Uncategorized
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.”
—
The post The mysterious disappearance of Yemenite children in Israel is the focus of a new play appeared first on Jewish Telegraphic Agency.
Uncategorized
Arab-Israeli activist Yoseph Haddad brawls during podcast debate on Israel
A debate between Arab-Israeli activist Yoseph Haddad and an anti-Israeli activist turned physical during the filming of a popular podcast on Monday.
Dennis Feitosa, who unsuccessfully ran as a Republican for California’s 30th Congressional District, was one of 10 anti-Israel activists scheduled to debate Haddad for an episode of the Digital Social Hour, a longform podcast that features unfiltered conversations with controversial figures.
Haddad is one of Israel’s most prominent advocates and among the small minority of Arab citizens who voluntarily served in the Israel Defense Forces.
Videos posted online show Feitosa, one of the debaters, jeering at Haddad, calling him a “genocidal f**king freak,” while Haddad calls him a coward. Feitosa eventually grabs Haddad’s arm and begins to pull him across the table, before Haddad grabs his head and swings at him. In another video, apparently filmed in a parking lot after the recording, Feitosa grabs Haddad by the neck before Haddad punches him in the stomach, all while others attempt to get between the two men.
Haddad posted a video of the altercation on X, writing, “I was attacked by a groyper in the U.S… he just didn’t realize he had picked a Golani soldier!” A “groyper” is a term coined for fans of the far-right, white supremacist Nick Fuentes.
In his own posts on X, Feitosa claimed that Haddad spoke about ordering strikes on Palestinian schools during their conversation and made light of Palestinian deaths. He also reposted a photo of Haddad holding his head down with the caption, “Zionists want Christians to bow to them. They are literally the anti-Christ.” Another post called for Haddad to be deported.
This isn’t Haddad’s first physical altercation with someone who disagreed with him. In 2024, he got into a heated argument with a demonstrator outside Columbia University’s campus before he was shoved and punched. Haddad was slated to speak to a campus group that day.
Haddad, who has nearly a million followers on Instagram and 336,000 followers on X, is a popular figure in Israel, frequently speaking on the country’s biggest news channels (oftentimes in Arabic), defending Israel in international media, and speaking up about his military service as an Israeli-Arab.
While Arab-Israelis are generally exempt from serving in the IDF, they can elect to do so, which Haddad did. He served in the IDF’s Golani brigade, an elite combat unit, and was seriously injured during the 2006 Lebanon War.
After his military service, Haddad founded a non-profit called Together – Vouch for Each Other, which aims to promote greater integration of Arab citizens into Israeli society through encouragement of national service and volunteer work among the Arab population (a substitute for IDF service), and advocating for Arab-Israeli civil society issues in the government.
But Haddad is a controversial figure too. Critics both inside and outside of Israel accuse him of downplaying the discrimination many Arab Israelis face, and using his identity to justify the actions of the Israeli government. In 2024, a viral video showed him telling students wearing keffiyehs on Tel Aviv University’s campus to go study in Jenin, a West Bank city that has been a hotbed for terrorism and Israeli incursions.
Ahead of the upcoming Israeli elections, Haddad has expressed interest in starting a new political party in Israel, telling JNS in June, “My party would represent every Israeli, Arab or Jewish, secular or religious, anyone who is proud of our country.”
He added that he would not cooperate with existing Arab-Israeli leaders in the Knesset, who he charges with “destroying” the Arab-Israeli community by perpetuating the separation of Arab society in Israel. He also said he would not cooperate with Yair Golan, who leads the liberal Democrats party in Israel and has been critical of Israel’s actions in Gaza.
A February survey done by the Midgam Institute, one of Israel’s most prominent public opinion polling firms, found that a Haddad-led party could win four Knesset seats and would take voters from both Prime Minister Benjamin Netanyahu’s coalition and the opposition.
The post Arab-Israeli activist Yoseph Haddad brawls during podcast debate on Israel appeared first on The Forward.
Uncategorized
‘The first time my band ever encountered such hostility’
[On Aug. 2, a performance by the klezmer band Dobranotch at a large folk festival in Galicia, Spain, was cut short when pro-Palestinian members of the audience began heckling the musicians and then throwing stones and other objects at them, targeting the band over recent concert appearances they made in Israel.
Afterwards, the festival organizers released a statement, explaining that they cancelled the concert out of concern for the musicians’ safety. The organizers also condemned the fact that “an event historically rooted in peaceful cultural exchange, community gathering, and musical celebration was disrupted by violence.”]
Dobranotch has a special connection with Galicia. In the early years of the band, we visited and performed there many times and developed a deep affection for its traditional music and culture. After many years away, we were glad to be invited back to perform at Festival de Pardiñas, a large local folk festival.
A few months before the event, the organizers informed us that the festival supported Palestine and that some members of the audience might display Palestinian flags. They asked how we would feel about this, given that our music is associated with Jewish culture. We replied that we had no objection, but did not want to be pressured into making political statements from the stage. This appeared to be fully understood.
We received a warm welcome, and the festival was well organized, with several thousand people in attendance. When we stepped onto the stage, a couple of Palestinian flags were visible in the audience. During our performance, more flags were attached to the barrier in front of the stage, and an enormous Palestinian flag was unfolded. A small but very vocal group at the front of the stage began chanting and held up handwritten signs demanding that we “say something about Palestine.”
I do not usually make political statements from the stage on behalf of the band. However, as the pressure continued to grow, remaining silent no longer felt possible. I therefore decided to share my personal views. I said that we are living through a period of growing polarization and radicalization in many parts of the world, visible in very different contexts, including the Israeli-Palestinian conflict, Russia’s aggression against Ukraine, and political divisions in the United States. My message was simple: We need to be kinder to one another.
But the pressure only intensified. They wanted me to speak more, and they tried to hand me a Palestinian flag to wave from the stage. I tried to explain that, in my view, the Israeli-Palestinian conflict is complicated — and the moment I said the word “complicated,” the crowd erupted.
I wanted to continue my statement, but I was not given the chance to do so.
A group of people shouted, insulted us and made hostile gestures. A person carrying a flag managed to get onto the stage. Objects began flying towards the stage, including stones. One of my fellow musicians was hit by a stone. At that moment, we realized that the situation had crossed a line and decided to stop the concert.
escândalo em Pardinhas, algum sionista no palco pic.twitter.com/yh6JNZDZEY
— maNu 🌰 (@nuMaGz) August 2, 2026
As we were leaving the stage, someone from the festival team, obviously shocked by the situation, suggested that I simply say “Free Palestine” so the performance could continue.
I support the right of all people, including both Israelis and Palestinians, to live in freedom, dignity and safety. But repeating political slogans under pressure would have been both meaningless and unacceptable.
The organizers subsequently announced that the concert was being stopped for safety reasons and reiterated the festival’s support for Palestine.
After the concert, we discovered evidence suggesting that the protest had been planned and coordinated in advance. We found social-media posts published before the festival accusing us of having performed in “occupied Palestine,” apparently referring to a previous concert in Tel Aviv, and calling for a boycott of our performance.
This was the first time Dobranotch had encountered such hostility, whether as a group performing Eastern European Jewish traditional music or as anti-war emigrants from Russia. It is deeply regrettable and disturbing that such a radicalized and hostile atmosphere could have developed at a traditional culture festival.
The incident shows how difficult public discussion has become when artists are expected to repeat prescribed political formulas rather than being allowed to express a thoughtful position — or simply to choose not to make political statements from the stage at all.
We look with deep sadness at the amount of violence and radicalization in the world, and we wish for peace, safety and freedom for everyone. We believe that our music can do more to bring people together than political arguments ever could. This is where we want to focus our energy.
The post ‘The first time my band ever encountered such hostility’ appeared first on The Forward.
Uncategorized
After settling antisemitism claims, Columbia now faces lawsuit from Palestinian students
A group of current and former Palestinian students and faculty at Columbia University filed a lawsuit this week, alleging that the university discriminated against them because of their Palestinian identity and treated them less favorably than other students engaged in political advocacy.
Filed in New York State Supreme Court, the complaint accuses the university of encouraging the mistreatment of Palestinian students by holding “unfair and biased disciplinary hearings” and creating a “hostile and unsafe environment” following Hamas’ Oct. 7 attack on Israel that sparked university-wide protests and tensions on campus. The lawsuit alleges that the university “actively participated in and amplified the racially, ethnically, and politically motivated targeting of Palestinian students, staff, and faculty.”
The case is the latest in a string of legal battles born out of Columbia’s handling of campus protests. In July 2025, the Ivy League university on New York’s Upper West Side agreed to pay $21 million to settle charges by the Equal Employment Opportunity Commission that alleged a hostile work environment for Jewish employees as a part of its federal resolution agreement with the Trump Administration.
In February 2026, the university also settled with a group of Jewish plaintiffs that had alleged the university failed to protect them from antisemitism. As a part of that settlement, Columbia agreed to implement additional programming to address antisemitism.
The new lawsuit alleges that Columbia discriminated against Palestinian students by, among other things, retaining private investigators to surveil students involved in a March 2024 “Resistance 101” teach-in. The event featured Khaled Barakat, whom the U.S. State Department has identified as a leader of the Popular Front for the Liberation of Palestine, which the U.S. has designated a foreign terrorist organization. Following the event, the lawsuit states that six students were suspended from the university and evicted from Columbia housing.
The suit also accuses the university of failing to treat physical assaults of Palestinian students seriously, citing alleged incidents where keffiyehs were forcibly removed from Palestinian students, and an incident where a student sprayed a foul-smelling substance at pro-Palestinian demonstrators in January 2024.
That incident was initially investigated by the New York Police Department as a possible hate crime, with some claiming that the substance was a military grade chemical weapon, but Columbia later announced that the substance was a legal, non-toxic novelty fart spray. The students involved were suspended, but eventually reached a settlement with Columbia after arguing that they had wrongfully portrayed the incident as a chemical attack rather than a “harmless expression of his free speech.”
It also challenges Columbia’s decision to call in New York police to clear protest encampments and arrest demonstrators in the spring of 2024.
Plaintiffs include lecturer and former anthropology student Hadeel Assali, who allegedly canceled her classes so that students could attend Pro-Palestinian protests and who made headlines earlier this year when she gave a talk at the City University of New York’s law school called “The Underground in Gaza.” That lecture, and her dissertation at Columbia overseen by Mahmood Mamdani, father of New York City Mayor Zohran Mamdani, sought to examine “the history and usage of tunnels in Gaza, focusing on land use and social organization in resistance to colonization,” apparently referring to the Hamas tunnel network.
Other plaintiffs include Bahia Munem, a former lecturer at Columbia’s Center for the Study of Ethnicity and Race; Mahdi Sabbagh, a Ph.D. student; Maryam Alwan, who graduated from Columbia in 2025 and was a student leader in the pro-Palestinian movement who was arrested during the encampment protests; and Layla Saliba, who earned a master’s degree in social work from Columbia in 2025.
In April 2025, the Columbia office of Institutional Equity investigated Saliba and Alwan for their role in writing an op-ed in the campus newspaper Columbia Spectator that called on the university to stop admitting Israeli students who had served in the Israel Defense Forces. The university later dropped its investigations into the two activists.
The lawsuit seeks monetary damages under New York City Human Rights Law, which prohibits discrimination or harassment based on race, creed, national origin, immigration status, or citizenship.
Columbia University did not immediately respond to the Forward’s request for comment.
The post After settling antisemitism claims, Columbia now faces lawsuit from Palestinian students appeared first on The Forward.
