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A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story.
(New York Jewish Week) — On a Wednesday evening last month, three generations of a Jewish family made their way to their seats at the Longacre Theater to see “Leopoldstadt,” Tom Stoppard’s epic Broadway play about the tragedies that befall an extended Jewish family in the first half of the 20th century in Vienna.
The date of the family gathering was a significant one: Nov. 9, the 84th anniversary of the Nazi pogroms known as Kristallnacht. And in the audience was Fini Konstat, 96, who lived in the once thriving Jewish neighborhood after which the play is named, and witnessed the horrors it portrays first-hand. Alongside her were her daughter and her son-in-law, Renee and James Akers, and her oldest great-grandchild, Lexi Levin, 23.
When Konstat was a child, she lived in a “nice apartment” in Leopoldstadt. But exactly 84 years to the day of their theater date, “I was running with my father, seeing all the Jewish stores with all their windows broken,” she told Levin in a short video her great-granddaughter filmed before the curtain rose.
“It’s such a blessing for me to be here with you,” Levin said to her great-grandmother in response. “Ninety-six years old, survived a pandemic, at a Broadway show in New York City.”
Left: Fini as a child on the balcony of her apartment in Leopoldstadt. Right: Fini with her three children in front of the very same building, pictured in 2015. (Courtesy)
Since the beginning of its Broadway run in mid-September, “Leopoldstadt,” with its depiction of a prosperous Viennese family on the brink of destruction, has moved audiences to tears and inspired deep reflections on the Holocaust. Based on the celebrated playwright’s own family history — of which he was barely aware while growing up in England — it has provided a stark counterpoint to news about rising antisemitism and the celebrities who have been purveying it.
But for Konstat, the play was much more personal. “When I heard the word ‘Leopoldstadt,’ this alone gave me lots of thrills and memories,” Konstat, who is known in her family as Mimi, told the New York Jewish Week in accented English. She recalled how Levin, who recently moved to the city, invited her to fly to New York to see one of Broadway’s hottest tickets.
“Leopoldstadt,” she repeated, her voice breaking. “The second district. That’s where we lived.”
At the end of Stoppard’s five-act play, audiences learn that most of the Jewish characters had perished under the Nazis — of the four generations in the show, just three cousins survive to carry on the family’s legacy.
For Konstat too, she and her parents were among the very few in their extended family to survive the Holocaust. “Almost all of them went to Auschwitz or other camps,” Konstat said. “My mother was a twin and only the twins remained alive. [My mother’s] five other siblings and my grandmother perished.”
L-R: Renee Akers, James Akers, Lexi Levin and Fini Konstat at the Longacre Theater to see Tom Stoppard’s ‘Leopoldstadt on Broadway,’ Nov. 9, 2022. (Courtesy)
In a Zoom conversation held over Thanksgiving weekend, Konstat, surrounded by two of her daughters, two of her granddaughters and three of her great-granddaughters, shared what the play meant to her — and how her family has restored what she lost.
In the months after Kristallnacht in 1938, Konstat and her parents hid in a neighbor’s apartment; Konstat recalls hiding under the duvet when German soldiers showed up. Eventually the family fled to Turkey, and then to India, before settling down in Mexico City. There, the teenage Fini met her husband David, also a survivor who escaped Poland. The two of them began to write the rest of their story — starting with the birth of the first of their three children in 1948.
Unlike many Holocaust survivors, Fini and David Konstat were open about their experiences during the war, instilling a sense of pride and duty to remember in their children — something that eventually extended to their grandchildren and great-grandchildren.
“They were proud to speak about how they survived this,” said the Konstats’ middle child, Renee Konstat Akers. “Their life was an odyssey. They had the courage to do things that you would never think were possible. We grew up grateful knowing how our family survived in that incredible way.”
Each child moved to different places as they grew up and got married. Manuel, the oldest, stayed in Mexico. Renee married an American and moved to the Midwest, and Denise, the youngest, to Houston. Each became deeply involved in their Jewish communities, sending their children (Konstat’s grandchildren) to Jewish day schools, celebrating Jewish holidays and participating in synagogue life.
“The word ‘miracle’ really does not feel like an understatement in this scenario,” said Sherry Levin, one of Konstat’s grandchildren. “When we think about what it took for my grandmother and grandfather to survive and how they were able to intersect in Mexico, and such an amazing multi-generational family has come to fruition, it feels miraculous.”
Pictured here on their 40th anniversary, Fini and her husband David met in Mexico City after both had fled Europe. They were married 54 years before David died in 2001. (Courtesy)
Reviews of the show have ranged from rhapsodic to resistant, with some critics suggesting the play is simplistic and obvious in its story-telling or that it is less a well-crafted play than a well-meaning lesson on the Holocaust.
But just as the Merz family clashes and argues about everything from antisemitism to intermarriage to socialism in “Leopoldstadt,” each generation of the Konstat family that saw “Leopoldstadt” that night came away with something different — a reaction influenced by their age, their Jewish identity, their nationality and their relationship with their family.
For Konstat, the arc of “Leopoldstadt” was so familiar that it hardly stirred her. “It was just very happy watching it and enjoying it and enjoying my children with me, “ she told the New York Jewish Week. “I didn’t think about anybody else.”
Akers, too, felt an intense familiarity with the story, and, perhaps toughened by her own family history, didn’t experience an intense emotional reaction. Her own parents’ lives gave Akers a sense of purpose in her life — for example, in the 1990s, she was passionate about helping resettle Jews fleeing the former Soviet Union. With her own children, she instilled in them a strong sense of Jewish purpose in their work, their education and their family.
“I was a sandwich in between seeing my mother and my granddaughter,” she said of her “Leopoldstadt” experience. “I was emotional thinking of my mom who went through it, but I was more emotional about seeing my granddaughter be so moved. It really hit her at her core.”
Indeed, it was the youngest member of the family present that night who was most shaken by the play.
“It really felt like a gift to my family and to me, specifically, to be able to see what Mimi’s life looked like before the war,” Lexi Levin said, surmising that, as a fourth-generation survivor, she is among the first in her family to be able to start processing the loss on a grander scale.
“For the first time in my life, I really felt the magnitude of her loss,” she added. “I’ve known her story and I’ve been inspired by her story to be involved with my own Jewish causes, but I have never been able to access and truly empathize with her grief and what it meant that she lost the entire family she had before this one that she created.”
Turning to her great-grandmother, as if trying to make her understand the exact precision of the show, Levin explained, “It’s a play about generations and the family was large and then it was small.”
“You made it large again,” she said, referring to the generations of family that had assembled — in the Broadway theater and again over Thanksgiving weekend. “Look at this room.”
Pictured on her 90th birthday in 2017, Fini Konstat now has three children, ten grandchildren and twenty great-grandchildren. (Courtesy)
There was a coda for the family after the curtain went down. The day after the show, the family wanted to see the 1907 “Portrait of Adele Bloch-Bauer I,” one of Gustav Klimt’s most famous paintings, which currently hangs at the Neue Galerie on the Upper East Side. A version of the portrait’s true story — how a painting of a socialite from a prominent Viennese Jewish family was looted by the Nazis and the family’s efforts to get it back — features in the plot of “Leopoldstadt.”
The gallery, however, was closed on the only day the family could visit. After a call to the management at the gallery, which showcases the German and Austrian art collections of Jewish philanthropist Ronald S. Lauder, the gallery’s director arranged a private tour.
“It felt like we were in a puzzle and everything was finally coming together,” said Akers. “It was an emotional, emotional time.”
When the week was over and the emotions were spent, Konstat and the Akers returned home with a reignited passion for their family story. But there was yet another twist: In addition to the whirlwind trip Levin planned for her grandparents and for Mimi, she had been undergoing the laborious process of applying for Austrian citizenship. Six members in Konstat’s large family have undertaken the process over the last two years.
“Part of the motivation was knowing Mimi’s story, and knowing that she survived because her mother had citizenship in Turkey,” Levin said. “That story was just inspirational to me, knowing that dual citizenship was what saved our family.” She convinced her brother and mother to apply for Austrian citizenship as well.
The day after her grandmother and great-grandmother left New York, Levin called them with news from her small apartment in Manhattan: An Austrian passport had arrived in the mail. The curtain was rising on another act.
Konstat was surprised at how interested her family was in getting Austrian citizenship. “I feel very good,” she said. “I’m very happy.”
“Does it make you emotional?” Levin asked her during the Zoom call with the New York Jewish Week.
“It does — of course it does. I used to love Austria,” she said. “I was sad to leave. I was disappointed. We never thought of coming back. I was happy to be able to escape. Thank God we made it out of hell.”
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The post A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story. appeared first on Jewish Telegraphic Agency.
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A new collection of Yiddish rhymes and games for children (and Yiddish students!)
עס קומט באַלד צו גיין דער יום־טובֿ פּורים, האָב איך פֿאַר אײַך לייענער צוגעגרײט שלח־מנות: אַ גוגל־דאָקומענט מיט מאַטעריאַלן פֿאַר קינדער און תּלמידים, געשעפּטע סײַ פֿון עלטערע פֿאָלקלאָר־זאַמלונגען, סײַ פֿון שאַפֿונגען פֿון דער נײַערער צײַט. ער געפֿינט זיך דאָ. װײַטער קענט איר לײענען פֿאַר װאָס איך האָב זיך אונטערגענומען אַזאַ פּראָיעקט, און זיך דערװיסן נאָך פּרטים װעגן די מאַטעריאַלן װאָס געפֿינען זיך דערין.
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אינעם הײַפֿעלע ייִדישיסטישע משפּחות צעשאָטענע איבערן ערדקײַלעך קומט נישט זעלטן אױס צו פֿילן, אַז עפּעס פֿעלט אונדז מאַטעריאַל װאָס זענען אי אױף ייִדיש אי זײ נעמען אױס בײַ די קינדער.
אָט דער כּלומרשטער דוחק שפּירט זיך אין פֿאַרשידענע תּחומען: אין גראַמען, געזאַנג, שפּילן, מעשׂהלעך — קורץ, אַלצדינג װאָס טראָגט אַרײַן פֿרײד און כּישוף אין לעבן פֿון אַ קינד. נישט אײן מאָל בין איך געזעסן און געהאָצקעט אַ קינד אױפֿן שױס און געװאָלט פֿרײלעך מאַכן, צוזינגען עפּעס אַ לידעלע אָדער אַ גראַם, נאָר פּונקט איז מיר נישט געקומען אױפֿן געדאַנק מער װי „פּאַטשע פּאַטשע קיכעלעך“, אָדער פּשוט שמײכלען און מאַכן גרימאַסן.
איז אַװדאי גוט, אַן עופֿעלע װעט נישט זײַן קײן גרױסער איבערקלײַבער, אָבער װיפֿל איז דער שיעור איבערצוקײַען די זעלבע צװײ־דרײַ גראַמען, אַז מיר פֿאַרמאָגן אַזאַ רײַכן קינדער־פֿאָלקלאָר מיט שפּילן און גראַמען? און פֿאַר װאָס זאָלן מיר כּסדר טאַנצן אױף פֿרעמדע חתונות, אָנקומענדיק צו איבערזעצונגען פֿון ענגלישע לידעלעך, אַז ס׳איז פֿאַראַן הונדערטער קינדערלידער אױף ייִדיש, אָדער סתּם ייִדישע לידער, סײַ לעבעדיקע סײַ רויִקע, צוגעפּאַסטע צו פֿאַרשידענע טעמעס און סיטואַציעס?
איך זאָג אַ „כּלומרשטער דוחק“ װײַל אין דער אמתן איז עס אַ נעכטיקער טאָג. אָט האָט ש. לעהמאַן צונױפֿגעזאַמלט און אָפּגעדרוקט אַ שלל מיט קינדער־פֿאָלקלאָר אינעם פֿאָלקלאָריסטישן־פֿילאָלאָגישן באַנד בײַ אונז יודען אין 1923. אָפּטײלן מיט קינדערלידער און קינדער־פֿאָלקלאָר קען מען אױך טרעפֿן אין די זאַמלונגען פֿון י. ל. כּהן, באַסטאָמסקי, בערעגאָװסקי און פֿעפֿער, און נאָך אַזעלכע. הײַנט, װוּ איז רוט (רבֿקה) רובינס קלאַנגאַרכיװ בײַם ייִװאָ, װאָס האַלט אין זיך גאַנצע פֿינעף טאַשמעס מיט קינדערלידעלעך? און, און, און… איר זעט שױן מסתּמא אַלײן די צרה.
מיר זענען נישט חלילה אָרעם, נאָר פֿאַרקערט: ס׳איז פֿאַראַן צו פֿיל, און װער האָט דאָס די צײַט צו צעקײַען, דורכזיפּן, און אָפּקלײַבן פֿון די אַלע מאַטעריאַלן? בפֿרט אַז אַ סך פֿון די זאַמלונגען זענען גאַנץ שלעכט געדרוקט אָדער דער טינט איז שױן אָפּגעשפּרונגען. אַראָפּצולײענען װאָס דאָרט שטײט איז נישט קײן קלײנער קונץ. און עלטערן פֿון קלײנע קינדער, אַזױ אױך פֿאַרהאַװעטע און פֿאַרהאָרעװעטע מיט די טאָג־טעגלעכע אַחריותן, זאָלן גײן גריבלען אין װיסנשאַפֿטלעכע שריפֿטן?
דערצו נאָך, אַז מע האָט זיך שױן יאָ אַ ביסל אָריענטירט אין די זאַמלונגען, דאַרף מען ערשט דערטאַפּן די, װאָס קענען שטימען מיט אונדזערע הײַנטצײַטישע השׂגות. װי למשל בײַם באַװוּסטן קינדערגראַם: „ציגעלע מיגעלע קאָטינקע / רױטע פּאָמעראַנצן / אַז דער טאַטע שלאָגט די מאַמע / גײען קינדערלעך טאַנצן“. נו, איך װײס נישט װי בײַ אַנדערע, אָבער איך קען באַשטײן, אַז דאָס זאָל בלײַבן אַ קוריאָז פֿונעם אַמאָליקן לעבן אין דער אַלטער הײם. נישט יעדע סחורה איז פּאַסיק פֿאַר הײַנטיקע קינדער.
װען סע קומט, װידער, צו ייִדישע לידער איז דער מצבֿ שױן אַ סך פֿױגלדיקער, אָבער די מענטשלעכע טבֿע איז פֿאָרט אַזאַ, אַז מע גײט זעלטן אַרױס פֿון די אײגענע דלתּ אַמות. „די גרינע קאַטשקע“ און „פֿלי, מײַן פֿלישלאַנג“ קענען דאָך אַלע, אָבער פֿאַראַן אַ סך פֿײַנע אַלבומען, נײַערע און עלטערע, פֿון דער סעקולערער װעלט און פֿון דער פֿרומער װעלט, צעשאָטן איבער דער אינטערנעץ, נאָר גײן זוכן אױף דער הײסער מינוט װען די קינדער פֿאַרלאַנגען „מוזי־י־י־י־ק!“?
כאַפּט מען זיך צו די אײן־צװײ באַליבטע און באַקאַנטע און שױן. װאָס שײך געזאַנג, זענען די מלאָטעק־ביכער אַװדאי אַ געװאַלדיקער אוצר, אָבער יעדעס מאָל גײן אױפֿמישן אַ באַנד און האָפֿן, אַז מע װעט אָנטרעפֿן אױף עפּעס גוטס, איז אױך נישט קײן פּלאַן. אַז מאַכט זיך יאָ אַ פּאָר פֿרײַע מינוט און מע װיל זיך אױסלערנען אַ נײַ ליד, דאַרף מען ערשט װיסן װוּ צו געפֿינען די גוטע סחורה.
צום גליק האָב איך אין די לעצטע חדשים יאָ געהאַט צײַט זיך אַ טונק צו טאָן אין דעם ים פֿון קינדער־פֿאָלקלאָר און קינדער־מאַטעריאַלן, צעשאָטענע איבער זאַמלונגען און װעבזײַטלעך, אָפּקלײַבן פֿון זײ אַזוינע װאָס זאָלן זײַן צוטריטלעך פֿאַר עלטערן און צוציִיִק פֿאַר די קינדער, און מאַכן פֿון דעם אַ שטיקל װעגװײַזער. דאַכט זיך, אַז דאָס קען אױך נוציק זײַן פֿאַר לערערס און תּלמידים, װאָס זוכן פֿריש, אינטערעסאַנט לערנװאַרג. דער װעגװײַזער באַשטײט פֿון פֿינעף אָפּטײלן:
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- גראַמען און לידעלעך. אין דער קאַטעגאָריע גײען אַרײַן קינדערגראַמען, סײַ צו יעדער געלעגנהײט, סײַ פֿאַר ספּעציפֿישע פֿאַלן אָדער קאָנטעקסטן, למשל: אַז דאָס קינד גיט אַ גרעפּס, אָדער אַז דאָס קינד טוט זיך אָן דאָס העמד, אָדער אַז מע דערזעט אַ שנעקל, צי אַ משה־רבינוס קיִעלע, אָדער אַז סע רעגנט… און נאָך אַ סך אַזעלכע.
- שפּילן. נישט נאָר האַנט־ און פֿינגער־שפּילן און גלאַט פֿאַרשפּילענישן, װי, צום בײַשפּיל, „באַראַן־באַראַן־בוץ“, „שׂרהניו װאָרעניע“, „אַ זעקעלע מעל“, „אין אַ שטעטעלע פּיטשעפּױ“, נאָר אױך שפּילן פֿאַר עלטערע קינדער, װאָס מע האָט אַ מאָל געשפּילן אין חדר און אין די הױפֿן — „בלינדע קו“, „פֿײגעלע פֿליט“, „רודענע ראַנע“, און פֿאַרשידענע שפּילן אין באַלעמס, מטבעות און ניסעלעך.
- רעקאָרדירטע מוזיק. נישט נאָר אַלבומען געמאַכט פֿאַר קינדער, נאָר אױך אַן אָפּקלײַב פֿון די שענסטע אַלבומען פֿאָלקסלידער װאָס קענען אױסנעמען אױך בײַ קינדער.
- געזאַנג. אין דעם אָפּטײל װערט געבראַכט אַ רשימה לידער װאָס מע קען זינגען מיט אָדער פֿאַר די קינדער, סײַ רויִקע סײַ לעבעדיקע, סײַ קינדערלידער סײַ גלאַט פֿאָלקסלידער, װי אױך לידער מיט באַװעגונגען — אַ שטײגער, „בלעטער“, „מיכלקו“, און „פֿון אַ קלײנעם גרינעם הױז“. בײַ יעדן ליד װערט געגעבן אַ לינק צום טעקסט און צו אַ רעקאָרדירונג.
- מעשׂהלעך. פֿון די פֿאָלקס־מעשׂיות און װוּנדער־מעשׂיות, פֿון בערן און לצים און כעלעמער חכמים און באַהאַלטענע אוצרות, װאָס מע פֿלעג דערצײלן די קינדער שבת אױף דער נאַכט, אָדער אין שול צווישן מינחה און מעריבֿ, אָדער װינטער הינטערן אױװן.
צום סוף געפֿינען זיך עטלעכע הוספֿות: װײַטערדיקע רעסורסן פֿאַר די װאָס װילן אַלײן אַרײַנקוקן אין די רױע מאַטעריאַלן, איבערזעצונגען פֿון פּאָפּולערע ענגלישע לידער (אַ מאָל מוז מען דאָך נאָכגעבן!), און אַ רשימה חיה־קלאַנגען אױף ייִדיש. האָט איר געװוּסט אַז אױף ייִדיש מאַכט דער בער „בו־בו“?
אַ לעצטע באַמערקונג: כאָטש דעם גרעסטן טײל מאַטעריאַל האָב איך געשעפּט טאַקע פֿון עלטערע מקורים, האָב איך אױך אַרײַנגענומען שאַפֿונגען פֿון דער מאָדערנער צײַט, צי פֿון דער פֿרומער־חסידישער װעלט, צי פֿון די ייִדישע שולן, צי פֿון אונדז ייִדישיסטן פֿון 21סטן יאָרהונדערט. איך האָף, אַז אינעם דאָזיקן װעגװײַזער װעט יעדער טרעפֿן עפּעס װאָס װעט געפֿינען חן בײַ די אײגענע קינדער, און באַװײַזן דערמיט אײַנצופֿירן אַ גרעסערע מאָס געװאָרצלטקײט און פֿאַרשידנקײט אין דער שפּראַכיקער סבֿיבה פֿון די קינדער (אָדער תּלמידים). טאָמער געפֿעלט עפּעס נישט, אָדער מע װיל עפּעס צוגעבן, מעג מען איבערלאָזן אַ קאָמענטאַר אינעם גוגל־דאָקומענט אַלײן, אָדער קען מען אַלײן אױפֿמישן די זאַמלונגען געבראַכטע אין די הוספֿות און דערבײַ אױפֿדעקן די אוצרות, װאָס װאַלגערן זיך נאָך הײַנט אין די פֿאַרגעלטע בלעטלעך און װאַרטן אױף זײער תּיקון אין די מײַלער פֿון ייִדישע קינדערלעך.
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Mass shooter at Canadian elementary school tweeted antisemitic content 2 days before attack, ADL finds
(JTA) — The shooter who killed eight people and wounded dozens more in one of Canada’s deadliest mass shootings Tuesday allegedly tweeted antisemitic content two days before the attack.
“I need to hate jews because the zionists want me to hate jews. This benefits them, somehow,” Jesse Van Rootselaar, the alleged Tumbler Ridge school shooter, tweeted on Sunday, according to research by the Anti-Defamation League’s Center on Extremism.
Authorities in British Columbia have identified Van Rootselaar, 18, as the shooter who killed six people at Tumbler Ridge Secondary School and two family members at home before also dying, apparently from a self-inflicted gunshot wound.
According to the ADL, Van Rootselar had a “troubling pattern of online radicalization” that included using WatchPeopleDie, a platform that glorifies violence and has been linked to several mass violence events.
The ADL also found what it believes to be Van Rootselar’s X account, which it says “regularly shared antisemitic and racist content and material glorifying previous mass killers, including the 2022 Buffalo supermarket shooter and the 2019 Christchurch mosque shooter.”
Additionally, the ADL said, “The Tumbler Ridge shooter’s X profile photo also featured an image of the Christchurch shooter superimposed over a Sonnenrad, a neo-Nazi symbol, and a transgender pride flag.”
Other recent mass shooters have been WatchPeopleDie users. In August, alleged Minneapolis shooter Robin Westman entered a Catholic mass at an elementary school and allegedly used a gun featuring antisemitic and anti-Israel writing to kill two children and injure another 17 people before dying of a self-inflicted gunshot wound. The gun also included writing with the name of the man convicted of the deadliest antisemitic attack in U.S. history, the 2018 mass shooting on a Pittsburgh synagogue.
The alleged shooter behind the January 2025 Antioch High School shooting, Solomon Henderson, was found to have extensive online documents that praised Adolf Hitler and included links to “groyper” content.
Authorities in British Columbia say they cannot speculate on the motive of Van Rootselaar, who they said dropped out of school in Tumbler Ridge, a town of about 2,500, about four years ago. The dead included a 39-year-old teacher; five students, ages 12 to 13; and Van Rootselar’s mother and 11-year-old stepbrother.
Tuesday’s attack was the deadliest mass shooting in Canada since a 2020 attack in Portapique, Nova Scotia, left 23 people dead, including the shooter. A gun buyback program was implemented days after that shooting, but has proven both logistically challenging and unpopular.
“To the students, the teachers, the parents, and every resident of Tumbler Ridge: all of Canada stands with you. May the memories of those lost be a blessing,” Canadian Prime Minister Mark Carney said in a statement Wednesday morning. “May this community, which has shown its resilience so many times before, once again find the strength to heal.”
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International social workers group set to vote on expelling Israeli union for ‘not acting to promote peace’
(JTA) — The Israeli Union of Social Workers could be booted from a global federation after at least three countries called for a vote on its expulsion on allegations of ethical breaches.
The countries — Ireland, Spain and Greece — charged that the Israeli union should have moved to seek exemptions from military service for its members or “issue a call for peace.” Their call for an expulsion vote escalated the International Federation of Social Workers’ January 2025 censure of the Israeli union over the alleged breaches, which the federation said violated ethics rules that say social workers “should not use weapons in their professional or personal capacities against people.”
The Israeli union has called for the vote to be abandoned while signaling that it remains committed to dialogue with Palestinian colleagues.
“Expelling or suspending a social workers’ union will not promote change — rather, it will promote polarization and radicalization, which arise in situations of isolation or perceived threat,” it said in a statement issued on Monday. “In our reality, this means that expulsion or suspension would hinder our ability to promote dialogue with our neighbors or with other countries. Those who oppose shared life between Israelis and Palestinians would welcome such an outcome. It would serve as an excuse to maintain extreme positions and continue fighting.”
In the statement, the Israeli union also said that the demand to request Israeli social workers be granted an exemption from military service was “entirely unimaginable within Israeli society.”
“Demanding that specifically during wartime (a war Israel did not initiate) social workers receive different treatment is not feasible in a society where military service is a universal civic duty,” the statement read.
The International Federation of Social Workers represents 141 national associations of social workers. It has previously sparred with the Israeli union, which it censured in 2018 for “failing to act as an independent professional voice on issues of occupation and Palestinian rights.” The 2018 censure was lifted in 2022 after the Israeli union invited the Palestinian Union of Social Workers to engage in dialogue.
The expulsion vote is set for Feb. 18 and will require a 75% majority to pass. Each member union gets one vote.
The vote comes as Israelis have faced marginalization in a range of international associations during the war in Gaza. The International Lesbian, Gay, Bisexual, Trans and Intersex Association, for example, suspended its Israeli affiliate in 2024 before reinstating it the following year.
The Jewish Social Work Consortium argued in a statement that the expulsion proposal at the International Federation of Social Workers “advances an ideologically driven effort to isolate Israeli social workers as a collective, based on nationality rather than actual professional conduct.”
“This is not principled critique or ethical debate. It is antizionism operating through professional institutions, denying Israelis moral complexity, collective legitimacy, and equal participation in global social work,” the statement continued. “When professional bodies adopt this framework, they normalize collective punishment under the guise of ethics.”
The consortium and several other Jewish groups have petitioned American and Canadian members of the international federation to “publicly oppose and refuse to endorse” the vote. The petition had gained over 10,000 signatures by Thursday morning.
“Ethical accountability must be based on individual conduct rather than identity or nationality,” the petition says. “This is not the time for silence as this motion carries grave consequences for our profession.”
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