Uncategorized
‘Stop Cop City’ activists infuse Jewish rituals into their protest against Atlanta’s planned police training center
(JTA) — As the sun set on Feb. 5, signaling the start of Tu Bishvat, a group of Jews carried shovels into the South River Forest southeast of downtown Atlanta.
In the day’s declining light, they planted saplings — seven paw paws, three fig and two peach — to honor the holiday, Judaism’s “new year of the trees.” They recited the Shehechiyanu prayer, and a rabbi led them in singing “Tzadik Katamar”: “The righteous shall flourish like the palm tree and grow like a cedar in Lebanon,” from Psalm 92.
The traditional holiday observance doubled as a protest against “Cop City,” the name that self-described “forest defenders” have given the city of Atlanta’s plan to build a $90 million, 85-acre police and fire training center on 300-plus acres that it owns just over the city line in DeKalb County, Georgia.
Two years into protests against the plans, a “week of action” that began over the weekend swelled the protesters’ ranks and brought an even greater police presence to the site of the planned training center. On Sunday night, a group of activists broke from a nonviolent protest, burning police vehicles and, police said, throwing rocks at officers. Dozens of people were arrested.
The violent turn throws into question other plans for the week, which include a Purim celebration on Monday night and a Shabbat service on Friday, the latest Jewish milestones in nearly two years of controversy and confrontation.
“They’re living Jewish values more legitimately, more sincerely than some of the biggest institutions,” said Rabbi Mike Rothbaum of Atlanta’s Reconstructionist Congregation Bet Haverim, of the Jewish protesters. Rothbaum attended the Tu Bishvat event and is scheduled to lead this week’s Shabbat service; he was speaking before the weekend’s events.
Comparing their worship to a mishkan, the portable sanctuary that the Israelites carried in the desert, Rothbaum said of the protesters, “They go to shul at ‘Cop City.’”
A sukkah constructed in October 2023 at the “Cop City” protest site in the Atlanta forest was destroyed in a police raid in December. (Courtesy of Jewish Bird Watcher Union)
Until about 200 years ago, South River Forest was home to the Muscogee (Creek) tribe, who called it Weelaunee — “brown water,” the name painted on protest banners strung between trees. White settlers drove out the Muscogee, and the land later became a slave plantation, a Civil War battlefield and a city prison farm. Portions have been a police firing range and used for explosives disposal, and it has also been the site of illegal dumping.
In April 2021, Atlanta announced plans to build a police training facility in the forest. Opponents immediately launched a protest. They oppose the redirection of natural resources to the police and want the forest maintained as a natural sanctuary.
After two years as a primarily local issue, national and international attention spiked on Jan. 18, when a protester camped in the woods was killed during what police called a “clearing operation.” The Georgia Bureau of Investigation said Manuel Paez Teran fired a handgun, wounding a Georgia State Police trooper, then was killed by return fire. An independent autopsy reported that the 26-year-old known as “Tortuguita” was struck by at least 13 rounds. An Atlanta police vehicle was torched in a subsequent protest downtown. Charges against more than a dozen of those arrested include violating the state’s domestic terrorism statute.
Across Intrenchment Creek from the city property is a DeKalb County park that bears the waterway’s name and is the subject of an associated protest. Much of the “Stop Cop City” activity has taken place in the 136-acre Intrenchment Creek Park. Legal challenges are pending against a land swap in which the county gave 40 acres to the now-former owner of a film studio, whose crews leveled trees and tore up a paved path until a judge issued a stop work order.
Conservation groups and community organizations in the surrounding majority Black neighborhoods fear that any development will degrade the tree canopy in Atlanta — which calls itself the “city in the forest” — and exacerbate flooding in low-lying areas.
The larger, decentralized protest movement includes a number of Jews, most in their 20s and 30s, who have made their stand by holding Jewish rituals in the forest, some under the banner of the “Jewish Bird Watcher Union.” They have held Shabbat services, performed the Tashlich ritual on Rosh Hashanah, slept in a sukkah during Sukkot, lit Hanukkah candles, and planted trees on Tu Bishvat. Prayer books were adapted for Shabbat and the High Holidays, with illustrations by the Jewish artist Ezra Rose.
Digital fliers advertising Jewish activities during a “week of action” by protesters opposing Atlanta’s planned police training facility. (Shared on social media)
Most of the Jewish events have been held in Intrenchment Creek Park. At the entrance, signs attached to a crumpled gazebo denounce the “film site” property owner. Improvised memorials and slabs of stone bearing spray-painted slogans dot the parking lot. To frustrate machinery drivers, some trails were blocked by barricades formed from downed trees, discarded tires and anything else handy.
The day before Tu Bishvat, three of the young Jewish activists met with a reporter, in an unheated community center a short drive from the forest. Expressing concern about their personal security, given the heated atmosphere around the issue, they spoke on condition that they be identified only by their first names and that their photographs not appear.
Cam, 24, is a labor union activist who grew up in Atlanta, attending Conservative and Reform congregations. Ray, 24, is a software engineer and Georgia Tech graduate, who grew up attending a Reform synagogue in Maryland. Ruth, in her late 20s, works in “regenerative landscaping” and moved to Atlanta with her Israeli family as a child. All said they feel disconnected from the mainstream Jewish community in Atlanta, religiously, politically and ideologically.
“Mainstream Judaism has completely lost touch with the radical history and radical tradition of the Jews,” Ruth said. “The things I like about Judaism, I want to live them in real life.”
She added, “When Sukkot came around and we built a sukkah in the forest, this is the closest I’ve been to relating to the story of traveling, of being in the desert and sleeping under the canopy.”
A makeshift memorial for environmental activist Manuel Paez Teran, who was allegedly killed by law enforcement during a raid to clear the construction site of a police training facility that activists have nicknamed “Cop City” near Atlanta, Georgia, as seen Feb. 6, 2023. (Cheney Orr/AFP via Getty Images)
Upwards of 50 to 60 Jews have participated in the forest-based worship, and hundreds of people have streamed into the “living room” section of the woods. “I don’t know if they’re all gathering for Shabbat or not but they all gathered around with us and listened to us sing prayers and light candles,” Ray said.
Rothbaum said he admired what he saw the Jewish protesters doing. “Whatever your opinion of the activists at ‘Cop City,’ you have to admire their commitment,” he said, adding, “These kids are reacting to the assimilation of a great heritage of meaning and justice.”
The sukkah survived for two months past the end of Sukkot, until a Dec. 13 police raid against encampments on both sides of Intrenchment Creek. A photo posted on Twitter showed the dismantled poles and torn sheets. The disappearance of the large menorah from the Intrenchment Creek parking lot after Hanukkah was blamed on crews working for the film site owner.
May the candle lights of Khanukah ignite the flames of rebellion. @defendATLforest pic.twitter.com/kdh6mqhMHY
— Fayer – פֿײַער (@FayerAtlanta) December 22, 2022
The morning after Tu Bishvat, city and county SWAT teams, along with state police, were deployed as construction equipment was brought into the police training center site. Two weeks later, at a Shabbat dinner in the forest following the Jan. 18 raid, attendees recited a Mourner’s Kaddish for Manuel Paez Teran and sang the traditional prayer “Oseh Shalom Bimromav” — “They who make peace in their high places.”
The Jewish activists see parallels between their activism on the Israeli-Palestinian conflict and what’s happening in their local forest.
“Anti-Zionism was a major part of what brought us together in the first place, even before the forest movement,” said Cam, who said he saw the two issues as “related struggles.” Opposing Israel is “a big part of what leads us to feel alienated from most mainstream Jewish communities and the inability to be accepted there, and the necessity of forming our own.”
Ruth participated in activism on behalf of Palestinians while visiting family in Israel last summer. “I was hearing and seeing old ancient olive orchards that were destroyed, burned or cut by settlers in order to disempower Palestinians from living there,” she said. “It made me really feel, like, defend the forest everywhere.”
Atlanta officials say they do not plan to defile the forest and argue that the city’s police training facilities are inadequate. The planned complex would serve the police and fire departments, the 911 call center and K-9 units. It would include a shooting range, a “mock city” (with a gas station, motel, home and nightclub) and a “burn building.” The remainder of the land will be developed for recreational use, officials say.
“This is Atlanta and we know forests. This facility will not be built over a forest,” Atlanta Mayor Andre Dickens said at a January news conference. “The training center will sit on land that has long been cleared of hardwood trees through previous uses of this site decades ago.”
Activists accuse the city and county of a lack of transparency throughout the process. In a February interview with the Atlanta Journal-Constitution, Dickens conceded that the city could have done a better job selling the project. “We didn’t do that. And because we didn’t do that it started getting painted by anybody that had a brush,” he told the newspaper.
The mayor’s words have not deterred activists, whose goal is nothing less than cancellation of the project.
“They have destroyed a lot of the beauty already,” Cam said. “They have created this place of desolation and death and destruction, and that is in opposition to our task as Jews to create a world of beauty and joy and holiness. By coming to this place and planting trees, we are reclaiming it, making a place of peace and joy.”
Rabbi Mike Rothbaum, seen here in Massachusetts in 2017, is an Atlanta rabbi who has participated in “Cop City” protests. (Jonathan Wiggs/The Boston Globe via Getty Images)
The local Jewish protesters have lately gotten a boost from a progressive Jewish organization based in Philadelphia. The Shalom Center launched in the 1980s to oppose nuclear proliferation and now focused largely on climate justice.
“Our sacred text is called ‘The Tree of Life,’” wrote the center’s founder, Rabbi Arthur Waskow, and national organizer Rabbi Nate DeGroot in a Feb. 28 letter to Georgia Gov. Brian Kemp that noted Jewish law’s prohibition on uprooting trees. “We pray that the trees of the Weelaunee Forest remain trees that support the flourishing of sacred life for generations to come.”
Rothbaum said he was inspired by the young Jewish activists. “They are reminding us of the Jewish values that come to us through Torah, through the rabbinic writings, that are timeless,” he said. “They are reminding us of what we’re supposed to be. And we owe them a debt of gratitude.”
Ruth had a message for Atlanta’s Jewish congregations and communal organizations, most of which have not engaged publicly on the issue: “I would invite them to join us, to put their Jewish values into action,” she said. “Everything we’re doing here is really Jewish.”
—
The post ‘Stop Cop City’ activists infuse Jewish rituals into their protest against Atlanta’s planned police training center appeared first on Jewish Telegraphic Agency.
Uncategorized
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.
Uncategorized
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.”
Uncategorized
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.”