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Multiple efforts in Jewish sovereignty have self-destructed after 75 years. Can Israel defy history — again?
(JTA) — This week marks Yom Haatzmaut, our beloved Israel’s 75th birthday — the day on the Hebrew calendar when David Ben-Gurion proclaimed “the natural right of the Jewish people to be masters of their own fate” by establishing a Jewish state in the land of Israel. Together with countless Jews around the world, we express our gratitude to be alive at this moment in history when the Jewish people have sovereignty and a nation to call their own.
But on this anniversary, Yom Haatzmaut’s special prayers and festive afternoon barbecues fail to capture the fraught feelings many of us are experiencing. Jews across the globe in all our different peculiarities and particularities — from all political orientations, religious and secular, progressive and conservative, for and against the judicial overhaul being proposed by the current government — are reeling.
The past few months of terrible turmoil in Israel surrounding the judicial overhaul proposal have shown us how fragile our singular and precious Jewish state is. While Israel’s history is replete with instances when external forces threatened its people, this moment is unique in revealing internal threats to its democracy and social cohesion. We have seen toxic hatred rising among Israeli Jews, with fears of a civil war at an all-time high.
How, then, are we supposed to celebrate Israel on its 75th birthday?
The answer to this question lies at the heart of Jewish history and reveals that now is the moment for a new Zionist revolution led by both Israeli and Diaspora Jews.
Zionism was never just about establishing a Jewish state. It was about defying Jewish history. In 1948, when Ben-Gurion and his fellow Zionist leaders declared Israeli independence, it was nothing less than a radical assault on diasporic Jewish history. It defied the thousands of years of Jews being a minority in other countries, subject to the whims and caprice of other rulers. It defied the image of the weak and defenseless Jew. It even defied Jewish tradition itself, which for centuries was understood by many of its adherents to demand passivity by Jews as they waited for divine deliverance.
For two millennia, Jewish existence was one of vulnerability and victimhood — most often either hiding who we are or suffering for it. The Zionism of 1948 defied diasporic Jewish history by giving Jews power, self-determination and sovereignty to respond to external threats and establish a Jewish state.
Understandably, most of the work of early Zionism was focused on mere survival — establishing a state, providing safe refuge to the millions of Jews fleeing inhospitable lands and contending with enemy countries sworn to destroy the new nation. It succeeded beyond any of the wildest imaginations of its founders. The first 75 years of Israel, in which it has become a powerful and thriving state, are a testament to the success of Zionism in defying diasporic Jewish history.
But the next 75 years of Zionism present and impose on us a different task: To be Zionists today means we must defy a different chapter of Jewish history — one that might be called sovereign Jewish history.
Historians and educators have pointed out a critically important pattern in the history of Jewish self-rule. There are two pre-modern eras in which the Jewish nation enjoyed sovereignty in the land of Israel: at the end of the 11th century BCE with the Davidic Kingdom and the first Temple in Jerusalem, and in 140 BCE when the Hasmonean dynasty reestablished Jewish independence in Judea. But as each approached their 75th year of existence, each started to disintegrate because of internal strife and infighting. The Davidic reign over a united Israel effectively ended when it was split into the two competing kingdoms of Judea and Israel. The Hasmonean kingdom began to fall apart due to infighting between the sons of Alexander and Shlomtzion, the rulers of Judea in the first century BCE.
Sovereign Jewish history tells us that at around the 75th year, experiments in Jewish self-determination faced the most dangerous threat of all: self-destruction.
On its 75th birthday, Israel and its supporters face the internal tensions of sovereignty: What does it mean for Israel to be both a Jewish and democratic state and a home to all its citizens? How can Israel be both at home in the Middle East while modeled on Western democracies? How should its leaders balance majority Jewish culture with minority rights?
The concerns of the old Zionism certainly still exist: how to pursue peace even as Jewish vulnerability and safety continue to be threatened. But they take on a new character in this day and age, forcing us to ask how we can manage and embrace conflicting visions of Jewishness and Israeliness while nurturing social solidarity and cooperation across deep and painful divides.
This Yom Haatzmaut comes at a moment of rupture. But the current crisis in Israel represents an opportunity – a moment for our generation to ensure this rupture defies the pattern of sovereign Jewish history. The generations before us proved that we can rewrite diasporic history, turning a tale of vulnerability and weakness into one of strength and power. Our generation and those that follow must likewise defy sovereign Jewish history and prove that we can protect our Jewish state from the internal threats it faces. Our generation’s task is to overcome our divisions and not let fraternal hatred destroy our shared home.
On this 75th birthday, then, let us learn from our past and look forward toward a new future. Let us continue to celebrate the incredible success by writing a new chapter in the magnificent story of Israel and Zionism.
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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.”