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The mysterious disappearance of Yemenite children in Israel is the focus of a new play
(New York Jewish Week) — Shortly after the State of Israel was founded, Shanit Keter-Schwartz was born on a dirt floor, in a hut made of aluminum siding outside the burgeoning town of Tel Aviv. She was the second of six children, the daughter of Yemenite Jews who had recently immigrated to the new country. They’d faced discrimination and violence in their country of origin, so when Jewish emissaries turned up in 1949 to bring 50,000 Yemenite Jews to Israel as a part of “Operation Flying Carpet,” they were all in.
Unfortunately, Keter-Schwartz’s upbringing in Israel was no magic carpet ride. “[Yemenite Jews] were seen as savages, primitive, inferior in the eyes of the Ashkenazi Jews,” Keter-Schwartz recalled in an interview with the New York Jewish Week. “They were not sophisticated or educated. It was a cultural domination, a collective trauma in Israel. They faced war, hunger, poverty, and living in very harsh conditions.”
The worst, though, wasn’t near-starvation due to rationing, or the harsh conditions of the shanty towns that these new immigrants were placed in, or the way European children wrinkled their nose at her and called her smelly. No, the worst was when the government stole her sister, Sarah, whom Keter-Schwartz never saw again.
In what has become known as the Yemenite Children Affair, more than 1,000 children of Yemenite, Mizrahi and Balkan descent were separated from their children during the first decade of Israel’s existence. The families and their advocates have long insisted, over denials by officials, that the children were taken from their families by the Ashkenazi government during the first decade of Israel’s existence. More often than not, parents were told their children had died when they had, in fact, been given to families of European descent for adoption, according to Amram Association, one of several organizations dedicated to documenting these abductions and advocating for victims’ families.
Now, Keter-Schwartz — a writer and performer who lives in Los Angeles, and a mother to two grown daughters — has brought to life her family’s story and her search for her missing sister in the form of a one-woman show. Premiering on Thursday at New York City Center, and running through May 15, “Daughter of the Wicked” chronicles her family’s journey from the Yemenite ma’abarot (refugee camps) to shikunim (government housing projects), where they lived in a tiny two-room apartment amid a melting pot of Jewish immigrants who were often at odds with one another.
“It is overcrowded, and the people who live here come from many different places. In their countries they were… respected by their communities,” she says in the show, which is named after one of the many Yemenite curses her mother would hurl at her when she’d done something wrong. “But here [in Israel] they are forced into stereotypes.”
“Israel had no choice but to bring the Jews from the Arab countries because the European Jews population had been greatly diminished after the Holocaust, but they didn’t want us,” Keter-Schwartz told the New York Jewish Week. “They took control of our lives, tried to assimilate us, wanted the whole country to be secular and uniform. They made all the decisions for us.”
One such “decision” made by the government, she said, was to remove her oldest brother, Yossi, from the family home to “re-educate” him at an Ashkenazi kibbutz. It worked: Yossi returned as a proud secular farmer, disdainful and ashamed of his spiritualist, religious family and their traditional ways.
The disappearance of her baby sister, Sarah, inspired Keter-Schwartz’s play, which is also informed by the kabbalistic teachings of her father. (Russ Rowland)
In the case of Keter-Schwartz’s sister, the abduction occurred directly after she was born. “When my father went to the hospital to pick up the twins, my siblings, he returned only with David. They told him that the girl, Sarah, was sick, and he should come back the following day. But when he came back, they told him that she had died,” Keter-Schwartz said. “Being naive, he didn’t question this. He didn’t ask to see a death certificate. He didn’t even know [a certificate] existed. He didn’t demand to see her body, didn’t think to bury her or give her funeral rites. He never suspected for a minute they could deceive him.”
This story, and others, is conveyed in “Daughter of the Wicked” through a series of monologues, each tied to an idea from Kabbalah,the Jewish mystical tradition. Keter-Schwartz defines each concept — like ahava (love), metsuka (hardship), busha (shame) — then tells a personal story that relates to the topic.
With this framework, Keter-Schwartz pays homage to her father, a spiritualist rabbi who spent his days poring over holy texts and divining the true meaning of the universe. She reads from his writings — which were collected and published towards the end of his life as a book, “Nachash HaNechoshet” — detailing her complex relationship to a man who was both an inspiration and, at times, inscrutable to all around him.
“The play is set in a hotel room, while I’m waiting for my sister to show up,” Keter-Schwartz explains. “As I wait, I tell my life. Behind me, on three screens, there’s archival footage from the 1950s that I got from Steven Spielberg’s archive. That footage tells the story, too, and so does the music.” The accompanying music, which transitions the audience from segment to segment, was written by Israeli composer Lilo Fedida, using traditional Yemenite melodies and instruments.
“We lived with this [tragedy] all my childhood, and I’ve been wondering all these years about my missing sister,” said Keter-Schwartz. “If I see her on the street, will I recognize her? Where does she live? Is she happy? I felt guilty that I never really tried to find her, I was so busy with my own life. But now I need to know.”
As a young woman, Keter-Schwartz said she went to great lengths to distance herself from her family’s tragedies. She lived in Amsterdam, London and New York, finally finding her footing in Los Angeles. She changed her name — from Shoshana to Shanit — and declared herself a new person in a new land. It was only when she lost all but one of her siblings, as well as both parents, that she felt an urge to revisit the past. When her last surviving sibling got so ill he almost died, she swore to search for Sarah. Initially, the idea was just to hire a private investigator to try to locate her. During her search, though, she began to feel an urge to share her story.
“I’d never written a play, so it took me two years [working] with coaches,” says Keter-Schwartz. “I’ve been an actress all my life, I’ve edited other people’s scripts, I produced movies, but to actually write — ha! I had amazing coaches. I’m especially grateful to Yigal Chatzor, the Israeli playwright. He brought the Israeli spice and the humor, which is wonderful now because now the play is balanced. It’s heart-wrenching and it’s hysterical. It’s everything, you know.”
The Yemenite Children Affair has never been formally confirmed by the state of Israel, which maintains the position that most of the babies died of malaria or malnutrition and were not, as some have proposed, sold to Ashkenazi families in exchange for donations to the young country. Several government-led commissions have claimed that there was no official wrongdoing, but testimonies continue to emerge that suggest otherwise. According to a 2016 article in Yediot Ahronot, a prominent Israeli news source, the government has sealed the official records of these disappearances until 2071, despite ongoing demonstrations and demands for actions.
In 2021, the Israeli government authorized tens of millions of dollars in reparations to families whose children disappeared while in government care. Nonetheless, no official admission of guilt or apology has been issued, a fact which caused many affected families to reject the plan, calling it “hush money.” Only a fraction of the affected families are eligible for these payments and, according to recent reporting, very few have claimed the money. Less than 1% of the allocated funds have been distributed thus far.
For Keter-Schwartz, no amount of money could compensate for the loss of her sister. She’s more interested in creating connections with others who lost family members and bringing awareness to this chapter in Israeli history. “Going back to my roots, revisiting the past, is an act of forgiveness,” Keter-Schwartz said in a statement. “By writing this play, I was able to forgive and accept the past. I hope that when audiences see my play they come to terms with their own history, and that they feel a sense of what it means to be free, and the challenges that confront us in maintaining that freedom.”
That is a major throughline of “Daughter of the Wicked”: Keter-Schwartz does not forsake the country that gave her her identity and childhood; rather, she insists on loving it while demanding recognition of past wrongs. Towards the end of her show, Keter Ashkenazi raises both arms to the sky and screams at those who wronged her: “My country! I blame you, shame on you for forsaking us, shame on you!”
But then, she lowers her arms and says, voice cracking with heartbreak: “I love you, I blame you, I love you. My country, I love you.”
—
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This Israeli filmmaker harshly criticizes his country. Pro-Palestinian activists boycotted him anyway
(JTA) — Earlier this year Nadav Lapid, the award-winning Israeli dissident filmmaker, traveled with his son to Marseille for a screening of his latest film. He fell in love.
“This city reminded me of Tel Aviv, in a way, with the beach and everything,” he recounted Wednesday to the Jewish Telegraphic Agency — referring to the city he no longer lives in, having built a career with movies that take sharp aim at what he calls the “moral abyss” of Israeli society. When a Marseille film festival then invited him to serve on its jury for its upcoming installment in July, he readily accepted.
Then the boycotts started. Last month around a dozen pro-Palestinian filmmakers threatened to pull out of the upcoming Marseille International Film Festival over Lapid’s planned participation because, they said, he had accepted funding from the Israeli government to support his work. (Lapid’s movies, including his latest, have received funding from Israel’s film fund.) Following this, according to the accounts of both Lapid and the festival’s director, the festival had second thoughts about him serving on the jury.
While the festival offered him the opportunity to participate in a public master class instead, Lapid said, the protesters hadn’t relented: “It’s not enough for these people.”
Frustrated, the director earlier this week decided to pull out of the festival altogether. He’s not happy about it.
“To make people like myself the enemy when the actual state of things is so terrible, it’s insanity. It’s stupidity,” he told JTA. “For them, the highest triumph of the Palestinian cause is if they will cancel my master class in Marseille? I think it’s pathetic.”
Lapid has received a groundswell of support this week: Natalie Portman and hundreds of other film-industry figures have signed open letters criticizing the boycotts against him. While he’s uncomfortable with being in the spotlight for reasons unrelated to his films, Lapid said he’s pleased with this outcome.
“You could have composed an unbelievable cinematic program from only the filmmakers that texted me during the last hour,” he said.
Even so, the filmmaker says, he’s now unsure if he is still welcome in France as a dissident Israeli.
“I asked myself whether they would like me to stop doing movies, or to leave France,” he told JTA. Elsewhere, he’s described himself as “homeless.”
It’s the latest unspooling of painful dynamics around artistic boycotts of artists and institutions seen by the left as normalizing Israel. Last month another French cultural figure, the Jewish comics artist Joann Sfar (“The Rabbi’s Cat”), faced calls to boycott his presence at a literary festival, also in Marseille. In its justification, a pro-Palestinian artist collective, pushing an Instagram post reading “Zionists out of our city,” cited Sfar’s signing of an open letter last year that argued a Palestinian state should not be recognized unless Hamas could be disarmed and Gaza’s Israeli hostages freed.
In recent months, in addition to broader boycotts of the Israeli film and TV industry, several leading cultural critics of Israel — both Jewish and not — have been targeted as well. Those include bestselling author Sally Rooney for publishing a Hebrew-language translation of her novel with a left-wing Israeli publisher (some prominent activists accused her of exploiting a “loophole” in the Boycott, Divestment, Sanctions movement against Israel); Jewish Currents editor Peter Beinart for speaking at Tel Aviv University; and Jewish author Joshua Leifer for associating with a “Zionist” rabbi at a book event.
In Lapid’s case, the group organizing against him, La Palestine Sauvera Le Cinéma, argued that “Nadav Lapid is not being targeted because of his Israeli nationality.”
Instead, the collective asserted, their objection was due to Lapid having accepted funding from Israel to complete his latest film, “Yes!”; the fact that the film premiered at the Cannes Film Festival as an Israeli co-production and competed for Israel’s highest film awards; and Lapid’s past participation in an Israeli film festival in Paris.
“The cultural boycott does not target artists because of their nationality or personal opinions,” the filmmakers wrote, in French, in a blog post. “What is at issue here is the reality of their integration into the institutional and political structures of the Israeli state.”
For Lapid, whose new movie follows Israeli musicians hired to write an openly genocidal post-Oct. 7 anthem for their nation, this argument doesn’t hold water. Lapid has long been critical of cultural boycotts, including BDS. Such measures, he told JTA, are a form of “dogmatic Stalinism” and don’t “move one piece of sand” in Israel.
“I became a test case of purity,” he mused.
Others agree. More than 350 entertainment industry figures signed the first of two open letters in the French newspaper Le Monde backing him, which was published Sunday.
“Inviting an artist to a festival does not make them a cultural ambassador,” the letter reads, in French, decrying a “campaign of intimidation” against Lapid while also noting what the signatories said was the “genocidal logic” of Israel’s campaign in Gaza.
Among this letter’s signatories were Justine Triet and Arthur Harari, the Oscar-winning team behind “Anatomy of a Fall”; Harari is Jewish and a critic of Israel himself. Arnaud Desplechin, a French filmmaker who often features Jewish characters in his work, also signed. Other signers include acclaimed directors Claire Denis, Mati Diop, and Kleber Mendonça Filho; Romanian director Radu Jude, whose films have explored his country’s complicity in the Holocaust; and Palestinian historian Elias Sanbar.
A second open letter, published on Monday, calls the campaign against Lapid an “intellectual failure” and states, “No matter what crimes a state may commit, no one should be reduced to a passport.” It was signed by a smaller cohort of 10 names, including Portman; French-Jewish director Rebecca Zlotowski; and Oscar-winning filmmakers Jacques Audiard and Michel Hazanavicius.
Like Lapid, Portman — an Israeli-American actress who is one of the most prominent Jews in Hollywood — is a longtime critic of the Israeli government and opponent of the BDS movement.
Creative Community For Peace, a pro-Israel entertainment group, said Wednesday its members also oppose the boycott of Lapid, adding that Israel “funds, screens, and honors films that challenge its leaders, criticize its society, and engage openly with its most difficult debates.”
Unusually, the Marseille festival’s own director, Tsveta Dobreva, also signed one of the open letters in support of Lapid after she appeared to acquiesce to the earlier demands to pull him from the jury.
In an email, Dobreva told JTA her festival “fully supports Nadav Lapid,” saying that she had removed him from the jury out of concern he would be targeted at the event. She did not believe she had “agreed to the boycotters’ demands,” she said.
“Few festivals or cultural institutions in our days have the courage to extend invitations that may provoke controversy, and we stand with Nadav in believing that this form of self-censorship must be resisted, as it only contributes to the problem,” Dobreva wrote.
Lapid intends his next movie to be a follow-up to “Synonyms,” his 2019 film about an Israeli expat in Paris that won the top prize at the Berlin Film Festival. The Marseille festival is scheduled for July, but he says now he has no intention of going: “I’ll find other beaches.”
The post This Israeli filmmaker harshly criticizes his country. Pro-Palestinian activists boycotted him anyway appeared first on The Forward.
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Trump is imagining an Israel after Netanyahu. So are many Israelis. Netanyahu isn’t biting.
(JTA) — The party of Israeli Prime Minister Benjamin Netanyahu has rejected speculation that he might not run in Israel’s election this fall, following an offhand comment by U.S. President Donald Trump.
On Tuesday, ABC correspondent Jonathan Karl tweeted that Trump had told him he was unsure if Netanyahu wanted to press forward in the elections.
“He’s had an amazing career,” Trump said, according to Karl. “Does he want to continue? Because, you know, he’s a wartime prime minister. We will very shortly win the war one way or the other, and you know he’s a wartime prime minister.”
Netanyahu has been prime minister for more than 15 of the last 17 years, losing power only briefly in 2021 and 2022. Israel’s current wars began on Oct. 7, 2023, when Hamas attacked Israel, triggering regional conflict that has grown to include a joint U.S.-Israeli war with Iran.
Trump’s reported comments left some wondering whether he knew something they did not, amid polling suggesting that Netanyahu will struggle to secure enough votes to put together a governing coalition after elections this fall. Could Trump know that Netanyahu is considering suspending his already-active campaign? Or could Trump, who this week told the BBC that Netanyahu does anything the U.S. president tells him to, be planning to order his Israeli counterpart to stand down amid growing anti-Israel sentiment in the United States?
Netanyahu’s Likud party soon demolished the idea. “Prime Minister Netanyahu will run in the upcoming elections — and with God’s help, he will win,” the party posted Wednesday on X.
Only a minority of Israelis were primed to appreciate the declaration, according to a poll released this week by the Israel Democracy Institute. It found that 61% of Israelis, including 27% of Likud members, do not want to see Netanyahu run again this fall. The same proportion said they want to see Israel adopt a two-term limit for prime ministers in the future.
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Spain reports 86% rise in antisemitic incidents, as interior minister takes aim at ‘xenophobia’
(JTA) — Antisemitic offenses in Spain rose 86% last year amid the country’s highest total hate incidents on record, according to a report from the Spanish government.
Jews were targeted in 69 hate crimes and incidents in 2025, up from 37 in 2024, according to a report released last week by Spain’s Interior Ministry. Islamophobic attacks also increased from 15 to 35 incidents.
Interior Minister Fernando Grande-Marlaska said in a video posted on Facebook that his office documented 2,417 total hate incidents last year, the highest figure since it began recording in 2014. Spain is home to about 70,000 Jews, according to the Federation of Jewish Communities of Spain.
The ministry defined antisemitism as any act of hatred, violence or discrimination directed against Jews or “nationals of the State of Israel.”
Spanish Prime Minister Pedro Sánchez has become one of Europe’s sharpest critics of Israel and its military action in Gaza, which he says constitutes genocide. Spain imposed a total arms embargo on Israel in 2025 and permanently withdrew its ambassador in March, following Israel’s withdrawal of its ambassador to Spain in 2024.
The Interior Ministry said hate crimes motivated by racism and xenophobia accounted for the largest number of offenses at 934. Grande-Marlaska called out “public officials” for rhetoric and policies that he said inflamed xenophobic sentiment.
Grande-Marlaska released his report as Spain’s far-right, anti-immigration Vox party advocates for a “national priority” policy that favors Spaniards over others in access to public aid and benefits, such as subsidized housing and healthcare. Vox recently struck deals with the conservative People’s Party to insert the “national priority” clause into coalition agreements in the regions of Extremadura, Aragón and Castile and León.
“The national priority is xenophobia,” Grande-Marlaska said. “It is institutionalized xenophobia, protected and promoted by public officials who legitimize and amplify hate speech that, in the past, would have been condemned when it entered the public sphere.”
Vox is strongly supportive of Israel, whose government has allied with the party despite a history of neo-Nazis in its ranks. Vox leader Santiago Abascal visited Israel in 2024 to show his support for Prime Minister Benjamin Netanyahu after Sánchez recognized a Palestinian state.
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