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India’s Bnei Menashe community in crisis as ethnic violence burns synagogues and displaces hundreds
(JTA) — For the past several years, life was good for Lalam Hangshing as president of the Bnei Menashe Council, the governing body for Jewish communities in the Indian states of Manipur and Mizoram.
While living at his parents’ house, he and his wife enjoyed the clean air and beautiful scenery of Manipur, a state in northeast India home to close to 3 million people. Miles away, Hangshing rented out a newly-built four-story home to a film production company.
Everything changed on May 3, when rioting broke out between the ethnic majority Meiteis and the tribal minority Kukis, a violent conflagration that had been building up for years. Local groups say Meiteis began targeting Kuki institutions and razing homes to the ground, and Hangshing — also the general secretary of a Kuki-led political party — feared his house was next.
“When the problems started on the third of May, with military precision, the mobs went straight to [Kuki] houses,” Hangshing said. “They ransacked them and vandalized them and they burned each and every house in Imphal city within one and a half days.”
According to Shavei Israel, an NGO that helps “lost tribe” Jewish communities immigrate to Israel, over 1,000 members of the community, or 20% of their total, have been displaced. One community member was killed, and another was shot in the chest and is hospitalized. Two synagogues and mikvahs, or ritual baths, were burned down.
(Degel Menashe, an Israeli NGO that is dedicated to supporting the Bnei Menashe and has a longstanding feud with Shavei Israel, said one synagogue was burned.)
Hangshing is Kuki, as are the thousands of other Bnei Menashe Jews in Manipur. On May 4, Hangshing left his home and over a month later, has yet to return.
He spoke with the Jewish Telegraphic Agency from Delhi, more than 1,000 miles from his home. His four-story house has been completely destroyed, but his parents’ home is somehow still standing. He worries about family possessions, such as religious books belonging to his father — who had helped found Manipur’s Jewish community — and a favorite set of golf clubs left behind, all in danger of being looted or destroyed any day now.
Another estimated 292 Bnei Menashe families have fled to Kuki-majority hill areas within Manipur or to the nearby state of Mizoram, according to Shavei Israel.
In Mizoram, over 100 Jews initially took refuge in the Shalom Tzion synagogue in Aizawl, in the houses of other Jewish families or at hotels, but most have moved to a paramilitary camp nearby. Community leaders say the refugees are not facing any immediate danger and have enough food and supplies thanks to the tens of thousands of dollars in aid rolling in from Shavei Israel and Degel Menashe.
“They basically just fled with their documents, and they have prayer books, their tefillin and ritual items, and the clothes on their back,” said Asaf Renthlei, a Mizoram Jewish community member and Degel Menashe volunteer. At relief camps, he said, community members have observed Shabbat every week since they fled.
“This is one of the gravest crises the Bnei Menashe in India have ever experienced,” said Michael Freund, who has been chairman of Shavei Israel since he founded the organization in 2002.
Over 100 Bnei Menashe have taken shelter in a synagogue in Mizoram. (Shavei Israel)
“A state gone rogue”
Violence broke out in Manipur state in early May when tribal groups launched a protest against the Meitei’s demand for Scheduled Tribe status, which is traditionally reserved for minority tribes such as the Kukis and ensures certain rights to education, government jobs and other privileges. The Kukis (which make up about 16% of the population and are majority Christian) say that the Meiteis (who make up 53% and are majority Hindu) already have outsized privilege and political representation.
The May 3 protest was only the spark that has ignited a conflict based on long-standing grievances against the Kuki minority, said Sushant Singh, a senior research fellow at India’s Centre for Policy Research.
“At the core of it, it is about Meiteis claiming that they are the original inhabitants of the state, Kukis are illegal immigrants, and… [the Meiteis] have been forced to occupy only 10% of the land,” Singh said. “And because of the special privileges that tribes have in India, they cannot go and occupy the land occupied by Kukis.”
As the conflict enters its second month, over 100 deaths have been recorded and an estimated 40,000 people have been displaced; some entire villages are destroyed and over 200 churches have been burned, as well as the two synagogues in the Imphal area. A statewide internet blackout has been in place since the beginning of May.
While both Kukis and Meiteis have participated in the violence, Kukis have “suffered the most,” and state police and security forces have joined Meitei groups in targeting Kukis, Singh said. Human Rights Watch has called on India to investigate police violence in Manipur, which local groups have disputed.
“It has essentially been a state gone rogue acting against a minority community,” Singh said.
Though the government has called for a ceasefire and established a peace committee, those efforts to quell the violence have been unsuccessful. The military has implemented security measures and evacuated Kukis further into the hills and Meiteis into the plains, but Singh said this has only reinforced geographical divides, instead of facilitating a solution that could allow the two groups to live alongside one another in the future.
Citing the government’s failure to protect them, Kukis have called for separation from the state of Manipur. As the conflict stretches into its second month, Indian Prime Minister Narendra Modi has yet to comment on the crisis in his country’s northeast.
“The army has been called in but they are very ineffective because it’s a civil war. They can’t take sides. They just stand around and when the firing gets too heavy, they stand aside so it’s left to us to fend for ourselves,” Hangshing said.
According to one organization, two of the community’s synagogues have burned down and another Torah scroll was torched. (Shavei Israel)
An appeal to Israel
The Bnei Menashe identify as descendants of a “lost tribe” group, tracing their origins to the Israelite tribe of Menasseh. In 2005, a chief rabbi of Israel affirmed their identity as a “lost tribe” group with historic Jewish ties, but researchers have not found sufficient evidence to back the claim. Bnei Menashe Jews began immigrating to Israel in the 1990s, and because of their “lost tribe” status, they all undergo formal Orthodox conversions upon arrival. Around 5,000 remain in the states of Manipur and Mizoram today, and about 5,000 have already immigrated to Israel.
Many have struggled to gain entry into Israel over the past two decades, and they are now asking the Jewish state to expedite the immigration process to help them escape the violence. But despite recent celebrations surrounding the opening of a new Indian-Jewish cultural center in central Israel, to which Netanyahu and President Isaac Herzog sent recorded blessings, Jerusalem has yet to publicly respond to the situation.
Israel’s foreign minister, Eli Cohen, visited India last month on a planned trip aimed at strengthening ties between the two countries. He did not comment on the matter, and his visit was cut short due to a military operation in Israel.
“I think under [Benjamin] Netanyahu, particularly in this stint as prime minister, there are very few expectations. He is very close to Mr. Modi’s government, so I don’t think anybody expects anything from Netanyahu,” Singh said.
The Bnei Menashe’s “grey zone” religious status, in the words of Renthlei, makes their immigration to Israel more complicated for them than most. Before the Bnei Menashe can even apply to immigrate, they must face a panel of rabbis — who usually come all the way to India — for interviews.
“It’s not like Ukraine. The Ukrainians are Jewish without any doubt. But the Bnei Menashe, we are in some gray zone of not exactly not Jews, but not exactly Jews also,” Renthlei said. “It’s unlikely that the Bnei Menashe would just be able to make aliyah, even in this situation, unlike the Ukrainians.” Thousands of Ukrainian Jews have immigrated to Israel since Russia’s invasion began in February 2022.
The Jewish Agency for Israel, which helps facilitate immigration, and the UJA-Federation of New York have provided funding to Shavei Israel to help displaced persons, representatives from Shavei said. The Jewish Agency, the ministry of aliyah and integration, and the Israeli consulate in India did not respond to JTA’s requests for comment.
“We’re too small to matter, I suppose,” said Isaac Thangjom, director of Degel Menashe. Thangjom, who lives in Israel, has been in contact with officials in the ministry of aliyah and integration.
“They are very concerned, but they haven’t given me any explicit answer despite my proddings,” he said. “Their responses have been very tepid.”
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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.”