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Teens push back on school mascots that celebrate persecutors of Jews
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with teens across the world to report on issues that impact their lives.
(JTA) — The New Braunfels Unicorns. The Gabbs Tarantulas. The Fisher Bunnies. High school mascots like these may encourage spirit and community, but other schools’ mascots have been called out in recent years for being racist and insensitive, especially to Native Americans and the descendants of the enslaved.
And some mascots can be perceived as antisemitic as well. In 2018, the name of the student publication at Monroe-Woodbury High School in Center Valley, New York was changed from “The Crusader” to “The Wire” when its editorial staff spoke up against what had been the public school’s long-time mascot.
For many Christians, the medieval crusades are associated with European armies’ attempts to recapture the Holy Land and ensure safety for Christian pilgrims visiting sacred sites. And yet they were also occasions for massive outbreaks of antisemitism, like the 1190 massacre of Jews in Norwich near England’s eastern coast. Muslims have complained that glorifying crusaders is Islamophobic.
In their letter to the principal at Monroe-Woodbury High asking for a change, students also noted that the Ku Klux Klan’s official publication is known as “The Crusader.”
“The Ku Klux Klan is a white supremacist organization that uses fear, hatred and violence to achieve its goals; we do not wish to be associated with this group in any way,” the students wrote. “We want our school’s student publication to be a place where all students will feel comfortable sharing their ideas and we would like our publication to be a place where all students feel comfortable reading those ideas.”
Hailey Lanari, a junior at Monroe-Woodbury, says fellow students are ignorant of how Crusaders might be seen as antisemitic. “I don’t think that people are really aware of it,” she said. “I think it kind of just normalizes certain things. I think it just makes it normal for us to be like, ‘Yeah, it was this really bad thing, but it’s ok cause it’s just our school’s mascot.’”
She doesn’t trust that the school would take public steps to address any complaints, and suggests that is why “The Wire” hasn’t written about the mascot in the context of the school. There was, however, a statement released when the paper changed its name.
Out of 231 high schools with “Crusaders” as their mascots, 208 of them are Catholic with little to no Jewish populations, according to MasseyRatings, a mascots database.
Other schools, like the Latin School of Chicago, use “Roman” as their mascot, a reference to the glories of the Roman Empire. But that same empire targeted Jews and destroyed the Second Temple in Jerusalem in 70 C.E. “As someone who finds themselves very involved with the community and plays a lot of sports, it is just something I have come to not enjoy so much,” said Lauren Altman, a student at Latin School and a head of the Jewish Student Connection club.
“Latin School was created to follow this Latin model which is very much about celebrating what is referred to as a Western Civilization,” Latin history teacher Dr. Matthew June said. He argues that the mascot isn’t problematic from a religious standpoint because the two groups clashed politically, not necessarily relating to religion. The destruction of the Second Temple predates the empire’s embrace of Christianity, when attitudes towards Judaism itself became more hostile.
In the past 12 years, 79 schools with Native American mascots across the country changed their mascots, according to The National Congress of American Indians. The NCAI says Native American mascots “remind Native youth of the limited ways in which others see them” and “undermine the ability of Native nations and people to portray themselves accurately as distinct and diverse cultures.”
The mascot of the Lane Tech College Prep High School in Chicago was the “Indian” for over a century before the local school council voted unanimously to change it in the summer of 2020 because of its stereotyping of Native Americans. Prior to the start of the current school year, the school officially rebranded to the Champions.
The Latin School of Chicago adopted its mascot, the Roman, in 1950 based on the suggestion of a sports writer from the Chicago Daily News, according to the school’s archivist, Teresa Sutter. Since then, one of the few conversations about the term occurred nine years ago, when some complained that the symbol was white and gendered.
But those aren’t the only issues with the Roman. The Romans are accused of crucifying Jesus, destroying the Second Temple and turning from a republic to an empire, said Dr. Jeffrey Ellison, a teacher of the Holocaust and the history of antisemitism at Bernard Zell Anshe Emet Day School in Chicago and a former teacher at Latin School. He suggests schools ask themselves, “Is this the symbol that we want to be using to represent us? [The Romans] were just brutal.”
Some mascots, like the Trevians of New Trier Township High School in Winnetka, Il., aren’t seen as obviously offensive, and are not being discussed in schools. The mascot wears the Roman-era costume of a soldier from Trier, a town in present-day Germany where Jews were persecuted by crusaders and ostracized repeatedly beginning as early as the third century.
The mascot and logo of New Trier Township High School in Winnetka, Il., is based on a soldier from Trier, a town in present-day Germany.
“I don’t think anyone’s ever made that connection before,” said Kimberly Hafron, the Hebrew teacher at New Trier. “They’re just this weird mascot.”
Hafron was hesitant to bring the issue to students, because she didn’t want to cause commotion in the community. “I think it would cause one of those ruckus’ where people are like, ‘Oh my God, is there latent antisemitism that we don’t know about?’” she said. “If the people who they could potentially offend don’t have any idea they’re being offended, then the question is, is it offensive?”
For Stella Dale, a Hebrew student at New Trier, the answer is no. “As a Jewish woman, I do not condone antisemitism in any form, but I do think that the mascot itself is not an antisemitic” symbol, Dale, 17, said. “I think that this extension of the Romans destroying the temple is obviously inappropriate, but in my day-to-day life, I really have no hate with the Trevian.”
Overall, because so few students at schools like Monroe-Woodbury and New Trier are aware of the significance of their schools’ mascots, it rarely affects feelings of inclusion at school.
At Latin, however, the Roman mascot does impact a sense of belonging at the school for some Jewish students. Altman said, “If you say you are a Latin Roman, and the Romans did try to kill the Jews, that is going against yourself — saying I am representing somebody who tried to kill my group.”
The Anti-Defamation League has not gotten any reports of discomfort regarding these types of mascots, according to Midwest Regional Director David Goldenberg. “We have spoken out in support of fighting prejudice and discrimination and hurtful stereotypes particularly in the professional sports arena,” Goldenberg said. “We do think it’s important to move away from the use of hurtful and offensive names, mascots and logos.”
The ADL has not, however, taken action regarding mascots like the Crusaders, the Romans, or the Trevians. Because no complaints have been filed on this subject, the ADL has not acted on the matter.
Goldenberg added, “I think one of the things that we are looking [at is] not necessarily the name of a mascot, but we would look at how certain images are adopted by extremist groups or that become extremist symbols.”
“I think there is a real good opportunity to think about what it is that we want to bind us together.” Dr. Ellison said. “What’s that symbol?”
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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.”