Uncategorized
Kyiv Jews celebrate their 2nd wartime Purim with renewed resolve and optimism
KYIV (JTA) — In a historic building in the most industrial part of Podil, the hipster district of Kyiv that once was the heart of the Jewish trading community, a senior and passionate Esther seduces a much younger Ahasuerus. She flirts with the handsome king to the raucous giggling of the audience, which breaks into applause when the Purim shpiel comes to an end.
A year and a few days into Russia’s full-scale invasion of Ukraine, Jews in Kyiv and the rest of the country have celebrated Purim in precarious economic and emotional circumstances, under the continued threat of Russian attacks. Still, many of them are in much better spirits than in 2022, when the Jewish holiday of joy found Ukrainian Jews in a frantic state of worry and uncertainty about their immediate future.
“A year ago you could see the fear in people’s eyes; now they are very proud because Ukraine has resisted, and Jews are fully involved in the cause,” Rabbi Irina Gritsevskaya told the Jewish Telegraphic Agency during the movement’s Purim celebration in Podil. She is an Israeli rabbi who is the executive director of the Masorti movement-affiliated Schechter Institutes and periodically travels to Ukraine to serve the country’s Masorti communities. Masorti Judaism is similar to the Conservative movement in the United States.
“Last year it was very, very hard, because people were in shock, afraid, and they didn’t know what to do,” said Ariel Markowitz, Kyiv’s most senior rabbi from the Chabad-Lubavitch Orthodox movement, which held its own Purim celebration Monday night. “But now we know that we have a strong army, that we have a chance, and many people have actually returned to Kyiv.”
Rabbi Ariel Markowitz of Chabad Kyiv reads from the Megillah during his community’s Purim celebration, March 6, 2023. (Courtesy Markowitz)
The year-old war has shaken up Ukraine’s Jewish community, with members leaving the country or moving within it to avoid Russian shelling and its effects.
“Everyone has pretty much made a decision on whether to stay or to leave and we are reorganizing our community,” said Gritsevskaya.
Although at least 14,000 Ukrainians have moved to Israel since Russia’s all-out invasion started, and many more thousands have found refuge in Germany and other European countries, Gritsevskaya wants to focus on those who stayed. Estimates of the Jewish population in Ukraine ranged before the war from just under 50,000 to up to 400,000, depending on who counted.
One of the people who left the country was the former Masorti rabbi in Ukraine, Reuven Stamov, who moved with his family to Israel. Currently, the Masorti movement — whose Ukrainian following Grivtseskaya estimates in the thousands — does not have a rabbi permanently in the country. But the community keeps active in Kyiv and other cities, such as Kharkiv in the east, Odessa in the south and Chernivtsi in the southwest, thanks to activists, volunteers and rabbinical students, plus the visits by Gritsevskaya, who first returned for Purim last year.
“Community life has never been so important,” she said.
Gritsevskaya pointed to the difference that having access to material help, connections and emotional and spiritual support makes for those who arrive in new cities from places in the south or the east occupied by Russia or close to the front.
She acknowledged that some Jewish organizations have ceased their operations in Ukraine and stressed the need of strengthening the work of those who are committed to remain, so Jewish life in Ukraine could be as “diverse” as before and people “have options” to choose the way they practice their Judaism.
Among the Ukrainian Jews that decided to stay is the director of the MILI Foundation, the entity that organizes the Masorti community in Ukraine. Maksym Melnikov moved to Kyiv from his native Donetsk in 2014 after Russian-backed separatist militias declared the independence of part of the region and war broke out in Eastern Ukraine.
Rabbi Irina Gritsevskaya poses with community members of the Masorti community in Kyiv, March 6, 2023. (Marcel Gascón Barberá)
“I came when they started to occupy our land in Ukraine,” Melnikov told the Jewish Telegraphic Agency at the Masorti Purim celebration in Kyiv, just before taking the stage to help Gritsevskaya read the Purim Megillah. “Almost a decade later, war came after me to Kyiv, and I don’t want to move this time, I’m staying.”
Since 2014, many of Melnikov’s friends and acquaintances from Donetsk have moved to Kyiv. While Russia’s full-scale invasion has pushed many Jews from Kyiv to move westwards or leave the country, the western city’s communities have received a new infusion of people from the eastern cities more affected by the war.
“Communities are changing constantly countrywide, and we are trying to reach out to those who arrive, both to help them start a new life and to build our community stronger,” said Grivtsevskaya.
She said the Masorti community in Chernivtsi has experienced a notable revival. Situated near the border with Romania, Chernivtsi is one of the few Ukrainian provincial capitals that has not been bombed by Russia, and thousands have moved there. “They have received another family and are very strong right now,” she said about the once-dwindling community in this historical Jewish center, where she hosted a Purim celebration after making her way into Ukraine in March 2022.
The massive uprooting of entire Jewish communities has been experienced keenly by Chabad, which has the largest Jewish presence in the country, with hundreds of emissaries serving Jewish communities in dozens of cities.
“We’ve seen a huge increase in those who come looking for help,” Markowitz told JTA hours before the start of Purim at Chabad’s community center in Kyiv. Many of them, he said, had come from Mariupol, a city bombed into submission by Russia at the beginning of the war.
Scenes of the Purim shpiel at the Masorti community in Kyiv, March 6, 2023. (Marcel Gascón Barberá)
Chabad is one of several organizations providing aid to Ukrainian Jews, including support in obtaining food, medical care and generators that keep power flowing amid widespread outages.
The rise of the demand for these services is not only driven by refugees, but by families and individuals who have lost their source of income due to the economic disruptions caused by the invasion.
“There is inflation, there are less jobs, a lot of companies closed and people lost their jobs or are unable to help their family members,” Markowitz said.
Besides the demographic and economic shake-ups, the war has brought changes in the way Jews relate to their Ukrainian identity. Perhaps the most striking has been a rapid shift away from speaking Russian, the first language of many Ukrainian Jews until recently.
“Even I started learning and speaking Ukrainian and you can definitely see how a new sense of national identity is being born,” Maria Karadin, a Russia-born Israeli who moved to Ukraine with her husband in 2005, said at the Masorti Purim event.
Maiia Malkova is 15 years old and one of the most active young members of the Masorti community in Kyiv.
“Last year I didn’t even think about Purim so much because I was so frightened,” she said while wearing a necklace with a tryzub, the trident that symbolizes Ukrainian statehood and independence. “But we kind of got accustomed to this situation. And it is great to be able to celebrate Purim again.”
—
The post Kyiv Jews celebrate their 2nd wartime Purim with renewed resolve and optimism appeared first on Jewish Telegraphic Agency.
Uncategorized
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.
Uncategorized
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.”
Uncategorized
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.”