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The US wants citizens to help Ukrainian refugees settle here. Jewish New Yorkers are stepping up.
(New York Jewish Week) — A year ago, Diana and Vitalii Nakonechnyi never expected that they and their two young kids would be living in Riverdale, a leafy neighborhood in the Bronx. Then again, they also never expected a war would force them to evacuate their hometown of Kharkiv, Ukraine.
“We heard it was a possibility, but we never would have expected this to happen in our lives,” Diana told the New York Jewish Week via a translator. “And we never thought we’d ever live in as big of a city as New York.”
The Nakonechnyis, a family unit of five — including Vitalii’s mother — are among the nearly 100,000 refugees who have fled Ukraine for the United States since the Russian invasion of Ukraine began in February 2022.
They first went to Poland, then stayed in Germany through the summer. There, they heard via Telegram, a global messaging service, that HIAS and other refugee resettlement agencies like it were helping bring people to the United States. HIAS, formerly known as the Hebrew Immigrant Aid Society, was created in 1881 to aid Jewish refugees fleeing Eastern Europe. In recent years, however, HIAS has pivoted to resettling non-Jewish refugees, as well as mobilizing the American Jewish community around advocating for immigrants and asylum-seekers.
As it turns out, the Nakonechnyi family were not resettled directly by HIAS or another refugee resettlement organization — a process that can often take years due to bureaucratic red tape. Instead, they were among a growing cohort of arrivals who were greeted at the airport, set up in new homes and introduced to life in the United States by trained “Welcome Circles,” a private sponsorship group, enlisted by HIAS, that consists of everyday Americans who volunteer to help resettle a refugee family. Within the span of just a few weeks, with the assistance of local community members, the Nakonechnyi family settled in the Bronx at the end of September 2022.
“Nobody really believed that there would be some help on the other side, that everything would be taken care of with housing and airline tickets,” Diana said. “Little by little, we are adjusting.”
The Northwest Bronx Coalition — the Welcome Circle of around 10 individuals that has helped welcome the Nakonechnyis in Riverdale — is largely made up of members from local congregations: Riverdale Temple, Conservative Synagogue Adath Israel of Riverdale, Hebrew Institute of Riverdale and Congregation Tehillah. It’s the latest iteration of how Jews, once refugees themselves, are now using their expertise and experience to resettle others.
“Ukraine is so pivotal in so many of our own histories and our own refugee stories, said Holly Rosen Fink, the president of the Westchester Jewish Coalition for Immigration who, working with HIAS, helps organize and mobilize Welcome Circles. “Nine times out of 10, when you ask [Jewish] people in Westchester where their families are from, it’s usually that part of the world. So it stirred a lot of people’s hearts.”
Welcome Circles like the Northwest Bronx Coalition are made up of five to eight community members who have committed themselves to accommodating and resettling a refugee family for the first six months of their time in the United States. These volunteers handle everything a resettlement agency would: helping secure housing and employment, organizing medical appointments and bills, and smoothing over any other logistics required in the transition to a new country. The groups commit to raising $2,275 for each person they are going to help resettle.
Leading the Northwest Bronx group is Irina Kimmelfeld, who came to the United States when she was 13 as an emigre from the Soviet Union in 1988. “I did feel that I was in more of a unique situation to help because I have the language and some degree of commonality of experience right from that same region,” Kimmelfeld told the New York Jewish Week. “But it really came from feeling so helpless about the war and needing to be able to do something.”
Kimmelfeld, an accountant, has been translating for the Nakonechnyis, helping them find and furnish an apartment, guiding them through public transportation, finding a house of worship (the family is Ukrainian Baptist) and showing them around the city. She’s also helped with social and medical services for Diana, who is eight months pregnant, and her son Filipp, who has special needs.
For Rosen Fink, resettling non-Jewish refugees is undoubtedly a Jewish issue. “After visiting a [refugee] camp during the Syrian refugee crisis, I just became determined to not let that happen again to anybody, not just Jewish people,” she said. “So, for me, it’s a very ingrained issue.”
Rosen Fink operates as a liaison between HIAS and New York Jewish communities, encouraging members to join these Welcome Circles in honor of their Jewish values. “We’ve been going into the community, finding the people that want to step up and giving them the tools and the resources and funding to connect with HIAS and start hosting a family,” Rosen Fink said. “We inspire people to do this work because we see this through a Jewish lens because of our history and values.”
Until recently, Welcome Circles such as the Northwest Bronx Coalition were considered part of an emergency government response towards the Afghan and Ukrainian refugee crises, and not an official resettlement policy in the United States. But as of Jan. 19, the Biden Administration announced the implementation of the “Welcome Corps,” a federally backed private sponsorship program in which refugee resettlement agencies will be able to train American citizens to help resettle refugees on a long-term basis with route to citizenship — a departure from the emergency response programs which only offered short-term, humanitarian parole.
The Welcome Corps, which the New York Times called “most significant reorientation of the U.S. refugee program since its inception more than four decades ago,” will allow an increased number of refugees to resettle in the United States for less of a cost to the government.
As such, programs like HIAS’s Welcome Circles will become an even more common way to resettle more refugees more quickly. In the last 18 months, HIAS has helped establish 80 Welcome Circles in 17 states. In New York City and Westchester, 15 of HIAS’s Welcome Circles have assisted in the resettlement of more than 50 refugees.
“It’s an exciting program that’s is opening up the opportunity for many more volunteers on the ground to get involved with supporting refugee resettlement in areas where they might not have resettlement agencies, or where resettlement agencies do not have the capacity to bring in the people themselves,” said Isabel Burton, the senior director of community engagement initiatives at HIAS.
For now, the Nakonechnyis are still getting used to the city, which is a lot bigger than their hometown (Kharkiv’s population is approximately 1.4 million). They’re not sure yet if New York will be their permanent home — the idea of planning for the future, Diana said, feels like it has been taken away from them.
“You do feel helpless — and this is something you can do,” Kimmelfeld said. “You can’t help everybody but you can make a difference for one family.”
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The post The US wants citizens to help Ukrainian refugees settle here. Jewish New Yorkers are stepping up. 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.”