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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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Israel Estimates US Blockade of Strait of Hormuz to Slash Iran Oil Exports by 80%
A vessel at the Strait of Hormuz, off the coast of Oman’s Musandam province, April 12, 2026. Photo: REUTERS
As Iran struggles to rebuild damaged military and energy infrastructure amid the current ceasefire, Israel estimates that a US naval blockade of Iranian ports will slash the regime’s oil exports by roughly 80 percent, nearly severing one of Tehran’s last remaining economic lifelines.
According to Israeli security assessments, the US closure of the Strait of Hormuz — a critical global energy chokepoint through which about one-fifth of the world’s oil supply passes — triggered an immediate and dramatic collapse in Iran’s revenue that will lead to a loss of more than $1 billion a month, Walla reported.
US President Donald Trump has claimed the regime is losing about $500 million a day as a result of the blockade. Some experts, such as Miad Maleki of the Foundation for Defense of Democracies think tank, have put the figure at roughly $450 million lost in daily economic activity for Iran.
Regardless of the specific amount, given that energy exports remain the backbone of the regime’s economy, what is left of oil revenues now amounts to little more than a fragile lifeline keeping Tehran temporarily afloat as financial pressure continues to mount.
Even with the naval blockade in place, Iranian authorities have managed to maintain a limited flow of exports by transporting oil from inland production fields to the Gulf of Oman through the multi-billion-dollar Gura–Jask pipeline, an overland route that moves roughly 300,000 barrels per day to global markets.
Israeli officials assess that the blockade and resultant shortfall for Tehran could set off a chain reaction of disruptions, including the shutdown of entire segments of the oil industry.
They also point to severe damage across Iran’s petrochemical and defense sectors, which together have cost an estimated 100,000 jobs at multiple levels, arguing that the cumulative impact is pushing the Iranian regime into a corner.
After repeated efforts to bring Iran back to the negotiating table, the Trump administration escalated pressure on Tehran earlier this month by imposing a naval blockade on vessels entering or leaving Iranian ports through the Strait of Hormuz, aiming to force a deal that would bring an end to the conflict.
Since the start of the war earlier this year, Iran has used control over the Strait of Hormuz as a major source of leverage, militarizing the waterway and sharply restricting maritime traffic through one of the world’s most critical shipping corridors.
Iran has also signaled it intends to maintain control over the strategic shipping lane even after the war ends, potentially imposing transit fees framed as compensation for wartime damage.
After Trump extended the ceasefire indefinitely on Tuesday to allow for renewed diplomatic efforts, it now remains to be seen whether Iran will agree to return to negotiations, as questions persist over whether both sides can bridge widening differences to restart talks.
According to The New York Times, US officials previously proposed a 20-year halt to Iranian uranium enrichment, which Iranian negotiators countered with a five-year suspension that Washington rejected. The White House has also reportedly insisted that Iran dismantle major enrichment sites and surrender more than 400 kilograms of highly enriched uranium.
Even as the regime faces one of its most severe economic crises in decades, Iranian authorities have continued pouring billions into rebuilding military and nuclear infrastructure and supporting regional proxy forces, prioritizing strategic confrontation with Israel over urgent domestic needs such as the country’s worsening water crisis.
The regime has spent billions of dollars supporting its terrorist proxies across the Middle East and operations abroad, with the Quds Force, Iran’s elite paramilitary unit, funneling funds to the Lebanese group Hezbollah, in defiance of international sanctions.
According to the US Treasury Department, Iran provided more than $100 million per month to Hezbollah in 2025, with $1 billion representing only a portion of Tehran’s overall support for the terrorist group, using a “shadow financial system” to transfer funds to Lebanon.
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VIDEO: A creative way to make Yiddish come alive in the classroom
לעסלי טערנער, אַ גראַדויִר־סטודענטקע אין פּראָפֿ׳ אַנאַ שטערנשיסעס קלאַס בײַם טאָראָנטאָ־אוניווערסיטעט, האַלט בײַם פֿאַרענדיקן אַ מאַגיסטער אין ייִדיש־לימודים. זי האַלט, אַז זי — און אַנדערע ייִדיש־סטודענטן — קענען העלפֿן אױפֿהאַלטן די ייִדישע שפּראַך דורכן שאַפֿן נײַע ווערק אין ייִדיש.
מיט פֿינף יאָר צוריק האָט זי אָנגעהױבן שרײַבן און אינסצענירן ליאַלקע־שפּילן אױף ייִדיש. דאָס איז געװען דער אָנהײב פֿון אַ סעריע אויפֿפֿירונגען, ניצנדיק צוויי ליאַלקעס: אַ הײַפֿיש וואָס הייסט הײַפֿישעלע, און אַ פּיפּערנאָטער. יעדן זומער פֿירט זי אויף אַ ליאַלקע־שפּיל אויף דער „ייִדיש־וואָך“, אין איינעם מיטן שיקאַגער ייִדישיסט אַבֿי פֿריד.
לעצטנס האָט טערנער און אַ צווייטער סטודענט, גריים מײַערס, אויפֿגעפֿירט אַ נײַ־געשאַפֿענע ליאַלקע־שפּיל אין שטערנשיסעס קלאַס, פֿילמירט דורך צוויי אַנדערע סטודענטקעס מרים באָרדען און אליזה אַוטען. די פֿאָרשטעלונג, „הײַפֿישעלע און פּיפּערנאָטער קומען קײן ניו יאָרק“, האָט אַזאַ סיפּור־המעשׂה:
הײַפֿישעלע און פּיפּערנאָטער פֿאַרלאָזן זײער שטעטעלע און פֿאָרן קײן ניו־יאָרק, כּדי פּיפּערנאָטער זאָל קענען ממשיך זײַן זײַן קאַריערע ווי אַן אַקטיאָר. דאָס יאָר איז 1916 און די באַרימטע אַקטריסע בעסי טאָמאַשעפֿסקי פֿירט אָן מיט איר אײגענער טעאַטער־טרופּע. זי האָט נאָר װאָס געהאַט אַרױסגעגעבן איר לעבנס געשיכטע.
בעסי מוז אָבער קאָנקורירן מיט איר אומגעטרײַען מאַן, דעם באַרימטן אַקטיאָר באָריס טאָמאַשעפֿסקי, וואָס האָט אויך אַ טעאַטער־טרופּע. באַשליסט זי צו געבן פּיפּערנאָטער אַ ראָלע אין אַ ייִדישער איבערזעצונג פֿון שייקספּירס פּיעסע „האַמלעט“, וווּ זי אַליין שפּילט די הויפּטראָלע.
דאָס וואָס טערנער שרײַבט און פֿירט אויף ליאַלקע־שפּילן ווי אַ טייל פֿונעם ייִדיש־קלאַס קאָן טאַקע דינען ווי אַ מוסטער פֿאַר לערער און סטודענטן פֿון ייִדיש־קורסן איבער דער וועלט. ערשטנס, העלפֿט עס פֿאַרבעסערן די שפּראַך־פֿעיִקייטן פֿונעם מחבר, די ליאַלקע־שפּילער און די צוקוקערס. צווייטנס, קען עס אַרײַנברענגען אַ היימישע, חבֿרישע שטימונג אינעם ייִדיש־קלאַס.
— שׂרה־רחל שעכטער
The post VIDEO: A creative way to make Yiddish come alive in the classroom appeared first on The Forward.
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Israel Competes in World Cheerleading Championships for First Time Ever
Israeli national flags flutter near office towers at a business park also housing high tech companies, at Ofer Park in Petah Tikva, Israel, Aug. 27, 2020. Photo: REUTERS/Ronen Zvulun
Israel is competing for the first time ever in the 2026 ICU World Cheerleading Championships.
The competition begins on Wednesday, which is also Israel’s Independence Day.
The ISCU, the official cheerleading organization in Israel that is supported by EL AL Airlines, made the announcement and posted footage on Instagram of the athletes and their final rehearsal before flying to the US for the competition, which will take place until Friday in Orlando, Florida. Ludmila Yasinskaya-Demari is the president of the Israel Cheer Union.
“Today, on Israel’s Independence Day, the Israeli cheerleading team has the honor of competing on the world stage,” the ISCU wrote in an Instagram post. “It’s a very moving and meaningful moment for us to represent Israel on such an important day — with pride, strength, and love for our country. Thank you to EL AL for supporting us in this way. There’s something symbolic and special about flying and competing with Israel’s national airline. From Israel to the world — the Israeli team is ready.”
The championship is being held at the ESPN Wide World of Sports complex at Disney World, and is organized by the International Cheer Union, the official world governing body for cheerleading. Israel is a member of the European Cheer Union and the International Cheer Union. It will compete in the POM category and in two doubles pairs competitions.
Team USA is after its ninth, consecutive co-ed premier world title at the World Cheerleading Championships. The US has won gold since 2021 and also won the competition from 2016 through 2019. The competition was not held in 2020 due to the COVID-19 pandemic.
In 2015, the US came in second place behind Team Chinese Taipei. The US is also the defending champion in the All Girl Premier category.