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With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories
(JTA) — Years ago, the Israeli filmmaker Orit Fouks Rotem took a class led by director Eran Kolirin, best known as the maker of “The Band’s Visit.” This month, movies by both filmmakers are getting theatrical rollouts in the United States.
On a recent Zoom call, Palestinian author Sayed Kashua joked: “Was that his class — how to use a Palestinian story?”
Kashua was smiling on Zoom as he said it — he is, after all, known for his often fatalistic sense of humor, particularly when it comes to the Israeli-Palestinian conflict. And the author had given his blessing for Kolirin to make an adaptation of his novel “Let It Be Morning,” and said he loved the final result.
But like most jokes, this one had a kernel of truth: Israel’s two most recent Oscar submissions, hitting New York’s Quad Cinema within a week of each other, both — to varying degrees — tell Palestinian stories.
“Let It Be Morning” is a dark comedy about an Arab Israeli village that has suddenly and with no explanation been cordoned off from the rest of the country by the Israeli military. This event forces its Palestinian residents, including a protagonist trying to return to his comfortable middle-class life in Jerusalem, to reckon with how their dignity as citizens has been denied to them by the mechanisms of the Israeli occupation. At the Quad, the film is accompanied by a retrospective of Kolirin’s work, including “The Band’s Visit,” the basis for the Tony Award-winning musical; the retrospective is sponsored by the Israeli consulate in New York.
The all-female cast of “Cinema Sabaya,” a mix of Jewish and Arab actresses, in a film directed by Orit Fouks Rotem. (Courtesy of Kino Lorber)
The following week will see the opening of Rotem’s film, “Cinema Sabaya.” It follows a group of eight women, some Jewish and some Arab and Palestinian, who bond with each other while taking a filmmaking class in a community center in the Israeli city of Hadera. Cast member Dana Ivgy, who plays the class’s instructor, told the Jewish Telegraphic Agency that the filming experience “felt like how living in Israel should feel,” adding, “We have more women in the film than in the Israeli government.”
Stylistically, the two films couldn’t be more different. “Let It Be Morning” is a tightly plotted narrative with boldly realized characters; almost all of its dialogue is in Arabic. “Cinema Sabaya” is a loose, heavily improvisational piece that is almost entirely set in one room, and is mostly in Hebrew (although in one tense early scene, the characters debate whether to conduct their class in Hebrew or Arabic). One is a dry, Kafkaesque satire; the other is an intimate, naturalistic drama.
But together, the films provide a snapshot of the delicate dance Israeli filmmakers must perform in the current climate. On the one hand, these art-house directors are being feted on the international stage for their empathetic storytelling that incorporates or even centers entirely on Palestinian characters. But on the other, they’re being attacked by government officials for their perceived insufficient loyalty — and their films’ very status as “Israeli” is being questioned, too, sometimes by their own cast and crew.
“Everyone can call it what they want,” Rotem said of her film. “I’m an Israeli and it’s in Israel, but I have partners who call themselves Palestinians, and some of them call themselves Arabs, and each one defined herself. I think it’s really how it should be.”
“A film does not have an identity,” Kolirin insisted in an interview with JTA. “It is a citizen of the screen.”
Eran Kolirin accepted the award for Best Director for “Let It Be Morning” at the 2021 Ophir Awards in Tel Aviv on October 5, 2021. (Tomer Neuberg/ Flash90)
Kolirin isn’t a fan of the label “Israeli film” in this case, even though that is how “Let It Be Morning” was categorized at its 2021 Cannes Film Festival premiere; its own press notes also list Israel as the “country of production.” That Cannes screening took place shortly after Israel’s deadly conflict with Hamas that killed more than 250 Palestinians in the Gaza Strip and around a dozen Israelis. The events turned Cannes into a political firestorm when the film’s Palestinian cast refused to attend the premiere.
“We cannot ignore the contradiction of the film’s entry into Cannes under the label of an ‘Israeli film’ when Israel continues to carry its decades-long colonial campaign of ethnic cleansing, expulsion, and apartheid against us — the Palestinian people,” the cast’s statement read in part.
“Each time the film industry assumes that we and our work fall under the ethno-national label of ‘Israeli,’ it further perpetuates an unacceptable reality that imposes on us, Palestinian artists with Israeli citizenship,” the statement continues, calling on “international artistic and cultural institutions” to “amplify the voices of Palestinian artists and creatives.”
Kolirin himself supported the cast’s action. He knew they were grieving over the outbreak of violence in Gaza and didn’t want to put themselves in a situation where “some politician is going to wave a flag over their head or whatever.”
What’s more, he said, the status of “Let It Be Morning” as an “Israeli” film, despite the fact that around half the crew was Palestinian, was not his decision: “The film was not submitted to Cannes as an Israeli film,” he said. “You know, you fill in the form: ‘Which were the countries that gave money?’” In this case, the answer was Israel and France.
Most of the cast later did not attend the Ophir Awards ceremony, Israel’s equivalent to the Oscars voted on by its filmmaking academy, where “Morning” won the top prize (which automatically made it Israel’s Oscar submission for that year). In solidarity at the awards, Kolirin read aloud a statement from his lead actress, Juna Suleiman, decrying Israel’s “active efforts to erase Palestinian identity” and what she called “ethnic cleansing.”
Orit Fouks Rotem (Courtesy of Kino Lorber)
“Cinema Sabaya” hasn’t played host to as much offscreen controversy, but its vision of Israeli multiculturalism is still inherently political. Rotem’s mother is a local government adviser on women’s issues in Hadera, and the film was inspired by her experience participating in a photography class designed to unite Jewish and Arab women. Rotem herself later led filmmaking classes in a similar vein as research for “Sabaya.”
In the film, Ivgy’s character, who is modeled on Rotem, instructs her class to film their home lives, while secretly hoping to make a movie from their efforts. When her desire to do so is revealed, the women in the class feel betrayed: They thought they were just making films for themselves, not for their stories to be told by someone else.
Similarly, Rotem said that working with Arab and Palestinian actresses made her “aware to the fact that I can’t really tell their story.” Her solution was to allow the performers — some of whom are well-known activists who had to think twice about appearing in an Israeli movie — to voice their own opinions, and to establish the necessary trust to allow them to be unscripted on camera.
She theorizes that “Cinema Sabaya” has been so well received in Israel because “it doesn’t say ‘occupation, occupation, occupation.’ It says ‘humanity,’ so people are less afraid.” (She also noted that, in real life, the women who attended her filmmaking classes bristled at her initial suggestion to make a documentary about them, telling her to fictionalize their stories instead — which she did.)
Lately the Israeli government has a tendency to view its filmmaking class as agitators unworthy of national support, particularly when they make films criticizing the occupation. Former Culture Minister Miri Regev often disparaged films she thought were bad for Israel, including celebrated international hits such as “Foxtrot” and “Synonyms.” Her current successor, Miki Zohar, has already threatened the makers of a new documentary about the West Bank city of Hebron, saying the movie smears the military and that the directors might have to return government funds.
In recent years, Israel’s culture ministry has pushed two new controversial proposals: a grant program earmarked for those who make films in settlements, which are considered illegal under international law; and a form pledging not to make films “offensive” to Israel or the military that filmmakers would be required to sign in order to apply for certain grants, which many directors have likened to a loyalty oath. For years, some of the country’s largest grantmakers have required applicants to sign a form promising to represent their projects as Israeli on the national stage.
There has also been an effort among some members of Prime Minister Benjamin Netanyahu’s new right-wing government to end funding to public broadcaster Kan, which the country’s film industry views as another attack on its free expression.
“Kan has all this dialogue,” Ivgy said. “It has Jewish and religious and Arab and Palestinian, for kids and for grownups. And nothing is taboo there. I feel that it’s very dangerous to close that option down.”
Many Israeli filmmakers are fighting back. Hundreds, including Kolirin and Rotem, have refused to sign the ministry’s pledge, and many have also protested the settlement grant program. Nadav Lapid, one of the country’s most celebrated and outspoken directors, harshly critiqued government restrictions placed on his own work in the 2021 drama “Ahed’s Knee,” which went on to win a special prize at Cannes.
Kolirin said he had recently been on a call with several Israeli filmmakers looking to further organize against artistic restrictions, and that it had given him hope. “I had this feeling of some optimism, which I didn’t have for a long time,” he said. But he didn’t mince words when discussing Israel’s new governing coalition, which he likened to “a circus of mad dogs unleashed.”
Rotem said that the current government is “very, very bad and scary,” but that it has only strengthened her resolve to make political films.
“For me, it’s also political to show women in Israel in a deep way: I mean Arabs and Jews,” she said. “Because I don’t think there are enough films that are doing that.”
For Kashua, a veteran TV writer and opinion columnist, the question of identity in Israeli and Palestinian filmmaking is even more pronounced. After a long career of trying to write about the Palestinian experience in Hebrew as a way of reaching Israelis, he left Israel for the United States in 2014, becoming discouraged by an incident in which Jewish extremists burned a Palestinian teenager alive as revenge after Palestinian terrorists kidnapped Israeli soldiers. Now based in St. Louis, he has worked as a writer and story editor on Israeli series that center on both Palestinian and Jewish stories — including the global hit “Shtisel,” which focuses on haredi Orthodox Jews, and its upcoming spinoff, along with “Madrasa,” a young-adult series about a bilingual Hebrew-Arabic school.
Israeli filmmakers choosing to center Palestinian stories can be its own radical political act, Kashua believes. He noted that the dialogue in “Morning” is almost entirely in Arabic, a language that Israel demoted from national language status in 2018 — doubly ironic as he had deliberately chosen to write his original novel in Hebrew.
“The idea that this film is ‘Israeli’ — it really contradicts the idea of Israel being a purely Jewish state,” Kashua said. He added that, while he had initially hoped a Palestinian director might have adapted his novel, he was ultimately happy with Kolirin’s approach.
“I truly love the movie, and it’s barely Orientalist,” he joked, echoing Palestinian-American intellectual Edward Said’s famous book about how a Western lens on Eastern cultures can be reductive and harmful. “Which is a big achievement for an Israeli filmmaker.”
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The post With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories appeared first on Jewish Telegraphic Agency.
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Why did Moses command Jews to choose between a blessing and a curse?
אין פּרשת ראה רופֿט משה רבינו דאָס ייִדישע פֿאָלק צו זען די ברכה און די קללה, וואָס דער באַשעפֿער גיט פֿאַרן מקיים זײַן אָדער, חלילה, פֿאַרן עובֿר זײַן אויף זײַנע מיצוות. „ראה, אָנוכי נותן לפֿניכם היום ברכה וקללה“ — זעט, איך גיב אײַך הײַנט אַ ברכה און אַ קללה.
אין די פֿאָריקע פּרשיות האָבן מיר שוין דערמאָנט, אַז דער חומש „דבֿרים“ פֿאָקוסירט אויף דירעקטע באַציִונגען צווישן דעם מענטש און דעם באַשעפֿער. דער רבונו־של־עולם האָט אָנגענומען משה רבינוס ווערטער ווי אַן אינטעגראַלן חלק פֿון זײַן תּורה, ווײַל משה האָט דערגרייכט די הויכע מדרגה פֿון אַ געטלעכן מענטש; די הייליקע שכינה אַליין האָט גערעדט דורך זײַן מויל.
אויב אַזוי, קאָן מען פֿאַרשטיין, אַז פֿון משה רבינוס דערהויבענער פּערספּעקטיוו האָט ער פּערזענלעך געזען די ברכות, וואָס קומען ווי אַ רעזולטאַט פֿונעם מקיים זײַן די מיצוות. אין אונדזער פּרשה לייענען מיר אָבער, אַז משה האָט אָנגעזאָגט די ייִדן דורכצופֿירן אַ קאָקרעטן ריטואַל בעתן אַרײַנקומען אין ארץ־ישׂראל, כּדי יעדער זאָל משׂיג זײַן די דאָזיקע קאָנצעפּציע מיט זײַנע אייגענע אויגן. ווי די תּורה דערקלערט שפּעטער, האָבן זעקס ייִדישע שבֿטים געדאַרפֿט זאָגן אַ גאַנצע ריי ברכות אויפֿן באַרג גריזים, און די אַנדערע זעקס שבֿטים האָבן געשאָלטן די רשעים אויפֿן בשכנותדיקן באַרג עיבֿל, כּדי אויף אַ גשמיותדיקן אופֿן צו שילדערן דעם חילוק צווישן שׂכר־מיצוות און דער שטראָף פֿאַר עבֿירות.
די חסידישע מפֿרשים אַסאָציִיִרן דעם נאָמען פֿון אונדזער סדרה מיט די ניסים פֿון מתּן־תּורה. די תּורה באַטאָנט, אַז ווען דער אייבערשטער האָט געגעבן די תּורה אויפֿן באַרג סיני, האָבן אַלע ייִדן געזען דאָס קול פֿונעם באַשעפֿער; די חז״ל דערקלערן, אַז דעם אייבערשטנס ווערטער האָבן זיך אין זייער שׂכל פֿאַרוואַנדלט אין וויזיעס.
הרבֿ אַריה קאַפּלאַן, דער באַקאַנטער וויסנשאַפֿטלעך־אָריענטירטער פּאָפּולאַריזאַטאָר פֿון קבלה און חסידות, האָט אין זײַנע ווערק מסביר געווען, אַז לויט דער מאָדערנער פּסיכאָלאָגיע זענען די דאָזיקע דבֿרי־חז״ל גאַנץ פֿאַרשטענדלעך. הגם אונדזער מוח באַהאַנדלט די אינפֿאָרמאַציע פֿון די אויערן און אויגן אויף באַזונדערע אופֿנים, איז דער פּראָצעס בעצם דער זעלבער. אין אויסעראָרדנטלעכע סיטואַציעס – און די מתּן־תּורה איז זיכער אַ גוטער בײַשפּיל דערפֿון – קאָנען אונדזערע חושים זיך צונויפֿשמעלצן. למשל, ווען מיר זעען אַ חלום און עצעמער פּרוּווט אונדז אויפֿצוּוועקן, ווערן די ווערטער פֿונעם דרויסנדיקן מענטש צומאָל פֿאַרוואַנדלט אין חלומדיקע וויזועלע פֿיגורן. אין דער הײַנטיקער פּסיכאָלאָגיע ווערן אַזאַ פֿענאָמען אָנגערופֿן „סינעסטעזיע‟.
די תּורה בלײַבט אָבער אַקטועל אין יעדן דור. הגם מיר זענען ווײַט פֿון משה רבינוס דערהויבענער מדרגה פֿון דבֿקות און פֿונעם מיסטישן שׂכל־צושטאַנד בעת דער מתּן־תּורה, זאָגט אונדז משה רבינו קלאָר, אַז אין אַ געוויסער מאָס קאָנען מיר אַלע זען די פּירות פֿון אונדזער עבֿודת־השם אין דער וועלט. די גײַסטיקע דערפֿאַרונג בײַם באַרג סיני בלײַבט אײַנגעקריצט אין אונדזערע נשמות, און מיר זענען טאַקע מסוגל צו זען מיט אונדזערע אויגן דעם באַשעפֿערס שפֿע פֿאַרן מקיים זײַן די מיצוות.
אין די פֿריִערדיקע צוויי סדרות האָבן מיר געלייענט די ווערטער פֿון דער וויכטיקסטער ייִדישער תּפֿילה: קריאת־שמע. צוויי מאָל אַ טאָג, מוזן מיר זיך דערמאָנען, אַז אַלץ אין דער וועלט איז אַ געטלעכע אַנטפּלעקונג. דער אות „ח‟ אינעם וואָרט „אחד‟ איז מרמז בגימטריא, אַז דער רבונו־של־עולם איז איינער אויף די זיבן הימלען און אויף דער ערד, און דער אות „ד‟ דערמאָנט אונדז, אַז אין אַלע פֿיר ריכטונגען אַרום אונדז און אין אַלע פֿיר עלעמענטן פֿון דער נאַטור דערשפּירט זיך דער געטלעכער כּוח. ווי רבי לוי־יצחק באַרדיטשעווער, דער באַרימטער חסידישער צדיק, זינגט אין זײַן ניגון „דודעלע‟, געפֿינען מיר איבעראַל דעם אייבערשטן און פֿאָרט בלײַבט ער פֿון אונדז באַהאַלטן. ווי דער בעל־שם־טובֿ האָט זיך אויסגעדריקט, ווען אַ בלאַט פֿאַלט אַראָפּ פֿון אַ בוים, איז עס אַ טייל פֿונעם געטלעכן באַשאַף־פּלאַן.
אויב מע טראַכט זיך אַרײַן, זעען מיר יעדן טאָג מיט אונדזערע אויגן גאַנץ קאָנקרעטע ברכות און קללות אויף אַ גאַנץ פּשוטן אופֿן, אָן קיין הויכע עבֿודות און מעדיטאַציעס. אַדרבה, צום באַדויערן, זענען די מענטשן אָפֿטמאָל אַליין שולדיק אין דעם, וואָס דעם אייבערשטנס השגחה בלײַבט פֿון אונדז באַהאַלטן. ווען אין די נײַעס דערציילט מען שרעקלעכע ידיעות וועגן מלחמות און אַנדערע צרות, דאַרפֿן מיר געדענקען, אַז די וועלט נייטיקט זיך אין אַ תּיקון. וואָס מער מיר זאָרגן זיך וועגן די מיצוות בין אָדם־לחבֿרו, אונדזערע עטישע פֿליכטן לגבי אַנדערע מענטשן, אַלץ קלאָרער זעען מיר מיט אונדזערע אויגן, ווי די וועלט ווערט אַ בעסער געבענטשט אָרט.
דער גרויסער מקובל און בעל־מוסר אלעזר אַזכּרי באַמערקט אין דער הקדמה צו זײַן „ספֿר־חרדים‟, אַז דער באַקאַנטער ספֿרדישער צדיק רבי יוסף סרגוסי האָט זוכה געווען צו דערגרייכן אַ הויכע מדרגה פֿון רוח־הקודש, ווײַל ער פֿלעגט אַרומלויפֿן אין צפֿת, כּדי שלום צו מאַכן אַפֿילו צווישן צופֿעליקע צעקריגטע אַראַבישע פּאָרפֿעלקער. אונדזער באַטייליקונג אינעם וועלט־תּיקון, לאַוו־דווקא אין אונדזערע אייגענע קהילות, ברענגט גאַנץ פּראַקטישע רעזולטאַטן סײַ אין דער אַרומיקער סבֿיבֿה, סײַ אין אונדזערע נשמות.
פֿון דער צווייטער זײַט, כּל־זמן ערגעץ אין דער וועלט הערשט שׂינאה און אומיושר, בלײַבן מיר אין גלות, פֿאַרזונקען אין סיטרא־אַחרא. אַדרבה, ווען אַ ייִדישע קהילה זאָרגט זיך בלויז וועגן אירע אינערלעכע ענינים, ווערט זי אָפֿט באַוואַקסן מיט אַ גאַנץ פּעקל קללות און צרות. אין אַ סבֿיבֿה, וווּ מע היט זיך אָפּ אויף כּלערליי אופֿנים פֿון דער „פֿאַרשאָלטענער‟ דרויסנדיקער וועלט, קריכן גרינג אַרײַן אינטריגעס, קריגערײַען און אַנדערע פּראָבלעמען; צוליב אַזאַ באַציִונג, נעבעך, קאָן מען אַליין פֿאַרשאָלטן ווערן. אויב מע טראַכט זיך אַרײַן, קאָנען מיר גאַנץ קלאָר דערזען, אַז די וועלט נייטיקט זיך אין אונדזער גלאָבאַלער עבֿודת־התּיקונים; די לעכערדיקע און קרומע באַציִונג צו די מיצוות בין אָדם־לחבֿרו זענען אַ קוואַל פֿון בפֿירושע קללות.
עס באַקומט זיך, אַז וואָס שייך די צווישן־מענטשלעכע מיצוות, איז גאַנץ גרינג צו דערזען די ברכות און קללות, וואָס ס׳שטעקן אין זיי. די תּורה באַטאָנט אין אונדזער פּרשה, אַז דער אייבערשטער האָט פֿאַרטריבן די כּנענים און געגעבן זייער לאַנד צו ייִדן נישט צוליב די ייִדישע זכותים, נאָר צוליב די רישעותדיקע מעשׂים פֿון די אַמאָליקע כּנענישע פֿעלקער, וועלכע האָבן אויף עקסטרעם אַכזריותדיקע אופֿנים צעטראָטן די עטישע יסודות פֿון מענטשלעכקייט.
פֿון דער צווייטער זײַט, איז גאַנץ גרינג צו דערשפּירן די ברכה אין אַ היים, וווּ עס הערשט שלום־בית און פֿרידלעכע באַציִונגען מיט די שכנים. אין אַ שיל, וווּ אַלע מתפּללים זענען בשלום איינער מיטן צווייטן און האָבן דרך־ארץ פֿאַר דער אַרומיקער וועלט רוט אויך אַ געזונטע און געבענטשטע אַטמאָספֿער.
רבי פּינחס־אליהו האָראָוויץ דערקלערט אין זײַן „ספֿר הברית‟, אויפֿן סמך פֿון רבי חיים וויטאַל און אַנדערע קלאַסישע קבלה־קוואַלן, אַז אין אַ ברודערלעכער און פֿרײַנדלעכער געזעלשאַפֿט קאָנען אַפֿילו דורכשניטלעכע מענטשן דערגרייכן דעם רוח־הקודש. אויב מיר זענען מקיים ווי געהעריק די מיצוות בין אָדם־לחבֿרו, קענען מיר אויך דערזען די ברכה, וואָס שטעקט אין די מיצוות בין אָדם־למקום, ריין־גײַסטיקע באַציִונג־ענינים צווישן דעם מענטש און דעם אייבערשטן. כּדי צוצוקומען אויף וויפֿל מע קען צו דער שכינה־אַנטפּלעקונג און אויסצומײַדן די דערמאָנטע קהילה־פּראָבלעמען, מוזן מיר זיך קודם־כּל פֿאָקוסירן אויפֿן סאָציאַלן אַספּעקט פֿון דער תּורה, וואָס דערמעגלעכט צו זען דירעקטע פּאָזיטיווע רעזולטאַטן פֿון אונדזער עבֿודת־השם.
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In the Michigan Senate race, Jews should (and will) vote for democracy
Michigan Jews are feeling the ground shifting beneath us. For the first time, the Democratic candidate to represent Michigan in the United States Senate is not an advocate of unconditional support for Israel’s government. And he is one of a growing number of progressive leaders pushing the Democratic establishment to fight for the values it claims to stand on.
Many in our communities hoped for a different outcome in yesterday’s primary and feel destabilized by the shifting political terrain. Others feel hopeful, for the first time, of being represented on the electoral stage. Moving into the general election, when the stakes are so high, I would like to refocus the conversation on our shared values.
When I cast my ballot Tuesday, and when I cast it again in November, I do so with the wisdom of Pirkei Avot 1:18 in mind: on three things does the world stand — on justice, on truth, and on peace, as it is said: “execute the judgment of truth and peace in your gates” (Zechariah 8:16). Rabban Shimon ben Gamaliel and others of his generation were building communities out of the rubble of the Temple’s destruction. They asked themselves, as they rebuilt: what are our core principles? What values need to sit at the center of this new order? Out of the wreckage, what new world will we create?
Let those three pillars be our voting guide.
Din — Judgment. Who will fight for fairness? Who is beholden to corporate interests and who will stand for economic equality? A candidate’s record on wages, on housing, on the right to organize — these will show commitment to justice.
Emet — Truth. Who tells us the truth, even when it costs them? In the words of former Rep. Andy Levin, we are looking for “authenticity, bravery, and truth-telling.” Who can help to rebuild trust in our public servants and institutions?
Shalom — Peace. Which candidate will challenge the military-industrial complex? Who will work to reduce war and violence in our world, rather than fund more of it? At home and abroad.
In this election, we have an unusually clear lens for understanding a candidate’s values: immigration enforcement. Immigration and Customs Enforcement — ICE — is where our society’s authoritarian drift is most visible and most violent. So as we lean on the pillar of Shalom to consider candidates, we can ask a direct question: is this someone who will bakesh shalom v’radfehu — seek peace and pursue it — for the people in ICE’s crosshairs? Or will they support the expansion of a paramilitary force into our schools and neighborhoods?
Justice, Truth and Peace — these are the values upon which “the world stands.” But what does it mean for the world to stand? A classic rabbinic commentary interprets this as the preservation of human society. Which candidate will protect the environment, will put people over profit, will choose the survival of our communities over the balance sheet of the insurance, arms and oil industries? By this measure, the idea that Jews who want unconditional aid for Israel should therefore vote for a candidate who would strip away abortion rights, gut health care, and undermine the basic machinery of democracy is, to use a technical term, cuckoo banana-cakes.
And then there is the issue of antisemitism. My teacher Rabbi Mordechai Liebling explains that on the left, antisemitism is a bug and not a feature — a problem that can be and must be addressed. On the right, antisemitism is a foundational worldview. The real threat to American Jews is the far right. It’s they who promulgate conspiracy theories and it’s they who deploy ICE into our communities to kidnap our neighbors.
I personally think that Dr. El-Sayed is not antisemitic — certainly not any more than the general population. But I don’t need to convince you of that. What I hope you’ll hear is that Abdul is someone with whom we share core values — that he is someone the Jewish community can work with. What I hope you’ll hear is that a liberal-fascist coalition is out of the question, and that a liberal-left coalition is the only path forward. In November, we will elect a politician who will work with the people and not against us. Our loyalty is not to any party, but to the movement for a true democracy — and to the leaders who will work with us to advance it.
The ground doesn’t have to shift beneath us; we can be a part of moving that ground, of redrawing the politics of the possible. May Zechariah’s vision of justice, truth and peace come to pass, speedily and in our days, and may we merit to help make it so.
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On El-Sayed, Michigan’s Jewish Democrats aren’t all ready to unite behind nominee
Following Abdul El-Sayed’s narrow win of the Democratic nomination for Michigan’s open Senate seat, the state’s Jewish Democrats are reflecting on whether the divisions El-Sayed’s candidacy brought to the fore can be bridged before November.
Jewish voters make up just 1.4% of the electorate in Michigan. But the community had become deeply invested in the race, with Jews both in fierce opposition and fiery support of El-Sayed in an election that had become a proxy fight over the Gaza war and the U.S.-Israel relationship.
Jewish former Michigan congressman Andy Levin, who had endorsed El-Sayed, believes Democrats will get behind the nominee in the interest of defeating Republican Mike Rogers — a race that could determine which party controls the Senate. Pre-primary polls found Rogers leading El-Sayed by single digits.
“Shame on any Jewish Democrat if they’re going to go vote for Mike Rogers and put our democracy at risk because they can’t find their way to supporting Abdul El-Sayed, who is such a brilliant person, just because he doesn’t share their exact beliefs on Israel and Palestine,” Levin told the Forward. “That’s ridiculous.”
Levin lost his Senate seat to Rep. Haley Stevens after heavy spending against him by AIPAC, the campaign fundraising group advocating for unrestricted U.S. aid to Israel. An AIPAC-associated super PAC spent some $32 million in a failed attempt to get Stevens the Senate nomination.
Stevens endorsed El-Sayed for the general election Wednesday morning. But some Jews who voted for Stevens see no possibility for reconciliation. Rabbi Asher Lopatin of the modern Orthodox synagogue Kehillat Etz Chayim in suburban Detroit had endorsed Stevens in the primary, alarmed by El-Sayed’s association with the controversial Twitch streamer Hasan Piker and condemnation of Israel as a genocidal and apartheid state.
In a TV interview Wednesday, El-Sayed used the term “bloodthirsty” to describe Israel.
“To have so many people vote for someone who is so hurtful to the Jewish community, the things that the Jewish community values — I think it’s depressing,” Lopatin told the Forward.
Lopatin has made up his mind that he will not vote for El-Sayed in the general election, but he also isn’t yet sold on Rogers, the Republican nominee.
“I have to study him more,” Lopatin said. “But I will not vote for Abdul El-Sayed, definitely, and I would tell people they should not.”
Lopatin said he wishes Stevens would condemn El-Sayed rather than endorse him.
Still, others see El-Sayed as the best candidate to face Rogers in the general — and don’t want him to pull back on the issues that won him the nomination. Barbara Weinberg Barefield, a photographer outside Detroit who helped organize the group Jews for Abdul, said she has confidence El-Sayed will win the general — attributing the close primary race partly to the influence of outside money supporting Stevens.
“He was able to win this election in the face of close to $70 million of outside funding going to bolster his opponent,” Weinberg Barefield said. “This election is showing us, and elections around the country are showing us, that elections are not to be bought — they’re to be earned.”
Roslyn Schindler, a retired professor who taught Holocaust studies at Wayne State University, was also among El-Sayed’s Jewish supporters, even as she disagreed with him on his lack of support for a two-state solution. She stressed the importance of beating Rogers in November irrespective of disagreements on Israel.
“My motto is and will be: vote blue, no matter who,” Schindler told the Forward. “I am hoping that all Democrats realize that to do otherwise will be self-destructive and just plain wrong.”
Others are taking a wait-and-see approach. Decky Alexander, chair of the Michigan Democratic Jewish Caucus — which endorsed Stevens in the primary — isn’t issuing an endorsement in the general election yet.
She said the close margin El-Sayed won by, about 15,000 votes, gives her hope that El-Sayed will see the need to unify his party. A start, she said, would be focusing less on AIPAC during his general election campaign.
“There’s a lot of opportunity on Abdul’s side to be a better bridge maker versus kind of a bridge burner,” Alexander told the Forward. “The cards are his. It’s his responsibility to initiate.”
In his election night speech, El-Sayed didn’t mention AIPAC by name, instead speaking more generally about getting money out of politics.
On Wednesday, he addressed Jewish Michiganders directly: “I want you to know that my commitment to your safety, my commitment to Jewish safety, is the same commitment that I have to the safety of my own daughters.”
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