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NYC public schools don’t have the final two days of Passover off next year. A petition is trying to change that.
(New York Jewish Week) – New York City educators and parents are protesting after the city announced that public schools would be open for part of Passover next year, breaking from a longstanding tradition.
The eight-day holiday has overlapped virtually every year with the city’s spring break since 1973, when Jewish teachers successfully lobbied to guarantee the alignment.
But next year, Easter and Passover are separated by three weeks, making it impossible for the city’s weeklong school recess to overlap with both of them. The school-year calendar released last Friday revealed that the NYC Department of Education had scheduled the final two days of the holiday, April 29 and 30, as school days.
Because those days are Jewish holidays, when certain activities are prohibited according to Jewish law, observant educators and students would not be able to attend. The departure from tradition has put those people in a difficult situation, in part because educators have limited flexibility to take days off under their union contract.
“I’m religious and I am required by my religion to take those days off, regardless of whether we have school or not,” Yocheved Diskind, an occupational therapist at a public school in West Harlem, told the New York Jewish Week. “So now I have to take two extra days off and I don’t get paid at all for them.”
Diskind is one of around 1,500 people to have signed a petition calling on the city to extend the spring recess to include the Passover holidays.
“At a time when the values of inclusion are under attack, respecting the full observance of the Passover holiday should not be dependent on its proximity to Easter on the calendar,” says the petition, whose first signatories are from the occupational and physical therapists’ chapter of the United Federation of Teachers.
The pushback comes at a moment when the structure of the school year is being contested on several fronts. In a bid for inclusion, the education department has recently added holidays from multiple traditions to the school calendar — including the Muslim holidays of Eid al-Fitr and Eid al-Adha; the Chinese Lunar New Year; Juneteenth and, potentially in the future, the Hindu festival of Diwali. Depending on how each holiday falls, the new days off can put pressure on the city to meet a 180-day minimum set by state law.
At the same time, the city education department and its teachers union negotiate annually over when teachers must work, and the city’s goal is to maximize the time that teachers are required to be in the classroom. Next year’s school calendar includes 185 required workdays for educators, including 182 instructional days, leaving some in the union concerned that members are being exploited.
“They used to build in an extra two or three days: In case they had to cancel for snow days, they would still reach 180 days. But since the pandemic, snow days are all remote days,” Diskind said. “So there’s no reason to build in even an extra two days into the calendar without extra compensation.”
The city, meanwhile, says it negotiated the new calendar with the union and that the holidays that are required contractually to be days off are. About the end of Passover, Nathaniel Steyer, the DOE press secretary, told the New York Jewish Week that the union “never ever brought this up” in negotiations about the calendar.
The UFT did not respond to repeated requests for comment by press time.
“There is no precedent for giving all days of Passover with a split,” Styer said in a statement. “There has been a split three times in recent memory — with the last night falling on the weekend. It is in our labor agreements that only the first two days of Passover and Good Friday are covered. Spring Recess is not in our labor contracts, but we generally attempt to cover most of Passover & Easter, when they are aligned on the calendar.”
New York City is among the rare school districts where Jewish holidays have been baked into the school-year calendar. For decades, the city had so many Jewish teachers and students that having classes on major Jewish holidays was a fool’s errand. The 1973 agreement around Passover came as the number of Jewish students and teachers was dwindling.
Now, the district has relatively few observant Jewish students; Orthodox schoolchildren in the city almost all attend private schools. But there are significant numbers of Orthodox education department employees, including in support services such as speech and occupational therapy. (The petition notes that students who attend school on Passover might have to do so without the support of these providers.) And the expectation not to have school on major Jewish holidays has largely survived, at times resulting in quirky calendars, such as a five-day gap between the first and second days of school in 2010.
The school calendar departed from the 1973 Passover agreement only once, in 1986, according to the petition. That year, Passover and Easter were not close in time, and adding two additional days off would have taken the district below the state requirement. Teachers then were given blanket approval to take the days as personal days, the petition says.
Diskind, the occupational therapist in West Harlem, explained that teachers could take the two days of Passover as personal days next year but would be left with only one discretionary day for the rest of the school year. They could also take time off without pay, an option that some Jewish educators exercise when other Jewish holidays fall on school days, but doing so has financial repercussions. (During the next school year, the fall Jewish holidays all land on weekends except for Yom Kippur, when schools are closed. Shavuot, the two-day spring festival, falls midweek in June.)
“Most people choose to take an unpaid day off because you generally need to use personal days for other reasons that would not be excused throughout the year,” Diskind said. “In the long term, unpaid days also require you to stay longer in order to reach your pension.”
Districts around the country have contended with how to accommodate religious observances — and not everyone believes the solution is ever to close schools at all.
David Bloomfield, an education professor who was a parent leader in New York City when his own children attended its public schools, told the Jewish Telegraphic Agency in 2020 that he thought districts should ramp up their protections for students and teachers who miss school for religious reasons instead of trying to adjust the calendar to please everyone.
“With the growth and sensitivity toward diversity, it’s one thing for a hermetic community to observe its traditions,” Bloomfield said. “But as we become more diverse, we have a harder time accommodating all of those important ceremonial obligations.”
“New York City is home to a diverse population, including 1.6 million Jews. People who celebrate Passover are a part of the rich fabric of our city,” says the petition. “The Passover holiday should not be an arena for givebacks and increased instructional days without compensation.”
“The proposed DOE calendar is especially disturbing in light of the increase in anti-Semitic rhetoric and attacks in recent years, particularly in New York City,” it also noted.
The number of anti-Jewish hate crimes in the first five months of the year was 100, according to data released this week by the New York Police Department, showing a 25% decline from 135 during the same period last year. Jews accounted for the victims of half of all hate crimes in the city last year and remain the most-targeted group, according to the police data; two men recently pleaded guilty to hate crimes related to a high-profile 2021 attack on a Jewish man who was beaten while walking to a pro-Israel rally.
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The post NYC public schools don’t have the final two days of Passover off next year. A petition is trying to change that. 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.”