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A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’

(New York Jewish Week) —  While hiding from the Nazis, the German Jewish artist Charlotte Salomon began a series of autobiographical paintings and texts with a painfully simple description of her aunt, and namesake’s, suicide: “Scene 1: 1913. One November day, a young girl named Charlotte Knarre leaves her parents’ home and jumps into the water.” 

Intense and memorable, that image is the launching point for “Life? or Theatre?”, a series of hundreds of gouaches Salomon made between 1940 and 1942. Best described as an “autobiographical play,” it features personal stories illustrated with vibrant paintings and cues for music. Salomon, in her 20s when she made the body of work, called it a “singspiel,” a play with music.

And now, a new film directed by French sisters Delphine and Muriel Coulin, delivers a cinematic representation of her best-known work. “Charlotte Salomon: Life and the Maiden” will make its world premiere at Lincoln Center on Weds., January 18 as a centerpiece of the New York Jewish Film Festival

The film lies somewhere between cinema and art installation: Aside from a brief opening and conclusion, Salomon’s expressive paintings take up most of the screen time. Sound design brings the paintings to life, as does the music Salomon indicated in her original script, along with text read by the actress Vicky Krieps (“Phantom Thread,” “Corsage”), who plays protagonist Charlotte.

“We didn’t want to make a pure documentary of her,” co-director Delphine Coulin told the New York Jewish Week. “What had never been done was to make a true film with the painting, the music and the text, and to imagine what Charlotte was visualizing when she was painting… Because the neighbors said they could hear her singing while she was painting.” 

French sisters Muriel Coulin, left, and Delphine Coulin are co-directors of “Charlotte Salomon: Life and the Maiden.” (Richard Schroeder)

These days, Salomon — who died at Auschwitz at age 26 in 1943 — is something of a cult favorite among art lovers and Jewish historians. In a 2017 New Yorker article, writer Toni Bentley notes that “Life? or Theatre?” is “the largest single work of art created by a Jew during the Holocaust.” She is also sometimes compared to Anne Frank. Critics have noted this comparison does neither artist justice, distinguishing between the youthful directness of Frank’s writing as an adolescent in hiding with the more mature, sophisticated representations made by Salomon as a young artist. 

Born in Berlin in 1917, Salomon grew up in a cultured German Jewish family. Her mother died when she was 8. She studied at the German capital’s prestigious Academy of Arts until the Nazis’ rise to power made it impossible for her to continue. In 1938, her father spent a brief period in an internment camp — after his release, he sent his daughter to stay with her grandparents in the south of France, where he hoped she’d be safe. 

After Salomon’s arrival at Villefranche-sur-Mer in 1939, her grandmother attempted suicide and eventually died. Only then did Salomon learn that her mother had died by suicide as well, and that the women in her family had a history of depression (though it isn’t covered in the film, there is some evidence that her grandfather may have been abusive). 

In “Life? or Theatre?” Salomon writes: “My life began when my grandmother ended hers, when I learned that my mother too had ended her life, and that deep down I felt the same predisposition to despair and death. I thought to myself: either I kill myself too, or I create something really crazy and extraordinary.” 

For the next two years, Salomon did just that, creating some 1,300 paintings about her life in exile. She accompanied these paintings with text and musical cues that included Bach, Schubert, Mahler and the German anthem “Deutschlandlied,” creating an entire multimedia body of work. 

As the Nazi grip tightened in France, Salomon, realizing the danger she faced, brought a box containing all her paintings to a friend, the town’s doctor. The film recounts what she tells him: “Take care of it. This is my whole life.” Just weeks later, Salomon, five months pregnant, was sent to Auschwitz, where she died on Oct. 10, 1943. 

While Salomon’s work includes depictions of Nazis, antisemitism and persecution, the majority of “Life? or Theater?” — and therefore the film — is dedicated to the explosive inner life and autobiography of its creator. She explores suicide, Freudian lust, psychological distress, music, philosophy and her own artistic impulses. 

Yet “Life? or Theatre?” is unmistakably a product of its time, and as such the film includes historical images of Hitler’s rise. Though the French filmmakers don’t identify as Jewish themselves, Delphine said that she and her sister have some Jewish family, and she noted the film’s content is more relevant than ever. “Antisemitism never did end, but now in France and in Europe, it is stronger and stronger than ever, since 1945,” she said. “We really see it and we talk to it nearly each day. We can’t ignore it.” 

“With all these strange times we’re living in, Charlotte gives you strength, because she really crossed the times with a strong belief in art and love,” she added.

The film ends with astonishing footage from the early 1960s of Salomon’s father and stepmother, who survived hiding in the Netherlands, looking through their daughter’s paintings as they are interviewed about her. “I was surprised when I discovered her work,” says her father Albert Salomon. He had known nothing of his late daughter’s project until the couple visited Villefranche-sur-Mer after the war, hoping to find some traces of Charlotte’s life. 

“The work is very, very vivid — very expressive of life in all its aspects,” said Delphine of Salomon’s art — and the Coulin sisters, in turn, were inspired to bring the work to a broader audience. In 2019, Muriel directed her first theater piece, “Charlotte,” a rendition of Salomon’s work for the stage that played in Paris at the Théâtre du Rond Point. When the COVID-19 pandemic shut down the production, the Coulins transposed their medium to film. 

Delphine added that they were also drawn to what she called the “poignant story” of Salomon’s brief life, now immortalized by her singular creative impulse in the face of adversity. 

“In difficult times — and her times were probably the most difficult times ever — she really believed in art,” she said. “How art makes you survive. How it can give you a piece of eternity. We wouldn’t speak about her this way if she had not been able to make this wonderful work.”

Charlotte Salomon: Life and the Maiden” will screen on Weds., January 18 at 12:00 p.m. and 6:00 p.m. at the Walter Reade Theater at 165 West 65th St. For additional information on the New York Jewish Film Festival, which runs through Monday, January 23, click here


The post A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’ appeared first on Jewish Telegraphic Agency.

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One of Dachau’s last living liberators still has somewhere to be

ATLANTA — Hilbert “Hibby” Margol wears two watches.

It is the kind of detail that seems small until you can’t stop noticing it. One watch is ordinary. It has hands, numbers, the plain mechanics of telling time. The other is a Life Alert, the sort of device sold to people who live alone, or to the people who love them and can’t stand the thought of them living alone.

Together the two watches say something about a man before he’s said a word himself: that he has outlived the need for almost everything, except the people determined to make sure he’s still here.

He is 102. He lives by himself in the same two-story house in suburban Atlanta he shared with his wife of 77 years, Betty Ann, who died at 96 last September. The house still carries the warmth of her memory. Family photographs cover every surface that will hold them: the mantel, the end tables, the walls, climbing toward the ceiling like something that grew there on its own.

There will soon be one more: Hibby’s fourth great-granddaughter, Callie Rose, was born two weeks ago.

A framed photograph of French President Emmanuel Macron pinning the Legion d’Honneur to Margol’s chest — taken in 2024, when Margol was one of dozens of American veterans Delta Airlines chartered to Normandy for the 80th anniversary of D-Day — leans against the fireplace, not yet hung, as if the house has simply run out of room to keep up with the life still happening inside it.

The coffee table has disappeared beneath medals and ephemera and the accumulated evidence of a hundred years, and it occurs to you, sitting across from him, that you are not in the home of a man winding down. You are in the home of a man still arriving.

The coffee table at the home of Hilbert 'Hibby' Margol is lined with ephemera from his years of service.
The coffee table at the home of Hilbert ‘Hibby’ Margol is lined with ephemera from his years of service. Photo by Benyamin Cohen

His iPhone buzzed. Then again. He glanced at it and rolled his eyes.

“That’s my daughter,” he said. “Checking on me.”

His daughter is, herself, a senior citizen. The phone had no case — hadn’t needed one, he doesn’t drop things — which felt like its own kind of answer to a question I hadn’t yet asked: What does it look like to move through a century without ever quite losing your grip?

On the day I visited this June, he had just returned from yet another trip to Normandy, marking another anniversary of a war he’d fought in as a young man and had spent most of the rest of his life not talking about. A week before that, the Atlanta Braves had honored him on the field on Memorial Day for the second year in a row.

Left to right: Scott Johnson of the Warrior Alliance, Chris Sale of the Atlanta Braves and Hilbert 'Hibby' Margol before a baseball game honoring veterans in May 2025 at Truist Park in Atlanta, Georgia.
Left to right: Scott Johnson of the Warrior Alliance, Chris Sale of the Atlanta Braves and Hilbert ‘Hibby’ Margol before a baseball game honoring veterans in May 2025 at Truist Park in Atlanta. Photo by David J. Griffin/Icon Sportswire via Getty Images

For six decades, Margol said almost nothing about what he had seen at the end of that war — not to his wife, not to his three children, not to anyone. And then, in his 80s, he started to talk about it, and he has not really stopped since.

Margol is sharing his experience as one of a dwindling number of U.S. Army veterans alive today who helped liberate the Dachau concentration camp.

Inside the camp

He and his identical twin brother, Howard — younger by ten minutes — served together in the war. That alone took some doing: the military generally kept siblings apart, a policy hardened after five Sullivan brothers died together when their ship sank in 1942. (It’s loosely the premise behind Saving Private Ryan.) It took a letter from the Margols’ mother to President Franklin D. Roosevelt to get an exception made.

On the morning of April 29, 1945, the brothers were on the outskirts of Munich when they caught a strange, powerful smell drifting out of the woods.

Twin brothers, Howard (left) and Hibby Margol, served in the U.S. Army during World War II.
Twin brothers Howard (left) and Hibby Margol served together in the U.S. Army during World War II. Courtesy of Jerry Margol

Howard was the one who placed it. It reminded him of an unpleasant odor he would sometimes catch a whiff of in their mother’s kosher kitchen back home in Jacksonville, Florida — the way she would hold a freshly killed chicken over the gas flame of the stove to singe off the last of its pin feathers. Only this stench was much, much stronger.

The brothers went to find the source. What they came to first was a line of boxcars. The first one they reached had its sliding door open. A dead man’s leg was dangling out of it. They opened the cars and found them packed with dead bodies in striped prisoner uniforms “like sardines,” Hibby would say.

They had a small camera, liberated from a dead German officer a few weeks earlier, and they used it to take a photograph of one of the cars — a copy of which hangs in the United States Holocaust Memorial Museum in Washington, D.C.

They pressed further into the woods and came out at another clearing. Above the entrance was a sign: ARBEIT MACHT FREI. Work will set you free.

They had found Dachau.

Beyond the gate was a wide-open yard ringed by low barracks buildings — and, in several places, bodies stacked the way you’d stack cordwood. The arrangement of them is the part that refused to make sense. Somebody had piled them, neatly, as routine.

Neither brother had ever seen anything like it. “We didn’t understand what we were looking at,” Margol said. “It sort of reminded us of a movie set.”

They learned only later that the camp’s ovens had run out of coal months earlier, and without coal, there was no way to cremate the bodies. So the corpses had simply been left where they lay.

It took a moment to register that not everyone in the yard was dead. Off to one side, against a barracks wall, were four or five prisoners — some squatting, some just standing, none of them well. But alive.

The camp’s roughly 32,000 prisoners walked free later that same day, once a Swiss Red Cross negotiator talked the SS commander into a peaceful surrender rather than a last stand.

Liberated prisoners at the Dachau concentration camp raise bottles of wine and celebrate in 1945.
Liberated prisoners at the Dachau concentration camp raise bottles of wine and celebrate in 1945. Photo by Universal History Archive/Universal Images Group via Getty Images

Years later, at a visit to mark the liberation’s 70th anniversary, an elderly survivor found Margol after a memorial service. She told him she’d been too sick with typhus that morning to understand what was happening around her. Then she leaned over and kissed him on both cheeks. “If you guys were two or three days later,” she told him, “I wouldn’t have made it.”

One family, two branches

I’ve spent much of the past year following a different story: a family of cattle farmers in rural Illinois, building a synagogue in a two-acre cornfield out of the remains of closing synagogues — a Torah rescued from one congregation, an ark from another, stained-glass windows carried out of buildings that no longer exist. The building will also include a museum of tolerance, sharing the stories of the family’s ancestors — some who died in concentration camps, others who survived by being hidden in the homes of Christian families.

The family is named Jakobs. You’ve met the 41-year-old farmer, Nik, in stories I’ve written about the Pennsylvania synagogue he dismantled, piece by piece, to save it; the groundbreaking of the new one rising in a field; and the family’s roots in the Netherlands, where his grandmother, Edith, spent nearly three years hidden in a farmhouse. This spring, I flew with the family to Stadskanaal, the small Dutch town that was her family’s refuge, to watch a local theater troupe stage a play about her survival.

Nik Jakobs, a cattle farmer in rural Illinois, is building a synagogue in a two-acre cornfield.
Nik Jakobs, a cattle farmer in rural Illinois, is building a synagogue in a two-acre cornfield. Photo by Benyamin Cohen

It was in the Netherlands, reporting Jakobs’ story, that he first mentioned a name: Hibby. Jakob’s brother Bryce who left the farm for a career of his own, is married to one of Margol’s granddaughters. Margol’s great-granddaughters carry both halves of this history. On one side: relatives murdered in the Holocaust, and ancestors who survived it in hiding. On the other: a soldier who helped liberate one of the camps.

I asked Margol what he made of it. He didn’t reach for anything grand. “Well,” he said, “it’s quite a story.”

The silence

For decades, Margol said almost nothing about Dachau to his family. “We had written letters,” he said of the war years. “We figured that was sufficient.”

Life moved on. Margol built a business selling furniture and appliances. He raised a family. The war became something that had happened to a younger man.

Then came an invitation.

In 2012, at 88, Margol joined about a dozen other American liberators on the International March of the Living, traveling to Poland with Holocaust survivors and thousands of Jewish teenagers. For the first time since the war, he wasn’t simply remembering what he’d witnessed. He was walking beside people whose lives had continued because soldiers like him had arrived when they did.

“It was such an emotional experience,” he later recalled of walking from Auschwitz to Birkenau, “that when I got home I said, now I have to start talking about it.”

His first talk was at the public library near his home. More than 90 people showed up, on word of mouth alone. Then came another invitation. And another. Synagogues. Churches. High schools. A World War II roundtable. Adult education classes at Emory University. He stopped counting after 200 presentations. Today, he estimates he’s given close to 300.

German President Frank-Walter Steinmeier, right, greets Fred J. Nungesser Jr. in the presence of, left to right, Hilbert 'Hibby' Margol, Frank Arthur Athanason, Gideon Kantor and Enoch 'Woody' Woodhouse during a reception for U.S. veterans of World War II at Bellevue Palace in Berlin in Nov. 2025.
German President Frank-Walter Steinmeier, right, greets Fred J. Nungesser Jr. in the presence of, left to right, Hilbert ‘Hibby’ Margol, Frank Arthur Athanason, Gideon Kantor and Enoch ‘Woody’ Woodhouse during a reception for U.S. veterans of World War II at Bellevue Palace in Berlin in Nov. 2025. Photo by Sebastian Gollnow/picture alliance via Getty Images

But talking about Dachau and reliving it are not the same thing. Years ago, touring the United States Holocaust Memorial Museum in Washington, D.C., with a small group, he had to walk through a boxcar on exhibit to continue the tour — cleaner and newer-looking than the one he remembered, but a boxcar all the same. “Emotionally,” he said, “I broke down.”

For most of his life, Margol had carried the story alone. Now he worried what would happen if no one carried it after him.

In September, Margol is returning to Germany with his son Jerry, 74 — this trip courtesy of the Best Defense Foundation, the veterans organization that has taken the two of them to battlefields around Europe, and which is now making a documentary about Margol and another veteran. The itinerary is still coming together, but it includes a stop that father and son have made together twice before: Dachau.

The next generation

Long before Margol began speaking publicly about the Holocaust, he had already spent years building Jewish life closer to home.

Rabbi Mark Zimmerman saw it firsthand. Zimmerman retired this summer after leading Congregation Beth Shalom in Atlanta for 38 years. He met Margol in 1988, when the rabbi arrived and Margol was, as he put it, “a young man of sixty-something.”

“He still comes to synagogue,” Zimmerman said. “He’s still sharp as a tack.”

But what Zimmerman remembers most isn’t Margol’s longevity. It’s what he built.

In the late 1990s, Beth Shalom needed an educational wing. Before the congregation had raised a dollar toward the project, Margol quietly wrote a $100,000 check so the synagogue could hire a professional fundraiser and launch the campaign. He and fellow congregant Stephen Klein later donated roughly $350,000 each to complete the building.

Today the Klein-Margol Educational Wing houses the congregation’s preschool, administrative offices, chapel, library and youth lounge.

“In many ways,” Zimmerman said, “I owe my staying at Beth Shalom to Hibby and his vision. We still have a tremendous preschool because of that original vision.”

Only years later did Zimmerman learn another part of Margol’s legacy, about liberating Dachau. Margol recently gave Zimmerman a copy of the memoir he and his son self-published, becoming one of the congregation’s living links to the Holocaust.

“His firsthand account is such a rare commodity,” Zimmerman said, “in a world where primary witnesses, for the most part, are dying out.”

Nearly 800 miles away, in Sterling, Illinois, the other side of Margol’s family is at work on a version of the same project. Jakobs is building a synagogue, with a museum inside so his grandmother’s story outlives her. Margol has already seen how it turns out — his wing has held preschoolers for a quarter century. Jakobs broke ground this spring.

A hat, a promise

I asked Margol if I could take his picture before I left. “Let me get my baseball hat,” he said, and disappeared into another part of the house.

It’s the one with the patch of the 42nd Infantry Division — the Rainbow Division, one of the liberating forces at Dachau. The nickname dates to 1917, coined by a young Col. Douglas MacArthur because the division’s ranks were drawn from National Guard units in 27 different states.

Room by room, the 102-year-old wandered through his home looking for the hat. He checked the kitchen. He looked at the hook by the door, where another cap was hanging, then shook his head and kept going.

There was something almost unbearably ordinary about it, set against everything he’d just spent hours telling me. The boxcars. The smell. The gate. And now: Where did I put that hat?

He found it, and came back into the room wearing it — the same hat, more or less, that has sat on his head in front of hundreds of audiences by now. He still says yes to the invitations. He still boards planes to Europe. When I asked what all of it was for, he didn’t hesitate.

“I hope and pray,” he said, “that the offspring of all the Holocaust survivors outlive the offspring of the deniers.”

Hilbert 'Hibby' Margol wearing a hat and jacket with the patch of the 42nd Infantry Division — the Rainbow Division, one of the liberating forces at Dachau.
Hilbert ‘Hibby’ Margol wearing a hat and jacket with the patch of the 42nd Infantry Division — the Rainbow Division, one of the liberating forces at Dachau. Photo by Benyamin Cohen

The Holy Ground reporting project is made possible with support from the Henry Luce Foundation.

The post One of Dachau’s last living liberators still has somewhere to be appeared first on The Forward.

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250 years of American Jewish life is a miracle. Don’t take it for granted.

When I moved from Belgium to the United States for graduate school in the early 2000s, international-student orientation warned me about three areas in which I would experience culture shock: doctors, dating, and food. They were right: I am still looking for good chocolate. But what nobody mentioned was that culture shock can also work in the other direction: you can encounter something so different in a good way that it, too, takes time to understand. For me, that was American Jewish life.

The Judaism I had grown up with in Belgium was timid and a little subdued; it felt to me as though it did not quite dare to put down roots or imagine itself as fully Belgian. American Judaism bewildered me at first by its sheer pluralism: so many denominations, and within them so many people experimenting with what it meant to be and do Jewish in this country and in this world.

Even more surprising was its creativity — the music, the intellectual life, the social activism, the constant invention of new institutions, rituals and communities. It was also loud and argumentative. American Jews tangled about Judaism, politics, Zionism and one another. The old story about two Jews having three opinions was not a joke here but a reality.

I loved it. Not because I agreed with all of it — I certainly did not — but because even the arguing seemed to me evidence that American Jews did not feel they had to hide or be discreet, not even about their disagreements.

Of course, Jewish success in the United States did not mean that America offered the same possibilities to everyone. Jewish integration took place in a country whose deepest structures of exclusion targeted  Black Americans. That inequality is part of the American Jewish story and complicates any account of its success.Nor was the American Jewish experience free of prejudice: American Jews encountered social ostracism, quotas in higher education, exclusion from neighborhoods and country clubs, and violence.

And yet, over 250 years, Jews in the United States became deeply woven into the political, cultural and civic life of the country. How the encounter between Jewish traditions brought from many parts of the world and the particular freedoms, tensions and possibilities of American life produced a distinctively American form of Judaism is a question that has stayed with me ever since, and America’s 250th anniversary seems like a good moment to return to it.

I think part of the answer lies in the American idea of hyphenated identities. In a country of immigrants from many parts of the world, the hyphen suggested a social architecture, albeit imperfect, that allowed for multiple communities to coexist within a larger whole. By contrast the Europe in which I grew up remained more attached to myths of national homogeneity that made Jewish belonging harder.

But today, across the political spectrum, people are asking what America as an idea and a national community stands for. Historically, such moments have often made Jews a test case for the limits of inclusion. To those who imagine the nation as a homogenous family, Jews are strangers; to those who imagine it as a universal community, Jews often seem too particularistic.

Amid rising antisemitism, the aftermath of Oct. 7, turmoil on university campuses and intense political polarization, it is not surprising then that many American Jews are feeling anxious about the future. The pessimists believe something fundamental is broken and wonder whether it is time to keep a packed suitcase ready. The optimists insist that America remains different, even exceptional, and that American institutions and laws are strong. This too shall pass, they say.

As a historian, I am skeptical of both positions. The past is full of moments that look inevitable in retrospect because, once we know what happened, it becomes harder to imagine other outcomes. But in the moment, multiple futures are always possible. History cannot tell us which one will become ours, but it can broaden the range of possibilities we are able to see.

That is one reason I created a new public course at Brandeis this fall, America and Its Jews at 250. I wanted to see what becomes visible when the questions troubling American Jews today are placed against that much longer historical horizon. Over the course of the semester, 28 scholars and public thinkers will examine the relationship between Jews and America from the colonial period to the present. At a moment when so much attention is understandably focused on Israel, I also wanted us to look more closely at the American Jewish experience and what Jews built here.

Doing this at Brandeis is especially meaningful. Many of America’s oldest and most influential universities grew out of Christian religious communities. Brandeis represented something different: the possibility that a university could be rooted in American Jewish life while being as intellectually ambitious and universal as any of them. A course about America and its Jews belongs in that tradition because these are not two histories that happened in parallel; they are intertwined.

Time has cured most of my culture shock, but I have not forgotten the surprise I felt 26 years ago at the vibrancy and pluralism of American Jewish life. Much of our discussions, in this anniversary year, focus on the country’s uneven path toward more justice and equality, and rightly so. But that should not obscure the immense creativity that this messy and contested American experiment made possible. American Jews embraced its possibilities with a vitality that produced forms of Judaism few of their forebears would have recognized, yet that remain deeply connected to what came before. That dynamism also produced disagreements and fragmentation, and anxiety about what still holds Jews together.

Culture and creativity depend on the soil in which they develop. Protecting American jewish life therefore means not only to fight for Jews and Judaism, but also for the pluralistic republic that allowed them to flourish. Perhaps one day historians will give this entanglement of Judaism and America a name. But for now it remains unnamed because it is still being made, and because its future, I hope, is still in our hands.

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El-Sayed defends opposing Israel aid as he woos Jewish voters

Dr. Abdul El-Sayed made opposition to U.S. military aid to Israel a defining issue of his campaign in Michigan’s Democratic Senate primary. On Sunday, as the party’s nominee, El-Sayed explained why he supported sending American military aid to Ukraine in its war against Russia but opposes sending aid to Israel as it fights Hamas and other armed groups in the region.

“In Ukraine, you’re talking about attacks from a leader of a neighboring sovereign country, who clearly violated international law in attempting to breach the sovereignty of the Ukrainian public,” El-Sayed said in an interview on NBC’s Meet the Press. “That is conditional on that circumstance.”

As for Israel, he argued, the United States has “been offering unconditional foreign military aid to Israel independent of the circumstances for years and years and years.”

The distinction comes as El-Sayed tries to draw a clearer line around his position on Israel aid as he moves into the general election, following a narrow victory over Rep. Haley Stevens, who was backed by AIPAC and other pro-Israel Jewish groups.

Since his primary win, El-Sayed said in media appearances that his opposition to unconditional military aid — including funding to the Iron Dome defense system — goes beyond Israel. He pointed to Egypt, where his parents were born, as well as to Saudi Arabia and Jordan, saying those U.S. allies should not receive unconditional American military support either.

“It’s not just Israel,” El-Sayed said, adding, “It’s about the conditions.”

When pressed on whether there was any scenario in which he would support military aid to Israel, El-Sayed said he could consider supporting it if Israelis and Palestinians reached an agreement that guaranteed, as he described it, the “Palestinian people and Jewish Israeli people” equal rights to “peace, dignity, and self-determination.” During the primary, El-Sayed stopped short of explicitly backing a two-state solution.

The Jewish voter test

El-Sayed’s position on Israel is becoming a test of whether he can unite Democrats for the general election in one of the nation’s most important swing states. Many Jewish Democrats remain uneasy with his rhetoric on Israel — including his calling Israel “bloodthirsty” — even as the party needs their support to defeat Republican Mike Rogers and improve its chances of winning back the Senate.

The Jewish Democratic Council of America, which backed Stevens and said its volunteers made nearly 100,000 calls on her behalf, said that the “razor-thin margin” in El-Sayed’s victory is evidence that pro-Israel Democrats remain an important electorate within the party.

Halie Soifer, JDCA’s chief executive and a Michigan native, said in a Substack post Friday that Jewish Democrats are standing “on a political fault line” after El-Sayed’s victory. “Jewish voters’ concern with El-Sayed and other far-left candidates is rooted in concern for our safety and security given rising antisemitism and antisemitic violence, including when Jews are blamed for the actions of Israel,” she wrote.

Jewish voters make up just 1.4% of the electorate in Michigan, but they could still prove decisive in a close race. Michigan has been decided by narrow margins in recent elections: Donald Trump won the state in 2016, Joe Biden flipped it in 2020, and Sen. Elissa Slotkin narrowly won her Senate race in 2024 even as Trump carried the state in the presidential race.

AIPAC’s super PAC, United Democracy Project, which spent more than $30 million in the primary, is reportedly weighing additional spending in the general election to boost Rogers. It would likely be joined by other groups, including the centrist Democratic groups Third Way and Welcome PAC, as well as the Republican Jewish Coalition.

Jeremy Ben-Ami, president of the liberal pro-Israel group J Street — a progressive alternative to AIPAC — urged El-Sayed to take a different approach to the Jewish voters who opposed him. Ben-Ami wrote in a Substack post that El-Sayed should spend significant time listening to Jewish Michiganders and their concerns about vulnerability and antisemitism, while making clear “in words and in actions” that Jews who care deeply about Israel have a place in his coalition.

‘I love and revere Judaism’

In the Sunday interview, El-Sayed sought to reassure Jewish voters who remain skeptical of him.

Asked to respond to President Donald Trump’s comments that El-Sayed “hates” Israel and Jewish people “with a passion that burns in his heart,” El-Sayed said, “I love and revere Judaism and the Jewish people. I believe they’re a light unto the world.”

El-Sayed recalled growing up in Bloomfield Hills, a metro Detroit community with a large Jewish population, and being invited to Passover Seders, synagogues and bar and bat mitzvahs. “I’m really honored for what I learned and got to share with my Jewish sisters and brothers,” he said. “But they are not the same as AIPAC and Israel.”

The candidate also disavowed some remarks by Hasan Piker, the popular pundit and streamer who has been accused of antisemitic rhetoric and who appeared with El-Sayed on the campaign trail. El-Sayed said Piker’s statement that “America deserved 9/11” was “dumb,” though he did not commit to ending campaign appearances with him.

The test in the coming months is whether El-Sayed can win over skeptical Jewish and moderate Democrats without moderating his views on Israel or losing the progressive and pro-Palestinian voters who propelled him to victory.

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