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Brooklyn gyms have an answer to antisemitism: teaching Jews to fight back
(New York Jewish Week) — Emanuel Landsman, a Lubavitch father of five who lives in Crown Heights, found the recent rise in antisemitic attacks to be very concerning. But instead of being afraid, he decided to learn how to fight.
Over the past three years, Landsman has become proficient in the Israeli martial art known as Krav Maga (literally, “close combat”). “I’m a visibly Jewish man,” Landsman told the New York Jewish Week. “I came to train because of all the antisemitic attacks and what was going on around us. I would get hollered at by cars driving by. My kid came home and said others were walking down the street and yelling at him.”
Recently, high-intensity self-defense classes have been popping up in Jewish neighborhoods in Brooklyn, specifically in response to street attacks on Orthodox residents. Last week, an analysis of NYPD data by the Times of Israel showed that antisemitic incidents in New York City have doubled over the past two years.
Landsman learned to fight with a training program called Legion, which has previously held Krav Maga classes in Manhattan and Connecticut. Next month, Legion is making its first post-pandemic expansion to Brooklyn; weekly classes will take place at the Beth-El Jewish Center, a synagogue in Flatbush.
“It’s not a requirement to join our class, but the majority of our members are Jewish,” Legion’s president and former Israeli Defense Forces soldier Corey Feldman told the New York Jewish Week. “Our logo is a Jewish star. It’s pretty obvious who we are and what we stand for.”
Jews are attacked because we’re seen as vulnerable targets. Join Legion Self Defense & send a message to criminals: “you can no longer attack me & expect me not to defend myself.” I had the opportunity to participate in the program for 2.5 years, & acquired life changing skills. pic.twitter.com/bOnAbnwbPF
— Councilwoman Inna Vernikov (@InnaVernikov) January 8, 2023
Feldman added that he is seeing more of a demand for these classes, which include separate classes for men and women, and a mixed class as well. “We already have 40 people in New York City, with many more that wanted to join, but we didn’t have room to accommodate.” Feldman said, adding that as antisemitic attacks on Jews increase, people are “aware of the need for this.”
“We believe that the best way to confront that is deterrence,” Feldman said. “We want to make sure you’re going to think twice before you start pushing that guy on the subway who is wearing a kippah.”
In Legion classes, members work up a sweat through a mix of high-intensity workouts that include punching, kicking, grappling and other forms of martial arts.
The new Legion classes in Brooklyn will be held in City Council member Inna Vernikov’s district, which encompasses parts of Brighton Beach, Sheepshead Bay and Midwood. She told the New York Jewish Week that she’s “very involved” with Legion; she has taken Legion classes herself and said she is working to provide discretionary funding from her district office this year, although she declined to discuss specifics.
“It’s extremely important that every single Jew, especially visibly Orthodox Jews, do this,” Vernikov said. “I’ve seen small, petite women train and gain life-changing skills. You develop an attitude and a confidence that if you walk down the street and use the skills properly, the attacker will avoid you.”
Another Krav Maga program serving Brooklyn Jews is Guardian Self Defense, which was started by Joe Richards, a Jew from Long Island. In 2019, he rented out a room in a Crown Heights yeshiva to teach members of the local community how to fight.
“Across the hall they were having a bar mitzvah,” Richards told the New York Jewish Week. “And then there was us training. We ran these 45 guys hard and pushed them.”
Since then, Richards said he now teaches hundreds of Jewish students through his program. In Crown Heights, he runs three weekly classes for the Lubavitch community in space rented at the local outpost of the gym chain Crunch. GSD also has other locations in Manhattan, Long Island and Florida.
Richards said he started his Brooklyn classes after seeing videos of attacks on people wearing the distinct dress of Orthodox Jews. “Let me bring the training to the area where this is happening,” Richards said. “There were no freaking gyms there. I went into the community and recruited them [students]. And now the people [students] are doing all the recruiting because it’s so popular.”
Members of Shomrim, a neighborhood watch organization in the Orthodox community, are using Krav Maga training to learn how to defend themselves in the field.
Crown Heights Shomrim member Ben Cousin, who trains regularly with GSD, told the New York Jewish Week that “ordinary people” are now learning how to fight in his community through these programs. “They have been victims of antisemitic attacks,” Cousin said. “Some of them have seen it, they feel it, but they are joining because they feel they have to stand up for themselves.”
A Guardian Self Defense fighting class in Crown Heights. (Courtesy)
Cousin spoke about how the GSD teaches “de-escalation” tactics, and is not just about fighting. He told a story about when he was on patrol with Shomrim and his team confronted a man after a robbery. “He pushed me,” Cousin said. “Instead of pushing him back, I said, ‘I don’t want to fight you.’ I calmed him down. I apologized. That comes from the training — I don’t want to fight, but I’m ready, just in case.”
“This is a last resort program,” he added. “If you put your hands on us, we will remind you that Jewish blood is not cheap.”
Like Legion’s Feldman, Richards is gearing up for a new group of GSD trainees this year who have heard about his Krav Maga program. Richards is the grandchild of four Holocaust survivors and compared the current rise in antisemitism to what his grandparents experienced.
“The Jews are being targeted everywhere — verbally, online, physically. From the right and left, we are now under siege,” Richards said. “If you’re visibly Jewish, you have a double target on your back. We don’t have the luxury of trying to plan what we should do. Everybody should be taking action.”
“There are plenty of people in this class who had never thrown a punch in their life,” Landsman said of his training with Legion. “I’m not asking you to join the UFC [the mixed martial arts league], but you need to be able to stand your ground and unfreeze yourself when somebody is threatening you with violence. You need to know when to run or when there is no retreat and you have to defend yourself.”
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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.”