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‘A battle of Jews against Jews’? Arab Israelis debate whether and how to join Israel’s democracy protests
TAYIBE, Israel (JTA) — Prominent figures among Israel’s Arab minority are calling on its members to join the mass protests against the Netanyahu government’s judicial overhaul plan, arguing that Arabs will be the first victims of any weakening of the Supreme Court.
“If the government succeeds it will make our chances for equality and a just peace more remote,” said Suheil Diab, former deputy mayor of Nazareth, Israel’s largest Arab city, and one of the organizers of a nonpartisan push to get Arabs to demonstrate alongside their Jewish counterparts.
“If we don’t repel the attack on the judiciary, we can’t go forward with our agenda,” Diab went on. “I want Arabs to participate and to know that participating is in their interest.”
The proposed reforms would give the Knesset — now controlled by a right-wing coalition — the power to override Israel’s Supreme Court, in a move that proponents say is needed because, in their view, the court has grown too liberal and out of step with popular sentiment. Leaders of some of the parties in the coalition have called for curbing rights of LGBTQ Israelis, non-Orthodox Jews and Arab Israelis. At least one of them has openly suggested that Arab citizens who are “disloyal” should be deported.
Diab and other Arab leaders fear that without the protection of the Supreme Court, the Arab minority might face measures limiting funding, access to jobs and opportunities and even their political representation. Even expulsion feels like a realistic concern given the far-right influence in the government, he said.
”We need to convince a distinct share of the Jewish majority that both of us are threatened,” Diab told the Jewish Telegraphic Agency. “The only way is a shared Jewish-Arab struggle.”
But while massive protests including tech entrepreneurs, army reservists, academics and others have shown the extent of determination among Jews to stop the government’s bid to legislate what it terms “judicial reform,” Arab Israelis, who make up one-fifth of the population, have hardly turned out.
This dynamic has been true in the Knesset as well as in the streets. Mansour Abbas, the leader of the Arab Ra’am Party, has said he opposes the changes, but when he was invited to participate in a press conference with other leaders of the political opposition, he declined.
Palestinian flags were seen at some of the early pro-democracy protests in Israel, such as at this one in Tel Aviv Jan. 14, 2023, but have appeared less frequently since. (Gili Yaari/NurPhoto via Getty Images)
A push to get Arabs to participate in the protests began Friday with publication of a petition calling for public activism, inked by more than 200 Arab personalities, including retired judges. A gathering here on Saturday sought to work through thorny questions about what Arab participation might look like, and what demands it might make.
Getting Israeli Arabs to the protests that have become a recurring feature of life in cities across Israel every Saturday night won’t necessarily be easy. The push is likely to run up against perceived disenfranchisement on the part of Arab Israelis, whose political parties have rarely been part of governing coalitions and whose participation in electoral politics has been portrayed in the past as illegitimate by Prime Minister Benjamin Netanyahu and his allies.
Another likely obstacle is a narrow focus for the protest organizers, almost all Jewish.
In the first weeks of the protests in January, Palestinian flags raised by protesters drew criticism from right-wing and pro-government pundits. National Security minister Itamar Ben-Gvir called for a ban on the flag in public and warned that those waving Palestinian flags in future demonstrations would be arrested. Fewer Palestinian flags were seen in the following weeks, and issues relating to the Israeli occupation of the West Bank or to the new government’s attitude toward the Israeli-Palestinian conflict were all but dropped from the agenda. An Israeli activist who asked to carry a Palestinian flag while speaking was declined.
The organizers do not seem interested thus far in broadening the agenda, and only a few Arab speakers have been featured in the demonstrations. Just hours after the Tayibe meeting on Saturday, Reem Hazzan, a leader of the predominantly Arab Hadash party in Haifa, was told by organizers who reviewed a copy of her planned speech to make changes to it. She refused and there was no Arab speaker.
Haaretz quoted unidentified organizers as saying the problem was that Hazzan refused to call in her speech for the Arab public to turn out for the protests. But Hazzan, in remarks to JTA, said she sees a deeper problem.
“We want to change the rules of the game, not just preserve what exists. What exists is not good,” she said. “We need to speak about the occupation and about discrimination. If you want Arabs to participate you must take into account that Arabs have an agenda.”
Exactly what that agenda should be was under debate during the gathering in Tayibe, a sprawling town in central Israel that like many Arab municipalities suffers from spiraling crime and violence.
“People say it’s a battle of Jews against Jews; others say they don’t want us there so why should we go and others point to times when the court sided against us,” said Mohammed Ali Taha, 82, former head of the Arab Writers Association, who spoke at the Tayibe gathering.
Arab Israelis cast their vote at a voting station in Tayibe, Nov. 1, 2022. (Jamal Awad/Flash90)
“It’s all true,” he continued. “But still we must join the protests because we will be the primary losers. When the far right rises, it strikes against the weak. We are the weak.”
With no constitution, Israel lacks any explicit guarantee of equality for all its citizens. Some laws, including those ensuring the right for immigration, advantage Jews. To the extent that Arabs have been able to challenge discrimination in recent decades, it has been largely through the Supreme Court inferring equality on them based on liberal legislation such as the Basic Law: Human Dignity and Freedom, passed in 1992, which specifies, “Every human being is entitled to protection of his life, body and dignity.” Critics of the proposed reforms warn that they could result in the rollback of that basic law.
The court has also at times ruled against Arab Israeli interests, such as when it refused to consider petitions against the 2018 Nation State Law, which enshrines Jewish settlement as a national value, declares that national self-determination in the state of Israel is “unique to the Jewish people” and demotes Arabic from an official language.
Tayibe’s deputy mayor, Malik Azzem, said that despite its mixed record, an independent Supreme Court is essential for Israeli Arabs.
“The High Court is our last defense for our rights as a minority,” he said. “The struggle for our rights is not separate from this struggle. We need to mobilize the public.”
He added that as an elected official, he fears that without the court’s oversight, the government would simply cut the budgets of Arab municipalities.
”People need to raise their voices and join,” Azzem said. “We should be at the center of the demonstrations. We are already late in dealing with this.”
Taha, the writer, whose works often focus on the Nakba, an Arabic term meaning catastrophe that is used to describe the plight of Palestinians after Israel’s 1948 War of Independence and which he lived through as a child, told the gathering: ”Without Jewish-Arab cooperation we cannot achieve anything. This is an opportunity for cooperation.”
He said he believes Arab Israelis are today more vulnerable than they have been at any time since the period that they lived under military rule, from 1948 to 1966. At that time they were so restricted that they could not travel within Israel without permits. The danger today, he says, is due to the clout of far-right ministers Ben-Gvir and Bezalel Smotrich, who have expressed anti-Arab views and, in Ben-Gvir’s case, even called for the expulsion of “disloyal” citizens.
“If they succeed it will be worse for us than military rule was,” Taha said. To avert this, he argued, Arabs need to join the protests alongside Jews even if it means not raising Palestinian flags.
”It’s not the time and place for a protest about a Palestinian state,” he said. “This could cause conflict among the protesters.”
But to others, the idea of protesting without highlighting the need to end both the occupation and inequality is akin to denying one’s very identity.
“I’m against participating in any demonstration that is embarrassed to talk about context and the occupation. I support something broader,” said Sondos Saleh, a former member of Knesset for the Arab Ta’al party.
Sondos Saleh, an Arab Israeli politician then on the Joint List Party candidate list, speaks during a press conference in Tel Aviv, Feb. 23, 2021. (Miriam Alster/Flash90)
Merav Ben-Ari, a legislator for the largest opposition party, Yesh Atid, told JTA she would welcome greater Arab participation in the protests. ”Anything that strengthens the protests is excellent,” she said.
But she showed little enthusiasm for talking about many of the topics that animate Israeli Arabs in the political sphere, including the core one that liberal critics of the protest movement say is being given short shrift.
“How is the occupation connected?” Ben-Ari asked. “What is needed is to talk about the reform. Everyone who loves the country and cares about it has to fight against the reform and the harm to the Supreme Court.”
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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.
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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.”