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A manufactured ‘mainstream’ wants the White House to define antisemitism on its own flawed terms
(JTA) — As the Biden administration nears the long-awaited announcement of its National Strategy to Counter Antisemitism, tensions have emerged over what definition of antisemitism the White House will use. According to Jewish Insider, “major mainstream Jewish groups” are battling against the “left” to define antisemitism, suggesting that the groups’ preferred definition, that of the International Holocaust Remembrance Alliance, is the mainstream one.
The framing determines a winner before the contest even begins — this is the power play of the term “mainstream.”
Here’s how it works: A purportedly neutral source — Jewish Insider, say, or the Associated Press — names a set of players as the “mainstream.” Without any discussion of method or sources, the characterization produces reality. The self-fulfilling designation allows a select group of organizations to command the center. These groups and their spokespeople then use their “mainstream” power to naturalize and normalize their own agenda, like defining the IHRA definition as the “gold standard” despite concerns that it chills legitimate criticism of Israel, or condemning “progressive” voices for their refusal to conflate anti-Zionism and antisemitism, or chastising Rep. Rashida Tlaib for commemorating the Nakba, the “catastrophe” that befell her people with the creation of Israel.
Game on.
The strategy of claiming the center to control it is nothing new. In the annals of American Jewish institutional formation, it’s happened again and again. Just witness the names of organizations: the Union of American Hebrew Congregations, the Central Conference of American Rabbis, the American Jewish Committee, the Zionist Organization of America, and the list could go on and on. One after the other, these groups have claimed to be the center, the “mainstream.”
RELATED: The IHRA definition of anti-Semitism and why people are fighting over it, explained (2021)
As a historian who has written about many of these groups, I can tell you that every claim to be the united front, the central address, the singular American Jewish organization has rested on the surety that most American Jews believed no such thing. Indeed, words that posture such a “mainstream” are best read as indicators of dissent, debate and fracture.
When it comes to confronting antisemitism, some of today’s Jewish leaders might imagine that American Jews can achieve unity that has long eluded them or Jewish institutional life. They might be so certain of this vision as to pretend that it is true, with fundraising and media blitzes that appear to speak on behalf of all Jews. Slick advertising campaigns, whether on television and social media or highway billboards, and a hotly contested and poorly constructed yet exclusive definition of antisemitism may make it seem that the Jewish “mainstream” speaks as one, loudly for all Jews and all people who care about fighting antisemitism.
But don’t let the powerplay bulldoze you. Those television and social media blitzes? They are the product of one megadonor’s imagination and thick wallet. The pink highway signs that deliver glib “lessons” against antisemitism in the form of snark? They are brought to you by the same high-net-worth family that advertised its storage company with similarly cheeky taglines. And even the creation of and campaigns to endorse the IHRA definition have specific histories and funding sources.
None of this is to say that those efforts should be dismissed because they have histories and are tied to narrow but deep pockets of wealth. The problem comes when those histories and sources of power go unacknowledged and instead parade themselves as the “mainstream,” the authentic truth of what all Jews must believe.
RELATED: The White House intends to fight antisemitism. That starts with a sensible definition. (Opinion)
In the power plays to claim the Jewish “mainstream,” institutions and their leaders are trying to silence those who disagree with their policies and politics. The term “mainstream” acts as a cudgel against efforts to build solidarity between Palestinians and Israelis who oppose the actions of the Israeli government. Its purveyors vocally and consistently defend harsh anti-boycott laws, on the books in several American states, that penalize institutions or individuals for engaging in or promoting boycotts against Israel. Or they helicopter onto American college campuses to pressure university administrators to subscribe to the IHRA definition of antisemitism.
Instead of arriving at the field ready to play an honest game, “mainstream” Jewish institutions and their leaders want to be the only players. To argue that we must all agree on one definition in order to talk about antisemitism is like clearing the field before the game even begins.
Because this is more than a game — because hatred and bigotry fuel violent crimes at an alarming rate in the United States — Jewish and non-Jewish people who have a stake in the conversation about antisemitism should refuse to play. Publications that insist on anointing a “mainstream” ought to be called out. And the press, instead, should investigate the role that some of its agents play in advancing the power play of the “mainstream” — including, for example, Jewish Insider, which is less than transparent about its own history and sources of funding.
As a participant in one of the “listening sessions” convened by the White House in February of this year, I can report that the scholars who joined me around the table (OK, Zoom screen) had a wide range of perspectives. When asked to share our views on antisemitism, none of us got to call ourselves the “mainstream” expert on the questions. Instead, we identified the methods, sources and theories that authorized our understandings of the roots and manifestations of antisemitism.
I can only hope that the other listening sessions and the White House process has proceeded accordingly, with little reverence for the self-appointed Jewish “mainstream.” A resolve to understand the diversity of views and what led people or groups to them will upset any single view — or definition. A successful strategy will not be cowed by the “mainstream” but instead will highlight the varieties of truly and authentically held ideas that together can animate efforts to stem the tide of antisemitism and bigotry.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”