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Growing number of young Jews turning to service to express their Jewish values
When Jon Cohen was in college a decade ago studying biology and chemistry with plans for medical school, he knew he wanted to make a difference in the world beyond the Florida State University campus in Tallahassee.
So he and some friends decided to launch a community project teaching science to children from low-income households living nearby. Every Friday, they’d conduct experiments with the kids designed to spark excitement and curiosity about the world around them in a way that would leave an impact on them beyond school.
The idea of service was something Cohen had grown up with in his more affluent Miami suburb, and he wanted to take some time off between college and medical school to devote to it. When, as a college senior, Cohen saw an email about a Jewish service fellowship with Repair the World, he applied.
“I was really interested in seeing what justice-minded Judaism was like,” Cohen recalls.
His family didn’t practice Judaism framed through the lens of morals and values, he said, but rather through rituals like Sabbath observances and attending synagogue. He didn’t go to a Jewish day school or summer camp, he didn’t know Hebrew, and when his parents divorced, they stopped observing Shabbat, leaving Cohen with few pathways for Jewish connection.
When Cohen started his fellowship in New York for Repair the World, he realized he had found a different model for Jewish action — one that felt more meaningful. Cohen worked with Digital Girl, an organization that teaches computer coding to kids of all genders in underfunded schools in neighborhoods like Chinatown, Bedford-Stuyvesant and East New York where many people live in poverty.
Cohen is one of over 230 people who have “served” full-time through Repair the World’s fellowship. Another 740 have completed Repair’s service corps, a three-month, part-time Jewish service learning program for young adults. Since 2009, Repair has partnered with approximately 2,880 service organizations, resulting in over 516,000 acts of service and learning. The goal is to reach 1 million by 2026.
This kind of Jewish engagement is indicative of a sea change in the Jewish communal world: Service is now an integral part of American Jewish life and a meaningful form of Jewish expression, especially for younger adults. Service projects increasingly are how American Jews put their faith into practice and find purpose through humanitarian acts.
“Younger generations are deeply passionate about making the world a better place and improving their communities,” said Robb Lippitt, chair of Repair the World’s board of directors. “Connecting this passion to their Jewish values is something that Repair does really well.”
The organization sends Jewish young adults to serve both with Jewish and non-Jewish organizations addressing needs such as food, housing, and other local needs. Repair the World’s activities are structured with an eye toward making them meaningful Jewish experiences.
“Everything we do is done through both a Jewish and a social impact lens,” said Cindy Greenberg, Repair’s president and CEO. “In addition to hands-on service, we look at the issue area at hand and ask: Why is my service needed? What are the underlying societal challenges impacting this issue and how might it be healed? And what does Jewish wisdom have to say about these challenges and our obligation to repair the world?”
Janu Mendel, the Southeast regional director of Repair the World, tends to vegetation at a local community farm in Miami. (Courtesy of Repair the World)
Greenberg said expanding the Jewish service movement will lead to a flourishing Jewish community and strengthen society generally.
Repair the World was founded 13 years ago to make service a defining element of Jewish life. Since then, studies have shown that Jewish young adults increasingly express their Jewish identity by caring for the vulnerable.
“Over 13 years, Repair the World has been the driving force of the Jewish service movement, ensuring that these experiences are grounded in serious Jewish learning,” said Barry Finestone, president and CEO of the Jim Joseph Foundation, one of Repair’s funders. “Repairs organizational partnerships, fellowship programs, and proven best practices define the movement today — and enable so many to find purpose in Jewish life while creating change.”
While most of those who serve with Repair — about three quarters — are Jewish, much of the impact is in non-Jewish communities. About eight years ago, for example, the organization began partnering with St. John’s Bread and Life, a faith-based emergency food provider in Brooklyn that operates a food pantry, serves hot meals and hosts a mobile kitchen.
St. John’s serves approximately 1,000 hot meals a day, according to Sister Marie Sorenson, the chaplain there. The current Repair the World fellow serving with St. John’s has continued volunteer outreach, ensuring that unhoused and food-insecure individuals and families in the neighborhood have their nutritional needs met with compassion and respect. Repair also has organized volunteers to give thousands of toiletries, personal hygiene kits, baby wipes, diapers and baby formula to clients of St. John’s.
“Because we are both faith-based service organizations, we have really connected well with each other,” Sorenson said.
This commitment to food justice is connected to Repair’s service impact nationwide. Repair has mobilized volunteers to donate 200,000 pounds of food and prepared or served more than 100,000 meals to people in need throughout the country.
In the partnership with St. John’s, the Christian participants tend to be locals who have extra time or are retirees, whereas the Repair volunteers are “young people who value service, who value giving back to the community,” Sorenson noted.
Repair is funded by a wide array of supporters, including Jewish federations across the country, the Jim Joseph Foundation, and the Charles and Lynn Schusterman Family Philanthropies. Repair’s expansive pandemic response, Serve the Moment, drew funding from philanthropist MacKenzie Scott and the Jewish Communal Response and Impact Fund, known as JCRIF.
Repair has also invested significantly in partnerships with other Jewish organizations to maximize reach and impact.
“The power of Repair’s model is the opportunity it provides for young adult volunteers to learn from and work in deep partnership with the communities they are serving — while engaging in Jewish life and learning,” said Lisa Eisen, Repair’s founding board chair and co-president of Schusterman Family Philanthropies. “We saw this so clearly through the pandemic, when Repair mobilized tens of thousands of young Jews to support people in need while also providing an avenue for them to stay connected to each other and Jewish community.”
Eric Fingerhut, the president and CEO of the Jewish Federations of North America, described service programs as a gateway to greater Jewish involvement. “We believe service is a powerful tool for expanding engagement in Jewish life across the system,” Fingerhut said.
Volunteers paint and restore a community space during MLK Weekend of service in New York. (Shulamit Photo + Video)
Lippitt, Repair’s board chair, noted that Repair’s service work is especially important given the divisions in the country right now.
“It’s a vitally important bridge-building experience with our neighbors in these divided times,” he said. “The benefits that come at this moment in American history of getting out in the community and serving alongside people who may not see the world as you do are just immense for the community and for society.”
Many of the young Jews who work with Repair the World come from cohorts that traditional Jewish organizations have struggled to reach. In the most recent data collected by the organization, Repair found that between 19 and 25% of participants identify as having a disability; 25% of participants and 44% of corps members identify as non-white; and 75% of fellows, 42% of corps members, and 22% of participants identify as LGBTQ.
After Jon Cohen finished his yearlong fellowship with Repair, he went to medical school as planned, but he soon realized it wasn’t the path he wanted. When an opportunity came up to join Repair’s staff in Miami, he jumped at the opportunity, staying for three years. He now is the director of community mobilization at Keshet, the Jewish LGBTQ+ rights organization, and serves on Repair’s board of directors.
“Service has always been something that was important to me but never existed through Judaism until I did the fellowship,” Cohen said of his experience. “It was groundbreaking for me to learn about tikkun olam and all of my Jewish values. It was such an educational experience, and now I feel so proudly and passionately Jewish because of the foundation Repair the World gave me.”
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The post Growing number of young Jews turning to service to express their Jewish values 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.”