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The JTA conversation: Pogrom? Terrorism? What do we call what happened in Huwara?
(JTA) — On Sunday, after a Palestinian gunman shot and killed two Israeli brothers in the West Bank, Jewish settlers rioted in the nearby Palestinian town of Huwara, burning cars and buildings. A Palestinian was killed and dozens were injured.
Israeli Prime Minister Benjamin Netanyahu condemned the Jewish rioters for “taking the law in their own hands,” but many observers — including the top Israeli general in the West Bank and Abraham Foxman, director emeritus of the the Anti-Defamation League — used stronger language, calling the attacks a “pogrom.”
The use of the word, which most famously refers to a wave of anti-Jewish violence in the Russian empire beginning in the late 19th century, in turn became the subject of debate. Does using “pogrom” co-opt Jewish history unfairly and inaccurately by suggesting Jews are no better than their historical persecutors? Does avoiding the term mean Israel and its supporters are not taking sufficient responsibility for the actions of its Jewish citizens?
The debate is not just about language, but about controlling the narrative. Political speech can minimize or exaggerate events, put them in their proper context or distort them in ways that, per George Orwell, can “corrupt thought.”
We asked historians, linguists and activists to consider the word pogrom, and asked them what politicians, journalists and everyday people should call what happened at Huwara. Their responses are below.
Sidestepping the real issue
Dr. Jeffrey Shandler
Distinguished Professor, Department of Jewish Studies, Rutgers University
The meanings of the word “pogrom” in different languages are key here. In Russian, it means a massacre or raid, as it does in Yiddish; in neither language is it understood as specifically about violence against Jews. The Oxford English Dictionary concurs that pogrom means an “organized massacre… of any body or class,” but notes that, in the English-language press, it was first used mostly to refer to anti-Jewish attacks in Russia, citing examples from 1905-1906.
Therefore, though the association of pogrom with violence targeting Jews is widely familiar, its meaning is broader.
That said, because of English speakers’ widely familiar association of the term with Jews as victims, to use pogrom to describe violence perpetrated by Jews is provocative. As to whether it is appropriate to refer to recent attacks by Jewish settlers on Palestinians, it seems to me that this question sidesteps the more important question of whether the actions being called pogroms are appropriate.
Call it what it is: “settler terrorism”
Sara Yael Hirschhorn
’22-’23 Research Fellow at the Center for Antisemitism Research at the ADL, and author, “City on a Hilltop: American Jews and the Israeli Settler Movement”
Let me say first with a loud and clear conscience: What happened in Huwara was abhorrent, immoral, and unconscionable and certainly was not committed in my name.
But to paraphrase Raymond Carver’s famous formulation: How do we talk about it when we talk about Huwara? What kind of descriptive and analytical framework can adequately and contextually interpret that horrific event?
The shorthand of choice seems to be “pogrom” — but it isn’t clear that all who deploy the term are signifying the same thing. For some, pogrom is a synonym for pillage, rampage, fire, property damage and violence in the streets — a one-word general summary of brutal acts. For others, pogrom refers to vigilante justice, an abbreviated story of the non-state or non-institutional actors and their motivations.
More specifically, however, pogrom is seemingly being mobilized as a metaphor to Jewish history, juxtaposing the Jewish victims of yesterday to the Jewish-Israeli perpetrators of today, an implicit analogy to the prelude to the Shoah, recasting Zionists as organized bands of genocidaires (with or without regime sponsorship) like the Cossacks, the Nationalist Fronts or even the Einsatzgruppen. Some would use the word to incorporate all three meanings (and more).
As a historian, I am troubled by the haphazard and harmful use of terms that are attached to a specific time and place — such as the thousand-year history of Jews in the Rhinelands and Eastern Europe, with many layers of imperial, national, local, economic and religious forces that precipitated these events — in such an ahistorical manner. Nor do I find the parallels between Zionists and Nazis to be historically careful (if deliberately offensive) — the State of Israel is committing crimes in the West Bank, but not a genocide. The equivalence also all too easily and incorrectly grafts tropes of racism and white supremacy drawn from American history into the West Bank’s soil.
So what to say about Huwara? Israel — for reasons both political and lexiconographical — has failed to consistently adopt a term for such attacks. (Often the euphemism of “errant weeds” who are “taking matters into their own hands” is the choice of Knesset politicians.) To my mind, the best term is “settler terrorism,” which puts Jewish-Israeli acts on par with Palestinian terrorism. It should also mean that these actions merit the same consequences under the occupation like trial, imprisonment, home demolition and other deterrents enforced against all those who choose the path of violence.
Last but not least, a pogrom was historically an unpunished crime against humanity that led only to war and annihilation. Don’t we aspire for more in Israel/Palestine?
Palestinians call it “ethnic cleansing”
Ibrahim Eid Dalalsha
Director, Horizon Center for Political Studies and Media Outreach, Ramallah, and member of Israel Policy Forum’s Critical Neighbors task force
Palestinians generally view and describe what happened during Sunday’s Huwara attacks as “racist hate crimes seeking to destroy and dispossess the Palestinian people of their homes and properties.” While no specific term has been used to describe these attacks, it was likened to the barbaric and savage invasion of Baghdad by Hulagu, the 13th-century Mongol commander.
Palestinian intellectuals tend to use “ethnic cleansing,” savage and barbaric ethnically motivated violence against innocent civilians, as another way of referring to these attacks. When such events include killing, Palestinian politicians and intellectuals tend to use the term massacre, or “majzara,” to underline the irrational and indiscriminate violence against defenseless civilians. I don’t think the term “pogrom” and its historic connotation are widely known to most people here. From a Palestinian perspective, using such terms, including “Holocaust,” is not considered a mistake. In fact, even using “Holocaust“ to describe violence against Palestinian civilians in and around 1948 was not considered a mistake until very recently when it caused such a saga for Palestinian Authority President Mahmoud Abbas in Germany.
View of cars burned by Jewish settlers during riots in Huwara, in the West Bank, near Nablus, Feb. 27, 2023. (Nasser Ishtayeh/Flash90)
In the name of historical accuracy
Rukhl Schaechter
Yiddish Editor, The Forward
The recent attacks by Israeli settlers on Palestinians in Huwara are abhorrent. I commend those in Israel calling them peulot teror, “actions of terror,” and I trust that the perpetrators will be brought to justice. But these riots were not pogroms.
The word pogrom refers to one of the many violent riots and subsequent massacres of Jews in Eastern Europe between the 17th and 20th centuries. These attacks were committed by local non-Jewish, often peasant populations. They were instigated by rabble-rousers like Bogdan Chmielnicki, who led a Cossack and peasant uprising against Polish rule in Ukraine in 1648 and ended up destroying hundreds of Jewish communities. According to eyewitnesses, the attackers also committed atrocities on pregnant women.
Note that the massacres of Jews carried out by the Nazis, and the murders of Armenians by the Turkish government at the turn of the 20th century — as horrific as they were — were never called pogroms because in both cases, there was a government behind it. In the name of historic accuracy, let’s continue to use the word pogrom solely for mob attacks on and massacres of Jews.
When the Poles banned “pogrom”
Samuel D. Kassow
Professor of History, Trinity College, Hartford, Connecticut
In Poland in the late 1930s, altercations between a Jew and a Pole sometimes ended with either the Jew or the Pole getting badly hurt or even killed. When the victim was a Pole, mobs of Poles rampaged through Jewish neighborhoods smashing windows, looting shops and often beating or even killing Jews. Poles often held Jews collectively responsible for the death of one of their own. This happened in Przytyk, Minsk-Mazowieck, Grodno and other places. Jews called these riots “pogroms,” which they were. But the Polish government banned use of the term in the press. After all, “pogrom” was a Russian word, and “pogroms” happened only in a place characterized by barbarism and ignorance. Since Poland was not Russia, and since Poles were eminently civilized, logically speaking, pogroms simply did not take place in Poland. What happened in these towns were to be called “excesses” (zajscia). But certainly not pogroms!
I take it that since we Jews are so civilized, we too are incapable of pogroms. So should we label what these settlers did “‘excesses”? Or perhaps we should take a deep breath and call them pogroms?
A Jewish, but not exclusive, history
Henry Abramson
Historian
The word “pogrom” is rooted in time and place, although the type of violence it describes is as old as human history. It is a Russian word, but it entered the English language in the late 19th century through the medium of Yiddish-speakers, outraged at the wave of antisemitic disturbances that surged under rule of the last tsar of the Russian Empire, Nicholas II. Russians themselves used a variety of words for the ugly phenomenon, with translations like “riot” or “persecution,” but the term “pogrom” proved the most evocative: the Slavic prefix “po” suggests a directed attack, and the root “grom” is the word for “thunder.” A pogrom, therefore, meant a focused point where a great deal of energy was dissipated in a single dramatic act of violence.
The focused point, in the context of that dark history, was the civilian Jewish population in the tiny shtetls that dotted the Pale of Settlement. In this regard the word could be used to encompass attacks on Jewish populations from as long ago as the year 38 in Alexandria, Egypt. It does not, however, have any specific designation to indicate that Jews are the victims.
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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.”