In the 1990s, librarians at the Vernadsky Library in Kiev discovered a cache of unmarked containers. Once opened, they disclosed an archive of Jewish folk music from the early-20th century, including not only song lyrics and sheet music but also recordings that would not be studied systematically for another decade. Jake Marmer tells the archive’s story:

[L]ong before any serious recording technology was invented, without much funding or publicity, groups of ambitious scholars set out on ethnographic expeditions into the heartland of the Ukrainian shtetl world, aiming to capture the community’s folklore, and amassed a treasure trove of material. In recent years, these fragile, virtually unknown recordings were digitized and released in CD format. There are currently nine volumes of music out, with the three latest volumes released just within the past year. These most recent discs included the 1930s recordings of “Jewish Agricultural Colonies of the Southern Ukraine” and . . . a 1913 collection of fieldwork conducted in the Jewish communities of Palestine. . . .

The Jewish archive was started back in 1918, and in those early days . . . many of the early “acquisitions” that came in were the konfiskat—i.e., items confiscated from the wealthy, along with other private property that changed hands in the wake of the 1917 revolution. And then there were also the “library babushkas”: older folks who watched out for abandoned private libraries of those escaping the Soviet regime, or for the closing down of synagogues and study houses. They would quickly drag the items over to the library to prevent looting—at times, endangering themselves in the process.

The archive’s holdings expanded dramatically in the 1930s, when it received a large shipment from Saint Petersburg’s Jewish Museum—a shipment that included materials assembled by the legendary writer-anthropologist S. An-Sky [né Shloyme Zaynvl Rappaport], most famous as the author of The Dybbuk, perhaps the most successful Yiddish play ever produced. . . . An-Sky, like other anthropologists of the early-20th century, used wax cylinders for his recordings. The cylinders work in a manner similar to vinyl discs, with a needle moving in a groove to produce sound. . . .

It was then that the KGB destroyed the filing system that contained the descriptions of the archive’s holdings. . . . When Ukraine became an independent nation in the 1990s, the archive was finally reopened. I innocently asked [the librarian] why the KGB [repressed and nearly destroyed the] archive. She retorted with familiar sarcasm: “Because Jews were bad! Whose fault is it—always and for everything?”

Stephen Daisley writes about the slaying of Yaron Lischinsky and Sarah Milgrim:

Yaron and Sarah were murdered in a climate of lies and vilification and hatred. . . . The more institutions participate in this collective madness, the more madness there will be. The more elected officials and NGOs misrepresent the predictable consequences of asymmetric warfare in densely populated territories, where much of the infrastructure of everyday life has a dual civilian/terrorist purpose, the more the citizenries of North America and Europe will come to regard Israelis and Jews as a people who lust unquenchably after blood.

The most intolerant anti-Zionism is becoming a mainstream view, indulged by liberal societies, more concerned with not conflating irrational hatred of Israel with irrational hatred of Jews—as though the distinction between the two is all that well defined anymore.

For years now, and especially after the October 7 massacre, the call has gone up from the pro-Palestinian movement to put Palestine at the heart of Western politics. To pursue the struggle against Zionism in every country, on every platform, and in every setting. To wage worldwide resistance to Israel, not only in Wadi al-Far’a but in Washington, DC. “Globalize the intifada,” they chanted. This is what it looks like.