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Jewish communities embrace security staff in face of rising antisemitism
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with teens across the world to report on issues that impact their lives.
(JTA) — During one of the recent rainstorms in Los Angeles, a security guard at Amanda Kronstadt’s Jewish high school reminded her to wear her rain jacket on her way home. It was a small thing but the freshman appreciates him going the extra mile.
He’s “always looking out for the students,” she said.
It’s important to her that she feels cared for in this way, especially since the late-2022 wave of antisemitic threats targeted Jewish institutions, including schools. In a 17-day span in October and November, at least 14 United States Jewish day schools reported receiving suspicious phone calls or bomb threats, according to the Anti-Defamation League.
Schools, Jewish community centers and synagogues have come to rely on their security staff. While security at synagogues used to be an afterthought, said Jason Moss, the executive director of the Jewish Federation of the Greater San Gabriel Valley and Pomona, now, “it’s part of all planning and into every aspect of a synagogue.”
After a gunman took hostages at a synagogue in Colleyville, Texas in January 2022, Moss spent time looking at security staff in the Jewish world. “They play a vital role in keeping the community secure,” he said. “That it’s something to be commended for, especially for helping to defend a place that is not a part of who they are in some cases.”
Melissa Levy says she couldn’t do her job as director of congressional engagement at Pasadena Jewish Temple without the security staff.
“They’re a part of the family,” said Levy. “Because they are keeping their eyes and ears open and making sure that we stay safe, we can do the rest of our jobs and really help build community here.”
In 2021, there were 61% more attacks against synagogues and Jewish community centers compared to 2020, according to the Anti-Defamation League. Additionally, antisemitic incidents reached an all time high, with 2,717 occurrences of assault, harassment and vandalism.
The Anti-Defamation League also found that there has been a dramatic spike in belief in antisemitic tropes since 2019.
“In the last several years, there has been not only a rise of antisemitism and hatred overall,” said Moss. This “has caused there to be a greater sense of urgency to take all of these threats seriously.”
Due to rising antisemitism, 54% of synagogues surveyed had some form of armed security guards, a 2018 study found. Only 17% of non-Jewish houses of worship had security guards. The religious buildings that were closest to synagogues in the percentage of security guards were mosques with 28%.
Keeping regular security does not come cheap. Rabbi Daniel Bogard in St. Louis, Missouri estimated that security at synagogues costs at minimum $50,000 and can even be near $150,000 in his 2022 interview with Business Insider. Jason Moss said that many synagogues struggle with funding security because it’s an additional expense.
Because of the costly price tag of security, synagogues can apply to receive assistance from the federal Nonprofit Security Grant Program. In 2022, the program had $250 million available, a $70 million increase from 2021. Despite the quarter billion dollars, only 52% of applicants received funding as requests totaled almost $450 million, per Jewish Insider. Per request of Jewish community leaders, President Joe Biden proposed a $360 million budget for the program in 2023, according to The Jerusalem Post.
Mike Sayegh has provided security to the Pasadena Jewish Temple and Center for nearly four years. Along with his brother, the two run Power House Security, a protection service. The company provides the synagogue a security guard when large groups are on campus, a task he often takes upon himself.
Throughout Sayegh’s work at the Pasadena temple, he has learned more about Judaism and made connections with congregants. As a Christian, he said his work opened up new perspectives and gave him a sense of familiarity with the religion and culture.
Not everyone is on board with beefed-up security at synagogues, especially when guards are armed and in uniform. Some think it undermines the welcoming aspect of a Jewish institution, and many Jews of color and their allies say a heightened security presence can make them feel less safe.
But while acknowledging these objections and somber reasons for having security at synagogues, many congregants have been able to embrace their security team as a part of their community.
That rings true for Samuel Svonkin, a 16-year-old member at Pasadena Jewish Temple and Center. Svonkin has seen security become more prominent at his synagogue in recent years. “Synagogue security doesn’t only benefit the congregation physically but also makes simply existing and being Jewish in the synagogue a more pleasant experience,” he said. “Security does more than protect the synagogue. It allows it and its members to function as one.”
At Carla Kopf’s synagogue, security guards high-five the men, let children jump into their arms and address congregants by name. Kopf, the director of k-12 education and engagement at Temple Isaiah in Los Angeles, California, has witnessed the connection between security and congregants for the past 29 years. “The [care] and love these guys have for our staff and our membership is quite amazing,” she said.
Security guards at Kehillat Israel in Pacific Palisades, California have also built strong connections with their community. Rabbi Carrie Vogel of Kehillat Israel in Pacific Palisades, California said, “Our community has had armed guards for maybe 7-8 years and they have been widely embraced by our community. They know the names of the [Early Childhood Center] kids, wave to everyone and are a friendly and helpful presence when people enter our building,” said Rabbi Carrie Vogel, the director of the Jewish Experience Center at Kehillat Israel.
As Jewish communities embrace their security, the guards embrace them back. “I love it here. I feel appreciated here,” said Sayegh. “I’ve been thanked more times than I can count. I’ve been thanked by people I’ve never met.”
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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.”