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Connecticut College students are in revolt after president’s planned talk at Florida club with antisemitic and racist past
(JTA) – When students at Connecticut College learned that their president had been planning to attend a fundraiser at a historically racist and antisemitic golf club, they began to organize.
But their school’s building for race and ethnicity programming, the Unity House, didn’t have enough space to hold them all. So a pivotal meeting that kicked off a weeks-long campaign against the university took place at a space with a larger capacity: its Hillel house.
“Having a Jewish space on campus that felt like a safe space to gather as a community is something that really struck me as important,” Ilan Listgarten, a Jewish sophomore at the college, told the Jewish Telegraphic Agency.
Three weeks later, Connecticut College students have moved to an even bigger location: They have occupied a central administrative building on the New London campus for five days and counting, and are receiving support from faculty and staff.
The students want the president to resign, and they are calling for increased funding and support for various ethnic studies and student group programs. Their demands include enhancements to the Jewish studies program (the school currently offers a minor) and bias training to address antisemitism.
Tensions have remained so high that Hillel leaders canceled a planned Shabbat dinner with the embattled president, Katherine Bergeron, an annual event that this year had been scheduled for Friday.
As Jewish students and faculty on other campuses have complained that they feel excluded from progressive activism, the crisis at Connecticut College has gone in a different direction. Jewish students are playing a leadership role in the protests, working closely with a coalition of activists from other backgrounds who specifically invited Hillel to join in its efforts. That’s notable because, at other schools across the country, recruiting support from coalitions of minority groups has been a hallmark of pro-Palestinian activists — who often boycott (or are themselves barred from) Hillel due to its pro-Israel stance.
“I’ve felt even more proud to be Jewish on campus right now,” sophomore Davi Schulman, a student journalist and member of Connecticut College Hillel’s leadership team, told the Jewish Telegraphic Agency. “And I’m just proud to be a Connecticut College student. We’re really coming together like we never have before.”
Connecticut College students are protesting against their school’s president, Katherine Bergeron, who had been scheduled to speak at a venue with an antisemitic and racist history. (Courtesy of Sam Maidenberg/The College Voice)
Key to Hillel’s participation, observers said, was the fact that the kindling for the student uprising involved antisemitism. Bergeron had been planning to attend a fundraiser for the college to be held at the Everglades Club, an exclusive golf club in Palm Beach, Florida, that has a history of denying entry and membership to Jews and Black people (reportedly including Black Jewish entertainer Sammy Davis Jr. and Jewish cosmetics mogul Estée Lauder).
Today the club is secretive about its current membership policies, though recent testimony from officials has claimed that the club no longer discriminates against Jews. Its antisemitic past was enough to turn off former President Donald Trump from selling his Mar-a-Lago club to them in the 1990s.
The larger campus community became aware of the fundraiser only after the school’s dean of institutional equity and inclusion, or DIEI, resigned from his position Feb. 7 after only a year on the job, citing the president’s unwillingness to take his advice to cancel the fundraiser. Bergeron announced the next day that the event had been canceled and apologized “to all who saw our plans as contrary to Conn’s values or to the inclusive institution we aspire to be.”
The dean had leaked his resignation letter to a group of student activists, sparking the initial efforts to organize what became Student Voices for Equity — and that meeting in the 6,700-square-foot Zachs Hillel House. Jewish students suggested the venue, opened in 2014 to serve the school’s roughly 200 Jewish students, when it became apparent that the crowd of hundreds wouldn’t fit in Unity House.
The controversy over the fundraiser was “the straw that broke the camel’s back,” according to Rabbi Susan Schein, the director of Connecticut College Hillel (and an employee of the university’s diversity and equity office). She and students said there had been long-standing dissatisfaction among many on campus with Bergeron’s leadership; several students said they wanted to see more funding and support for ethnic studies and diversity-focused programs.
When the student activists approached Hillel’s student leadership about having a Jewish representative join their efforts, the students quickly agreed, electing to have Listgarten play the role; today he is helping to support the around 30 students who are occupying the campus building where the president’s office is located. The Hillel also issued a statement standing in solidarity with the movement’s goals.
Connecticut College sits along the Thames River in New London, Connecticut. It enrolls about 2,000 students. (Connecticut College)
A Connecticut College spokesperson told JTA that Bergeron and the school’s administration “take the issues that have been raised seriously,” and that it would conduct an independent review into “the workplace-related concerns.” The college also pledged “significant additional resources” into its diversity-focused efforts. It did not address how the planned fundraiser at the country club had come together. Bergeron has sent six letters to the campus community about the controversy since the diversity dean’s initial resignation.
The ease with which the campus’s Jewish community has fit into this movement is a testament to deliberate programming efforts at the Hillel to reach out to forge relationships between Jews and non-Jews on campus, Listgarten and Schein said. Hillel hosts events like “Unity Shabbat” designed to bring together other marginalized groups, and its center — which includes a game room — was envisioned by funder Henry Zachs as a common space for Jews and non-Jews alike, Schein said.
It wasn’t always this way at Connecticut College. In 2015, the school attracted national attention when a student decried as racist a months-old Facebook post by a Jewish professor about the previous year’s conflict in the Gaza Strip. The professor had ambiguously used an analogy of “rabid pit bulls,” without specifying whether he was talking about Hamas or all Palestinians.
In the resulting furor, hundreds of students and alums signed an online petition demanding the college condemn “the racism and dehumanization” of his post. Pro-Israel activists came to the professor’s defense and accused the campus community of being hostile to Jewish and pro-Israel views.
Today, Listgarten said, Israel hasn’t come up in this current period of student activism, and dialogue between Jews and non-Jews remains civil. He confirmed Bergeron has also hosted annual Shabbat dinners with Hillel students. But this year, after the fundraiser controversy broke into view, Hillel leadership elected not to dine with her for their scheduled Shabbat dinner, which would have taken place Friday.
“The Hillel Board has very clear values of tzedek,” Listgarten said, using the Hebrew word for “justice.” “As soon as this event occurred and it was clear that our values were drastically opposed to that of the president, we canceled.”
Despite their warm reception, Schulman said she’s “conflicted” by the fact that the other campus activists “consistently mentioned the Jewish community on campus and included us in the group of marginalized students.” To her and the other Hillel leadership, the Jewish community has “privilege” that students from some backgrounds don’t, and they’ve made that a central part of their messaging. They cite the existence of the Zachs Hillel House itself, and the fact that it is in better condition than other university spaces devoted to race and ethnicity programming, as one example.
“We don’t want to appear to be pushing any kind of agenda or whatever,” Schulman said. “We’re kind of taking a step back and supporting everyone who is expressing their feelings.”
This dynamic has been crucial to Hillel’s success at ingratiating itself with larger campus culture, Schein said. She invoked Jewish teachings by way of explanation.
“The country club issue that came up involved antisemitism, and I think that caught the attention of the Jewish students. But here they recognized it is not just about themselves, and that they have a responsibility to support others,” Schein said.
Citing the famous quote by Rabbi Hillel, the campus group’s namesake, she added, “They stepped into it. They could’ve been outside, but they said, ‘Now is the moment to support our DIEI colleagues.’ And that’s what the campus is doing. They said, ‘If not now, when?’”
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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.”