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Among Ukraine’s Jews, a year of war has transformed the ordinary into the sacred
TRUSKAVETS, Ukraine (JTA) — Nearly 600 Jews stand shoulder-to-shoulder, eyes trained on the young man leading the service to close out Shabbat. The crowd sings a soulful havdalah tune that lifts up its final words: “hamavdil ben kodesh l’chol” — ”the One who divides between sacred and ordinary.”
It looks like a Shabbat gathering anywhere else in the world, but I’m in the western Ukrainian city of Truskavets, where — from every part of their conflict-scarred country — these Jewish community volunteers have come together for a four-day retreat, energized by the chance to learn from each other and take a deep breath.
I’m back in Ukraine for the first time since the crisis began to learn from these men and women making miracles happen. I came to document and share stories from this gathering. Remarkably, it’s the largest-ever in the former Soviet Union arranged by my organization, the American Jewish Joint Distribution Committee, or JDC, which has worked to aid needy Jews and build Jewish life in the region for decades.
With its wine and sweet-smelling spices, havdalah eases the transition from the holy purity of Shabbat to the workaday mundanity of the week. Surrounded by hundreds of Ukrainian Jews, I felt uplifted, as I always do when I travel to this region and see its defiant, vibrant Jewish life.
The usual rules don’t apply. Here, the ordinary becomes sacred.
On this, my 14th trip to the former Soviet Union in 10 years, I’ve come to know it as a place where that switch is truly flipped. Rebuking a painful history, from the Holocaust to Soviet oppression, everyday actions become lifesaving and essential. That’s never been more true than this past year, as Jewish communities here worked overtime to meet the enormous humanitarian needs of this crisis.
Simple flashlights become beacons enabling home care workers to reach the bedridden elderly Jews they serve. Bus trips between cities are transformed into escape hatches for those fleeing rocket attacks. A box of nonperishables is manna from heaven for those faced with empty grocery shelves, and each call from a volunteer is a life raft for the loneliest seniors and most vulnerable at-risk families.
Over the last year, more than 3,000 volunteers engaged in projects affecting 36,000 people. This work is part of our expansive response to this crisis — supported by the Jewish Federations of North America, the Claims Conference, International Fellowship of Christians and Jews, individuals, families, corporations and foundations. It includes providing uninterrupted assistance to 43,000 Jews in Ukraine and the delivery of 800 tons of humanitarian aid. Among those we help are the elderly and families, internally displaced people, and the new poor who have lost their livelihoods in the devastation.
A song leader leads participants in havdalah at JDC’s volunteer Shabbaton in Truskavets, Ukraine, February 2023. (Arik Shraga)
Not blind to the challenges they face, Jews and Jewish communities here are resilient and resolute in the knowledge that there’s something more important at play. It’s a clarity of purpose that means, against all odds, they’ve grown even stronger.
“My fears were boiling me alive,” said Tatiana Chumachenko, a 34-year-old Odessa mother of two. She started volunteering this summer and now runs weekly cooking classes and art therapy sessions for elderly Jews. “So I made the decision to widen my world — to take on more responsibility, to take care of more people. And volunteering literally saved me.”
Thousands of Ukraine’s Jews just like Tatiana have chosen determination, not despair. They’ve driven through besieged cities delivering medicine and firewood, power generators and portable heaters. They know their Jewish values demand action and compassion, and so they’ve stepped up.
Daria Yefimenko, the head of our network of 25 volunteer centers across Ukraine, is that resolute determination personified. The air raid siren went off the other day as I was interviewing her — a shocking noise, made more frightening by its maddening vagueness: What’s happening? Where? Am I in danger, or is this just background noise?
I learned later that just a few hours before I arrived in Ukraine, a missile had struck Drohobych, only 10 kilometers from the Shabbaton.
Yefimenko seemed unshaken. She and her team — her “family of superhero volunteers” — live here, of course. They must cope with brutal shelling and unpredictable electricity cuts. They have daily fears for their loved ones, and rising anxiety about what the future holds. They help their neighbors even as they share their pain and struggles.
And they keep on going.
Alex Weisler joins the massive group havdalah at JDC’s volunteer Shabbaton in Truskavets, Ukraine, Feb. 18, 2023. (Arik Shraga)
There are so many stories in this part of the world — World War II stories, Soviet stories, stories of rebuilding and reimagining Jewish life after the Soviet Union fell. I’m curious about the one we’ll tell when this is all over.
Will we remember how Jews supported each other in the darkest days? We should.
Before the massive Shabbaton havdalah, I led a smaller version at the hotel down the road where we have housed hundreds of internally displaced people since the earliest days of the Ukraine crisis.
Six elderly Jews from the Zaporizhzhia region joined me for their first havdalah ever. Among the group was 76-year-old Alla Hodak, who fled from a place with significant devastation.
Alex Weisler leads a group of internally displaced Ukrainian Jewish community members in their first-ever havdalah ceremony, Feb. 18, 2023. (Arik Shraga)
Here, observing Jewish rituals in a third-floor alcove, she had begun to form a makeshift community—not quite home, but not alone either. “You made sure we were never abandoned to fate,” she told me.
In that moment of stark intimacy, our small group blessed the wine, smelled the cinnamon, and felt the warmth of the braided candle. It bound us together and reminded us that drawing a distinction between then and now can be holy, too.
As we take stock of a year of grief and grit, we must guarantee that the next one is a kinder one. We must recognize our own hands as sacred tools and each member of our global Jewish family as holier still.
There’s nothing ordinary about that. Each person and each day has become an opportunity to do good for those who need us most and build their future together. That’s the only way forward.
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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.”