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A Brazilian, Moroccan and Israeli singer brings her unique North African sound to NYC
(New York Jewish Week) — Though she grew up in Israel, Tamar Bloch’s childhood was a mishmash of cultures. With a Moroccan mother and Brazilian father, Bloch often heard Portuguese and Arabic alongside Hebrew, and felt connected with the music from all three cultures.
It wasn’t until she was in her early 20s, however, that Bloch discovered the language and culture of “Haketia,” a Romance language once spoken by Sephardic Jews in North Africa. Haketia has elements of Darija (Moroccan Arabic), Spanish and Ladino.
“I was hooked immediately,” Bloch, 33, told the New York Jewish Week. She could only find ethnographic recordings of Haketian songs at the Israel State Archives and at Hebrew University in Jerusalem, which she painstakingly transcribed and re-recorded herself — becoming the first modern artist to record an album in Haketia.
Over the last decade, Bloch — who goes by the stage name Lala Tamar; Lala is a Moroccan honorific meaning “Lady” or “Miss” — has traveled the world touring her music, working with bands and promoting the language and sound of Haketia.
This weekend, Bloch is traveling to New York from her home in Essouria, Morocco to perform several concerts at Lincoln Center for the Performing Arts. The New York Jewish Week caught up with her to talk about her performances in the United States and what Haketia means to her.
New York Jewish Week: How did you become aware of Haketía and then decide to pursue it in your music?
Bloch: I did not know it as a kid. I grew up with a mom who did speak Darija, which is Moroccan Arabic, which integrated and mixed inside Haketia, and with a dad who was born in Brazil, so there was Portuguese and a lot of Latin music in the house.
So I grew up with the basics of Haketia at home — the words and the Latin languages and the Arabic languages surrounding me. But I never really spoke it because they were speaking it with the older generations, with my grandparents and not with us, the kids.
When I grew up a bit I fell in love with Moroccan music. I happened to hear Haketia music. Immediately, I was hooked. For me, it was a very condensed cultural combination of my background, of the way I grew up. Not only literally, with the words and the language, but also musically because it has this combination of Spanish and Andalusian music and North African music. It’s all fused together in Haketia. I decided that I needed to investigate and to search for more of this music. These songs were never really recorded in an artistically contemporary way. If anything, they were recorded for the sake of preservation as a part of ethnographic research for universities. But it was not out there as music for everybody. I felt that this music deserves to be heard and to be served to everybody. It doesn’t have to be a part of a long forgotten tradition that’s lost in the archives.
What has been like the most meaningful part of the last decade of bringing Haketia back into the modern world and of touring your music around the globe?
I think that the biggest moment was when I got into the playlist of Galgalatz in Israel, which is one of the country’s most popular radio stations. One of the singles got into a playlist, and it was the first time that Haketia was played on contemporary, popular radio. That was really exciting. Also when we released our album. Even though it was in the middle of COVID, so it did not get any of the attention we were expecting for it, it was still exciting to to release an album in this in this lost language, and to hear people play it at parties and to have people sending me videos in restaurants. It’s always exciting to hear it.
I didn’t feel like I had a mission to make Haketia or this music more mainstream. It just happened because I felt that this music was relevant for me. I felt very much connected to it in a way that made me just release it as if there was nothing different about it, as if I would be singing anything else.
Why did you decide to move to Morocco from Israel during the pandemic?
I started performing in Morocco and realized that it’s always been the source of my inspiration, the fountain of my creation. At one of the festivals that I did there, I met Maalem (Master) Seddik, a Muslim musician that teaches Gnawa, a specific style of religious Moroccan music that I was fascinated by and, also, I was fascinated by the connection with the Jewish history in Morocco. I was waiting for the opportunity to go and study with him and then COVID struck and I had no job, of course.
Also, my inspiration and everything in my life that I create comes from Morocco. (During the 18th and 19th centuries, Jews made up nearly half of the population of Essouira — then called Mogador.) So when I was not singing I felt that my fountain was being dried out, so I already had this dream of going to study with him and I managed to find a way to get into Morocco which was really complicated at the time. He [Seddik] was waiting for me and welcomed me in. I started studying with him and he really adopted me, almost as a daughter, cooking for me, making me all these Jewish foods that he knows how to make from his neighbors and all his Jewish friends, and I just stayed. I have a lot of followers and an audience in Morocco as well as a lot of musicians that I work with so for me, it really felt like home from the beginning.
How does it feel to be performing in New York for the first time?
I have been doing online shows for Lincoln Center, but I’ve never performed physically in New York. It’s really exciting. I can’t describe how blissful we feel to come all this way. It’s a really big honor for my band’s first live performance in the United States to be at Lincoln Center.
I can only imagine how it will be because I don’t know. I can say I perform around the world, more than in Israel these past few years. I feel that this music has something that just can reach people from whatever background they come from. I hope that’s going to be the case as well, here in New York and New Yorkers are very open minded, very aware of what’s happening around the globe culturally.
Lala Tamar will perform a series of five concerts between May 5-7 at Lincoln Center for Performing Arts (113 West 60th St.). To find concert times and purchase tickets (choose-what-you-pay), visit their website.
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The post A Brazilian, Moroccan and Israeli singer brings her unique North African sound to NYC appeared first on Jewish Telegraphic Agency.
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Saul Rubinek plays a version of himself in ‘Playing Shylock’
דער מאָנטרעאַלער אַקטיאָר סאָל רובינעק האָט אַ סך װאָס צו דערציילן.
ער איז דערצו אויך אַ גרויסער מאמין אינעם כּוח פֿון דערציילן.
„דערציילן איז אַלץ,“ זאָגט ער.
טאַקע די פֿראַזע האָט רובינעק, בעת אַן אינטערװיו מיט מיר, אויסגעקליבן װי אַ פּרוּװ איבערצוזעצן דעם טיטל פֿון זײַן אויטאָביאָגראַפֿישן ראָמאַן, All in the Telling. אַרויס פֿון דרוק אין 2025, איז דער ראָמאַן אַ האַלב־פֿיקטיװע כראָניק פֿון זײַנע עטלערן, ביידע פֿון דער שארית־הפּליטה, און זײַנע פֿאַרװיקלטע באַציִונגען מיט זיי און מיט זייערע טראַװמאַטישע לעבנס־געשיכטעס.
דער טיטל װאָלט זיך אויך גוט צוגעפּאַסט צו זײַן אויפֿטריט אין דער מאָנאָדראַמע Playing Shylock („דאָס שפּילן שײַלאָק“), געשריבן פֿונעם קאַנאַדער דראַמאַטורג מאַרק לירין־יאָנג. די פּיעסע וועט מען שפּילן ביזן 7טן דעצעמבער אין פּאָלאָנסקי־שעקספּיר־צענטער אין ברוקלין.
במשך פֿון דער פּיעסע, דערציילט ער, פֿאַרציילט ער, רעדט ער זיך אַראָפּ פֿון האַרצן. און דער אינהאַלט פֿון זײַנע שפֿעדיקע רייד? אַ פֿיקטיװע, אַנולירטע אויפֿפֿירונג פֿון שעקספּירס „דער קויפֿמאַן פֿון װענעדיג“. במשך פֿון זײַנע צװיי שעה אויף דער בינע הערן מיר די צרות פֿון אַן אַקטיאָר, װאָס האָט געדאַרפֿט שפּילן די ראָלע פֿון שײַלאָק אין דער דאָזיקער פּראָדוקציע: צרות מיט די פּראָדוצענטן, מיטן הײַנטצײַטיקן אַנטיסעמיטיזם און שמאָלקעפּיקײט, און צרות מיט זיך אַליין — װײַל רובינעק שפּילט טאַקע אַ װערסיע פֿון זיך אַליין אין דער אויפֿפֿירונג.
די דראַמע איז אַ רעװידירטער נוסח פֿון אַ פּיעסע, „שײַלאָק“, װאָס לירין־יאָנג האָט צוערשט אָנגעשריבן אין 1996. (אַגבֿ, יוסף באָװשאָװערס באַקאַנטע ייִדישע איבערזעצונג פֿון דער פּיעסע, װאָס מען האָט אַ מאָל געשפּילט אויף דער צווייטער עװעניו, הייסט אויך „שײַלאָק“.) אינעם נײַעם נוסח פֿון לירין־יאָנגס װערק, שפּיגלט די פּיעסע אָפּ פֿאַרשיידענע פֿאַקטן פֿונעם הויפּט־אַקטיאָרס לעבן, און דער עולם װייסט קיין מאָל נישט װאָסער פּרט איז אַן אויסגעטראַכטער און װאָסערער איז טאַקע אַ טשיקאַװעס פֿון רובינעקס לעבן. אין דעם ליגט אַ סך פֿון דער פּיעסעס שפּאַנונג און אומזיכערקייט.
אין עטלעכע מאָמענטן, דעקלאַמירט רובינעק שײַלאָקס מאָנאָלאָגן אין דער שטים פֿונעם טאַטן — אַפֿילו אַ מאָל מיט אַ גמרא־ניגון („װער דען װאָלט געשפּילט שײַלאָק אַזוי?“ האָט ער מיך שפּעטער רעטאָריש געפֿרעגט). בײַם סוף פֿון דער פּיעסע, װאָס איז כּמעט אין גאַנצן אויף ענגליש, הערן מיר די באַרימטע רעדע „האָט דען אַ ייִד ניט קיין אויגן?“, דװקא אויף מאַמע־לשון.
„אין זײַן ספּעציפֿישקייט, װערט ייִדיש אוניװערסאַל,“ זאָגט רובינעק, װאָס האָט אויך געשפּילט אויף ייִדיש אינעם פֿילם Shttl („שטטל“, 2002) און די ראָלע פֿון הירש ראַסיינער (אויף ענגליש) אינעם פֿילם The Quarrel (די קריג, 1991), באַזירט אויף חיים גראַדעס דערציילונג. „אין זײַן ספּעציפֿישקייט װעגן אונדזערע איבערלעבונגען װי מענטשן, װי ייִדן, קענען מיר זיך ׳האַלטן בײַ די הענט׳ מיט דער גאַנצער װעלט.“
טיילװײַז האָט דער אַקטיאָר טאַקע דורכגעפֿירט דעם שמועס מיט מיר אויף ייִדיש, װאָס, ער איז מודה, קומט אים אָן שװערלעך, נאָר װאָס ער האָט בײַ זיך „נישט אין קאָפּ, נאָר אין האַרצן.“
איך האָב אים געפֿרעגט, צי ער פּרוּווט טאַקע פֿאַרגופֿן אין דער פּיעסע די אינטאָנאַציעס און זשעסטן פֿונעם טאַטן?
„איך האָב אַפֿילו ניט געדאַרפֿט פּרוּװן. אַלע קינדער קענען נאָכמאַכן זייערע טאַטע־מאַמעס,“ האָט ער געזאָגט. „דאָס גאַנצע לעבן האָב איך געזען װי דער טאַטע טרעט אויף פֿאַר משפּחה און פֿרײַנד. אַ נאַטירלעכער דערציילער איז ער געװען.“
מאַכט דער רמב״ן: „מעשׂה אָבֿות סימן לבנים“ — די טאַטן פֿון די עלטערן און די עלטערנס עלטערן זאָגן פֿאָרויס דאָס לעבן פֿון די קינדער.
רובינעקס טאַטע, ישׂראל רובינעק, אַ געבוירענער אין לאָדזש, האָט אָנגעפֿירט מיט אַ טעאַטער־טרופּע אין די־פּי־לאַגער פֿערנװאַלד, אין בײַערן. רובינעק איז טאַקע געבוירן געװאָרן אין דער זעלבער נאַכט, וואָס דער טאַטע איז דאָרט אויפֿגעטראָטן ווי דער גולם אין לייװיקס באַרימטער דראַמאַטישע פּאָעמע, אין 1948.
אָט דער צופֿאַל, דאָס געשעעניש, שמעקט מיט באַשערטקייט, מיט הייליקייט אַפֿילו. די אָ הייליקייט באַמערקט רובינעק אין משך פֿון „דאָס שפּילן שײַלאָק“, אין איינער פֿון דער פּיעסעס שטאַרקסטע רעפּליקן:
„איך האָב קיין מאָל ניט געגלייבט אין גאָט. איך גלייב אין דעם, אין טעאַטער. דאָס איז הייליק.“
אָבער אויך אין ייִדיש גלייבט ער. „ייִדיש, װי טעאַטער, איז קאָמונאַל — און איז הייליק,“ האָט ער מיר געזאָגט. „װי לאַנג האָט מען געזאָגט אַז טעאַטער איז טויט? אַזוי אויך מיט ייִדיש.“
דער אַקטיאָר זאָגט אַז עס גלוסט זיך אים איצט שפּילן אין ייִדישן טעאַטער, און ער האַלט אין אַרומרעדן מעגלעכע פּראָיעקטן.
אויך מיר, סײַ צוקוקער סײַ מיט־אַרטיסטן, קוקן אַרויס אויף דעם — אויף נאָך אַזאַ קאָמונאַלער, עקסטרע־הייליקער איבערלעבונג אין טונקעלן טעאַטער־זאַל, װוּ גאָר ניט איז ניט קאָנקרעט און קלאָר.
װי רובינעק זאָגט אין דער נײַער אויפֿפֿירונג, מיט פֿאַררייטלטע באַקן און שטאַרק אַקטיװירטע ברוגז־מוסקלען: „דער טעאַטער איז ניט קיין safe space (געזיכערט אָרט).“
דאָס הייסט, דער טעאַטער איז פֿאָרט אַ פֿאָרום פֿאַר פֿראַגעס, חילוקי־דעות, און גײַסטיקן געראַנגל.
זאָל זײַן אַזוי.
די פּיעסע וועט מען שפּילן ביזן 7טן דעצעמבער אין פּאָלאָנסקי־שעקספּיר־צענטער אין ברוקלין. צו קויפֿן בילעטן גיט אַ קוועטש דאָ.
The post Saul Rubinek plays a version of himself in ‘Playing Shylock’ appeared first on The Forward.
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Hasidic leader defends support for Mamdani. ‘I’m taking beatings to save you’
Zohran Mamdani’s election as New York City mayor is further deepening divisions within the Jewish community, with some mainstream organizations now adopting a wait-and-see approach while others denounce him as an “enemy.” At the same time, support for Mamdani among certain Hasidic groups is drawing growing attention.
In a recent tense interview with Mishpacha magazine, a weekly conservative publication widely read in the Haredi community, Rabbi Moshe Indig, a political leader of the sect known as the Ahronim, was pressed to defend his public embrace of Mamdani in the final days of the mayoral race. (The Ahronim is led by Rabbi Aaron Teitelbaum from Kiryas Joel.)
“People call me a kapo,” Indig told the magazine, using a term that originally referred to Jewish inmates at Nazi concentration camps who were assigned to assist the SS. “Anyone who knows what a kapo is can see that I am the exact opposite — a kapo beat you up to save himself. I’m taking beatings to save you.”
Indig’s endorsement of Mamdani set off a firestorm within the community, exposing sharp internal divides over whether the candidate deserved the trust of many Jews. Criticism of Mamdani intensified after the election, following his mixed response to the protest outside the Park East Synagogue, which featured anti-Israel and antisemitic slogans. Mamdani, through a spokesperson, questioned the use of a sacred place for an event promoting migration to Israel, while also discouraging the language that was used at the protest.
“I’m taking missiles over this, not just bullets,” Indig said in the interview. He explained that his support stemmed from Mamdani’s quiet, sustained outreach to Haredi leaders and his clear status as the race’s frontrunner, saying Mamdani had simply earned the endorsement.
“I didn’t promise him votes,” Indig said. “I explained that because the community was so convinced of his antisemitism, I wouldn’t be able to get the majority of people to vote for him.”
Mamdani, he said, replied that he wasn’t seeking votes so much as an opportunity to show he could earn the community’s trust and disprove their perceptions of him. “I saw that as a beautiful invitation to our community,” Indig said.
Part of Mamdani’s outreach included a visit to Hasidic leaders in South Williamsburg during Sukkot and an open letter in Hasidic Yiddish that outlined his plans to combat antisemitism and advance his affordability agenda.
Andrew Cuomo, who won a majority of the Jewish vote and dominated Hasidic areas in Brooklyn on Election Day, failed to do that sort of politicking, Indig said. “Cuomo, who was supposed to be the favorite of the Jews, didn’t ask to go to any sukkah. Not one,” he said.
Indig’s endorsement of Mamdani marks the third consecutive mayoral race in which the Ahronim has demonstrated its political influence by backing the eventual winner, while other Hasidic blocs supported rival candidates. In 2021, they endorsed Eric Adams over Andrew Yang, who was favored by most leading Hasidic sects. And in 2013, they backed Bill de Blasio, who narrowly avoided a runoff in the Democratic primary by just 5,000 votes, while the Zalonim and other groups supported Bill Thompson, then seen as the frontrunner.
“We are currently the only Yidden with access to the future City Hall,” he boasted, using the Yiddish word for Jews. He hopes that changes, he said.
Last month, Mamdani named more than a dozen diverse Jewish leaders and activists to his transition team. Monica Klein, the Mamdani transition’s communications director, said the subcommittees are preparing to implement his “agenda of safety and security for Jewish New Yorkers and everyone else who calls this city home, including his pledge for an 800% increase in anti-hate crime prevention.”
Perceptions of Mamdani have yet to change. A recent poll of 745 American Jews found that 67% believed Mamdani’s election would make New York City’s Jews less safe, while 6% believed they would be safer. The Anti-Defamation League, which clashed with Mamdani during the election, launched a monitor to track Mamdani’s appointments and policies. The ADL also criticized the inclusion of Tamika Mallory as a member of the transition committee on community safety. Mallory co-founded the 2017 Women’s March, then stepped down from the organization after criticism over her ties to Nation of Islam leader Louis Farrakhan and her refusal to affirm Israel’s right to exist.
Indiq affirmed that he’s comfortable with his decision. “Getting guarantees from him before the election gives me critical leverage afterward — if he fails to be a friend, I can call him on his promise to be there for us,” he said.
The post Hasidic leader defends support for Mamdani. ‘I’m taking beatings to save you’ appeared first on The Forward.
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Israel’s Netanyahu Says Syria Deal Possible, Expects Buffer Zone
Israeli Prime Minister Benjamin Netanyahu participates in the state memorial ceremony for the fallen of the Iron Swords War on Mount Herzl, in Jerusalem, Oct. 16, 2025. Photo: Alex Kolomoisky/Pool via REUTERS
Israeli Prime Minister Benjamin Netanyahu said on Tuesday a deal with Syria is possible and he expects Syrian authorities to establish a demilitarized buffer zone from Damascus to Mount Hermon and other areas.
Netanyahu spoke a day after US President Donald Trump, whose administration has been trying to broker a non-aggression pact between the two countries, said it was very important that Israel maintained a “strong and true dialogue” with Damascus.
Syria does not formally recognize Israel, which following the fall of longtime Syrian leader Bashar al-Assad in December moved troops into a buffer zone along the Syrian border to secure a military position to prevent terrorists from launching attacks against the Jewish state.
The previously demilitarized zone in the Golan Heights, a strategic region on Israel’s northern border previously controlled by Syria and later annexed by Israel, was established under the 1974 Disengagement of Forces Agreement between Damascus and Jerusalem that ended the Yom Kippur War. However, Israel considered the agreement void after the collapse of Assad’s regime.
“What we expect Syria to do is, of course, to establish a demilitarized buffer zone from Damascus to the buffer area, including the approaches to Mount Hermon and the Hermon peak,” Netanyahu said while visiting wounded soldiers in central Israel. “We hold these areas in order to ensure the security of Israel’s citizens, and that is what obligates us.”
He added: “With goodwill and an understanding of these principles, it is possible to reach an agreement with the Syrians, but we will stand by our principles in any case.”
Trump has backed Syria‘s new leader, Ahmed al-Sharaa, while Israel has voiced wariness over Sharaa’s past links to Islamist militancy, but has engaged in efforts to broker a deal.
An Israeli raid in southern Syria on Friday killed 13 Syrians, Syrian state media reported. The Israeli military said it had targeted a Lebanese Islamist militant group there. Netanyahu on Tuesday was visiting soldiers wounded in the clash.