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This year’s ‘Jewish Nobel’ is a group prize, going to Jewish activists in Ukraine
(JTA) — A prize established to honor a single inspiring Jew with a lifetime of achievements has been awarded this year to a nameless group whose work is ongoing: Jewish activists in war-ravaged Ukraine.
The Genesis Prize Foundation said the war in Ukraine required a change in the approach it has taken since creating the prize, known by some as the “Jewish Nobel,” a decade ago.
“Recognizing the extraordinary nature of events dominating the past 11 months, The Genesis Prize Selection Committee has decided to depart from the usual custom of awarding the prize to a single Jewish individual,” the group said in a statement.
It added, “Instead, the Committee has elected to announce a collective award to Jewish activists and NGOs who were inspired by the brave citizens of Ukraine and their courageous president, Volodymyr Zelensky, and chose to act on their Jewish values by standing up for freedom, human dignity, and justice.”
The group is also not awarding the traditional $1 million prize that recipients have donated to charity; instead, it says it plans to “continue to make grants to NGOs to alleviate the suffering in Ukraine, as we have done since the beginning of the war.” Those groups have included the JDC, which has distributed emergency aid across the country; United Hatazalah of Israel, which trained Ukrainians in emergency first aid; and Natal, an Israeli trauma response group, according to its Facebook page.
The goal of the prize, its co-founder and board chair Stan Polovets told the Jewish Telegraphic Agency, remains to stimulate Jewish giving by raising awareness of particular needs.
“Freedom is one of the most important values of the Jewish people. And this is a country that’s fighting for its freedom. It has a president who has shocked everyone by his resilience and courage,” he said about Ukraine. “We think that the Jewish community worldwide needs to be supportive to the extent it can.”
In going with the group prize, Genesis circumvented the potential pitfalls of honoring Zelensky himself. The Genesis Prize Foundation held Zelensky up as a Jewish hero last October, when its cofounder and board member Natan Sharansky, the former Soviet dissident and 2020 honoree, visited him in Kyiv. Sharansky, who lives in Israel, has been a leading advocate for Israel to dedicate more resources to Ukraine.
Natan Sharansky, the Genesis Prize cofounder and board member, visits with Ukrainian president Volodymyr Zelesnky in Kyiv in October 2022. (Courtesy Genesis Prize Foundation)
But honoring Zelensky, Ukraine’s most prominent Jew, could have made for an uncomfortable situation at the Genesis Prize’s glitzy awards ceremony: In his efforts to secure more resources for Ukraine’s armed forces, Zelensky has also openly criticized Israel for not being as forthcoming as he would like. (Israel’s particular geopolitical interests have confounded the country’s response to the war since its start Feb. 24, 2022.)
And while some have called Zelensky a “modern Maccabee,” he has not always signaled pride about being Jewish, which prize recipients are expected to show, saying in 2019, “The fact that I am Jewish barely makes 20 in my long list of faults.”
Polovets declined to comment on the selection process. The Genesis Prize has never gone to a current political office-holder; politician and businessman Mike Bloomberg was honored after he left the New York City mayor’s office.
The temporary departure from the Genesis Prize Foundation’s regular approach extended beyond who was chosen as the recipient. The group opened nominations publicly but then did not release a shortlist for a public advisory vote as it has in recent years. It also decided not to hold its traditional awards ceremony in Jerusalem that has in the past been an unusual convening of Diaspora Jewish leaders, Israeli government officials and celebrities. (Last year, the Knesset dissolved itself the night of the ceremony, when Pfizer CEO Albert Bourla was being honored; the politicians did not attend.)
While the changes made sense for the unusual moment, Polovets acknowledged potential downsides, including confusion about the Genesis Prize brand and the lack of a celebrity spokesperson for the year’s cause. He also said he anticipated that without a single awardee to guide where donations go, his organization could receive an unusual number of unsolicited applications for aid.
The group will begin discussions about where to direct its giving in about a month, according to foundation officials. That will also be the first anniversary of Russia’s unprovoked invasion of Ukraine.
The tweaks to the selection process are not the first changes at Genesis induced by the war: The three Russian billionaires who helped start the prize stepped down from the board of the related Genesis Philanthropy Group last March, after being targeted by Western sanctions in response to the invasion.
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The post This year’s ‘Jewish Nobel’ is a group prize, going to Jewish activists in Ukraine appeared first on Jewish Telegraphic Agency.
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VIDEO: Memories of the Workmen’s Circle in Montreal
מער ווי הונדערט יאָר לאַנג האָט דער אַרבעטער־רינג געשפּילט אַ וויכטיקע ראָלע אין דעם ייִדישן לעבן פֿון מאָנטרעאָל. די אָרגאַניזאַציע איז געווען איינע פֿון די וויכטיקסטע וועלטלעכע ייִדישע כּוחות אין דער שטאָט און האָט אין משך פֿון לאַנגע יאָרן אַנטוויקלט אַ רײַך קולטור־ און געזעלשאַפֿטלעך לעבן.
אין דער רעקאָרדירונג וועט איר זיך באַקענען מיט שלום (סאָל) עדלשטיין, וואָס האָט אָנגעפֿירט דעם אַרבעטער־רינג אין מאָנטרעאָל אין אירע לעצטע יאָרן. מיטן שמועס פֿירט אָן אלי בענעדיקט פֿון דער ייִדיש־ליגע.
אין די ערשטע יאָרן פֿונעם 20סטן יאָרהונדערט זענען געווען אַ ריי אַרבעטער־רינג-„ברענטשעס“ איבער קאַנאַדע, וואָס האָבן געפֿירט אַ רײַכע קולטור־אַרבעט, אַרײַנגערעכנט שולן, טעאַטער־טרופּעס און כאָרן. במשך פֿון די יאָרן האָבן זיך די „ברענטשעס“ צו ביסלעך פֿאַרמאַכט, און די פֿאַרבליבענע אַקטיוויטעטן האָבן זיך צונויפֿגעקליבן אין איין הויז אין מאָנטרעאָל. אין דעם לעצטן יאָר האָט זיך אויך דאָס הויז פֿאַרמאַכט. אין דעם שמועס וועט שלום עדלשטיין דערציילן וועגן די „ברענטשעס“, וועגן דעם לעבן און די אויפֿטוען אין דעם הויז, און וועגן זײַנע אייגענע איבערלעבונגען דאָרט.
The post VIDEO: Memories of the Workmen’s Circle in Montreal appeared first on The Forward.
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Facebook suspends radio broadcaster’s account over video of Holocaust survivor
Facebook has abruptly banned a Jewish broadcasting executive in Minnesota after he posted a link to a video of a 104 year-old Holocaust survivor in Texas sharing his story, prompting the Minnesota Attorney General to intervene.
Joel Glaser, CEO of AMPERS, a group of community radio stations across Minnesota, received an email from Facebook last month informing him that his personal account had been suspended because it violated the platform’s “child sexual exploitation” policies.
Because Glaser also administers the account for an AMPERS radio series titled MN90: Minnesota History in 90 Seconds, Facebook also took down that account, which has more than 10,000 followers.
The video produced by an NBC affiliate in Dallas and shared by an ABC affiliate in the Twin Cities, featured a talk by Walter Levy, a survivor who fled Germany in the late 1930s and still tells his story about how his family survived Kristallnacht and struggled with whether to flee to then-British mandated Palestine or America. His family eventually joined relatives in Arkansas.
“How it got flagged as being child sexual exploitation is absolutely beyond me,” said Glaser, who unsuccessfully appealed.. “It did not give me the opportunity to explain anything, ask any questions, provide any screenshots, do anything at all.”
Facebook has said the case has been “flagged for the team” and is “looking into this.”
Glaser initially speculated that an antisemite, Holocaust-denier, or a bot operating on their behalf had flagged his post. But then he started leaning toward the notion that it was probably just artificial intelligence run amok.
“I guess Meta’s AI isn’t smart enough to differentiate between child sexual exploitation and a legitimate news story,” he said.
Because Glaser also oversees AMPERS’ news coverage, losing access to Facebook has made his job more difficult.
“I’m being hindered from doing that,” Glaser said. “They need to fix it.”
Experts say Glaser’s experience is not unusual, underscoring a need for significant work on content moderation systems, as well as transparent correction mechanisms. Without seeing Meta’s internal enforcement signals, it’s impossible to know why the system acted to suspend Glaser’s accounts.
On the morning of June 25 Glaser received an email from Facebook saying that his personal account was being suspended and he had 180 days to appeal. While the platform attributed the suspension to a violation of child sexual exploitation standards, it did not specify what content of Glaser’s had violated those standards. The video of Levy just happened to be his most recent post.
Glaser appealed right away, taking the required nine photographs of his face to prove it was him. Facebook denied the appeal that afternoon and permanently banned him with no opportunity for additional appeals.
Glaser contacted Minnesota’s Attorney General, a standard recourse for Facebook subscribers in a number of states who have
unfairly had their accounts suspended. Brian Evans, press secretary for Minnesota Attorney General Keith Ellison, told Glaser that the office has interceded with Meta previously regarding their “heavy-handed approach to account deactivation.”
The Attorney General’s Consumer Action team will work to get Glaser’s two accounts reactivated, he wrote.
“The Minnesota Attorney General’s Office has received numerous complaints from consumers about moderation decisions that appear to have been made in error by Facebook,” Evans said.
Minnesota State Rep. Ginny Klevorn, a Democrat who represents the suburbs northwest of Minneapolis, has also asked that the state party’s liaison to Meta look into the matter, noting that AMPERS is partially funded by the state of Minnesota.
“Why is a public service network that deals with factual historic events being banned?” she said. “I think they owe Joel some sort of explanation.”
The post Facebook suspends radio broadcaster’s account over video of Holocaust survivor appeared first on The Forward.
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Artists are boycotting a show about Israel. The run’s already sold out
In the third act of Jonathan Spector’s Birthright, the character Izzy delivers the closest thing the play has to a thesis.
“I can go up on the bimah at my parents’ shul and I can say I am married to a woman, I can say I don’t keep kosher, I can say I don’t believe in God,” the character, a former J Street employee played by Molly Bernard, says. “The one thing that would get me kicked off the bimah, kicked out of the shul, kicked out of my family is if I say I am an anti-Zionist.”
There is an unspoken flipside to this equation: Just as Jewish communal life has instituted litmus tests, the pro-Palestine movement also has its dogma.
Jewish organizations once accepted all comers — gay, bacon-eating, atheist — Spector told me in an interview the day the show, tracking six members of a Birthright group over 18 years, opened at MCC Theatre. Recently, though, when it comes to the Jewish state, “there’s been a similar kind of shift away from tolerance from people on both sides of that divide.”
As if one needed more proof of Spector’s assertion, the group Theater Workers for a Ceasefire announced on Tuesday a call to boycott the production for “normalization,” even though the show is, at press time, sold out.
In an open letter, the organization outlines its concerns. “Normalization includes any plays, festivals, and other kinds of cultural activities that are based on the false premise of symmetry between oppressors and oppressed or which assume colonizers and colonized are equally responsible for the ‘Israel/Palestine conflict.’”
Birthright, they argue, meets this definition in its third act, when Izzy and Chaya (Zoë Winters), a former Obama staffer, debate the Gaza War in the aftermath of Oct. 7. “Chaya and Izzy perpetuate the fallacy that genocide has two equally legitimate sides,” the Theater Workers wrote. “The play does not challenge Chaya’s beliefs — it privileges them.”
But does it? We learn Chaya resigns from her job at the domestic nonprofit she founded over a pressure campaign by her staffers, who share an offensive text she sent via Instagram. The text: “Maybe they should spend a week in Gaza, and then come back and tell us if the rapes are real or not.”
In an Instagram carousel, Artists For Ceasefire describes this as “a text accusing Palestinians of being rapists.” This is a distortion, but reveals a familiar taboo in certain pro-Palestinian activism: the acknowledgment that Hamas and Palestinian Islamic Jihad committed sexual violence.
“Birthright emphasizes Chaya’s victimhood, whereby her own personal and professional losses in the wake of October 7th are greater than that of any Palestinian,” the letter continues. “Izzy is depicted as immoral for caring more about Palestinian strangers than her friend.”
This smacks of a bad faith reading. Once again we are in the realm of depiction not equalling endorsement. Cherries are being picked. That the play doesn’t “challenge” every argument, or “encourag[es] audiences to empathize with” an Israeli character’s “subjectivity” is seen as morally deleterious, rather than what it is: a play, with characters, not a debate, op-ed or struggle session.
As Spector told me, “plays contain ideas, but plays are about people.”
We needn’t wonder what Theater Workers for a Ceasefire would recommend as counter-programming: on Instagram they argued for an example in Seven Jewish Children by Caryl Churchill, a non-Jewish playwright. That play is more polemic than drama and runs on an engine of Holocaust inversion, which makes sense when you look at their Instagram post.
“Conventional drama demands we present contrasting viewpoints in the name of conflict,” the group concedes, “But how we write the conflict is not an ideological [sic] benign matter.”
The overriding interest is not art, but ideology. Not the mirror up to life, but of the funhouse variety that warps reality to an endless, echo chamber tunnel.
Eli Gelb, an actor in the show, acknowledged the boycott in an Instagram story, wrote “I’ve been outspoken as an antizionist Jew and I remain so. I believe in the show and will be continuing to perform in the production.” Molly Bernard’s Instagram stories Wednesday are of devastation in Gaza.
The letter makes clear “this would not be a boycott of MCC, nor of Jonathan Spector, but of this specific cultural product.” How can you boycott a run that, at press time, has no seats left to buy? Yield your tickets while ye may, someone will gladly snap them up.
In the play, a character, whose identity I won’t reveal due to spoilers, discusses an episode recounted in the Talmud, where a Super Bowl-sized crowd witnesses one priest stab another for the privilege of cleaning up ashes from a ritual sacrifice.
Rabbi Tzadok says all present were responsible for creating the conditions for the attack. But then the father of the stabbed priest retrieves the knife from his son’s back, and tells the crowd that, as he is not yet dead, the knife is still ritually pure. The onlookers cheer.
In the show, the story is cryptic, but speaks to Israel, where the ideal of the state has given way — perhaps irreversibly — to a culture of violence.
“This is how far they had fallen in this period,” the character says, “how far they had strayed, that they valued the laws of ritual purity over human life.” It’s an argument that would seem to align with Artists for Ceasefire, for whom the suffering in Gaza supersedes any gestures at complexity.
In their demands for a purity test, they may have missed it.
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