or clarification. Multiple organizations that have allied with her — including Jewish Voice for Peace, the anti-Zionist Jewish group that recently cosponsored an event with Tlaib commemorating the Nakba at the U.S. Capitol — likewise did not respond to requests to comment on her remarks.
The meetings of high school students are organized by Ezra Beinart, son of Peter Beinart, the Jewish writer who, in recent decades, has transitioned from being a fierce defender of Israel to advocating for a one-state outcome. Ezra Beinart is a high school student in New York City.
Two days after Tlaib spoke to the group, she hosted the Nakba commemoration at the Capitol and introduced a congressional resolution that would recognize the Nakba, spurred in part by her frustration with weeks of Congress members celebrating Israel’s birthday.
The text of Tlaib’s Nakba resolution decries settlements. It states that “the Nakba is not only a historical event, but also an ongoing process characterized by Israel’s separate-and-unequal laws and policies toward Palestinians, including the destruction of Palestinian homes, the construction and expansion of illegal settlements, and Israel’s confinement of Palestinians to ever-shrinking areas of land.”
Tlaib’s efforts this week to mark the Nakba in Congress drew sharp criticism from mainstream Jewish groups, many of which also oppose a one-state outcome, which they fear would lead to a Palestinian-majority state hostile to Jews.
Tlaib has a long history of positions that incense the pro-Israel community. She routinely opposes defense assistance to Israel and backs the boycott, divestment and sanctions movement targeting Israel, known as BDS.
She outraged Jewish Democratic lawmakers last year when she said progressives could not support Israel’s government, which was then centrist. In 2020, she tweeted, then deleted, the phrase “From the river to the sea,” which is viewed as a call for Israel’s removal. In 2019, under pressure from then-President Donald Trump, Israeli Prime Minister Benjamin Netanyahu banned her and Rep. Ilhan Omar (D-Minn.) from entering Israel, a decision that prompted rare criticism from pro-Israel advocates who argued that her status of a congresswoman merited more respectful treatment.
In her chat with the students, Tlaib returned to the themes that make her a target of mainstream pro-Israel opprobrium, including her advocacy for a binational state. She rejected the view, held by many large Jewish organizations, that anti-Zionism is antisemitism, and likened Israel’s current practices to apartheid and to the Jim Crow South — analogies also rejected by most pro-Israel organizations.
“Separate but equal didn’t work in our country,” she said, referring to the various proposals that would establish an independent Palestinian state alongside Israel. “We tried and it didn’t work. Segregation made it more violent for Black neighbors.”
But she also described a vision of Israeli settlers and Palestinians living in harmony. She noted that her grandmother, whose hardships she frequently cites in criticizing Israel, lives “feet” away from a settlement. She recalled playing basketball in the neighboring settlement as a child when she visited her.
“I remember the head of the village who knew some of the folks there,” she said. “And it was beautiful, in that sense of, like, being like neighbors.”
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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.
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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.”