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‘Solidarity’: Faculty for Palestine Groups Urge Students to Stand With Jihadists, Remnants of Iranian Regime
A woman holds a photo of Ayatollah Ali Khamenei as she takes part in anti-US protest outside the White House. Photo: Matrix Images / Gent Shkullaku via Reuters Connect
Anti-Zionist faculty on college campuses are cajoling students to support Islamism, jihad, and terrorism by recruiting them to participate in demonstrations for the revolutionary government of Iran, a regime which is responsible for killing American soldiers through proxy groups across the Middle East.
“Dear Students, I know it is very short notice, but for those who would like to participate in social protest against the US and Israeli war on Iran, Angelenos are gathering in 2 hours at City Hall,” Elizabeth Ribet, a professor at the University of California College of the Law, San Francisco, wrote on Saturday, signing off the note with “solidarity.”
“This email is a blatant example of a professor abusing her academic authority to politicize the classroom,” Tammi Rossman-Benjamin, higher education expert and executive director of the campus watchdog group AMCHA Initiative, told The Algemeiner in an exclusive statement. “AMCHA Initiative’s latest report documents hundreds of similar examples and concludes that when faculty blur the line between teaching and anti-Israel political advocacy, antisemitic hostility on campus rises. Recognizing this danger, more than 350 UC [University of California] faculty have recently urged the Regents to act. UC leaders must recommit to academic integrity and ensure classrooms remain places of scholarship and rigorous inquiry, not platforms for political mobilization.”
Ribet’s note is one of many communications that pro-jihadist student and faculty groups have issued since the US and Israel launched military strikes against Iran and killed Supreme Leader Ali Khamenei over the weekend.
Since then, The Algemeiner has reviewed over a dozen examples of faculty, specifically the Faculty for Justice in Palestine organization, proclaiming solidarity with Iran’s Islamist, authoritarian regime and lambasting the US and Israel for their joint operation.
“These u.s.-backed attacks are designed to spark a regional war, sacrificing the people of Iran, Palestine, Lebanon, Syria, Yemen, and beyond to further amerikkkan and zionist domination [sic],” said a post liked by the University of California Ethnic Studies Council, a body of professors who proposed an ethnic studies high school requirement for UC admissions. Critics have noted that the proposal pushed anti-Zionism in the classroom.
“Every drop of their blood spilled ignites our rage, our grief, and our duty,” the post continued. “We must continue to organize in solidarity with the Palestinian people, until the end of zionism [sic] and the liberation of Palestine.”
It added, “RESISTANCE IS GLORIOUS.”
The UC Ethnic Studies Council also shared a post by the Institute for the Critical Study of Zionism, a far-left group that has defended terrorism against Israel, which said, “We reject imperialist and wear mongering narratives that position Iran as the intruder in the region, rather than US military bases and US interventionism.”
In Bronxville, New York, Sarah Lawrence College’s Faculty for Justice in Palestine (FJP) chapter posted a volley of messages which called for “de-platforming Zionists” and ending military operations in Iran. The group also shared false claims that the US opened fire on Pakistani civilians.
Just miles away, Saint John’s University FJP group shared agitprop falsely alleging that the US intentionally targeted an Iranian school with an airstrike and has “always … sacrificed” children. The group also called for sabotaging the war effort by refusing to file taxes or to file by paper to delay the government’s receiving revenue. Meanwhile, the post suggested that agents in the government are prepared to participate in the conspiracy.
“The absolute bare minimum those of us in the imperial core should be doing is NOT FUNDING THIS SH—T,” said the post. “For example even just filing your taxes via paper slows down the IRS and makes it easier for other tax registers to make an impact with their actions as well.”
Bowdoin College, New York University, Bryn Mawr College, and Haverford College all have Faculty for Justice in Palestine groups sharing similar social media content.
The posts come after the Iranian regime killed tens of thousands of civilian anti-government protesters last month in a brutal crackdown. Iran for years has also been the world’s foremost state sponsor of terrorism, according to Western intelligence agencies. For example, Iran funded, armed, and trained Hamas, the Palestinian terrorist group that perpetrated the Oct. 7, 2023, massacre across southern Israel.
College faculty not only promote terrorism but also play a singular role in triggering and accelerating the campus antisemitism crisis, according to a recent study by AMCHA Initiative.
Focusing on UC campuses as case studies, the study exposed Oct 7 denialism; faculty calling for driving Jewish institutions off campus; the founding of pro-Hamas, Faculty for Justice in Palestine groups; and hundreds of endorsers of the boycott, divestment, and sanctions (BDS) movement against Israel.
“While students are the most visible actors, faculty and academic departments are key institutional drivers of the hostile environment,” the AMCHA Initiative said following the report’s publication. “Across three campuses, many faculty who promoted anti-Israel activism through university channels had previously endorsed an academic boycott of Israel (academic BDS). The boycott’s guidelines explicitly call on supporters to implement ‘anti-normalization’ in their professional roles. These include excluding Zionist perspectives, speakers, and programs from academic life.”
The report followed previous studies revealing the extent of faculty misconduct in higher education promoting anti-Israel animus and even outright antisemitism.
Just last month, The Algemeiner learned that, according to a lawsuit, a professor at Carnegie Mellon University assigned a Jewish student a project on “what Jews do to make themselves such a hated group.”
Similar incidents have come at a fast clip since the Hamas-led Oct. 7 massacre: a Cornell University praised the terrorist group’s atrocities, which included mass sexual assaults; a Columbia University professor exalted Hamas terrorists who paraglided into a music festival to murder Israeli youth as the “air force of the Palestinian resistance”; and a Harvard University chapter of FJP shared an antisemitic cartoon which depicted Zionists as murderers of Blacks and Arabs.
“The report documents how concentrated networks of faculty activists on each campus, often operating through academic units and faculty-led advocacy formations, convert institutional platforms into vehicles for organized anti-Zionist advocacy and mobilization,” the report stated. “It shows how those pathways are associated with recurring student harms and broader campus disruption. It then outlines concrete steps the UC Regents can take to restore institutional neutrality in academic units and set enforceable boundaries so UC resources and authority are not used to advance activist agendas inside the university’s core educational functions.”
Follow Dion J. Pierre @DionJPierre.
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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.”