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This Jewish non-profit in Brooklyn helps refugees furnish their new homes
(New York Jewish Week) – When S., a Pakistani refugee, finally moved to a stable living situation in New York City, there was still one thing missing: furniture.
S. had left Pakistan for New York hoping to provide a better, healthier life for her younger brother R., who has Down syndrome. After a year of moving around the city, applying for asylum and trying to get on her feet, S. — who asked that her name not be used while the rest of her family waits for their asylum cases to be approved — found a room in a semi-basement apartment in Jamaica, Queens in March 2022.
But even though they had a roof over their heads, S., 44, and R. hardly had any household items to their names. Instead of beds, for example, they slept on a shared rug on the floor.
Enter Ruth’s Refuge. The Brooklyn-based Jewish non-profit aims to provide New York’s refugee community with items needed to help jumpstart their new lives and fill their homes. The organization helped S. and R. secure many household essentials both large and small, from mugs to furniture.
“It’s one thing if you’re going to drop something on a doorstep; it’s another to bring every single thing into my house and help me set it up,” S. told the New York Jewish Week about the assistance she got from Ruth’s Refuge. “We cannot do much because it’s only me and R. But they did everything — every single thing. To be very honest, I’m really blessed.”
Ruth’s Refuge emerged from a task force at Congregation Beth Elohim in Park Slope that started in 2016 as a response to an influx of refugees fleeing Syria. Since then, they’ve expanded to a team of 120 volunteers and three full-time staff dedicated to meeting the needs of the thousands of refugees arriving in New York — first from Syria, then from Afghanistan, South and Central America and Ukraine. Last year, Ruth’s Refuge furnished over 100 households, providing more than $150,000 worth of furnishings and home goods, mostly accumulated from individual donations.
“I grew up embedded in the Jewish community and very much raised with the concept of ‘never again,’” said Leah Cover, the organization’s founder and executive director. “I always viewed that in a very universal way, that ‘never again’ meant for anybody, not just the Jewish people.”
“The idea that you would have this kind of thing repeating itself when we built the refugee system in response to the Holocaust, primarily, and then to have it just completely break down when it was most needed again was just really horrifying to watch,” she added.
Ruth’s Refuge joins a cadre of other Jewish-aligned organizations that endeavor to create softer landings for refugees in New York. Among them are Masbia, which has been meeting arriving migrants at Port Authority Bus Terminal with shoes, clothing and food, and New Neighbors Partnership, which matches incoming refugee families with small children with a New York-based family to receive clothing, toys and advice. HIAS, one of the largest refugee resettlement agencies in the country, was founded in New York City in 1902 to aid incoming Jewish refugees fleeing persecution and pogroms in Eastern Europe.
Cover said watching the worldwide response to the Syrian refugee crisis animated her to start the refugee task force at the Reform synagogue and eventually found Ruth’s Refuge — named for the biblical figure Ruth, who was welcomed as a stranger and integrated into the community. “One of the very heartening things in starting the refugee task force was just seeing how much the Jewish community wanted to be involved in a response to this and making sure that we lived our values,” she said.
At first, Cover and other volunteers fielded a lot of “ad hoc requests,” she said. Over time, resettlement agencies began to rely upon her team more and more, especially to help with apartment setups — including managing donations of homegoods, renting U-Hauls to transport them and assisting with building furniture.
Ruth’s Refuge became its own independent 501(c)(3) organization in the spring of 2019. These days, they work with a number of resettlement agencies, primarily HIAS, Catholic Charities, International Rescue Committee and Queer Detainee Empowerment Project.
Once asylum seekers have secured permanent housing, Ruth’s Refuge will assign each family a volunteer who acts as a personal shopper. Generally there is no limit to the amount of furniture a family can pick out — as long as it fits in their home, although for certain items like dish sets and TVs, Ruth’s Refuge can usually only provide one per family, Cover said.
The items, housed in storage units in Gowanus, are then packed up and delivered all over the city by teams of volunteers.
Kathy Fenelly, a retired professor of public policy and immigration policy, is one such volunteer. “I’ve worked on advising immigrants on immigration policy for a number of years,” she said. “But this is the first [organization] I’ve ever seen that has such a focused and specific mission to work with immigrants and refugees in order to be sure that they have the basics that they need in their apartments.”
Fenelly has been a part of the organization since it was founded at CBE, and said its mission strongly reflects the Jewish value of welcoming the stranger. “Everyday, I get to say, ‘Welcome to New York. I’m really happy that you’re here,’” she said.
As for S., Ruth’s Refuge helped her and R. secure a hair dryer, soap, towels and a table. Their modest room wasn’t big enough for two beds, so a bunk bed was ordered on Amazon and volunteers helped build the furniture when it arrived.
A group of volunteers from Ruth’s Refuge smile in front of a U-Haul van hired to bring furniture and household goods to a refugee family. (Courtesy Ruth’s Refuge)
S. had left Pakistan in February 2021 with R. with the intent to visit Chicago, where her father had relatives, and then New York, which she had visited before. She had planned to stay a few weeks; traveling with her brother, she assumed it would be a harrowing journey — in Pakistan, she said, her brother’s Down syndrome was often met with contempt, anger and confusion.
Here in the United States, however, S. was surprised by the degree of acceptance, warmth and respect shown to her brother. That’s why she came to believe immigration was necessary: As S. told the New York Jewish Week, she felt her and her brother’s lives were at stake, so she applied for asylum in April 2021.
S. learned their asylum applications were approved at the end of October 2022. Catholic Charities then helped S. and R. get IDs, Social Security numbers and health care, and also provided a few hundred dollars a month to help them get on her feet.
These days, S. works as a home health aide. “It’s becoming home,” she said. “It’s surprising because I was raised in Pakistan, but I never felt like this in my country.”
Left behind in Pakistan are her husband, two other brothers and her 21-year-old son. But her son’s asylum application was approved last month, she said, and she thinks her husband’s will be soon as well, so she’s optimistic they’ll be able to join her in New York later this year.
“I buy things [now] because I can save the money for it,” S. said. “But the first step was Catholic Charities and the second step was Ruth’s Refuge.”
“I’m very, very satisfied in the United States,” she added. “I’m very blessed.”
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The post This Jewish non-profit in Brooklyn helps refugees furnish their new homes appeared first on Jewish Telegraphic Agency.
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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.”