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The mysterious disappearance of Yemenite children in Israel is the focus of a new play
(New York Jewish Week) — Shortly after the State of Israel was founded, Shanit Keter-Schwartz was born on a dirt floor, in a hut made of aluminum siding outside the burgeoning town of Tel Aviv. She was the second of six children, the daughter of Yemenite Jews who had recently immigrated to the new country. They’d faced discrimination and violence in their country of origin, so when Jewish emissaries turned up in 1949 to bring 50,000 Yemenite Jews to Israel as a part of “Operation Flying Carpet,” they were all in.
Unfortunately, Keter-Schwartz’s upbringing in Israel was no magic carpet ride. “[Yemenite Jews] were seen as savages, primitive, inferior in the eyes of the Ashkenazi Jews,” Keter-Schwartz recalled in an interview with the New York Jewish Week. “They were not sophisticated or educated. It was a cultural domination, a collective trauma in Israel. They faced war, hunger, poverty, and living in very harsh conditions.”
The worst, though, wasn’t near-starvation due to rationing, or the harsh conditions of the shanty towns that these new immigrants were placed in, or the way European children wrinkled their nose at her and called her smelly. No, the worst was when the government stole her sister, Sarah, whom Keter-Schwartz never saw again.
In what has become known as the Yemenite Children Affair, more than 1,000 children of Yemenite, Mizrahi and Balkan descent were separated from their children during the first decade of Israel’s existence. The families and their advocates have long insisted, over denials by officials, that the children were taken from their families by the Ashkenazi government during the first decade of Israel’s existence. More often than not, parents were told their children had died when they had, in fact, been given to families of European descent for adoption, according to Amram Association, one of several organizations dedicated to documenting these abductions and advocating for victims’ families.
Now, Keter-Schwartz — a writer and performer who lives in Los Angeles, and a mother to two grown daughters — has brought to life her family’s story and her search for her missing sister in the form of a one-woman show. Premiering on Thursday at New York City Center, and running through May 15, “Daughter of the Wicked” chronicles her family’s journey from the Yemenite ma’abarot (refugee camps) to shikunim (government housing projects), where they lived in a tiny two-room apartment amid a melting pot of Jewish immigrants who were often at odds with one another.
“It is overcrowded, and the people who live here come from many different places. In their countries they were… respected by their communities,” she says in the show, which is named after one of the many Yemenite curses her mother would hurl at her when she’d done something wrong. “But here [in Israel] they are forced into stereotypes.”
“Israel had no choice but to bring the Jews from the Arab countries because the European Jews population had been greatly diminished after the Holocaust, but they didn’t want us,” Keter-Schwartz told the New York Jewish Week. “They took control of our lives, tried to assimilate us, wanted the whole country to be secular and uniform. They made all the decisions for us.”
One such “decision” made by the government, she said, was to remove her oldest brother, Yossi, from the family home to “re-educate” him at an Ashkenazi kibbutz. It worked: Yossi returned as a proud secular farmer, disdainful and ashamed of his spiritualist, religious family and their traditional ways.
The disappearance of her baby sister, Sarah, inspired Keter-Schwartz’s play, which is also informed by the kabbalistic teachings of her father. (Russ Rowland)
In the case of Keter-Schwartz’s sister, the abduction occurred directly after she was born. “When my father went to the hospital to pick up the twins, my siblings, he returned only with David. They told him that the girl, Sarah, was sick, and he should come back the following day. But when he came back, they told him that she had died,” Keter-Schwartz said. “Being naive, he didn’t question this. He didn’t ask to see a death certificate. He didn’t even know [a certificate] existed. He didn’t demand to see her body, didn’t think to bury her or give her funeral rites. He never suspected for a minute they could deceive him.”
This story, and others, is conveyed in “Daughter of the Wicked” through a series of monologues, each tied to an idea from Kabbalah,the Jewish mystical tradition. Keter-Schwartz defines each concept — like ahava (love), metsuka (hardship), busha (shame) — then tells a personal story that relates to the topic.
With this framework, Keter-Schwartz pays homage to her father, a spiritualist rabbi who spent his days poring over holy texts and divining the true meaning of the universe. She reads from his writings — which were collected and published towards the end of his life as a book, “Nachash HaNechoshet” — detailing her complex relationship to a man who was both an inspiration and, at times, inscrutable to all around him.
“The play is set in a hotel room, while I’m waiting for my sister to show up,” Keter-Schwartz explains. “As I wait, I tell my life. Behind me, on three screens, there’s archival footage from the 1950s that I got from Steven Spielberg’s archive. That footage tells the story, too, and so does the music.” The accompanying music, which transitions the audience from segment to segment, was written by Israeli composer Lilo Fedida, using traditional Yemenite melodies and instruments.
“We lived with this [tragedy] all my childhood, and I’ve been wondering all these years about my missing sister,” said Keter-Schwartz. “If I see her on the street, will I recognize her? Where does she live? Is she happy? I felt guilty that I never really tried to find her, I was so busy with my own life. But now I need to know.”
As a young woman, Keter-Schwartz said she went to great lengths to distance herself from her family’s tragedies. She lived in Amsterdam, London and New York, finally finding her footing in Los Angeles. She changed her name — from Shoshana to Shanit — and declared herself a new person in a new land. It was only when she lost all but one of her siblings, as well as both parents, that she felt an urge to revisit the past. When her last surviving sibling got so ill he almost died, she swore to search for Sarah. Initially, the idea was just to hire a private investigator to try to locate her. During her search, though, she began to feel an urge to share her story.
“I’d never written a play, so it took me two years [working] with coaches,” says Keter-Schwartz. “I’ve been an actress all my life, I’ve edited other people’s scripts, I produced movies, but to actually write — ha! I had amazing coaches. I’m especially grateful to Yigal Chatzor, the Israeli playwright. He brought the Israeli spice and the humor, which is wonderful now because now the play is balanced. It’s heart-wrenching and it’s hysterical. It’s everything, you know.”
The Yemenite Children Affair has never been formally confirmed by the state of Israel, which maintains the position that most of the babies died of malaria or malnutrition and were not, as some have proposed, sold to Ashkenazi families in exchange for donations to the young country. Several government-led commissions have claimed that there was no official wrongdoing, but testimonies continue to emerge that suggest otherwise. According to a 2016 article in Yediot Ahronot, a prominent Israeli news source, the government has sealed the official records of these disappearances until 2071, despite ongoing demonstrations and demands for actions.
In 2021, the Israeli government authorized tens of millions of dollars in reparations to families whose children disappeared while in government care. Nonetheless, no official admission of guilt or apology has been issued, a fact which caused many affected families to reject the plan, calling it “hush money.” Only a fraction of the affected families are eligible for these payments and, according to recent reporting, very few have claimed the money. Less than 1% of the allocated funds have been distributed thus far.
For Keter-Schwartz, no amount of money could compensate for the loss of her sister. She’s more interested in creating connections with others who lost family members and bringing awareness to this chapter in Israeli history. “Going back to my roots, revisiting the past, is an act of forgiveness,” Keter-Schwartz said in a statement. “By writing this play, I was able to forgive and accept the past. I hope that when audiences see my play they come to terms with their own history, and that they feel a sense of what it means to be free, and the challenges that confront us in maintaining that freedom.”
That is a major throughline of “Daughter of the Wicked”: Keter-Schwartz does not forsake the country that gave her her identity and childhood; rather, she insists on loving it while demanding recognition of past wrongs. Towards the end of her show, Keter Ashkenazi raises both arms to the sky and screams at those who wronged her: “My country! I blame you, shame on you for forsaking us, shame on you!”
But then, she lowers her arms and says, voice cracking with heartbreak: “I love you, I blame you, I love you. My country, I love you.”
—
The post The mysterious disappearance of Yemenite children in Israel is the focus of a new play appeared first on Jewish Telegraphic Agency.
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In Brigitte Bardot, a complicated legacy of movie stardom, activism, xenophobia and antisemitism
The French actress Brigitte Bardot, who died Sunday at the age of 91, leaves behind a legacy as an actress who starred in a few notable and many less than notable films. Perhaps more importantly, Bardot also starred as BB (pronounced, bien sûr, as “baby”), a cultural icon who embodied the glories and miseries of a rapidly modernizing postwar France.
Life is short, art is long, and politics is, at times, even longer. At least, this is true for the life of Bardot. Bardot burst upon the world stage in 1956 with élan (and an ellipsis) upon the release of “Et Dieu…créa la femme” and made her last film “L’Histoire très bonne et très joyeuses de Colinot” in 1973. This makes for a movie career that spanned 17 years. If we were than to subtract 1973 from 2025, we get 52 years.
But during the 52 years Bardot lived following her retirement from cinema, the world witnessed a different kind of spectacle, one which shifted from the aesthetics of Bardot as a pop phenomenon during the 1950s — she was described by Simone de Beauvoir, in an Esquire essay, as “the most perfect specimen of the ambiguous nymph” — to Bardot’s downwardly spiraling politics in the late 1990s and early 2000s.
A starting point to think about Bardot and politics — or, better yet, ideology — is 1969. While France was still reeling from the student rebellion of 1968, an event that nearly brought down the government of Charles de Gaulle, Bardot was named as the model for “Marianne,” a mythic figure who was, and remains, the personification of the French republic built on the revolutionary values of 1789.
Bardot remained the model for several years, with postage stamps of her likeness on countless envelopes and busts in city halls across the country. In 1985, however, Catherine Deneuve became the face of Marianne. The two stars tended to play very different kinds of roles in their films: Bardot’s barely tamed sexuality contrasted sharply with the mesmerizing iciness of many of Deneuve’s characters.
As time passed, the two Mariannes revealed very different political values. In 1971, Deneuve signed the history-changing “Manifesto of 343 Women,” which supported the legalization of abortion, and has spent her life in the republican camp — an opponent of the death penalty and a part of the “republican wall” formed against Jean-Marie Le Pen during the 2002 presidential elections.
Meanwhile, Bardot’s politics veered ever more rightward until they could veer no further. In 1992, Bardot attended a dinner in Saint-Tropez — the sleepy Provençal port she turned into, well, Saint-Tropez — hosted by Jean-Marie Le Pen’s second wife, Jany Le Pen. Another guest was Jean d’Ormale, a shadowy businessman and a close advisor of Le Pen, who soon became Bardot’s fourth and final husband. Bowled over by Bardot, Le Pen recalled, “Compared to Bardot, Marilyn Monroe looked like a bar waitress.” He added that he and Bardot had much in common: “She loves animals and misses the France that was clean and proper.”
In her own memoir B.B., Bardot returned Le Pen’s compliment. He was, she wrote, “a charming and intelligent man who was revolted by many of the same things I was.” For the next two decades, Bardot’s righteous campaign against animal cruelty was entwined with her noxious campaign against Muslim immigrants. Her hatred of the Muslim preparation of halal meat transmogrified into a hatred of Muslims, period. From the late 1990s and late 2000s, Bardot, who persistently railed against the Muslim “invasion” of France, was convicted several times by French courts of inciting racial hatred.
Inevitably, her visceral loathing of ritual slaughter bled into antisemitism. In 2014, Bardot was widely criticized for her description of kosher and halal traditions as “ritual sacrifice.” Moshe Kantor, the president of the European Jewish Congress, ripped into this phrase, declaring it was “deeply offensive and a slur against the Jewish people.” Kantor noted that while Bardot “may well be concerned for the welfare of animals, her long-standing support for the far right and for discrimination against minorities in France shows a constant disdain for human rights instead.”
In a eulogy posted on X, President Emmanuel Macron observed that “with her films, her voice, her dazzling glory, her initials (BB), her sorrows, her generous passion for animals, and her face that became Marianne, Brigitte Bardot embodied a life of freedom…We mourn a legend of the century.” All of this is true, but it is equally true that BB embodied yet other sorrows and passions that cast a lengthening and darkening shadow over this century.
The post In Brigitte Bardot, a complicated legacy of movie stardom, activism, xenophobia and antisemitism appeared first on The Forward.
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Putin and Trump Do Not Support European-Ukrainian Temporary Ceasefire Idea, the Kremlin Says
Russian President Vladimir Putin delivers a speech during a session of the St. Petersburg International Economic Forum. Photo: Reuters/Maxim Shemetov
The Kremlin said on Sunday that Russian President Vladimir Putin and US President Donald Trump do not support a European-Ukrainian push for a temporary ceasefire ahead of a settlement, and that Moscow thinks Kyiv needs to make a decision on Donbas.
Kremlin foreign policy aide Yuri Ushakov said that a call between Putin and Trump lasted 1 hour and 15 minutes and took place at the request of Trump ahead of Trump’s meeting in Miami with Ukrainian President Volodymyr Zelenskiy.
“The main thing is that the presidents of Russia and the United States hold similar views that the option of a temporary ceasefire proposed by the Ukrainians and the Europeans under the pretext of preparing for a referendum or under other pretexts only leads to a prolongation of the conflict and is fraught with renewed hostilities,” Ushakov said.
Ushakov said that for hostilities to end, Kyiv needed to make a “bold decision” in line with Russian-US discussions on Donbas.
“Given the current situation on the fronts, it would make sense for the Ukrainian regime to make this decision regarding Donbas.”
Russia, which controls 90 percent of Donbas, wants Ukraine to withdraw its forces from the 10 percent of the area that Kyiv’s forces still control. Overall, Russia controls about a fifth of Ukraine.
Trump has repeatedly promised to end the deadliest conflict in Europe since World War Two and his envoy Steve Witkoff and son-in-law Jared Kushner have been negotiating with Russia, Ukraine and European powers.
Ukraine and its European allies are worried that Trump could sell out Ukraine and leave European powers to foot the bill for supporting a devastated Ukraine after Russian forces took 12-17 square km (4.6-6.6 square miles) of Ukraine per day in 2025.
“Donald Trump listened attentively to Russian assessments of the real prospects for reaching an agreement,” Ushakov said.
“Trump persistently pursued the idea that it was really necessary to end the war as soon as possible, and spoke about the impressive prospects for economic cooperation between the United States and Russia and Ukraine that were opening up,” Ushakov said.
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Zelensky to Meet Trump in Florida for Talks on Ukraine Peace Plan
FILE PHOTO: U.S. President Donald Trump welcomes Ukraine’s President Volodymyr Zelenskiy at the White House in Washington, D.C., U.S., October 17, 2025. REUTERS/Jonathan Ernst/File Photo
Ukrainian President Volodymyr Zelensky and US President Donald Trump will meet in Florida on Sunday to forge a plan to end the war in Ukraine, but face differences over major issues, including territory, as Russian air raids pile pressure on Kyiv.
Russia hit the capital and other parts of Ukraine with hundreds of missiles and drones on Saturday, knocking out power and heat in parts of the capital. On Saturday, during a meeting with Canadian Prime Minister Mark Carney in Nova Scotia, Zelensky called it Russia’s response to the US-brokered peace efforts.
Zelensky has told journalists that he plans to discuss the fate of eastern Ukraine’s contested Donbas region during the meeting at Trump’s Florida residence, as well as the future of the Zaporizhzhia nuclear power plant and other topics.
The Ukrainian president and his delegation arrived in Florida late on Saturday, Ukraine’s Deputy Foreign Minister Serhiy Kyslytsya said on X.
RUSSIA CLAIMS MORE BATTLEFIELD ADVANCES
Moscow has repeatedly insisted that Ukraine yield all of the Donbas, even areas still under Kyiv’s control, and Russian officials have objected to other parts of the latest proposal, sparking doubts about whether Russian President Vladimir Putin would accept whatever Sunday’s talks might produce.
Putin said on Saturday Moscow would continue waging its war if Kyiv did not seek a quick peace. Russia has steadily advanced on the battlefield in recent months, claiming control over several more settlements on Sunday.
The Ukrainian president told Axios on Friday he hopes to soften a US proposal for Ukrainian forces to withdraw completely from the Donbas. Failing that, Zelensky said the entire 20-point plan, the result of weeks of negotiations, should be put to a referendum.
A recent poll suggests that Ukrainian voters may reject the plan.
Zelensky’s in-person meeting with Trump, scheduled for 1 p.m. (1800 GMT), follows weeks of diplomatic efforts. European allies, while at times cut out of the loop, have stepped up efforts to sketch out the contours of a post-war security guarantee for Kyiv that the United States would support.
On Sunday, ahead of his meeting with Trump, Zelensky said he held a detailed phone call with British Prime Minister Keir Starmer.
Trump and Zelensky were also expected to hold a phone call with European leaders during their Florida meeting, a spokesperson for the Ukrainian president said on Sunday.
STICKING POINTS OVER TERRITORY
Kyiv and Washington have agreed on many issues, and Zelensky said on Friday that the 20-point plan was 90% finished. But the issue of what territory, if any, will be ceded to Russia remains unresolved.
While Moscow insists on getting all of the Donbas, Kyiv wants the map frozen at current battle lines.
The United States, seeking a compromise, has proposed a free economic zone if Ukraine leaves the area, although it remains unclear how that zone would function in practical terms.
It has also proposed shared control over the Zaporizhzhia nuclear power plant, where power line repairs have begun after another local ceasefire brokered by the International Atomic Energy Agency, the agency said on Sunday.
Zelensky, whose past meetings with Trump have not always gone smoothly, worries along with his European allies that Trump could sell out Ukraine and leave European powers to foot the bill for supporting a devastated nation, after Russian forces took 12 to 17 square km (4.6-6.6 square miles) of its territory per day in 2025.
Russia controls all of Crimea, which it annexed in 2014, and since its invasion of Ukraine nearly four years ago has taken control of about 12 percent of its territory, including about 90 percent of Donbas, 75 percent of the Zaporizhzhia and Kherson regions, and slivers of the Kharkiv, Sumy, Mykolaiv and Dnipropetrovsk regions, according to Russian estimates.
Putin said on December 19 that a peace deal should be based on conditions he set out in 2024: Ukraine withdrawing from all of the Donbas, Zaporizhzhia and Kherson regions, and Kyiv officially renouncing its aim to join NATO.
Ukrainian officials and European leaders view the war as an imperial-style land grab by Moscow and have warned that if Russia gets its way with Ukraine, it will one day attack NATO members.
The 20-point plan was spun off from a Russian-led 28-point plan, which emerged from talks between U.S. special envoy Steve Witkoff, Trump’s son-in-law Jared Kushner and Russian special envoy Kirill Dmitriev, and which became public in November.
Subsequent talks between Ukrainian officials and U.S. negotiators have produced the more Kyiv-friendly 20-point plan.