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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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Sarah Sommer Chai Folk Ensemble going back to the future for upcoming performance
By MYRON LOVE I am sure that the late Sarah Sommer is looking down from wherever she is, beaming at the longevity and international success the Sarah Sommer Chai Folk Ensemble has had. What began as a group of eight dancers who were in their early teens back in 1964 has blossomed into one of our Jewish community’s longest and most successful music and dance troupes – one with few rivals anywhere else in the world.
Not only has Chai regularly entertained local audiences with new and innovative Israeli and Jewish-themed dances over the years, the troupe has also performed across Canada, in the United States, Cuba, Mexico City and Israel. In fact the group has appeared in Israel three times – the last time in conjunction with the Winnipeg-based Ukrainian Rusalka Dancers – a trip that included a performance in Ukraine as well.
What is truly amazing about Chai is that the organization – from performers to directors to backstage support people has always been made up entirely of volunteers.
For Chai’s next performance on Sunday, May 31, in the aternoonn, Sarah Sommer (yes, the granddaughter and namesake of the original Sarah Sommer) and Jesse Popeski, the troupe’s co-artistic directors , are reaching into the past, as well as looking forward.
Popeski and Sommer describe the upcoming production, titled Al Kol Eleh: Hebrew Songs of Hope as “a celebration of community, resilience, and joy, brought to life by the Chai Folk Ensemble.”
According to the Chai website, “at a time when our community is deeply seeking connection, meaning, and light, Al Kol Eleh offers a powerful message of hope and strength through music and dance.”
The concert will feature long-time Chai favourites alongside new works and a unifying medley of songs by Naomi Shemer, the “First Lady of Israeli Song.” “This moving feature piece,” notes the website, “set to new choreography by Rachel Cooper, honours our past, present, and future of the Chai Folk Ensemble as one community.”
In addition to Chai’s regular complement of about 30 dancers, singers and musicians, Al Kol Eleh will feature a group of Chai alumni along with 25 children from the community.
“We invite Chai alumni to join us for a performance every five years or so,” notes Sommer, who joined Chai in 2008 while still in high school and has been co-artistic director since 2022. (Popeski has been a member of Chai since 2015.) “This is the first time in 25 years though that we are including children in our program. We made the decision to reach out to kids between 11 and 14.”
“Twenty-five teens and pre-teens have answered the call,” Popeski continues. “They are regularly rehearsing with us. Our singers and dancers are showing them the ropes and mentoring them. We are eager to welcome any kids who want to be part of our ensemble and are willing to put in the work.”
Sommer reports that the venue for the performance (which, for security reasons, will only be revealed to ticket buyers after the purchase of tickets) has a capacity of about 500. “With all our performers’ family members, friends and classmates, we are looking forward to a packed house.”
There is also a charitable aspect to the production. In conjunction with the CancerCare Manitoba Foundation, Chai will be including in its upcoming program a new composition by Manitoba composer Peter Meechan titled “Wave of Light.” The composition came about as the result of a province-wide musical initiative supporting the work of the Foundation.
The composer created the piece with the goal of making it accessible and teachable for bands at all levels—from beginner to advanced – anywhere in our province. The composition is intended to resonate with anyone who has been touched by cancer.
“We are donating a portion of the proceeds from our concert to CancerCare Manitoba,” Sommer notes. “We are also encouraging ticket buyers to add a small donation to the Foundation.
“We are looking forward to a great show.”
Readers who are interested in buying tickets for Al Kol Eleh: Hebrew Songs of Hope can phone the Chai office at 204 477-7497, email info@chai.ca, or go online to www.chai.ca.
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I come from a long line of Jewish Bundists. Now, Molly Crabapple is part of our family.
My grandparents live in a small apartment in Santa Monica. It has white walls and wood floors and is full of light. The living room window faces the street, and my grandma, Kathy, likes to poke her head out and talk to her neighbors, many of whom moved here after the Palisades fire, just like them.
To me, the Palisades house where my grandparents lived for 60 years always felt frozen in time. While opulent mansions sprung up on their street, their house served as a reminder of the days when a humble community college English professor (my grandpa, Marvin) could buy property in those idyllic, quiet, near-enough-to-smell-the-ocean streets. It was filled with books and family photographs. The living room mantle was covered in beach glass, sea-shells and surf paraphernalia, reminders of Kathy’s 1950s Malibu surf career that was immortalized in my great-grandfather’s novel Gidget, which inspired a series of books, a movie and a TV show.
Marvin’s office was filled with hundreds of Yiddish books with multi-colored spines and black-and-white photos, some of which showed his Bundist father in Polish prisons. As a child, I would scan the spines of fat history books with frightening titles like The War Against the Jews 1933-1945 and Never Say Die! Printed out and pinned to the wall was a quote by Marek Edelman, the Bundist second commander of the Warsaw Ghetto Uprising: “To be a Jew means always being with the oppressed & never the oppressors!”

The Bund was a socialist Jewish political party, at one point the most popular in pre-Holocaust Eastern Europe. The party was founded on the premise of doikayt, or hereness, the belief that Jews deserved to live in freedom and dignity wherever they happened to be. In practice, this meant that the Bund ran a complex network of schools, self-defense squads, athletic clubs, literary journals, unions and local courts, designed to celebrate Jewish life and protect Jews from ever-surging antisemitic hostility. Knowing that my great-grandfather and namesake, Rubin Zuckerman, was a Bundist meant knowing that he was secular, proudly Jewish, believed firmly in egalitarian values, and was critical about the founding of Israel.
During the pandemic, I would sit in Marvin and Kathy’s overgrown garden, six feet away next to a rusted exercise bike. I would practice my Yiddish by reading aloud postcards sent from some young woman Marvin thought was the greatest — Molly Crabapple.
Molly began interviewing Marvin for her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund, seven years ago. She has a resume that would make anyone’s head spin. Her art is in the permanent collection of the Museum of Modern Art and her journalistic output has covered Occupy Wall Street, Syrian rebels, and Guantanamo Bay. She’s won two Emmys and was nominated for a National Book Award.
Marvin told me about her with glowing eyes, and I responded with the type of disinterest reserved for recommendations from elder family members. OK, yes, there’s this young woman, she cares about the Bund, she makes art. But I too was a young woman who cared about the Bund and made art, and the narcissism of small differences precluded any real enthusiasm.

In 2026, with my grandparents’ Palisades sanctuary in ashes, I came to their house with a galley copy of Molly’s book. I had received it in the mail a few days earlier, and was quickly stripped of any skeptical haughtiness. Molly was describing a world, an ideology and a sensibility I knew so dearly and intimately from Marvin and Kathy. I had never seen this world so well described, neatly explaining concepts I have failed to adequately convey to even my closest friends.
I was eager to show Marvin the book, hear what Molly had gotten right or wrong, and share in the strange melancholic joy that comes from jewels of truth surviving over time, even as the physical, lived experience is washed away. With our personal archive up in smoke — the letters written by my great-grandparents, the stray notes, the marginalia in books toted from Poland to the Bronx to the Palisades — Molly’s book had a lot to live up to.
We sat on the couch and Marvin licked his finger to flip through the first pages. He went down the opening “Cast of Characters,” which outlines major players in Bundist history.
“Rafael Abramovich — I met him,” he said. “Meyer London — my father was in a picture with him.”
At 93, Marvin struggles to read without reading glasses and a dentist-grade clip-on magnifying glass. I read the introduction aloud to him and he recognized himself as the “octogenarian Yiddish scholar” who sang “partisan hymns” to Molly.
I continued to read aloud — about Molly’s own connection to her Bundist great-grandfather, her experience with leftist organizing, the overwhelming outpouring of support when she wrote about the Bund for the New York Review of Books, and her travels to the former Pale of Settlement, Ukraine and Gaza.
Despite my best intentions, my voice broke when I read this line: “The Bundists built alternate worlds of beauty, of courage, and of hope, which allowed their people to persevere even in the midst of an apocalypse. Their ideas are still vital today.”
I turned to Marvin and he was weeping as well.
“It’s true,” he said, “they were beautiful, beautiful people.”
“Are you two crying?” Kathy called in disbelief from the kitchen.
In Santa Monica, my grandpa’s office is inside of a closet. When I first got the news that the Palisades house had burned down, I emailed David Mazower, the curator at the Yiddish Book Center. I wanted to know if he could help me replace Marvin’s Yiddish books. Over the course of several months, he generously mailed nearly 100 books to us. They have strangers’ names written on their inside covers.
Feteshizing books
Family history embeds itself in your psyche through roundabout means. Marvin picked me up from school every Wednesday from the time I was in kindergarten until I graduated high school. He would buy me ice cream and listen to my favorite CD’s — The Beatles or Simon & Garfunkel, which sounded brand new to him since he stopped listening to popular music after Benny Goodman and prefers classical to anything else. He was my caring friend, who prioritized my own curiosity over anything else. Words like Bund, Yiddish, democratic socialism, Poland, the Holocaust, Zionism entered my subconsciousness, but I didn’t recognize the particular bent of Judaism I was born into until my later teens, when I started to seek out my own community.

Marvin urged me to attend the Yiddish Book Center’s Great Jewish Books program for high school students in 2015. Stepping inside their shtetl-inspired wooden building deep in lush Western Massachusetts was the first time my Yiddishist, Bundist history had a context. I recognized a Jewishness based in literature. A Jewishness based in solidarity and multiculturalism, without borders or armies. Today, my great-grandparents, Manye & Rubin, are featured in the permanent exhibit curated by David Mazower. Their picture stands above a bookshelf with Yiddish translations of Darwin, Marx and George Brandes’ literary criticism, and a full set of Guy de Maupassant and Jack London. Next to the books is a video of Marvin, describing how his parents, although they had no formal education and were garment workers, read all the time. When I tell friends that my great-grandparents are in an exhibition, they ask what they achieved.
“They liked to read,” I say, with my heart full of pride. Their values speak to me as loud as any accomplishment.
“Secular Yiddish literature and the Bund grew together,” Molly writes in her book, “until Bundists became the literature’s greatest champions.”
“Jews fetishized books,” Molly writes elsewhere, describing the “gluttony” for knowledge most working class Eastern European Jews nourished.
Marvin is often critical of any work describing his history, but as we read the first 30 pages of Here Where We Live Is Our Country aloud, he had little to say other than brief exclamations of excitement and agreement. Molly’s writing style is full of delicious and evocative details that allow us to fully inhabit this vanished world. As we read about how Polish borders were drawn and re-drawn, Marvin told me about how he would fill out forms for his parents when he was a child.
“The forms would ask when were you born,” he said, “well, they didn’t really know. OK. Then, the forms ask where you were born. They would shrug and look at each other, saying, ‘Poland? Russia? Was it Russia then? Was it Poland?’
“Then the form would ask, what is your profession. They would say ‘operator.’ They meant sewing machine operator, but as a boy, I just thought, what’s wrong with these people? They don’t know when they were born, they don’t know where they were born, and they’re telling me ‘operator’ is a real job?”

Molly and I share the same generational gap from our Bundist great-grandfathers. Both of us have parents who are not Jewish. And we are both women. Her perspective about female psychology, sexuality and experience allowed me to relate to Bundist history from a new axis. She writes about women who lost their virginity or had sex with multiple men in one day while surviving in the Warsaw Ghetto. She brings Pati Kremer to the forefront over her better known husband, the official founder of the Bund, Arkady Kremer, starting with Pati’s abandonment of her bourgeois upbringing and ending with a visit to her unmarked mass grave in Poland. Molly articulates the pull that many women, including myself, feel to “[subsume themself] in the domestic sphere that takes so many women out of historical record, while sometimes compensating them with private joys”
Women in Here Where We Live Is Our Country crush on their “family maid with sapphic fervor,” have long noses that “a male comrade mentioned unkindly in his memoirs,” make men their projects, sustain relationships with incarcerated men, or sometimes, “never married… had no lovers… just worked for the Bund.” She describes Sophia Dubnova’s efforts to disseminate birth control and lecture series about a woman’s right to orgasm. A non-Jewish Polish Socialist ally woman hides a message in her lipstick case. Abortion happens inside the Warsaw Ghetto, where many women were unwilling to risk bringing a life into such terrifying circumstances. It’s thrilling to hear these subjects written about so candidly, with no sense of shame or secrecy. I realize that in some ways, only a woman from my generation can do this.
A family affair
This past New Year’s Day, my parents and siblings crowded into Marvin and Kathy’s cramped living room. We ate the pastries Kathy had carefully assembled until the atmosphere abruptly shifted from friendly to tense. My father, a sociology professor, admitted he was planning on going to an academic conference in Israel. Although all of our family leans heavily left, my father feels a more profound connection to Israel. He lived there and worked on a kibbutz for several years.
My dad and I fell into the kind of argument many children have had with their parents since Oct. 7th, 2023. Despite fully knowing our shared values, we couldn’t help accusing the other of representing extremes: My dad must believe war crimes and genocide are legitimate means of self defense; I must believe Jews don’t deserve their own country. Marvin intervened thoughtfully, trying to bring our commonality to the forefront. Repeatedly, he referenced the Bund.
The Bund’s story is able to sidestep so many claustrophobic tropes around Zionism. Their devotion to Jewish safety and cultural autonomy leaves no room for accusations of antisemitism. If nothing else, they prove a point that bears urgent repeating for Jews and non-Jews alike — there has never been a singular Jewish consensus on the necessity of our own ethnostate. Like the Warsaw Ghetto fighters Molly resurrects in her book, like my own family, Jews have always argued about the best way forward.
I take enormous comfort reading Bundist leader Henryk Erlich’s 1933 speech, one that Marvin shared with me a few years ago when I was full of desperation about the atrocities unfolding in Gaza. Reprinted in Molly’s book, his words are clear as ever: “Our nationalism is just as ugly, just as harmful, and has the same inclination to fascist debauchery as the nationalisms of all nations.”
A strange sense of ownership
A few days after finishing Molly’s book, I met her at Canyon Coffee, and the two of us sat on the sidewalk while the east side creatives meandered by.
“I feel this strange sense of ownership over your book,” I said.
“You should,” said Molly, “without your grandfather’s encouragement, I would have never been able to finish it.”
I was overwhelmed by a new feeling. Here we were, chatting about the hectic nature of her upcoming book tour and the stress I’ve been feeling as a bridesmaid for my friend getting married next month. Against all odds, the movement that united our great-grandparents created a thread strong enough to find us sitting together. I felt that Molly was family.
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‘Center of Gravity for Global Terrorism’: US Lawmakers Spotlight Surging Jihadist Terror Threat in Africa
Islamic State – Central Africa Province released documentary entitled “Jihad and Dawah” covering group’s campaigns in northeastern Democratic Republic of Congo and battles against Congolese and Ugandan armies. Photo: Screenshot
US lawmakers this week raised alarm bells over the rising terrorist threat from Africa, advocating for continued American support for African nations fighting Islamists as the continent becomes the center of global terrorism.
The US Senate Subcommittee on Africa and Global Health Policy, which is part of the larger Foreign Relations Committee, held a hearing in which legislators highlighted the importance of combating terrorist groups in Africa while jousting over President Donald Trump’s approach to the continent.
“Today, the center of gravity for global terrorism has shifted to Africa. It has shifted partly and in fact precisely because of the export of violent Islamic terrorism from the Middle East as well as because of incredibly complicated and specific local dynamics,” said Sen. Ted Cruz (R-TX), who chairs the subcommittee.
“Across the Sahel in West Africa and in East Africa, terrorist groups are expanding, embedding, and operating with increasing capability,” Cruz added. “ISIS affiliates and al-Qaeda-linked groups are growing, controlling territory, and exploiting weak governance.”
The Sahel region runs 3,360 miles across the African continent, dividing the Sahara Desert to the north from the tropical southern savannahs. Terrorist hot spots in recent years in the region have included Mali, Burkina Faso, and Niger, where, Cruz noted, “JNIM [Jama’at Nusrat al-Islam wal-Muslimin], and Islamic State in the Sahel have all expanded. In Nigeria, Boko Haram, ISIS West Africa, and Fulani extremists are mass slaughtering Christians.”
In November, the Combating Terrorism Center at West Point released a study documenting that in 2024, 86 percent of all terrorism-related deaths occurred in just 10 countries, with seven of them in Africa and five in the Sahel. The researchers identified JNIM as being behind 83 percent of the killings.
Describing the threats in the Horn of Africa region, Cruz said that, in Somalia, al-Shabaab “targets Americans and threatens US personnel and partners in East Africa, all while receiving support from the Iran-backed Houthis in Yemen.”
“In region after region, terrorist groups are outpacing the ability of local governments to respond,” he added. “The failures threaten our interest globally and endanger the American homeland. The threat is rapidly growing and demands attention.”
The Texas senator also took time in his opening remarks to criticize former US President Joe Biden’s approach to Africa.
“For too long, however, Africa was treated as a theater where we didn’t have interests. Presidential administrations either ignored it or used it as a playground for self-indulgent ideological experiments,” Cruz said. “The latter problem was particularly acute during the previous administration. That mismatch allowed terrorist groups to expand and global adversaries, in particular Russia, China, and Iran, to intervene and undermine American interests. Those dynamics now threaten US interests, our allies, and ultimately the American homeland.”
After concluding, Cruz allowed Sen. Cory Booker (NJ), the top Democrat on the subcommittee, to offer his own assessment.
“What we are discussing today is not far away. It’s not disconnected from American life. It’s not some side issue we can afford to regulate to the margins of our senatorial and administrative focus,” Booker said. “Africa is not peripheral to the national security of the United States and to the urgencies we face.”
Booker added that, earlier this year, “the US intelligence community assessed that Africa has become ‘a focal point for the global Sunni Jihadist movement.’ That is not a passing warning. That is a flashing red light.”
Echoing Cruz’s concerns, Booker noted that “al-Shabaab remains a deadly and determined force who has killed civilians, killed Americans, threatened US interests, and plotted a 9/11 style attack against the United States.” He also described how “ISIS Somalia is emerging as a more significant node in the broader ISIS network with demonstrated intent and capability to threaten beyond the region, including against the United States.”
The senator went on to discuss the Sahel, pointing to how “in the Lake Chad Basin, IS West Africa and Boko Haram continue to exploit borders that are weak, states that are strained, and communities that have been failed by their governments for far too long. So, let’s be clear, counterterrorism in Africa is not charity. It is not a distraction. It’s not optional for our country. It is a core American national security interest.”
Booker named the factors that fueled terrorist groups in the region, saying, “They feed on corruption. They feed on broken governance. They feed on despair. They feed on the absence of state legitimacy, the weakness of institutions, the pain of exclusion, and the vulnerability of young people who see too few pathways to dignity, work, and hope.”
Emphasizing that “military strikes alone cannot prevent extremist groups from returning the moment attention shifts and the dust settles,” the New Jersey Democrat argued that combating the threat takes “strategy, patience, partnerships, diplomacy, development, and security working together.”
Booker then criticized the Trump administration for its approach to Africa, describing it as “retreat dressed up as resolve,” in part due to “diminished diplomatic presence” across the continent.
“The Trump administration is not delivering a whole-of-government strategy. It is delivering a whack-a-mole policy dressed up as counterterrorism,” Booker argued. “It is fragmented. It is reactive. It is too often militarized and under-strategized. Because the future of American security is bound up with the future of the stability, prosperity, and partnerships we have on the African continent, we need a strategy that reflects the true conditions on the ground and not only frames Africa as a problem but actually sees the real framing that it is an extraordinary asset.”
Cruz defended the Trump administration’s efforts in Africa.
“As I’ve said, one of the reasons for these hearings is to ensure that the administration officials have the opportunity and the platform to articulate President Trump’s approach to Africa. For too long, US policy has treated Africa as a secondary theater,” Cruz said. “The Biden administration withdrew US forces from Niger, which was a key foothold in the region that is the epicenter of global terrorism. That assumption is no longer tenable for a range of reasons.”
Cruz said that Trump “personally met with 13 African heads of state in his first year in office. But too often there is nonetheless a lazy assumption that the US is disengaging from Africa.”
Nick Checker, senior official in the State Department’s Bureau of Africa Affairs, testified before the committee.
“Africa will play an important role in America’s economic future. The continent holds vast critical minerals, energy resources, and tremendous human capital,” he said. “However, these opportunities cannot be fully realized amid persistent instability in parts of the continent, including terrorist threats, which continue to affect US interests.”
Checker described the limited nature of the administration’s approach.
“Our counterterrorism posture in Africa is narrowly focused and aligned with US national security priorities. The primary objective is clear: We will protect the homeland from threats while safeguarding US citizens and commercial interests abroad,” Checker said. “Groups affiliated with ISIS and al-Qaeda remain active in the Sahel, Nigeria, and parts of East Africa. These threats are real, but our response must be disciplined.”
On April 16, troops in Nigeria killed 25 fighters in the Islamic State West Africa Province (ISWAP) terror group during a failed attack in the Borno state.
“We will not pursue large-scale, indefinite military engagements, or nation building efforts,” Checker said. “Instead, we are adopting a targeted approach that emphasizes intelligence sharing and limited, high impact security cooperation with partners who demonstrate both capability and political will.”
Regarding the Sahel, Checker said “a region that accounted for 5-10 percent of terrorism-related deaths a decade ago, now represents more than 50 percent. Despite significant American engagement, the strategic picture demonstrates that open-ended, aid-centric approaches have not delivered sustainable security outcomes. This is why a fundamental rethink is necessary.”
In his conclusion, Checker noted that “our approach is grounded in respect for sovereignty and realism about political conditions on the ground. We engage governments as they are, not as we wish them to be.”
Monica Jacobson, senior official for the Bureau of Counterterrorism, also testified and explained how the administration’s approach was guided by three core principles: neutralizing terrorist threats before they reached the US, supporting regional partners instead of replacing them, and defending critical supply chains.
“Moroccan forces previously trained by the Bureau of Counterterrorism now train Sahelian forces across sub-Saharan Africa, using US-provided curricula,” Jacobson said. “This is precisely the model we seek to expand, with regional partners leading and sustaining regional security efforts.”
Jacobson continued, “We also recognize that, in many parts of Africa, radical Islamic terrorists target civilians based on their Christian faith. As President Trump and Secretary Rubio have made clear, we will respond to atrocities and violence against Christians, including those who knowingly direct, authorize, fund, support, or carry out violations of religious liberty. Our counterterrorism efforts have included directly targeting the terrorists responsible for this violence, and we likewise hold governments’ feet to the fire when they fail to address terrorist threats that undermine religious freedom.”
Former Nigerian Information Minister Lai Mohammed responded to the hearing on Wednesday when speaking at Abbey College in Cambridge.
“Now, people say that there is religious persecution in Nigeria and that there is genocide against Christians,” Mohammed said. “It’s not true. It is fake news.” He defended Nigeria as fostering a culture that promotes interfaith tolerance.
Chigozie Ubani, a fellow at the Institute of Security Nigeria, has discussed Boko Haram’s attacks.
“Their target is to terrorize, maim, and displace people,” Ubani told Nigeria’s Punch News. “Once they displace them, of course, they occupy the space. So, for as long as that is not achieved, they can only retreat and come back.”
Last month, multiple terrorist attacks in Nigeria’s Maiduguri killed 25 people and injured more than 200.
“Their goal is to take over our territories,” Ubani said. “When they take over, everybody there will submit to their religious authority. That’s what it is.”
Earlier this week, officials from both Mali and Niger accused their neighboring countries of supporting terrorism. At the sidelines of a security forum in Senegal, Malian Foreign Minister Abdoulaye Diop claimed that other countries were “harboring terrorist groups” and allowing them to operate against Mali. Niger officials have previously accused France of backing terrorism and faced criticism for allegedly concealing the severity of Islamist terror attacks.
On Saturday, US Africa Command released a statement announcing strikes had occurred on Friday, targeting Islamic State terrorists in the mountain regions of Puntland, the Easternmost state of Somalia. The attacks targeted territory approximately 30 miles southeast of the port city of Bosaso in the Bari region. No casualty numbers were announced.
On Wednesday, Puntland forces displayed the corpses of more than 10 suspected Islamic State fighters killed in the strikes on the Jaceel Valley area of the Calmiskaad mountain range.
Video shared from the scene showed bodies in what appeared to be a crater from an airstrike.
