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Meet Amichai Chikli, Israel’s new Diaspora minister, who opposes BDS and Reform Judaism
(JTA) – The Israeli ministry responsible for engaging with the half of the world’s Jews who don’t live in Israel has gotten a new name — and a leader who disdains the values of many American Jews.
Amichai Chikli announced during his swearing-in ceremony Monday that his ministry was changing its name from the Ministry of Diaspora Affairs to the Ministry for Diaspora Affairs and the Struggle Against Antisemitism. The name change is a sign that Chikli could plan to focus on the problems of the Diaspora more than his predecessors, who have focused largely on promoting Israel to Diaspora Jews.
Chikli is the son of a Conservative rabbi who lives on a kibbutz founded by the Conservative movement of Judaism, which he defends but says he no longer identifies with. He vaulted into prominence within Israel last year when he became the first member of the Knesset, Israel’s parliament, to break with then-Prime Minister Naftali Bennett over Bennett’s decision to form an alliance with left-wing and Arab parties.
Though Chikli holds some views promoted by Diaspora Jews, he is disdainful of Reform Judaism, the largest denomination in the United States, and of the politics of American liberals, including President Joe Biden, who won a wide majority of U.S. Jews’ votes. He has said he believes the Pride flag is an anti-Zionist symbol and also equates public criticism of the Israeli government with antisemitism, a position that American Jewish groups have been fastidious about saying they do not hold.
“I have a problem with the trend of Reform Jews seeking to assimilate and affiliate themselves with groups who are anti-Israel,” Chikli told the Forward last year.
“The Reform movement has identified itself with the radical left’s false accusations that the settlers are violent, so they have earned the criticism against them, and I cannot identify with them,” he told the Jerusalem Post, also last year. “They are going back to their roots in Germany of anti-Zionism and anti-nationalism. It’s a tragedy that they are going there.”
Chikli’s appointment comes as Israel inaugurates a right-wing government that includes extremist parties, as well as one minister who has been convicted of inciting violence. The government and its priorities have drawn sharp criticism from Diaspora Jews, including from hundreds of U.S. rabbis who have pledged not to invite any members of extremist coalition blocs to speak to their communities.
Unlike some of his colleagues in the new government, Chikli says he believes there should be a space for egalitarian prayer at the Western Wall, a priority for many Diaspora Jews. He also criticized a haredi rabbi’s condemnation this week of Amir Ohana, a gay ally of Prime Minister Benjamin Netanyahu who is the new Knesset speaker, saying on Twitter, “There is no disease more dangerous than baseless hatred.”
But he appears to be on the same page as some of the extremist politicians about the propriety of LGBTQ demonstrations, calling Tel Aviv’s Pride Parade a “disgraceful vulgarity” in a Facebook post this summer. (He said he believes sexual identity should be “subdued.”) He also shares their disdain of Reform Judaism, a frequent target for some of the Religious Zionist politicians who are part of the governing coalition.
In his new role, Chikli faces the task of winning over American Jewish leaders who may well be skeptical of or dismayed by Israel’s rightward shift. With his coalition seeking to narrow the definition of who is considered Jewish, make it harder to move to Israel, and strip rights from minority groups within Israel, including LGBTQ Jews, Israeli Arabs and non-Orthodox Jews, that task could be quixotic.
One area of ideological overlap, though, is in the fight against antisemitism, which watchdogs say is on the rise in the Diaspora.
Israel has gotten more involved in fights over antisemitism and anti-Zionism in the United States in recent years, appointing actress and activist Noa Tishby as its first ever “special envoy for combating antisemitism and delegitimization” last year. Tishby’s travels have included visiting the campus of the University of California-Berkeley in the midst of a student anti-Zionist controversy at that school, and making appearances as a talking head on Fox News.
Chikli has indicated that colleges and universities are an area of special interest for him. “I am very worried about what is happening on the campuses,” he said in the Jerusalem Post interview. “It is heartbreaking to see Jewish young people who concede their connections to their people and their heritage in order to connect to the latest fashionable movement that they are calling woke.”
The Israeli government also involved itself in recent legal negotiations that resulted in regional rights to ice-cream maker Ben & Jerry’s being sold to an Israeli company after the Ben & Jerry’s U.S. board attempted to halt the sale of its products in “occupied Palestinian territories.”
Like U.S. Jewish leaders (and Biden), Chikli vociferously opposes the movement to boycott, divest from and sanction Israel, known as BDS. He believes that anti-Israel sentiment is inherently antisemitic, issuing a stern warning to American Jews in his Forward interview.
“Don’t think that joining anti-Israel movements will help you with anything,” he said. “In the end, the folks from the BDS movement will attack you and your children because it’s not Israel that they hate, they hate Judaism.”
On Wednesday, Chikli accused Yair Lapid, the opposition leader and past prime minister, of being “the spearhead of the BDS movement” because Lapid plans to speak critically to U.S. audiences about the new government.
“What Lapid is doing now as an outgoing prime minister is a disturbing irresponsibility,” Chikli said in public comments that he also tweeted. “He does not understand that when he tells the whole world that this is a ‘dark’ government, the world does not make a separation between government and state. That’s exactly how BDS does its work.”
Chikli’s predecessor, Nachman Shai, met early in his tenure with the heads of the Reform, Conservative and Orthodox movements in the United States to push the message that Israel would embrace all denominations of Judaism equally.
On the occasion of the new government, Shai recently said that Israel could soon become hostile to Reform and Conservative Judaism.
Exactly how Chikli plans to engage with Diaspora Jews in his role, and when, is not yet clear; he did not respond to a request for an interview on Thursday. But he has started his tenure by taking action — canceling a 5 million NIS ($1.4 million) contract with a nonprofit group that Shai had struck shortly after the election. Chikli said the group, which has ties to Israel’s left, was “political” but that he was canceling the contract because it was inappropriate to strike one when the ministry’s leadership was set to change.
Another plan approved shortly before the election also faces an uncertain future: a $2.3 million contract with the Reform and Conservative movements in the United States to improve Israel’s image among young and liberal American Jews.
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The post Meet Amichai Chikli, Israel’s new Diaspora minister, who opposes BDS and Reform Judaism appeared first on Jewish Telegraphic Agency.
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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.”