Uncategorized
Far-right Israeli minister urges loyalty as his US visit draws protests, boycotts and arrests
WASHINGTON (JTA) — For more than a week, American Jewish groups have debated how and whether to welcome Israel’s far-right finance minister, Bezalel Smotrich, as he visits Washington, D.C.
On Sunday night, that debate culminated in protests, arrests, boycotts — and a speech by Smotrich urging American Jews to remain loyal to the Jewish state.
Inside the Grand Hyatt Washington, Smotrich spoke to Israel Bonds, a U.S. organization that encourages investment in Israel. In the lobby of the hotel, left-wing groups protested, sang songs and, in some cases, were escorted out in handcuffs. And outside the hotel, in the cold rain, hundreds of liberal Jews gathered to declare their dedication to the Jewish community — and to protest Smotrich and Israel’s government.
“This is a moral emergency,” said Sheila Katz, CEO of the National Council of Jewish Women, in a speech at the protest. “We must name this deep pain that so many of us feel for what’s happening in Israel right now, a place that we love. It is with that love that we come here tonight, standing with our Israeli siblings, saying there is nothing normal, nothing acceptable about this moment.”
The Israeli government is advancing legislation that would transform Israel’s system of government and has drawn sweeping protests across the country as well as concern by foreign investors and financial watchdogs. But little sense of emergency was present in the remarks given by Smotrich, who called on his audience to stay the course. The event was closed to press.
“This moment in the history of Israel is a miracle,” he said in remarks released by his office. “And for more than 70 years, Israel Bonds investors like you have helped make our Jewish State a reality. But, there is still work to be done, so don’t stop investing!”
Outside the conference room where Smotrich spoke, the left-wing Jewish group IfNotNow protested by singing and reciting maariv, the Jewish evening prayers. The group said seven of its members were arrested by police. The anti-Zionist group Jewish Voice for Peace also protested.
The dueling speeches and actions on Sunday came at a time when even the staunchest advocates for Israel are publicly criticizing its government. They serve as the latest evidence that the coalition led by Prime Minister Benjamin Netanyahu is upending the Diaspora’s relationship with Israel like no government before it.
Much of the criticism has surrounded the government’s signature legislative effort, which would sap the Supreme Court of much of its power and independence. And a fresh round of criticism came this month after Smotrich called for a Palestinian village to be wiped out — a statement he has since walked back repeatedly and at length, including during his Israel Bonds address. In the past, Smotrich has also made statements denigrating LGBTQ people and Arabs.
Major Jewish establishment organizations and leaders, once loath to publicly criticize Israel, are expressing alarm about the judicial legislation as well as Smotrich’s incendiary rhetoric. They are watching as the country is roiled by frequent massive demonstrations that have brought hundreds of thousands of Israelis into the streets.
That criticism has manifested itself in a widespread boycott of Smotrich’s visit — a change of pace for Jewish organizations that are generally eager to meet with senior Israeli officials. The American Israel Public Affairs Committee is snubbing Smotrich, and so is the Biden administration. His only known quasi-governmental interaction this week will be a guided tour of the U.S. Holocaust Memorial Museum.
Aside from his Israel Bonds appearance, Smotrich is meeting with officials from just two Jewish organizations, the Orthodox Union and the right-wing Zionist Organization of America, one of the few U.S. groups to support the judicial reform.
“The hateful views long expressed by Minister Smotrich are abhorrent, are opposed by a majority of Israeli citizens, and run contrary to Jewish values,” the Jewish Community Relations Council of Greater Washington said in a statement. “No public servant should ever condone or incite hatred or hate-motivated violence, and when they do, they will be fiercely condemned by a wide swath of American Jewry.”
Those comments were echoed by the speakers at the protest outside the Grand Hyatt, which was organized by an array of progressive Jewish groups. Despite their attitude toward the Israeli official speaking inside the hotel, the event was suffused with patriotic fervor, with piles of Israeli flags for protesters to wave. It finished with a rendition of the Israeli national anthem, “Hatikvah.”
“Anybody who has authority in the community has to be ne’eman, to be faithful, has to be somebody who the community can trust like Moshe,” said Rabbi Jill Jacobs, CEO of the liberal rabbinic human rights group T’ruah, using the Hebrew name for Moses and quoting a rabbinic teaching.
Jacobs, who is a longtime proponent of curbing Americans’ giving to right-wing extremist groups in Israel, went on: “We’re here to say that the current leadership of Israel — including, of course, Bezalel Smotrich, speaking inside this hotel — they are not ne’eman, they are not people we can trust, they are not people who are leading Israel in the right direction.”
Israeli Finance Minister Bezalel Smotrich addresses Israel Bonds in Washington D.C., March 12, 2023. (Office of the Finance Minister)
Smotrich emphasized the same themes — Jewish unity and mutual responsibility — but toward different ends. He thanked his audience of investors in Israel bonds “for the unquestionable connection between Israel and Diaspora Judaism.”
“We must not forget that we are brothers,” he said. “Despite all of the differences, despite the many colors that make up the Jewish mosaic, we are one.”
He also once again apologized for his call to “wipe out” Huwara, a Palestinian West Bank village where Israeli settlers rioted recently after a Palestinian gunman there killed two Israelis. He said his words “created a completely mistaken impression.”
“I want to say a few words about the elephant in the room,” Smotrich said. “I stand before you now as always committed to the security of the state of Israel, to our shared values, and to the highest moral commitment of our armed forces to protect every innocent life, Jew or Arab.”
If anyone is finding new allies, it is not Smotrich but his opponents, who run the gamut from the Jewish left to once-reliable mainstays of the right. Miriam Adelson, the widow of casino magnate, Republican kingmaker and pro-Israel donor Sheldon Adelson, said on Sunday that Netanyahu’s rush to enact judicial reform was “hasty, injudicious and irresponsible.”
Those changes galvanized the protesters. “We are the Jewish establishment!” Jacobs said.
Jacobs said later in an interview that the “grounds are shifting” among American Jews. “Some of us here and in Israel have been on the ground fighting against the occupation and the attacks on democracy for years and years, and now it’s becoming clear to more and more American Jews and Israeli Jews that that was the right message,” she said.
The issue of whether to raise Israel’s occupation of the West Bank has been a matter of debate amid the protests in Israel, where there have been reports that organizers have discouraged the display of Palestinian flags, fearing that Netanyahu will weaponize any sign of solidarity with the Palestinians.
The tension over whether the Palestinians should be mentioned played out before the protest in Washington as well, at a press conference featuring philanthropists and Israeli businessmen who said the judicial reforms were threatening Israel’s economic standing.
The event started with a rendition of “Oseh Shalom,” the Jewish prayer for peace, composed by the Israeli Jewish Renewal group Nava Tehila.
Susie Gelman, a philanthropist who chairs the Israel Policy Forum, which supports the establishment of a Palestinian state alongside Israel, said one of the key roles of the Israeli Supreme Court in recent years has been to protect some Palestinian rights and slow Israeli efforts to increase sovereignty in the West Bank.
“You can’t entirely separate judicial overhaul from the question of what’s happening with Palestinians in the West Bank in particular,” she said.
But Offir Gutelzon, a Silicon Valley tech entrepreneur who helped found UnXeptable, an anti-Netanyahu protest movement by Israelis living abroad, differed, saying the protesters’ top priority should be to save the courts’ independence. Achieving that goal, he said, required maintaining unity across the Israeli political spectrum.
“We have to save our Israeli democracy and then we can move on and talk about” the Palestinians, Gutelzon said.
Still, at the protest, speakers spoke of the occupation and its effect on the Palestinians, and there were no objections. Gutelzon led an Israeli contingent in registering cheers for every pronouncement by American liberals.
—
The post Far-right Israeli minister urges loyalty as his US visit draws protests, boycotts and arrests appeared first on Jewish Telegraphic Agency.
Uncategorized
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.
Uncategorized
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.”
Uncategorized
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.”