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The settlers’ attack on Huwara is not the Orthodox Judaism I grew up on
(JTA) — Nighttime in Huwara, a small Palestinian town in the West Bank. Jews in large skullcaps and sidelocks, prayer fringes dangling from their waists, responding loudly to the cantor: “Yehei shmei raba mevurach leolam u’leolmei olmaya” (“May His great name be blessed, forever and ever”) — the words of Kaddish, a regular daily prayer that can also be said to mourn the dead.
The gloom outside is illuminated by an enormous bonfire of cars, shops and homes belonging to the Palestinian residents of the village, which the Kaddish-reciters have set on fire, in revenge for the horrific and heartrending murders, hours before the pogrom, of brothers Hillel and Yagel Yaniv (may their memory be a blessing) and for other recent terror attacks in the area.
One Palestinian was killed during the rioting by these Jewish settlers. Dozens of wounded Palestinians were evacuated to hospitals, some from smoke inhalation, others from beatings and stabbings. A family was evacuated by IDF troops, moments before they might have perished in the flames that took their home.
This wasn’t just any Kaddish, yet another one of those said and repeated by any observant Jew multiple times a day, sometimes in mumbling fashion. This time it was a Kaddish for Judaism itself.
I grew up in a small town in central Israel, in a classic “dati leumi” or national religious community whose ideology combines Zionism and Orthodox Judaism. I studied in typical religious institutions: a school in the state-religious education stream, a high school yeshiva and a “hesder yeshiva,” which combines advanced religious studies with military service. I was also very active in the religious Zionist Bnei Akiva youth movement, as an educator and leader.
Even today I live in a religious community in Jerusalem, and my young children study in schools that belong to the state-religious education stream.
The Judaism that I know and by which I try to live is a Judaism that operates according to the commandment “walk in His ways” (Deuteronomy 11:22) and the Talmud: “As He is gracious you should also be gracious, as He is compassionate you should also be compassionate” (Shabbat 133b:4-6). This Judaism operates according to the verse from Leviticus, “The land shall not be sold permanently, for the land belongs to Me, for you are strangers and [temporary] residents with Me.”
By contrast, the Judaism that the militant settlers imbibed — or distorted — led one of the pogromchiks, he too in skullcap and sidelocks, to speak in Hebrew words I understood but whose language I could not not comprehend. “There is something very moving here,” he told a reporter. “Jews won’t be silent. What the army can’t do, what the police will never do, simple Jews come and carry out a simple act of vengeance, setting fire to anything they can.”
The same Judaism led Davidi Ben Zion, deputy head of the Samaria Regional Council, also an observant Jew, to say blithely, shortly before the pogrom, that “Huwara should be wiped off the earth — no room for mercy,” and “the [Jewish] guys in Huwara right now are behaving precisely like guys whose brothers were massacred in cold blood at point-blank. The idea that a Jew in Samaria is a diasporic Jew who will be stabbed in the heart and politely say thank you, is childish naivete.”
That same Judaism led Israel’s finance minister, Betzalel Smotrich, the de facto governor of the West Bank, to publicly support a tweet by another coalition member calling to “wipe out” the village.
In the name of this Judaism, denizens of hills and outposts abuse the Palestinians daily, with the aid or under the blind eye of the IDF. A national Jewish settlement endeavor has been taking place for two generations now, which despite the good intentions of some of its practitioners, has included land theft, institutionalized discrimination, killing and hatred. An endeavor under which the current coalition, the most observant ever, only grows and intensifies.
In ordinary times life is not black and white. The Palestinian side also has a significant part in the story. The violence comes in great force and cruelty from there as well, and its many victims and circles burn the soul and draw many good people into the cycle of vengeance. The solution, too, is complex and hard to see, even far off on the horizon. But there are moments when things are actually very clear, clarifying the gray areas, when the choices are between life and death, and good and evil.
This evil version of Judaism is a lethal drug, which through a historical twist of fate gained ascendance over our ancient tradition. Combined with nationalism and majority hegemony in the Land of Israel, it has become a conflagration, one that has long since spread beyond religious Zionism — what Americans might refer to as “Modern Orthodox” — to the haredi, or ultra-Orthodox sector, and Israeli society in general.
An entire generation of Jews has been raised on this Judaism of hate, contemptuous of anyone who is not Jewish, of any display of weakness, of compassion. To whom Judaism is not the keeping and continuation of our tradition, observing commandments or studying Torah, but a worship of “Jewish might” (“Otzma Yehudit,” the name of a far-right political party) and limitless greed. In this Judaism, traditional values like modesty, pity and charity are signs of weakness, or remnants of a pathetic and feeble Christian morality that under no circumstances are to be shown to a stranger, the other, those who are not like us.
What we need now is not accommodation, nor soft words and platitudes. Neither will an obvious and empty condemnation of the pogrom do a bit of good. What we need now — having seen the elected officials who represent this religious population, having witnessed their nationalist Judaism — is a policy rooted in a tradition they abandoned. We should treat those who distort Judaism as the Mishnah tells us to treat all evildoers: “Distance yourself from an evil neighbor, and do not cleave to a wicked person” (Ethics of the Fathers 1:7). We need to announce that we want no part in the feral growth that has sprung up here, that this is not the tradition we grew up on, this is not the Torah we studied, and this is not how we wish to live our lives and raise our children.
Let us return to tradition and start over.
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The post The settlers’ attack on Huwara is not the Orthodox Judaism I grew up on 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.”