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Jewish immigrants and their children are divided by a common religion
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.
MIAMI (JTA) — When Ricardo Tanur arrived in Miami in the 1990s he had a hard time finding a religious school for his children and finding a synagogue where he felt comfortable. The biggest challenge, however, was leaving his Orthodox community in Mexico and raising his six children in an unfamiliar Jewish community whose religious values often did not align with his own.
“When I first arrived in Miami, I felt that I was leaving a part of me in Mexico, and did not feel that I truly belonged to the Jewish-American communities,” said Tanur. “I was unsure how I would raise my children in the faith when I didn’t have a temple or community which I felt a part of.”
Eventually Tanur joined the Bal Harbor Shul and the Skylake Synagogue in Miami Beach because he felt that community could make “a positive impact on his children’s personal and religious values.” This was important to him when raising children in an area whose approach to tradition was more “modern” than what he was used to in Mexico City.
The challenge of raising children in an unknown Jewish community is common for immigrants, especially for those in Miami. More than a third of the Jewish population in Miami are foreign-born adults, higher than in any other American Jewish community. With the continued population growth of foreign-born adults, the immigrant experience affects how young people approach religion by combining traditional and modern practices.
“My approach to religion differs from that of my parents mainly in the external aspect,” said Deborah Tanur, Ricardo’s eldest daughter. The 20-year-old, raised in Miami, said her father expected his daughters to wear the modest clothing typical of his Orthodox community back in Mexico. And yet her peers weren’t wearing skirts that fall below the knee, high-cut necklines or long sleeves.
Her 18-year-old sister, Raquel, recognizes the strain caused by these different ways of thinking. “The Mexican community is more closed-off and small, whereas in Miami the community is very modern and open,” she said. “This was not always easy for my mother and father to understand, as traditional appearance and practices were something which they believed to be a large part of conserving our faith.”
When Deborah was younger she was drawn to her Jewish friends’ liberal, Ashkenazi services, which were different from those in her parent’s Ashkenazi, Orthodox synagogue. “When I was little, I would sometimes ask to attend a Reform service with my friends’ families,” she said. “My parents did not allow me to do so at first, but eventually my parents and I navigated through our different perspectives in order to find common ground.”
Differences between children and immigrant parents’ are not only restricted to the level of observance, but also to their approaches to traditions and prayer. This is true for Luiz Gandleman — the son of two immigrants from Brazil and the president of the Jewish Student Union at Gulliver Preparatory in Coral Gables.
“My parents grew up in a very strict Ashkenazi community, so a lot of the prayers and service is heavily Ashkenazi which isn’t necessarily the case with me,” Gandelman said. “There are Jews from all over here [in Miami], so I observe a lot more broadly. I have attended both Ashkenazi services as well as Sephardic services, so I have adapted aspects from both.” Gandelman added that some holidays are observed differently in America than they are in Brazil.
“Hanukkah is observed on a smaller scale in Brazil, at least in my community. My parents didn’t really do anything for Hanukkah besides the traditional practices” of candle-lighting and a few special prayers, he said. “I convinced them to start celebrating on a greater scale with Hanukkah dinners and gift giving. My parents thought it to be an American thing at first, but after much convincing we were able to take the best of both worlds and mix our two beliefs.”
This different approach to faith is common for many children of immigrant parents, which Senior Rabbi Jeremy Barras of Temple Beth Am, a Reform synagogue in Pinecrest, recognizes in his congregation.
“More so in Miami Beach and Aventura, than Coral Gables and Pinecrest, the parents tend to be more traditional and the kids less so,” Barras said, referring to Miami-area suburbs. “The older generations are more interested in customs and rituals. The younger generations are more interested in culture and spirituality. It means that more creative means are required to engage younger families and the next generation. No longer can we rely on traditional models of observance to drive participation.”
The distinct way of thinking between immigrant parents and their children is not limited to their approaches to religion, but also to their feelings of belonging.
“Most of the people that are here [in Miami] came from Latin America which wasn’t always as safe and as great of a situation for Jews. In any minute if things got bad you would want to move. because of fear of anti-semitism. Americans don’t really worry about that, Americans never think that they are going to have to leave,” Barras said.
This lack of belonging also affects identity. Such is true for the Guimaraes family, Reform Jews who immigrated from Brazil.
“I would define myself first as Brazilian, and then as Jewish. Personally, I see myself as being merely a Brazilian Jew on American soil,” said Cassio Guimaraes.
Her youngest child, Ana Catherine, has the opposite view. “My identity is best described as an American Jew,” the 16-year-old said. “I always felt that I had a place here despite my Latina makeup. My traditions and values are well rooted in the community within Miami.
Despite differences between immigrant parents’ and their children, their religion provides common ground.
“Although me and my parents pray differently, it widens perspective. For example, I pray using a wider range of prayers than do my parents. For example, I recite the amidah while my parents do not. Nevertheless, I love learning how my mom was raised praying and how my dad learned to pray, and they love learning what I know,” Gandelman said. “We end up teaching each other. It is a nice way for us to connect and build on each other’s religious beliefs together.”
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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.”