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Paraguay’s election has implications for its Israeli embassy — and its relationship with Jerusalem
(JTA) — The question of where countries keep their embassies in Israel has become a debate that perpetually attracts controversy around the globe. In Paraguay, ahead of a national election on Sunday, the question is far from decided.
Since former President Donald Trump moved the U.S. embassy in Israel from Tel Aviv to Jerusalem in 2018, a few other countries have followed suit, agreeing with much of Israel’s political establishment that the latter city, despite international and Palestinian opposition, is Israel’s sole capital. Israeli conservatives, such as those currently in power, have looked to court more countries to move their embassies and have counted each example as a historic victory.
The government of Paraguay, a country of around seven million people sandwiched in between Brazil and Argentina, has been back and forth on the Israel embassy issue. Shortly after Trump’s move, Paraguay’s president at the time, Horacio Cartes, moved his embassy as well. That year Guatemala did the same, and a few years later, Honduras and Kosovo followed suit.
But only one month after being elected, in September 2018, Cartes’ successor Mario Abdo announced he would be moving the country’s embassy back to Tel Aviv. Despite being a member of the same conservative party as Cartes, Abdo felt that for “broad, lasting and just peace” among Israelis and Palestinians, Paraguay’s embassy should be in Tel Aviv. Critics of Trump’s decision say declaring Jerusalem as Israel’s sole capital hurts the chances of a two-state solution, as the Palestinians would look to claim part of Jerusalem as their future state capital.
Abdo’s move quickly resulted in pushback. In Paraguay, pro-Israel protesters demonstrated outside the president’s residence in Asuncion. Former U.S. Vice President Mike Pence “strongly encouraged” Abdo to reconsider his decision, and Israeli Prime Minister Netanyahu went beyond rhetoric: he closed Israel’s embassy in Paraguay. It hasn’t reopened since.
Election day on Sunday could bring the debate back to the fore.
One of the two leading presidential candidates is 44-year-old economist Santiago Peña of the Colorado Party, Paraguay’s right-wing political party which has ruled the country for nearly 80 consecutive years (save for the period between 2008 and 2013). The party has been plagued by corruption allegations, and Peña has been tied to these scandals: he was finance minister under Cartes, who was recently sanctioned by the United States for undermining Paraguay’s democracy by “making cash payments to officials in exchange for their loyalty and support.”
Thanks in part to those corruption allegations, a non-Colorado candidate now has a serious shot of winning the presidency this year. Efraín Alegre is a more centrist candidate from Concertación, a coalition of political parties who came together to oppose Colorado’s domination. Earlier this month, polling from Encuesta Atlas had Alegre leading by a few percentage points, though other polling has found Peña in the lead.
In March, in a meeting with the Paraguayan-Israeli chamber of commerce, Peña announced that if he wins the election, one of his first actions as president will be to order the move of the Paraguayan embassy to Jerusalem. He said that Paraguay “recognizes that city as the capital of the State of Israel.”
Efraín Alegre’s last statement on the issue of Paraguay’s embassy came in 2018, shortly after Paraguay initially moved its embassy to Jerusalem. Alegre argued that the move would fuel the conflict.
In a statement provided exclusively to the Jewish Telegraphic Agency, Alegre confirmed that he would keep Paraguay’s embassy in Tel Aviv.
“Fundamentally, Paraguay is a country that respects international law. In its resolutions 181 of 1947, 478 of 1980, and 2334 of 2016, the United Nations Security Council has made clear the status of Jerusalem, not accepting its annexation or its declaration as the capital of Israel. This position is shared by all nations with only a few exceptions,” he wrote. “There is great potential for exchange and cooperation between Paraguay and Israel, and Paraguay will continue to defend Israel’s right to a peaceful existence. In fact, there is a long relationship of friendship between our nations. Paraguay’s vote at the United Nations in 1947 was the one that gave the majority for the recognition of Israel as an independent state. These close ties were not, nor are they now, subject to the status of Jerusalem.”
The Comunidad Judía del Paraguay, an organization which encompasses all the Jewish institutions in the country , remains apolitical but fervently Zionist, similar to Jewish organizations in other Latin American countries. The community of around 1,000 Jews is mostly affiliated with the Conservative movement and is concentrated in Paraguay’s capital of Asuncion. The city contains a local chapter of the Chabad-Lubavitch Hasidic movement, a Jewish day school and a Hebrew Union that organizes religious and athletic activities.
“We as a community have maintained very good relations with all governments and we will continue to work with whoever is elected,” said Mariano Mirelman, executive director of the Comunidad Judía del Paraguay.
But it is possible that if Peña is elected and moves the embassy, the topic of the Israeli-Palestinian conflict will re-enter public discourse in Paraguay. And this has the potential to fuel antisemitic attitudes, according to research by the Latin American Jewish Congress (or LAJC), an arm of the World Jewish Congress.
In Paraguay, serious antisemitism incidents are rare, but according to the LAJC, antisemitism in Paraguay does appear online, especially related to the Israeli-Palestinian conflict.
In a yet-to-be- released 2022 study by the LAJC’s Observatorio Web program of more than 42,000 tweets in Paraguay related to Jews, Israel or the Holocaust, 6.45% of them were antisemitic and included making comparisons between Israel and Nazi Germany, which constitutes antisemitism according to the LAJC.
If Paraguay’s embassy does move back to Jerusalem, that would mean that more than half of the embassies in Jerusalem are from Latin America, joining Honduras and Guatemala.
According to Bishara Bahbah, author of “Israel and Latin America: The Military Connection,” it’s not an accident that the majority of these countries are from Central and South America. Although ideologically they may not feel strongly about the embassy issue, they know they can curry favor with the United States by strongly supporting Israel.
“Latin American countries view Israel’s special relationship with the United States as a critical element of their relationship with Israel,” Bahbah tells JTA. “Because if they are in need of U.S. support in one or two or three areas, they tend to lean on Israel to convince the U.S. government to provide them whatever they are seeking.”
Due to its size and lack of regional power, Paraguay’s potential decision to move its embassy to Jerusalem will likely not have a domino effect, Bahbah said. Further, although the Biden administration has left the U.S. embassy in Jerusalem, it has shown no signs of pressuring Latin American countries to move their embassies the way the Trump administration did.
Regardless of what happens with Paraguay, Netanyahu has not given up in his fight to have Jerusalem recognized as Israel’s capital worldwide. As he said while visiting Italy last month: “I believe the time has come for Rome to recognize Jerusalem as the ancestral capital of the Jewish people for three thousand years, as the United States did with a gesture of great friendship.”
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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.”