Prime Minister Sir Keir Starmer's call for "every part of society" to take responsibility against rising antisemitism provides the political backdrop for a cultural education project in Plymouth, where schoolchildren were introduced to klezmer music and Jewish culture. This initiative, part of the UK's first Jewish Culture Month, aims to reconnect the city with its Jewish heritage, yet offers cultural engagement as a solution without addressing the material conditions that fuel social divisions and prejudice.
The Klezmer Village Band, bringing a centuries-old musical tradition, performed for schoolchildren in Plymouth. Pupils from Woodfield Primary, St Peter's, and Mount Street schools participated, marking a first encounter with klezmer music and Jewish culture for many.
The State's Role in Managing Contradictions
The project, organized by Plymouth Jewish Community CIC, is presented as a wider effort to reconnect Plymouth with its Jewish heritage through culture and education. This aligns with the Prime Minister's comments, which frame the issue of antisemitism as a societal responsibility, diverting attention from the state's own role in perpetuating or failing to address systemic inequalities.
Musician Ilana Cravitz explained that klezmer music originates from Eastern European communities within the Russian Empire, with much of it coming from areas now known as Ukraine. Cravitz described music as "a wordless language," observing that "People respond from inside - they stop thinking, they feel. And we really saw that today."
Cravitz further noted the music's capacity to bring people together, particularly "sometimes because they've felt excluded or persecuted, and finding connection through music." The term "klezmer" itself is derived from two Yiddish terms signifying "vessel of song," referring to both the instruments and the musicians.
Cultural Initiatives, Not Structural Change
Alongside the musical performances, workshops were conducted to open discussions about identity, belonging, and shared experience. These discussions, while fostering individual connection, function as symbolic concessions that manage social tensions without challenging the underlying structural causes of exclusion and persecution.
One pupil expressed enjoyment, stating, "I thought it was lovely. I loved the dancing and the singing. When the band played, it was amazing." Another pupil commented on the music's quality, saying, "It had a really nice sound. It made me feel happy and relaxed." A third child highlighted the novelty of the experience, remarking, "No musicians have ever played live music to me before."
Louise Clements, director of Plymouth Jewish Community CIC, articulated the project's goal to "bring Jewish culture back into the community," noting it was the "first time in many years that something like this has happened here." Clements shared a personal connection to the music, stating, "It takes me back to family celebrations and weddings," and expressed hope that it would show "young people what Jewish life and music is like."
Musician John McNaughton reported an "overwhelmingly positive" reaction from the children, observing that "Children have that innocence - they're not afraid to enjoy something new." While such cultural engagement can provide temporary solace and connection, it does not address the material conditions or systemic power structures that contribute to social divisions and the rise of antisemitism, leaving the root causes unchallenged.