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Teen people of color are finding, and building, their own spaces in Jewish life
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with Jewish teens around the world to report on issues that affect their lives.
(JTA) — As a young Black Jewish adoptee, Lindsey Newman felt close to the Jewish community on the Upper West Side of Manhattan, where she grew up. Then adolescence hit and she started to feel like an outsider, struggling to find acceptance and independence at her synagogue.
It wasn’t until the end of high school that she began connecting on social media to organizations like the Jewish Multiracial Network and Be’chol Lashon to build her own connection to other Jews of color and find a sense of belonging.
Now, as the director of community engagement at Be’chol Lashon, an organization that supports Jewish diversity, Newman works to make sure other Jews of color like her feel welcomed and included in Judaism.
“Diversity is one of Judaism’s greatest assets,” said Newman. “When we even unintentionally leave out or marginalize parts of our community, we all lose.”
Around 17% of American Jews identify as nonwhite, according to a 2021 Pew Research Center report. But, as the Jews of Color Initiative found, only 18% out of the 1,118 surveyed belong to a synagogue — compared, according to another Pew study, to the 35% of all U.S. Jews who are synagogue members or have someone in their household who is a member. To address this gap, organizations and synagogues are developing programs to help Jewish teens of color feel at home.
For BBYO member Micah Pierandri, 17, the experience of being part of her local chapter in Tulsa, Oklahoma has been great. For example, she loved meeting Olympic gymnast Gabby Douglas at the youth group’s International Convention. However, Pierandri, who is African American, wanted to connect more with JOCs, so she started the Members of Color Alliance through BBYO late last fall.
The club came about after she was called slurs at a BBYO summer camp in Pennsylvania by, according to Pierandri, participants who were “a mix of people of color and not.” BBYO did not respond to requests about the incident. Pierandri said the staff handled it well enough, but that she wanted to build on her experience. “I knew that if someone wasn’t going to stand up for other MOCs within BBYO I knew I could make that change,” she said. “I fought and fought until I did and here we are.”
The 12-member group provides a space specifically for teens of color to come together and connect with others similar to them, something Pierandri didn’t see existing before. MOCA members usually meet online through Zoom to discuss racial justice, learn from speakers, play games and provide cultural exchanges. Sometimes, members just get to chill with each other. “While the club is more racial justice-based I try my best to make sure it’s still fun and everyone has an amazing time,” said Pierandri.
Pierandri was able to form MOCA through On Demand, a virtual platform of BBYO. Late last year, the youth group released a new form for BBYO members to create any type of club that they desired. “Almost within less than 24 hours I had texts from all sorts of BBYO staff telling me they have my back for MOCA and want to help me make it a reality,” Pierandri said.
One MOCA member, Morgan Rodriguez, 16, felt turned off by other organizations’ JOC groups until she found the club within BBYO. As a Latino Jew, she felt she didn’t fit the stereotype of what a JOC should look like. “It was almost disheartening to find out that an organization wouldn’t want somebody because they’re mixed [race],” said Rodriguez, who lives in Delray Beach, Florida and is a mix of Ashkenazi and Ethiopian Jewish, Liberian, Cuban, Irish and Dutch ancestry.
Fortunately, Rodriguez sees the conversation changing, something she credits to social media. As a bonus, being able to see Jews who looked like her online made her feel more comfortable in her Jewishness.
The LUNAR Collective is trying to create this same space for teen Asian American Jews. The Bay Area-based group, which started as a film project, holds events to encourage pride in Asian Americans’ identities.
Rabbi Mira Rivera, rabbi-in-residence for LUNAR and the first Philipina rabbi to be ordained at the Conservative Jewish Theological Seminary, said that when she joined synagogues after she was married, she struggled to find others to unite with. “The people I saw who looked like me were the ones I wasn’t supposed to talk to because they didn’t want to be outed [as converts] or they were the caregivers of members,” she said.
Other institutions have introduced initiatives over the past few years to engage Jewish teens of color in their community.
Be’chol Lashon, founded in San Francisco, started a Teen Tzedek fellowship during COVID. It provides mentorship for teens who are ethnically diverse, a multicultural summer camp and an online publication, Jewish&, that allows people of all ages to express their beliefs and stories through personal articles.
“Many young JOCS not only wanted and needed a peer network of other JOCs that looked like them, that had similar experiences, but also wanted and needed role models that reflected their experience,” said Be’chol Lashon’s Newman about Camp Be’chol Lashon.
The North American Federation of Temple Youth plans to create a fellowship for Reform Jewish teens of color, according to Kelly Whitehead, a rabbinic intern there.
This would be a welcome step for NFTY member Ben Smulewitz, 15, a Jewish teen of color living in San Rafael, California. “I’ve found a whole new Jewish community, and I’ve really enjoyed finding those people because there’s not that many of us out here,” said Smulewitz. “It’s nice to have Jewish friends because then you can relate on different levels about things.”
Rabbi Mira Rivera, center, said that when she joined synagogues after she was married, she struggled to find other Jews of color to unite with. (Courtesy of Ammud)
Last summer, Camp Newman in Virginia Beach organized a mediation after a few white teens made a game out of trying to stick pencils in a Black camper’s hair without her noticing, according to Smulewitz. JOCs shared their personal stories, which included programming that he helped lead.
When asked about the incident, URJ’s Executive Director of Strategic Innovation and Program, Michelle Shapiro Abraham, declined to disclose any specific information. In an email she wrote that: “We understand and embrace the diversity of our Jewish community and are very focused on making sure everyone feels like they belong.”
Another thing that helped Smulewitz feel more comfortable at NFTY was the affinity groups he joined at L’Taken, a social justice seminar held in Washington DC. It was, however, to acknowledge that you are a “minority within the minority.”
“It makes me sad to know that there are people that are scared to come out and say that they are a Jew of color instead of just blending in with everyone else.”
Synagogues are also striving to include teen JOCs in their programming Although Romemu and Central Synagogue, both in New York, don’t currently have programming specifically tailored for teens, they are making efforts to expand and include more teens of color.
Romemu is working with IKAR, a synagogue in Los Angeles that helps organizations and synagogues introduce more strategies to enhance their inclusivity.
According to Susan Brooks, human resources and operations manager at IKAR, “a lot of Jews of color are not affiliated with synagogues or Jewish organizations because in the past, they have not necessarily felt welcome,” making it difficult to get a good turnout. Being welcoming is the first step, Brooks said, to attracting a diverse group.
Gulienne Rollins-Rishon, racial justice specialist at the United Synagogue of Conservative Judaism, said that within programming, JOCs sometimes “end up feeling like collectors’ items,” because they are often treated as tokens by organizations that want to demonstrate their diversity: “Like, how many Jews of color [do] we have here?” Rollins-Rishon said that people, especially teens, need to be able to define and own their identities.
“We need to create not only the space for Jewish teens of color to come and see that they’re being represented and reflected, but also [for them to think], I’m so glad that’s there because it means that I know I’m welcome here and I’m included here,” she said.
As a Black Jew, Rollins-Rishon has dealt with jarring experiences, such as when she was refused access to a Hanukkah party during her freshman year of college because the Hillel liaisons told her the room was reserved. They “literally tried to turn me away,” she said.
Now as an adult, her mission is for this not to happen to others. She said, “Now it’s my torch to carry to make sure that kids don’t have to run up against that wall as much.”
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The post Teen people of color are finding, and building, their own spaces in Jewish life 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.”