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With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories
(JTA) — Years ago, the Israeli filmmaker Orit Fouks Rotem took a class led by director Eran Kolirin, best known as the maker of “The Band’s Visit.” This month, movies by both filmmakers are getting theatrical rollouts in the United States.
On a recent Zoom call, Palestinian author Sayed Kashua joked: “Was that his class — how to use a Palestinian story?”
Kashua was smiling on Zoom as he said it — he is, after all, known for his often fatalistic sense of humor, particularly when it comes to the Israeli-Palestinian conflict. And the author had given his blessing for Kolirin to make an adaptation of his novel “Let It Be Morning,” and said he loved the final result.
But like most jokes, this one had a kernel of truth: Israel’s two most recent Oscar submissions, hitting New York’s Quad Cinema within a week of each other, both — to varying degrees — tell Palestinian stories.
“Let It Be Morning” is a dark comedy about an Arab Israeli village that has suddenly and with no explanation been cordoned off from the rest of the country by the Israeli military. This event forces its Palestinian residents, including a protagonist trying to return to his comfortable middle-class life in Jerusalem, to reckon with how their dignity as citizens has been denied to them by the mechanisms of the Israeli occupation. At the Quad, the film is accompanied by a retrospective of Kolirin’s work, including “The Band’s Visit,” the basis for the Tony Award-winning musical; the retrospective is sponsored by the Israeli consulate in New York.
The all-female cast of “Cinema Sabaya,” a mix of Jewish and Arab actresses, in a film directed by Orit Fouks Rotem. (Courtesy of Kino Lorber)
The following week will see the opening of Rotem’s film, “Cinema Sabaya.” It follows a group of eight women, some Jewish and some Arab and Palestinian, who bond with each other while taking a filmmaking class in a community center in the Israeli city of Hadera. Cast member Dana Ivgy, who plays the class’s instructor, told the Jewish Telegraphic Agency that the filming experience “felt like how living in Israel should feel,” adding, “We have more women in the film than in the Israeli government.”
Stylistically, the two films couldn’t be more different. “Let It Be Morning” is a tightly plotted narrative with boldly realized characters; almost all of its dialogue is in Arabic. “Cinema Sabaya” is a loose, heavily improvisational piece that is almost entirely set in one room, and is mostly in Hebrew (although in one tense early scene, the characters debate whether to conduct their class in Hebrew or Arabic). One is a dry, Kafkaesque satire; the other is an intimate, naturalistic drama.
But together, the films provide a snapshot of the delicate dance Israeli filmmakers must perform in the current climate. On the one hand, these art-house directors are being feted on the international stage for their empathetic storytelling that incorporates or even centers entirely on Palestinian characters. But on the other, they’re being attacked by government officials for their perceived insufficient loyalty — and their films’ very status as “Israeli” is being questioned, too, sometimes by their own cast and crew.
“Everyone can call it what they want,” Rotem said of her film. “I’m an Israeli and it’s in Israel, but I have partners who call themselves Palestinians, and some of them call themselves Arabs, and each one defined herself. I think it’s really how it should be.”
“A film does not have an identity,” Kolirin insisted in an interview with JTA. “It is a citizen of the screen.”
Eran Kolirin accepted the award for Best Director for “Let It Be Morning” at the 2021 Ophir Awards in Tel Aviv on October 5, 2021. (Tomer Neuberg/ Flash90)
Kolirin isn’t a fan of the label “Israeli film” in this case, even though that is how “Let It Be Morning” was categorized at its 2021 Cannes Film Festival premiere; its own press notes also list Israel as the “country of production.” That Cannes screening took place shortly after Israel’s deadly conflict with Hamas that killed more than 250 Palestinians in the Gaza Strip and around a dozen Israelis. The events turned Cannes into a political firestorm when the film’s Palestinian cast refused to attend the premiere.
“We cannot ignore the contradiction of the film’s entry into Cannes under the label of an ‘Israeli film’ when Israel continues to carry its decades-long colonial campaign of ethnic cleansing, expulsion, and apartheid against us — the Palestinian people,” the cast’s statement read in part.
“Each time the film industry assumes that we and our work fall under the ethno-national label of ‘Israeli,’ it further perpetuates an unacceptable reality that imposes on us, Palestinian artists with Israeli citizenship,” the statement continues, calling on “international artistic and cultural institutions” to “amplify the voices of Palestinian artists and creatives.”
Kolirin himself supported the cast’s action. He knew they were grieving over the outbreak of violence in Gaza and didn’t want to put themselves in a situation where “some politician is going to wave a flag over their head or whatever.”
What’s more, he said, the status of “Let It Be Morning” as an “Israeli” film, despite the fact that around half the crew was Palestinian, was not his decision: “The film was not submitted to Cannes as an Israeli film,” he said. “You know, you fill in the form: ‘Which were the countries that gave money?’” In this case, the answer was Israel and France.
Most of the cast later did not attend the Ophir Awards ceremony, Israel’s equivalent to the Oscars voted on by its filmmaking academy, where “Morning” won the top prize (which automatically made it Israel’s Oscar submission for that year). In solidarity at the awards, Kolirin read aloud a statement from his lead actress, Juna Suleiman, decrying Israel’s “active efforts to erase Palestinian identity” and what she called “ethnic cleansing.”
Orit Fouks Rotem (Courtesy of Kino Lorber)
“Cinema Sabaya” hasn’t played host to as much offscreen controversy, but its vision of Israeli multiculturalism is still inherently political. Rotem’s mother is a local government adviser on women’s issues in Hadera, and the film was inspired by her experience participating in a photography class designed to unite Jewish and Arab women. Rotem herself later led filmmaking classes in a similar vein as research for “Sabaya.”
In the film, Ivgy’s character, who is modeled on Rotem, instructs her class to film their home lives, while secretly hoping to make a movie from their efforts. When her desire to do so is revealed, the women in the class feel betrayed: They thought they were just making films for themselves, not for their stories to be told by someone else.
Similarly, Rotem said that working with Arab and Palestinian actresses made her “aware to the fact that I can’t really tell their story.” Her solution was to allow the performers — some of whom are well-known activists who had to think twice about appearing in an Israeli movie — to voice their own opinions, and to establish the necessary trust to allow them to be unscripted on camera.
She theorizes that “Cinema Sabaya” has been so well received in Israel because “it doesn’t say ‘occupation, occupation, occupation.’ It says ‘humanity,’ so people are less afraid.” (She also noted that, in real life, the women who attended her filmmaking classes bristled at her initial suggestion to make a documentary about them, telling her to fictionalize their stories instead — which she did.)
Lately the Israeli government has a tendency to view its filmmaking class as agitators unworthy of national support, particularly when they make films criticizing the occupation. Former Culture Minister Miri Regev often disparaged films she thought were bad for Israel, including celebrated international hits such as “Foxtrot” and “Synonyms.” Her current successor, Miki Zohar, has already threatened the makers of a new documentary about the West Bank city of Hebron, saying the movie smears the military and that the directors might have to return government funds.
In recent years, Israel’s culture ministry has pushed two new controversial proposals: a grant program earmarked for those who make films in settlements, which are considered illegal under international law; and a form pledging not to make films “offensive” to Israel or the military that filmmakers would be required to sign in order to apply for certain grants, which many directors have likened to a loyalty oath. For years, some of the country’s largest grantmakers have required applicants to sign a form promising to represent their projects as Israeli on the national stage.
There has also been an effort among some members of Prime Minister Benjamin Netanyahu’s new right-wing government to end funding to public broadcaster Kan, which the country’s film industry views as another attack on its free expression.
“Kan has all this dialogue,” Ivgy said. “It has Jewish and religious and Arab and Palestinian, for kids and for grownups. And nothing is taboo there. I feel that it’s very dangerous to close that option down.”
Many Israeli filmmakers are fighting back. Hundreds, including Kolirin and Rotem, have refused to sign the ministry’s pledge, and many have also protested the settlement grant program. Nadav Lapid, one of the country’s most celebrated and outspoken directors, harshly critiqued government restrictions placed on his own work in the 2021 drama “Ahed’s Knee,” which went on to win a special prize at Cannes.
Kolirin said he had recently been on a call with several Israeli filmmakers looking to further organize against artistic restrictions, and that it had given him hope. “I had this feeling of some optimism, which I didn’t have for a long time,” he said. But he didn’t mince words when discussing Israel’s new governing coalition, which he likened to “a circus of mad dogs unleashed.”
Rotem said that the current government is “very, very bad and scary,” but that it has only strengthened her resolve to make political films.
“For me, it’s also political to show women in Israel in a deep way: I mean Arabs and Jews,” she said. “Because I don’t think there are enough films that are doing that.”
For Kashua, a veteran TV writer and opinion columnist, the question of identity in Israeli and Palestinian filmmaking is even more pronounced. After a long career of trying to write about the Palestinian experience in Hebrew as a way of reaching Israelis, he left Israel for the United States in 2014, becoming discouraged by an incident in which Jewish extremists burned a Palestinian teenager alive as revenge after Palestinian terrorists kidnapped Israeli soldiers. Now based in St. Louis, he has worked as a writer and story editor on Israeli series that center on both Palestinian and Jewish stories — including the global hit “Shtisel,” which focuses on haredi Orthodox Jews, and its upcoming spinoff, along with “Madrasa,” a young-adult series about a bilingual Hebrew-Arabic school.
Israeli filmmakers choosing to center Palestinian stories can be its own radical political act, Kashua believes. He noted that the dialogue in “Morning” is almost entirely in Arabic, a language that Israel demoted from national language status in 2018 — doubly ironic as he had deliberately chosen to write his original novel in Hebrew.
“The idea that this film is ‘Israeli’ — it really contradicts the idea of Israel being a purely Jewish state,” Kashua said. He added that, while he had initially hoped a Palestinian director might have adapted his novel, he was ultimately happy with Kolirin’s approach.
“I truly love the movie, and it’s barely Orientalist,” he joked, echoing Palestinian-American intellectual Edward Said’s famous book about how a Western lens on Eastern cultures can be reductive and harmful. “Which is a big achievement for an Israeli filmmaker.”
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The post With ‘Let It Be Morning’ and ‘Cinema Sabaya,’ Israeli filmmakers are winning awards for portraying Palestinian stories appeared first on Jewish Telegraphic Agency.
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Cameron Kasky embodies rising Gen Z Jewish criticism of Israel. Can it get him to Congress?
(JTA) — He’s running for Congress on Manhattan’s West Side, but lately Cameron Kasky has been focused on the West Bank.
Kasky, a 25-year-old Jewish progressive, recently went on a solidarity mission to the West Bank. He has shared experiences from the trip on social media, including chats with Palestinians who face security checkpoints and incursions by Israeli settlers, as well as videos of Kasky playing sports with Palestinian children. He joined Mehdi Hasan, a vocal critic of Israel and founder of the progressive media outlet Zeteo, for a live Q&A Thursday afternoon about the trip.
Among the pool of nearly a dozen candidates running in New York’s 12th Congressional District, Kasky is steering left of the Democratic establishment. His platform includes calling for sanctions on Israel, whom he accuses of committing genocide.
It’s a stance that could alienate some voters in one of the country’s most Jewish districts. The district covers the Upper West and East Sides as well as Midtown Manhattan, and has long been represented by Jerry Nadler, Congress’ most senior Jewish member.
But Kasky, the Jewish Parkland school shooting survivor and gun control activist, said in an interview that his stance on Israel doesn’t make him an outlier.
“I am not some anomaly,” Kasky told the Jewish Telegraphic Agency. “The next generation of Jewish Americans is changing their tune on the State of Israel and how it operates.”
In a year when Israel is expected to play a central role in a number of midterm races, Kasky’s candidacy will be a test of how going all-in against Israel resonates with voters. But Israel isn’t his only Jewish issue: He also spoke about plans to improve Holocaust education and address rising antisemitism on the right.
He’s also not wrong about shifting sentiments among younger Jews. A 2024 Pew Research Center survey found that Americans ages 18-29 were the only age group more sympathetic to Palestinians than to Israelis. Half of Jewish Americans ages 18-34 believe Israel has committed genocide in Gaza; that percentage number is hovering in the 30s among older groups, according to a September 2025 poll by the Washington Post.
While this shift on Israel is occurring in the electorate, Kasky said he’s not aware of likeminded Jewish Gen Zers who are running for office — but he expects that to change.
“I imagine we’ll be seeing plenty more soon, especially given that far more Jewish Americans in our generation are aligned with the foreign policy positions on peace to which I’ve committed,” he said.
Gen Z has not quite reached the age of typical candidates in national elections. Young progressive Jews with staunch pro-Palestinian views are, however, starting to appear in politics, and win races.
Across the Hudson River from Kasky’s district, a Jewish democratic socialist named Jake Ephros was elected to Jersey City Council last month. Ephros has been a vocal pro-Palestinian advocate. In October 2023 he co-organized an open letter titled “Not in Our Name! Jewish Socialists Say No to Apartheid and Genocide,” which compared Israel to Nazi Germany.
And a 26-year-old Jewish political strategist, Morris Katz, has made a splash behind the scenes, helping run the victorious mayoral campaign of Zohran Mamdani in New York City. He is now advising the U.S. Senate campaign of another anti-Zionist progressive, Maine’s Graham Platner. Katz has said he was “radicalized” by AIPAC, the pro-Israel lobby.
“This is something that we are seeing all over the place,” Kasky said, of his sentiments about Israel.
In the aftermath of Mamdani’s election success, progressive candidates are starting to emerge as primary challengers to more moderate Democrats in this year’s midterm elections, and the topic of Israel figures to play a role in those congressional races. That may prove especially true in the race for Nadler’s soon-to-be vacant seat, where Kasky’s many opponents include several other Jews.
The 12th district includes younger neighborhoods such as Chelsea that voted strongly in favor of Mamdani, where Kasky, a democratic socialist and Mamdani supporter, could be well aligned with voters’ politics. But even for those who feel represented by his policies, Kasky’s youth and inexperience may prove too large an obstacle for getting their vote.
“I look at his positions — if he was an experienced guy, I would be very enthusiastic,” said Arlene Geiger, coordinator of the Upper West Side Action Group.
Geiger, who is Jewish, said she is also in a Signal group chat with about 15 other progressives in the district, including Democratic Socialists of America members who are “really enthusiastic” about Kasky.
“But he’s still too young and untested, so I don’t know,” said Geiger.
Eric Alterman, a journalist and author of the 2022 book “We Are Not One,” which looks at American Jews’ growing divide over Israel, said he doubted that Kasky could win the race, even as people’s views on Israel are shifting.
In the general election, Alterman pointed out, Mamdani was able to win the Upper West Side with similar views to Kasky on Israel.
“But Mamdani’s issue was not Israel, it was affordability,” said Alterman, who lives on the Upper West Side. “A lot of DSA types were there [supporting Mamdani] because of Israel, but most people were not there for Israel. They were there saying, ‘OK, I sort of agree with some of what he says, not all of it,’ or, ‘Who cares about the mayor’s foreign policy?’”
Brad Lander, another progressive Jewish congressional candidate and Mamdani ally, is challenging incumbent Rep. Dan Goldman on his support from AIPAC, and Israel figures to play a major role in their primary. But Alterman pointed to a key difference between Lander’s messaging on Israel and Kasky’s, which centers the charge of genocide.
“His position is, ‘I love Israel and I wish it would behave better,’” Alterman said of Lander.
In his race, Kasky has positioned himself as the democratic socialist candidate in a crowded — and decidedly Jewish — field that includes state Assembly members Micah Lasher, who is Jewish and considered Nadler’s preferred successor, and Alex Bores, whose wife is Jewish; John F. Kennedy’s grandson Jack Schlossberg, who has said he’s “at least 100% half Jewish”; civil rights lawyer Laura Dunn; LGBTQ rights activist Matthew Shurka, who is a Jewish Israeli-American; broadcast journalist Jami Floyd; ex-Republican lawyer and anti-Trumper George Conway; and Alan Pardee, who previously worked in finance.
Kasky said he wants to strike a dialogue with voters who may have liked much of Mamdani’s platform but were uncomfortable with the now-mayor’s harshly critical views on Israel.
“I intend to talk to them in their places of worship, I intend to talk to them in their community meetings, and just have a conversation about this,” Kasky said. He also said that, if people were against Mamdani solely because of Israel-Palestine, he found this “ridiculous” since the mayor does not have a say in foreign policy.
“Yes, he said he’ll arrest Netanyahu — Netanyahu can prevent that by going to the Hague himself and facing justice,” Kasky said, referring to the Israeli prime minister whom Mamdani has pledged to arrest if he enters New York.
Kasky, unlike Mamdani, would have a say in American foreign policy if elected to Congress. His platform on Israel includes opposing “sending money or weapons to the State of Israel, ‘defensive’ or otherwise,” and backing “meaningful sanctions against Israel and the UAE for their continued support of genocides in Gaza and Sudan.”
Kasky has drawn criticism from pro-Israel figures like Adam Louis-Klein, who recently launched the Movement Against Antizionism. Louis-Klein called Kasky a “young token” who “recently realized the political benefits of the anti-Jewish hate grift.”
On the other hand, Ro Khanna, the progressive California congressman, praised Kasky on X. “Thanks for the boldness you are showing @camkasky! You are inspiring a lot of folks,” he wrote.
After Kasky’s recent trip to the West Bank, he said in a video that he witnessed the “devastating human toll of the illegal actions that are encouraged right here” in the 12th district.
“This hell that our government and the State of Israel have created for the people living there — it is so much worse than you think,” Kasky said following his trip.
Kasky has said he will share more about the visit; he has so far shared videos of him playing sports with Palestinian children and photos from a Christmas peace march in Bethlehem. He has written that “we must end the settlements that violate international law and stop encouraging New Yorkers to move there. It is cruel.” He also recorded a video speaking to the camera, which he said he filmed at 5 a.m., during a night shift to look out for Israeli settlers.
His platform doesn’t only center on Israel: He also cites as priorities establishing Medicare for all, abolishing ICE, fighting artificial intelligence oligarchs and preventing gun violence.
Kasky said he gradually came to his current views on Israel after being raised with a rosy picture of the country.
“It was a slow drip over the years, following the news closely and seeing strikes in Gaza, where I learned that the reality of the situation was not the simple ‘milk and honey land’ narrative I was raised to believe,” he said.
He was raised in a Jewish area of South Florida, which he described as “basically just Long Island II.” He attended a Reform synagogue, Congregation B’nai Israel, and attended a heavily Jewish private school in Boca Raton before his family moved to Parkland.
He also attended Hebrew school, which Kasky said was a seminal experience — though he complained that he was cast as Haman what felt like “every single year in the Purim spiel,” and wished he could’ve played Vashti.
Kasky said the Hebrew school curriculum included things like learning about Jewish holidays and traditions. But it also meant learning about the Holocaust at a young age — an experience that he contrasted to the curriculum of his public school history classes in middle and high school.
“The Holocaust education in at least the Florida public school system is not very in-depth,” Kasky said, adding the caveat that he had dropped out of Marjory Stoneman Douglas High School before he would have taken their dedicated class on the Holocaust. (Kasky had dropped out to focus on March for Our Lives with his classmates after the shooting.)
Kasky, who co-founded the gun-control activist group Never Again MSD after surviving the shooting, said he did not learn “that America was turning away Jews” until he was “much older.” He said his classes were fairly black-and-white, and did not include anything about Nazi collaborators in the U.S. government, which he said he had come to believe was important after reading a book on the topic.
Florida has required some form of Holocaust education in public schools since the 1990s, and was one of the first states in the union to adopt such requirements. Today 30 states mandate Holocaust education. The Marjory Stoneman Douglas High School gunman had fired into the school’s Holocaust class, killing two students and wounding four, as part of his killing spree; he had also scrawled a swastika onto one of his ammunition magazines.
Now, Kasky wants to expand Holocaust education, and said he is meeting with education policy experts and Jewish community leaders about the issue.
In an email, he wrote that his positions include expanding funding for the Never Again Education Act of 2020; working to “develop and advocate for K-12 teacher training on combating antisemitism and preventing Holocaust denialism from reaching our children, who are already being exposed to skyrocketing Jew hate around the world, especially on social media”; and expanding “federal grants for states who are leading the way in the development of Holocaust/genocide education standards.”
He also expressed concern about far-right figures like Nick Fuentes, who themselves speak to Gen Z audiences highly critical of Israel, but blend such criticism with sympathy for Hitler and Nazi Germany. Kasky said “dangerous antisemitic actors” like Fuentes “exploit the suffering of the Palestinian people as a way to spread Jew hatred, while having no real sympathy for Palestinians.”
Still, Kasky cautioned against Sen. Chuck Schumer’s resolution to officially condemn Fuentes in Congress, saying it would bear “unintended harmful consequences.”
“Fuentes’ base thrives on the idea that they are being attacked because they are right, and because the establishment and the Jews and the Zionists hate seeing how right they are,” Kasky said. “The idea that Fuentes’ name will even be uttered in the halls of Congress, I think only reinforces Fuentes’ message to his followers.”
Kasky said he and his family had been the subject of antisemitic conspiracy theories online in his time as a gun control activist. He has criticized pro-Israel organizations like the Anti-Defamation League for doing “everything they can to avoid indicting the Right and MAGA.”
Kasky has also blasted moderate Democrats including Goldman and New York Rep. Ritchie Torres, who’ve both received funding from AIPAC (and are both facing primary challengers calling out that support). Kasky, meanwhile, has been endorsed by Track AIPAC, the X account that posts candidates’ AIPAC donation numbers in order “to end AIPAC and the Israel lobby’s stranglehold on American Democracy,” according to its website.
Alterman noted that, since Oct. 7, American politics around Israel have changed in a way that he “could not have imagined” while he was writing his book, particularly among Jews. Before Hamas’ attack on Israel and the war in Gaza, the election of Mamdani as an anti-Zionist mayor of New York would have been “inconceivable,” he said.
“So things are moving so rapidly that I’m not here to predict the future,” Alterman said, of Kasky’s fate in this primary. “But there’s definitely a base there to begin a political career.”
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The ICE shooting in Minneapolis shattered my Holocaust survivor father’s’ American dream
Last fall, I visited a train platform in Zbaszyn, Poland, where my father saw his parents for the last time.
There, he and his brother boarded a Kindertransport to seek refuge in England in 1940. They survived the Holocaust; my grandparents and my aunt were murdered by Nazis. The years before that separation were marked by profound betrayals by the German government, which lied to them, their neighbors and the rest of the world about the violence being enacted against them, and what their future held.
I recalled that visit early Thursday morning, as I stood in front of the Whipple Federal Building in Minneapolis, less than a mile from Bdote — the unceded land, sacred to Minnesota’s Dakota people, where the Minnesota and Mississippi Rivers meet.
That land is where Minnesota’s earliest white settlers displaced, brutalized and killed the Dakota before building Fort Snelling, one of the first United States military outposts in the American West. Later, in 1862, the federal government set up a concentration camp in the same area. Some 1,600 Dakota were sent there, and hundreds died from disease and the harsh conditions.
Now, the thousands of ICE and Border Patrol agents sent by our federal government to terrorize Minneapolis gather and stage at the Whipple Building. And yesterday, an ICE agent named Jonathan Ross left that building, traveled a couple of miles west to South Minneapolis, and murdered Renée Nicole Good.
Good, 37, was a beloved community member. I didn’t know her, but I have friends who did. Their grief is devastating.
Renee was a treasured wife, they tell me. A mom to three children. A poet, an artist, and a community caretaker.
Her unjust death is horrific. And the resonances between our federal government’s bad faith response to it, and the kinds of stories I grew up hearing about the authoritarian government under which my father was raised, are terrifying.
Within hours of Good’s killing, President Donald Trump was spreading false claims about how it happened, claiming that Good ran over the ICE agent who shot her. Multiple video analyses have shown how inaccurate his words are. Homeland Security Secretary Kristi Noem claimed Good, who was driving at the time of shooting, was engaged in “domestic terrorism.” It has been sickening to hear these leaders not only desecrate Good’s memory, but also try to weaponize it to further energize their campaign against our immigrant neighbors and loved ones.
LIke many American Jews, I was raised to believe in the American dream, and in a government that was here to represent me, care for me, and be a force for good in the world. And as the daughter of a Holocaust survivor, I always knew how fragile principles of liberty and equality can be.
I have known for a long time that the U.S. government has never equally defended the lives and rights of all people — and that it has too often, as in the case of the Dakota and other Indigenous Americans, actively destroyed those lives. But amid the Trump administration’s campaign against immigrant communities, it’s the tragedy of Good’s death that has most completely shattered the vision of what my Holocaust survivor father had taught me to hope for in the U.S.
Our current federal government lies to us, and lies about us. They blur the lines between fact and fiction. They gaslight. They have specifically tried to foment discord within the Jewish community, and between us and our allies. They try to divide us because they’re afraid of the strength and power that we have when we rise up as one.
That is why we gathered at the Whipple Federal Building today to honor Good’s memory, and to protest ICE’s ongoing assault on our fellow Minnesotans. This is the place where some of our neighbors go to be detained, and never come back. Instead, they are deported — sometimes to countries where they have never before set foot — and ripped from those they love, just as my father was ripped from his parents.
As Jews, we remember our family histories not to make us fearful or to isolate ourselves, but rather to prepare us for moments just like this one. Our history is not meant to be forgotten. It is not meant to sit neatly on museum shelves or be tucked away in old family albums. We are meant to carry it. We are meant to learn from it. And we are meant to act because of it.
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AUDIO: What does the Sydney attack mean for Jews in Australia?
ס׳איז לעצטנס אַרויסגעלאָזט געוואָרן אַ ראַדיאָ־אינטערוויו אויף ייִדיש וועגן דער שחיטה פֿון ייִדן דעם 14טן דעצעמבער, בעת אַ חנוכּה־פֿײַערונג אין באָנדי־ביטש, אויסטראַליע.
פֿופֿצן מענטשן זענען דערהרגעט געוואָרן אין דעם טעראָריסטישן אַטאַק, אַרײַנגערעכנט אַ 37־יאָריקן רבֿ און טאַטע פֿון פֿיר קינדער, ר׳ יעקבֿ לעוויטאַן, און אַ 10־יאָריק מיידעלע.
דעם שמועס, פּראָדוצירט פֿון דער באָסטאָנער ראַדיאָ־פּראָגראַם „דאָס ייִדישע קול“, האָט דער דיקטאָר פֿון דער פּראָגראַם, מאיר דוד, געפֿירט מיטן מעלבורנער ייִדישיסט אַלעקס דאַפֿנער.
דאַפֿנער, אַ ייִדישע ראַדיאָ־פּערזענלעכקייט אין מעלבורן, אַנאַליזירט עטלעכע מעגלעכע סיבות וואָס האָבן מסתּמא אומדירעקט דערפֿירט צו דעם טעראָריסטישן אַטאַק. ער באַשרײַבט אויך די פּאָליטישע שטימונג אין לאַנד לגבי ישׂראל און דעם הײַנטיקן זיכערהייט־מצבֿ פֿאַר די אָרטיקע ייִדן.
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