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A Florida bill attacking ‘critical theory’ in higher education has the state’s Jewish academics worried
(JTA) — The University of Florida has more Jewish students than any other public college in the United States — and last week, one of them reached out to a professor, fearing that it would no longer be possible to study Jewish topics there.
Citing a graphic that had been making the rounds on social media, the student asked if it was true that a new bill working its way through the state legislature would remove all “Jewish Studies courses, majors and minors” in the state. The graphic was shared by several people with large online followings, including comedian D.L. Hughley, who has more than 750,000 followers on Twitter.
“I love my major and I can’t imagine switching to anything else,” the student wrote, according to Norman Goda, director of the university’s Center for Jewish Studies.
Goda wasn’t able to console the student. Like other Jewish academics in Florida who spoke to the Jewish Telegraphic Agency, he doesn’t know whether H.B. 999 would affect Jewish studies on the state’s college campuses. Though the bill’s author — a Republican state representative — says that won’t be the case, the bill’s language is much less clear.
That’s because the bill’s current wording would forbid the state’s public higher education institutions from teaching or offering any major or minor based in “methodology associated with Critical Theory.” That prohibition, say academics and other critics of the bill, would make teaching courses in Jewish studies impossible — and would also outlaw many other fields in higher education.
Exactly what the bill means by “critical theory” is unclear. To academics, the term refers to a tool for analyzing society and culture, created in the 1930s by German Jewish academics, that encourages people to view the world through power structures, and to consider why they fall short. To political conservatives, it’s a relative of “critical race theory,” a watchword for those who want to inhibit classroom instruction about racism. An earlier version of H.B. 999 mentioned only critical race theory, not the umbrella theory.
“These people don’t know what they’re talking about,” said a Jewish faculty member at a Florida university, who requested anonymity due to fear of retaliation from the state government, regarding the lawmakers behind H.B. 999. “You’re putting people who don’t know what critical theory is, but have heard the words — and now you’re putting them in charge of universities.”
A university that completely purged such ideas from its classrooms, the anonymous faculty member said, “would be non-existent.”
The bill in question is the latest example of conservative-led state efforts to snuff out culture-war modes of thought like critical race theory and gender studies, often referred to euphemistically by lawmakers as “divisive concepts” in education. Such efforts have occasionally ensnared efforts to teach Jewish history and the Holocaust.
Attempts to legislate the classroom are particularly potent in Florida, where Republican governor Ron DeSantis, a likely presidential candidate, has frequently stated his desire to ban “woke” concepts from being taught in the state. (DeSantis has stated he will wait to see H.B. 999’s final form before he decides whether to sign it, but in a discussion with college administrators last week he continued to rail against what he called the “ideological agenda” of campus diversity, equity and inclusion programs.)
The state recently rejected the curriculum for a new Advanced Placement African-American Studies course in high schools, forcing the College Board to rework the class. Florida is also home to several active conservative “parents’ rights” groups that have lobbied to remove objectionable books and clubs from public schools.
While most legislation in this realm to date has targeted what’s taught in K-12 public schools, this bill and other efforts in Florida have gone a step further by seeking to regulate the world of state-funded higher education — creating what critics say are new and dangerous threats to academic freedom, with broad and vague wording that leaves efforts to research and teach a variety of disciplines in doubt.
“This bill would cripple the long-standing freedom universities have to design and teach a curriculum based on the development of academic disciplines,” Cary Nelson, an emeritus professor at the University of Illinois and past president of the American Association of University Professors ,who has taught multiple courses on Jewish issues, told JTA.
In a recent subcommittee hearing on the bill, Republican state Rep. Alex Andrade, who co-authored the legislation, said, “I believe that state universities should be focused on teaching students how to think, not what to think.” He said the bill’s banning of “radical” ideologies referred to “a system meant to direct and promote certain activism to achieve a specific viewpoint.”
Efforts to limit the material taught to children and college students are underway in several states. But Florida has an especially large population of Jewish students. The University of Florida stands atop Hillel International’s ranking of public colleges with the highest proportion of Jewish students, and the University of Central Florida has the third-largest. Florida State University, Florida International University, Florida Atlantic University and the University of South Florida also rank in the top 60.
H.B. 999 would affect education at those schools in other ways, too. The bill, which recently advanced to committee, would overhaul the state’s post-tenure review process, so that instead of checking on a faculty member’s research productivity every five years, as is currently the case in the state, tenured professors could face reviews “at any time for cause” including “violation of any applicable law or rule.”
The result, one academic in the state said, would be “open season on faculty,” who could be out of a job if their university’s board — which, in public schools, is beholden to the governor — disagrees with their syllabus.
Andrade rejected the idea that H.B. 999 would undercut Jewish studies in Florida.
“Outsiders are wrong. Ethnic studies are not affected by the bill either by the bill’s intent or the bill’s language,” Andrade wrote in an email to JTA, accusing the bill’s critics of “lying and claiming that Florida’s leaders have tried to ban teaching black history in schools.”
The state’s only Jewish Republican legislator, state Rep. Randy Fine, did not return a JTA request for comment on whether he supports the bill. Fine has promoted similar culture-war legislation in the past, including a bill he co-authored in February that would prohibit all K-12 schools in the state from referring to either students or employees by pronouns that do not correspond to the sex they were assigned at birth.
With a Republican-dominated House and Senate, some form of H.B. 999 seems likely to reach DeSantis’ desk. (A parallel bill in the state Senate does not contain wording on critical theory.) But there is strong opposition from the academic community. Groups including the American Historical Association, the American Association of University Professors and Florida’s statewide faculty union have harshly condemned the bill and urged lawmakers to oppose it.
The American Historical Association’s statement on the bill this month calls it a “blatant and frontal attack on principles of academic freedom and shared governance central to higher education in the United States.” More than 70 academic, historical and activist organizations co-signed the statement.
The executive committee of the Association for Jewish Studies signed a different statement authored by the American Council of Learned Societies, decrying the bill as an “effort to undermine academic freedom in Florida.”
“If it passes, it ends academic freedom in the state’s public colleges and universities, with dire consequences for their teaching, research, and financial well-being,” the statement said of the bill. “Academic freedom means freedom of thought, not the state-mandated production of histories edited to suit one party’s agenda in the current culture wars.”
Asked for comment on the bill, Warren Hoffman, the executive director of the Association for Jewish Studies, pointed to the statement.
Rachel Harris, director and endowed chair at Florida Atlantic University’s Jewish Studies program, is in her first semester at the university, having just arrived from the University of Illinois. “I’m now wondering if that was a terrible mistake,” she joked. (Harris is spending this term in Israel, researching on a Fulbright fellowship.)
Still, Harris said she was “confident” that legislators would “continue to support educational commitments in the state,” noting that Florida has a Holocaust education mandate for K-12 public schools. Her Boca Raton university is currently building an expanded center for Jewish and Holocaust studies, funded by private donors. H.B. 999 in its current form would prohibit universities from teaching critical theory concepts even when such programs are privately funded.
Despite what he described as a few students at the Jewish Studies center who are concerned about the new bill, Goda said he did not think the legislation would change the experience of Jewish students on his campus.
“Jewish kids these days are really choosing universities based on whether or not Jewish kids feel comfortable there,” he said. “And I would argue that [the University of Florida] is a very welcoming campus for Jewish kids overall. There are strong Jewish institutions associated with the campus.”
Instead, he feels the bill’s real effects would be felt in the state’s ability to recruit faculty and staff while its legislators jeopardize academic freedom, tenure and other lodestars of the humanities. He said, “The real question to me is how and in what way it’s going to be enforced.”
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Soccer helped my family survive the Nazis. Our community has lost sight of that story’s meaning
A new exhibit at the Holocaust Museum LA should be telling my great-grandfather’s story as part of its study of soccer, Jews and the Holocaust. But it won’t, because the museum failed to internalize the great moral lesson that my family learned from surviving the Holocaust: to never value the safety of one group over that of others.
The museum describes The Beautiful Game: The Untold Story, which opened this week, as an exploration of “the deep and often overlooked relationship between Jewish life and the global game.” It could have been curated specifically to tell my family’s story, because it was soccer that saved them from the Holocaust.
Pavel Mahrer, my great-grandfather, was a Jewish professional soccer player for Czechoslovakia. He played for teams in Teplitz and Prague, as well as at the 1924 Olympics. In the 1920s and 1930s he moved across the Atlantic to play for the Brooklyn Wanderers and for a Jewish team, New York Hakoah. His son Jerry was born during that time; eventually, the fact that Jerry held American citizenship would save much of the Mahrer family from the Holocaust.
During the Shoah, Pavel became the star player in the league at the Theresienstadt ghetto. He once wrote to his wife, as they were imprisoned separately, “tell our boys that I played soccer again and even played well and was successful.” Soccer brought him joy during those years of total despair. He avoided transport to Auschwitz — possibly because he was a famous athlete — and eventually reunited with his family in New York after the war.
The Holocaust Museum LA exhibit doesn’t tell that story, but it wanted to. My family pulled out of the exhibit because we didn’t want our story told by an institution that we think has faltered in holding true to the back half of its stated mission of inspiring “a more dignified and humane world.”
‘Never Again’ for whom?
We had already been in contact with the exhibit curators when the museum became entangled in a public relations crisis last fall over an Instagram carousel featuring a cover image of six interlocking arms of different colors with the text: “’Never Again’ can’t only mean never again for Jews.”
Further slides added: “Jews must not let the trauma of our past silence our conscience” and “To be Jewish is to remember and act.”
Finally, I thought, a Jewish institution that will stand against genocide and violence, full stop. Not just genocide and violence against Jews.
Over the past few years, I’d watched the Jewish institutions I grew up respecting make excuses for or ignore Israel’s assault on Gaza. At best, they remained silent as Israel killed innocent civilians in the name of the Jewish people. At worst, they supported Israel’s actions unreservedly.
But here was one Jewish institution that was sending the right, albeit subtle, message.
My family agreed that this was a museum that was teaching the history and lessons of the Holocaust in a way we wanted to support. We had told the museum of our interest in loaning them Pavel’s 1924 Paris Olympics jersey and photos of his soccer career for the exhibit, and grew more excited for the collaboration.
But not everyone had the same reaction to the post that we did. Comments flooded the museum’s page claiming that the phrase “Never Again” was only for Jews, and criticizing the museum for generalizing the Holocaust — as if Jews have a monopoly on being victims of genocide. I figured the museum must have been prepared for some backlash, but had decided it was worth upsetting some to show that they cared for all.
I was wrong.
The museum deleted the post, then issued an apology, calling the post “easily open to misinterpretation by some to be a political statement reflecting the ongoing situation in the Middle East.” To us, it read as if they were apologizing for giving the appearance of caring about Palestinian lives. The apology post drew outrage as well — although not in the comments section, which was disabled.
A humane world for everyone
The apology felt like cowardice to me and my family. So we asked to meet with Beth Kean, the museum’s CEO. By the time we connected with her over Zoom in October, the apology post had been deleted as well. We wanted to understand what was behind their decision to post, remove, apologize and then act like none of it ever happened.
After the meeting, we understood that the museum hadn’t expected the response to the first post; some museum staff, horrifyingly, had received death threats. But we didn’t get a good answer as to how capitulating to hateful comments and violent threats aligned with the stated mission of the museum. We were promised an updated public statement that would specifically state the museum’s humanitarian goals; but if one was ever published, I didn’t see it.
We decided that we no longer felt comfortable lending the material that told Pavel’s story to the museum. I take pride in being the descendant of Holocaust survivors, and I’m especially proud that my family has always told our story in a way that emphasizes that the safety of all peoples is and has always been intertwined. I don’t think Pavel would be proud to see his story used to help suggest in any way that Jewish lives should be valued over others.
I didn’t expect the museum to change its mind because of a thirty minute Zoom call with my family, but its willingness to, in my eyes, bend on its principles left me disheartened. If we can’t take stories of Jewish suffering and strength — like that of my family — and apply their lessons to the suffering that is occurring to this day around the world, what is the point of telling them?
I’m a soccer player myself. Every time I score a goal or make a tackle I think of how I wouldn’t be alive if it wasn’t for this beautiful game. I feel a kinship with other players, other soccer fans, because we share that love of the game. It brings us joy, it brings us hope.
I find my family’s story compelling not just because it is a story about Jews during the Holocaust, but because it is a story about survival — a story about luck, talent and both good and terrible timing. The drive to survive, and the need to ensure others’ survival, should be universal. If the message that our Jewish institutions send is that Jewish survival matters most, who is that message for? How can we expect the rest of the world to care about our safety if we don’t do anything to prove that we care about theirs?
Dani Mahrer is a former Jewish educator who now works in renewable energy in Los Angeles.
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Eliya Smith says plot is what happens when you’re busy doing nothing
Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.
“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.
“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”
Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)
The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.
“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”
Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.
“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”
In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.
Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.
The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.
“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.
“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.
About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.
Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.
We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.
“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”
She has yet to write her Texas play — or her New York one.
“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.) “Until I was like 23 I was like I can only write about being 17.”
Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.
It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.
“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”
She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.
“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”
Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.
While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.
The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.
“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”
Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.
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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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