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‘Jewish life goes on’: Djerba Jews and their supporters show resilience after deadly attack
(JTA) — The day after a gunman killed four people outside an ancient place of Jewish worship on the Tunisian island of Djerba, men gathered in the same synagogue not to mourn, but to celebrate.
They were there to witness the blessing of a new life: a brit milah, or ritual circumcision. Not long after, a recording of the ceremony, complete with the men chanting in Hebrew as they surrounded the eight-day-old baby, made its way to the phone of Isaac Choua, a Sephardic rabbi living in New York.
For Choua, watching the ceremony was a relief from the horrors that had emerged the day before, when a rogue security official at the Tunisian synagogue killed two Jewish cousins, Aviel Haddad, 30, and Benjamin Haddad, 43, as well as two security guards before being gunned down.
“Something beautiful happened,” said Choua, the Middle East and North Africa communities liaison for the World Jewish Congress, in an interview. “They had a brit milah in Djerba, even with all the chaos. Jewish life goes on.”
Tuesday’s deadly shooting came during the Hiloula, an annual pilgrimage and celebration of Jewish sages held on or around Lag b’Omer, which takes place a little more than a month after the beginning of Passover. The annual festivity attracts thousands of Jews from around the world, many of Tunisian descent. It is held at the El Ghriba synagogue — a 19th-century building constructed on a site believed to have been a Jewish house of worship for as long as 2,500 years.
The pilgrimage has grown substantially in recent years, after trepidation following an attack on the synagogue by Al-Qaeda in 2002 that killed 20 people, and a suspension of the pilgrimage in 2011 amid security concerns in the wake of the Arab Spring, which began in Tunisia.
The Tunisian government has invested in the pilgrimage, billing it as a symbol of the country’s tolerance, and has provided intense security. Last year, Tunisia was one of six African countries that signed the “Call of Rabat,” an initiative of the American Sephardi Federation that sought a commitment to preserving Jewish heritage on the continent.
Jason Guberman, the executive director of the American Sephardi Federation, said the numbers that the Hiloula attracts today have not yet reached the 10,000 or so who attended before the 2002 attack. The Arab Spring and COVID-19 pandemic, he said, “have also deterred pilgrims in the past decade.” He estimated that fewer than 5,000 people attend annually now.
Additionally, Tunisia’s authoritarian president Kais Saied remains unfriendly to Israel and has rebuffed efforts by successive American administrations to join the Abraham Accords, the normalization agreements between Israel and several Arab countries.
Djerba, nonetheless, remains an oasis of coexistence, said Yaniv Salama, the CEO of the Salamanca Foundation, which seeks to reinvigorate Jewish communities in Muslim lands.
”You have to understand something about Djerba,” Salama said. “The community there has very, very deep ties with the local municipalities. Everything is done in conjunction — there are joint [security] watches” between the Jewish and larger communities, “and joint communication between the Jewish community leaders and the local police.”
Jason Isaacson, the American Jewish Committee’s chief policy and political affairs officer, who has frequently visited Djerba, said it was significant that two Tunisian security officials died protecting the Jewish community.
“It’s obviously now going to be a source of shame for the country that this happened, within its own military forces, but this happens within military forces” everywhere, he said. “The fact that the country deploys a huge protective cordon around the synagogue and around the festivities and around the worshipers who come, to assure that it all goes off smoothly and proper in a celebratory spirit, is significant.”
Aaron Zelin, a senior fellow at the Washington Institute for Near East Policy think tank whose expertise is Islamist extremism in Tunisia, said the attack appeared to be an outlier, unlike the carefully planned 2002 attack.
“It wasn’t really a sophisticated attack,” Zelin said. “So it’s plausible it could have just been one person that just decided to do something on their own accord, and there wasn’t some broader plot or planning in the same way.”
Choua said the Tunisian Jewish Diaspora would not be deterred. “Jewish Tunisians are still going to either visit family [or] visit this pilgrimage site,” he said. “Jews are resilient.”
Djerba has the attention of the world, at least for the moment. The day before the attack Deborah Lipstadt, the U.S. envoy monitoring antisemitism, alongside U.S. ambassador to Tunisia Joey Hood, joined Tunisian officials in a ceremony launching the Hiloula.
“I am sickened and heartbroken by the lethal, antisemitic attack targeting the Ghriba synagogue in Djerba during the Lag B’Omer celebrations, with thousands of Jewish pilgrims in attendance,” Lipstadt said on Twitter.
That may be the silver lining, the World Jewish Congress’s Choua said: The predominantly Ashkenazi Jewish Diaspora tends to forget the communities that persist outside the Western world.
“The Jewish world is noticing that there’s still Jews in the Middle East and North Africa,” he said. “This might even spark more tourism in the country itself.”
Salama said he did not expect the community of about 1,400 people, which includes a number of institutes of religious learning, to be broken following the attack.
“They’re all they’ll do their grieving and they’ll continue, they’ll push forward,” he said. “They really have got a stiff upper lip.”
Robert Ejnes, the executive director of CRIF, the umbrella body for French Jewry, said the French Jewish community is close to the Tunisian Jewish community because France colonized the country beginning in the 1800s, and because the community speaks French. He said that the Hiloula attracts French Jews of all ethnic origins.
“It’s really affecting the whole of the community of France because on the Hiloula, there are a lot of people going [from] the French Jewish community of all origins,” he said.
Ejnes found it notable that even after the attack, French Jews who attended the Hiloula posted photos of the festivities on social media. He said he expected the same number of people to attend next year’s Hiloula.
“People will be resilient,” he said. “They posted pictures of them[selves] at the Ghriba, saying, ‘We’ll be back.’”
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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.”