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During divided times, this Israeli university promotes inclusion and diversity with an unusual approach
Tal Levine is the first person in her family to go to college. Her mother, a child of illiterate Moroccan immigrants to Israel who spoke only Arabic, left school after eighth grade to help her parents on their Israeli farm. Her father dropped out of high school after his own father died, and he worked his entire career in the Israeli post office.
Levine herself did odd jobs from a young age, scraping together whatever money she could.
“I’ve been working since I was 13 years old, from dog walking to waitressing to whatever I could find,” said Levine, now 28. “My parents could not help me.”
Despite her hardships, Levine found her way into dentistry thanks to a special Hebrew University diversity program that seeks out students from challenging backgrounds. Not only was Levine accepted as a student into the Hebrew University-Hadassah Faculty of Dental Medicine, but she also received a life-changing scholarship that enabled her to pursue her dream.
“I wanted to do something to help people, and not just sit in front of a screen,” Levine said of her career ambitions.
Levine’s story is not unusual: Each year, students from diverse backgrounds are actively recruited to the university, where they are eligible for financial, cultural, academic and mental health support.
It’s part of Hebrew University’s vision for the school as an oasis of diversity, coexistence and inclusion at a time when Israel is facing headwinds of division, discrimination and discord.
The university is a unique and special place in Jerusalem — and in Israel generally — where students from a wide range of socioeconomic, ethnic and religious backgrounds come together. The student body includes Orthodox haredim, Palestinian Arabs, Mizrahim, Ethiopians, people with disabilities and members of the LGBTQ+ community.
“We are working hard to bring together people from different backgrounds, where they practice listening to each other and learning about cultural diversity,” said Professor Mona Khoury, vice president for strategy and diversity and former dean of Hebrew University’s School of Social Work. Khoury made history as the first Arab woman to be appointed as a dean at the university.
“Just as an example, I recently had lunch with Arab and Jewish students from East Jerusalem and Beersheva,” she said. “Right now, it’s hard because the situation in Israel isn’t good. But even though they were very different politically, they were able to talk and had a very real and genuine conversation. This may have been the first time they had this kind of exchange. And it’s because Hebrew University purposefully enables this to happen — encourages it.”
The university seeks to promote inclusion and diversity in a variety of ways. All the signage at the university is in Hebrew, Arabic and English to make it easier for students of all backgrounds to navigate the campus. The Rothberg International School has gender-neutral bathrooms to ensure students of all gender identifications feel comfortable. Extra help with Hebrew is available to new immigrants and Arab students. Students with disabilities receive special assistance. The School of Social Work offers counseling courses in Arabic, sends out emails in three languages, and celebrates Jewish, Muslim and Christian holidays.
Each minority group in Israel faces its own challenges: Economically disadvantaged students may not have enough money even to apply to the university; haredim and ex-haredi students lack basic educational foundations, and Arab students face linguistic,
cultural and social challenges.
Tala Atieh, a 22-year-old student in education and anthropology from Kfar Aqab in Arab-populated eastern Jerusalem, has benefited directly from the university’s efforts. Although she graduated at the top of her class in high school, she did not know any Hebrew. So she enrolled in a yearlong academic preparation course that the university offers students in her situation. Within a year, Atieh’s Hebrew was fluent and she was able to get into a degree program.
Atieh and Levine are both members of Hebrew University’s Ambassadors for Diversity program: 24 students from varied communities who receive scholarships, engage in multicultural activities and commit to working 100 hours in return for their benefits. As part of the program, Atieh shares her experiences with Arab young people and talks to them about how Hebrew University can help them thrive.
“I have met people from all over the country with many different backgrounds and perspectives,” Atieh said. “For example, I learned a lot about the Jewish holidays that I did not know before. And I share my own holidays as well. These exchanges bring
greater understanding between our different peoples.”
Promoting tolerance is among the university’s core values. The Center for the Study of Multiculturalism and Diversity (CSMD) promotes the development of multicultural sensitivity and tolerance, helping students develop critical perspectives on power
relations within their society and offering courses, clinics and events that explore multiculturalism and enable students to interact with those from different backgrounds. The center is the first academic body in Israel to harness behavioral science to focus on multiculturalism, and researchers at the CSMD are developing innovative policies to foster more social integration and cohesion.
“In the Ambassadors program I encounter people I would have never met otherwise,” said Tova Abeve, 34, a master’s degree student in public policy of Ethiopian descent.
Also the first in her family to attend university, Abeve is a social influencer and content creator with podcasts and other media aimed at Jewish women of Ethiopian descent. She uses her influence to tell her followers about the opportunities that Hebrew University offers.
“Most people don’t know that these opportunities exist,” she said. “I’m sharing a vision for what the world could look like.”
Shiran Brosh, a 38-year-old Orthodox student in education, is also in the Ambassadors program. “I have never met such a special group of people with different languages and cultures,” Brosh said. “We all come together. It’s a wonderful experience.”
Abichai Tzur, 24, is a former Orthodox Jew who spent much of his teen years cut off from his family following his decision to leave Orthodoxy. In order to get into the university’s program in international relations and communication, Tzur not only needed help overcoming gaps in his education but also financial support, mental health support and mentorship. Today, in addition to studying, he works at the Ministry of Social Equality in the LGBTQ division as manager of international relations, leads the Model United Nations program at the university, and speaks to other ex-Orthodox Jews about diversity and inclusion.
“The reason I advocate for social equality and share my story is that I know what it feels like to have a disadvantage and to need some help to get on your feet,” Tzur said.
Levine also talks to prospective students about her experience.
“My message to students is simple: You can do it,” Levine said. “Even if you don’t have money, even if you don’t think you are a good student, even if you haven’t studied — you can overcome all those obstacles and succeed.”
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The post During divided times, this Israeli university promotes inclusion and diversity with an unusual approach appeared first on Jewish Telegraphic Agency.
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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.”