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A history of Mel Brooks as a ‘disobedient Jew’
(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.
The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.
Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him.
The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood.
Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.”
Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press.
Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.
Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.
As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.
That’s right. And what’s the crime that he accuses the Jews of? “Don‘t be boring! Don‘t be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”
His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.
One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft.
Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)
You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?
Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”
You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”
That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.
You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.
On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.
For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?
Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.
What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?
“The Producers” had a lot of pushback, but for a lot of other reasons.
I guess people had enough to deal with when he staged a musical comedy about Hitler.
Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.
What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?
The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.
And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.”
Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s.
I guess I have to go back and watch it for the 14th time with a different point of view.
That’s the fun part of my job.
You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?
Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money.
Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.
Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”
Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.
You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together?
Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans.
Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.
Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures.
You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes.
I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.
Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.
There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?
To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001.
Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women.
There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.
What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.
It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history.
The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish.
It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.
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I was there when the lights went out and New York was plunged into darkness
I’m the lifelong resident of a vast and complicated metropolis that smugly prides itself on never stopping. Subways, buses and cabs running day and night, bodegas and diners open 24/7, hundreds of thousands of people at work or out partying somewhere, bike couriers and truck drivers making deliveries — all in a town with a million moving parts, where the show always goes on — until, suddenly, it doesn’t.
I was reminded of that one evening not long ago in a drab Chinese restaurant uptown on Broadway, clutching a pair of wooden chopsticks poised to shovel another mound of chicken and walnuts into my mouth.
Music was playing softly over the house PA system. The melody suddenly sounded strangely familiar, but oddly out of place in those surroundings. I froze mid-bite, trying to place what I was hearing. Then it hit me. I glanced at my dinner companion Ann Aptaker, author of the Cantor Gold noir crime novels.
“Wow,” I said. “Do you hear that?”
She paused, tilted her head slightly, then raised an eyebrow.
“Yes,” she said. “It’s Threepenny Opera!”
Sure enough, the song drifting through the room was Kurt Weill and Bertolt Brecht’s wickedly jaunty tango, “Ballad of Immoral Earnings.” Even stranger, it was a track from my favorite production of the show: the Lincoln Center revival from decades ago, starring the late, great Raul Julia as Mack the Knife and Ellen Greene as his favorite prostitute, Jenny Diver.
“Of all things! What a weird song to play while people are eating,” I mused.
“I don’t think I’ve ever heard it in a restaurant before,” she agreed. “And certainly not a Chinese place.”
“They must have good taste in musicals.”
Shrugging, we resumed picking away at our dinner. A minute later another song from the same show began to play. We gaped at each other.
“They’re playing the whole album!” I sputtered. “What are the odds?”
Ann frowned and paused. then suddenly whirled to reach into the pocket of her denim jacket hanging behind her chair. She pulled out her phone, and the music instantly grew louder. We both laughed. She must have leaned back against her jacket and set off her music app. Whew — mystery solved!
But hearing those distinctive strains of Weill’s score transported me back to one of the hottest summers New York City had ever endured.
It was 1977, the year I attended an outdoor performance of Threepenny Opera at the Delacorte Theater in Central Park. My mother and a roommate from Pratt had joined me that night.
The Delacorte sits beneath the stone towers of Belvedere Castle, lit by floodlamps like a fairytale illustration, open to the sky and the sounds of the city beyond the trees. On a good night it can feel magical. On this particularly sweltering night, the air hung over us in the audience like a damp blanket as Philip Bosco, who had replaced Raul Julia for this summer staging, swaggered across the stage as Mack the Knife, and Ellen Greene reprised her role as Jenny.
And then — just as she was belting out her furious solo number, Pirate Jenny — all the lights shut off. Greene’s mic abruptly went dead, and the band lurched sourly out of tune before grinding to a halt.
We were plunged into pitch darkness. For a moment, there was silence.
Then the crowd began to buzz nervously. Was this part of the show? I’d seen the play several times before, and knew that it most definitely was not.
A few awkward minutes later, some of the cast reappeared wielding flashlights. While the tech crew worked on the electricity, the band filled the darkness with some lively jazz. Rubber-limbed dancer Tony Azito pranced around jovially in the flickering beams, easing the mood for a spell. But that age-old theater adage, the show must go on, was about to bite the dust.
The house manager finally stepped up on stage to make an announcement: “Ladies and gentlemen, we just learned that there’s been a massive power failure at Con Edison. It’s not just us; the whole city is dark!”
We didn’t know it yet, but this was the Big Blackout of July 13, 1977, and there we were, thousands of us stranded smack in the middle of Central Park. There wasn’t even much of a moon out that night, so it was really, really dark.
“Well, this is some pickle,” Mom said.
We wondered how the hell we were going to get out of there.
I vividly recalled the last big blackout in New York City, the one in 1965. I was just a young kid back then and safely at home, so it had actually been fun. While my mother lit a few Sabbath candles, my little sister and I roamed from room to room pretending we were in a haunted house. Meanwhile, our poor Dad had to trudge back to Brooklyn from midtown Manhattan — a five-hour hike in hot leather shoes.
But this time felt very different. I was far from the safety of home, trapped in the middle of what might as well have been a forest at night. Central Park is beautiful when you can see it. In pitch darkness it’s downright hazardous.
“Guess we’ll all just have to sleep in the park tonight,” I cracked. Neither Mom nor my Pratt roomie were laughing.
Thankfully, a phalanx of city cops eventually arrived to help guide us out. Audience members, cast and crew all joined hands as we carefully made our way along the park’s winding paths, stepping over roots and curbs, catching one another when someone stumbled. Our only illumination came from a few scattered police car headlights.
A walk that normally takes ten minutes took forever, but eventually we emerged onto Central Park West.
The scene was eerie. Streetlamps were dark. Traffic lights were out. Cars sat frozen in the intersections. Not a single apartment window was lit. For a city that never sleeps, it felt as if someone had suddenly flipped off the master switch.
Then I spotted something: “Look, the buses are still running!”
A city bus was rumbling slowly toward us, brightly lit inside. With the subways dead, getting back to my dorm in Brooklyn would have been impossible, so Mom’s place on the Upper East Side looked like the safest destination. She had temporarily split with my Dad and was living there with a roommate at the time.
The three of us squeezed aboard along with what felt like half the audience, and somehow made it across town to First Avenue. As we approached my mother’s high-rise, a dreadful thought suddenly hit me.
“Mom, what floor are you on again?”
“Twenty-five,” she replied grimly.
Of course both elevators were dead. We trudged up 25 flights of stairs in complete darkness, arriving exhausted and panting. My mother fumbled with her key, finally opening the door to reveal Sylvia, her gravel-voiced, seen-it-all Long Island roommate, standing there with her ever-present cigarette tip glowing in the dark.
“Come on in, darlings,” she rasped dryly. “Join the party.”
Sylvia had lit a few candles around the apartment, the only light we’d see that night.
Outside, the city was far from peaceful. While we tried to sleep on sofa cushions on the floor, one of the worst nights of unrest in New York history was unfolding in the streets below. Store windows were smashed. Shops were looted. Garbage cans were set on fire.
Lying there in the dim glow of flickering candlelight, hearing distant sirens punctuated by the sudden crash of breaking glass somewhere in the darkness below, I felt a growing sense of dread. An evening that had begun with music and theater had improbably ended with Manhattan plunged into darkness, its fragile machinery suddenly exposed.
By morning the city looked as though it had survived a world war.
This resilient burg has been battered and bruised over the years, enduring terrorist attacks, blackouts, blizzards, hurricanes, floods, garbage strikes, transit strikes, and the occasional collapse of its aging infrastructure. Yet somehow it manages to reset and lurch forward each time, improvising solutions the way Tony Azito danced in the dark that night at the Delacorte.
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Lindsey Graham, pro-Israel Trump confidant in the Senate, dies suddenly at 71
(JTA) — Sen. Lindsey Graham, a Republican from South Carolina who has been one of Israel’s staunchest supporters in Congress, has died at 71.
Graham’s office announced his death in a statement early Sunday morning, saying that he had died late Saturday after “a brief and sudden illness.” Graham had returned from Ukraine, where he met with Prime Minister Volodymyr Zelensky, the day before.
Graham’s death means the Senate and Republican Party have lost one of its most durable pro-Israel voices at a time when anti-Israel sentiment is on the rise in both places. In his more than three decades in Congress, first in the House and then in the Senate since 2003, Graham aggressively backed U.S. aid to Israel, advanced a hawkish line on Iran and met repeatedly with Israeli Prime Minister Benjamin Netanyahu, in both Israel and the United States.
Netanyahu repeatedly said Israel had “no greater friend” than Graham in the United States. Graham’s most recent visit to Israel was in February, ahead of the U.S.-Israel war on Iran, which he later took credit for urging. “They’ll tell me things our own government won’t tell me,” he said of Israeli officials at the time.
Graham was also a vocal backer of Israel’s military responses to attacks by Hamas, including during the 2014 and after Hamas’ Oct. 7, 2023, attack on Israel that triggered the war in Gaza and augured a period of declining support for Israel. On Oct. 8, he issued a statement calling for Israel to defeat Hamas “by any and all means necessary” and in the subsequent weeks drew attention for calling on Israel to “flatten the place.”
Graham continued to promote a two-state solution as it receded as a U.S. priority, but he also adjusted to reflect the mounting isolationist streak in his party. Last year, he made news for embracing Netanyahu’s announcement of a plan to “taper” U.S. aid to Israel, saying it should be done sooner than Netanyahu’s 10-year timeline.
Graham’s outlook on Israel fit into a broad portfolio that included helming the Senate Budget Committee and pushing for a stronger U.S. response to Russia. Graham, who never married and had no children, was up for reelection in November.
This obituary will be updated.
This article originally appeared on JTA.org.
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Mozambique’s only synagogue has been keeping Judaism alive in the country for a century
Inside the Honen Dalim synagogue in Maputo, Mozambique, a security team of men in suits wearing colorful kippot swept the inside of the small chapel, while members and visitors milled about on the lawn outside. Security had to be thorough; the president was coming.
For the rest of the city, it was a normal day. The sidewalks near the synagogue were crowded with vendors selling clothes, fruit and candy. Across the street, students hung out in the courtyard of the technical college the Instituto Comercial de Maputo. But for the city’s small Jewish community, it was a momentous occasion.
On June 11, Honen Dalim celebrated the centenary of the synagogue, which was officially inaugurated on Aug. 29, 1926. Congregation leaders and government officials gave speeches. Camera crews from three different TV stations — including the Mozambican state news channel — crowded in the small chapel to capture every moment.
Lay leader Marcos Vaena told me that celebrating the synagogue is not just about the building, but what it represents for Mozambique’s Jewish community, which consists of only a couple dozen families.
“It’s a sense of pride and historical heritage,” he said, adding that the synagogue has endured “profound changes in society — the liberation struggle that the country went through, the independence movement — and it still remains.”
It hasn’t been easy to keep the synagogue alive for a century, but Honen Dalim’s small congregation has persisted without a permanent rabbi or any local Jewish institutions to rely on.
Maputo is a multicultural city with a history of religious partnership, and the celebration’s 100 attendees were a diverse mix of government officials and community members. Among them were the country’s Christian president, Daniel Chapo, whose election in 2024 was marred by accusations of corruption and fatal clashes between security forces and protesters. Across the aisle, sat the German ambassador to Mozambique Ronald Münch and Sheik Aminudin, the President of the Islamic Council of Mozambique. Manuela Soeiro, Honen Dalim’s longest member and “the mother of Mozambican theater,” spoke about being involved with the synagogue since in the 1940s.
Longtime lay leader Samuel Levy gave an opening speech in Portuguese on the spirit of religious tolerance in Mozambique. Rabbi Moshe Silberhaft, chief rabbi of the African Jewish Congress, which supports Jewish communities in Sub-Saharan Africa, and AJC president Nahum Gorelick recited from Psalm 92 — which describes the fruitful life granted to those who are devoted to God — in Hebrew and English. The crowd sang “Hosi Katekisa Afrika,” a Tsonga version of a hymn meaning “God Bless Africa.” Around 50 more people watched on Zoom.
“This date is much more than a chronological milestone,” Chapo said in his speech. “We recognize, with appreciation and admiration, the enduring presence of the Jewish community in the religious, historical, and cultural fabric of our country, Mozambique.”
A long Jewish history
Although the synagogue is 100 years old, the presence of Jews in Mozambique dates back even further. Levy, a New York-born lawyer who has been part of the congregation since the ‘90s, told me the oldest grave in Maputo’s Jewish cemetery, located a few blocks from the synagogue, dates back to 1899.
Global events have always shaped Honen Dalim’s story. Levy said some of the earliest Jews migrated to Maputo due to the Witwatersrand Gold Rush that began in 1886 and helped develop Johannesburg, South Africa. Maputo — known then as Lourenço Marques, after the Portuguese explorer — was critical in the export process due to its coastal location, making it an ideal location for Jewish merchants.
Early Jewish arrivals came from around the world — including Morocco, Lithuania, the United Kingdom, and Portugal, which ruled Mozambique from 1505 to 1975 — often by way of South Africa. In 1906, they established themselves as a community under the name Honen Dalim — meaning “He who is charitable to the poor” — and prayed in each other’s homes.
During the Second Boer War in South Africa, which lasted from 1899 to 1902, the chief rabbi of Johannesburg, Joseph Herman Hertz, was expelled for his pro-British leanings and opposition to the government’s restrictions on Jews and Roman Catholics. During his years-long expulsion — the next time he came to South Africa, it was as the Chief Rabbi of the United Kingdom in 1920 — he spent a few days in Lourenço Marques and encouraged the Jews there to finally build a synagogue.
Levy said the “community waxes and wanes” but that many hundreds were there during the Second World War. Because Portugal was a neutral country, Mozambique was a place where European Jews could find refuge, although they didn’t have full economic freedom and suffered from religious segregation.
Manuela Soeiro, who founded the first Mozambican theater troupe Mutumbela Gogo in 1986, told me at the centenary celebration about her experiences being a Jew at a Salesian Catholic boarding school in the ‘40s and ‘50s. When the nuns saw her hug her Jewish grandfather, they made her and her two sisters sleep in a cold bathtub as punishment for engaging with “the devil.”
After World War II, many Jews immigrated from Mozambique to South Africa, which was experiencing an economic boom.
The Jewish community took another hit when, in 1975, Mozambique gained independence from Portugal due to the Front for the Liberation of Mozambique’s (FRELIMO) successful guerilla campaign. A communist government led by President Samora Machel took over and restricted religious practice.
“All of the religious buildings, not only the synagogue — mosques, churches, everything — was expropriated by the government,” Levy told me.
The majority of the Portuguese in Mozambique left, some by force and some by choice, and many Jews were among those who emigrated. The country was hit hard by economic destabilization. Concrete shells of building projects abandoned by Portuguese builders after independence dot the city skyline.
Only two years after independence, the country’s socialist and anti-communist factions waged a civil war that ravaged the country for 15 years. Honen Dalim’s synagogue fell into disrepair and became a warehouse for the Red Cross.
The synagogue’s address ties the building both to the country’s colonial and post-independence eras. Avenida 24 de Julho — July 24th Street — was named after the date in 1875 when Portugal took full possession of Maputo. Exactly 100 years later, on July 24, Machel nationalized almost every sector of Mozambican society.
Revitalizing the community
Nuno Soeiro remembers his mom Manula continuing to look after the synagogue, along with his uncles, even though they weren’t allowed to practice religion there in the communist era.
“Some people from the American embassy, they used to do some lessons,” Nuno Soeiro told me, saying they went to embassy officials’ houses to observe Jewish holidays.
In 1989, the synagogue had an unexpected savior: Alkis Macropolous, a Greek, and not Jewish, businessman. His Jewish colleagues in Johannesburg encouraged him to help preserve the building. He ensured that the dilapidated structure was not torn down and arranged for an ad to be placed in the paper asking for any remaining Jews to claim the synagogue — and they did. The defeat of the communist government in 1990 — which was replaced by a presidential republic — allowed religious communities to be active again.
When Samuel Levy arrived in 1993, the synagogue didn’t have enough people for a minyan and wasn’t having official services, but on Saturday afternoons, Jewish and non-Jewish members gathered together to sing folk songs. Although it wasn’t a traditional service, Levy found it spiritually fulfilling.
“Those songs were maybe the most simplest prayers I’ve ever heard,” Levy told me. “But also the deepest.”
For Larry and Diane Herman, Conservative Jews from Detroit who arrived in Maputo in 1999, practicing Judaism without a large community was nothing new. Larry’s work as an economist took them around the globe, including to Burkina Faso, Chad, Niger and Uganda.
“We were the center of the Jewish community in Ouagadougou from 1975 to 1977, which simply means the three or four or five other Jewish Peace Corps volunteers,” Larry told me.
The Hermans took on leadership roles and Diane put together a spiral-bound siddur for services that includes prayers in Hebrew, English and Portuguese. They wrote a prayer for Mozambique based on the prayer for the country found in many U.S. prayer books. Levy also led services, even while away.
Natalie Tenzer-Silva, who moved from South Africa to Mozambique with her family in 1993, told me Levy would send cassette recordings of Kol Nidre when he couldn’t be there to lead High Holiday services himself.
“He would blow the shofar over a cell phone or send a recording of it,” Tenzer-Silva said. “He really is the pillar, making sure that we have all the writings and the readings and all of that ready for the holidays and for the Friday nights.”
The Hermans were the only Shabbat-observant and kosher members of the synagogue at the time. To buy kosher food, they went to Johannesburg, often bringing things back for the congregation. These imports were critical around Passover, when the Hermans hosted seders at their home, sometimes for as many as 50 people.
Not big enough to have a full executive board or leadership team, the synagogue members had to set their own guidelines.
“We sat for like four hours trying to hash out the rules,” Diane Herman said.
“When you already don’t have a minyan of Jews, let alone males, and you’ve got all these intermarried couples, what do you do about the spouse? And what do you do about these people who aren’t Jewish at all, but want to participate?” said Diane. “We hashed out how to create a community there. It was fascinating.”
“When Jews come there from other places, they realize if they’re going to give any expression to their Jewish identity, they need to work on it,” Levy said. “If you want your kids to know something, well, you’re going to have to start a Sunday school or really participate in it. If you want the holidays to happen, you’re going to have to organize to import matzo and kosher wine for Passover because we can’t make it.”
Rebuilding the synagogue
Considered one of the poorest countries in the world, Mozambique attracts many people from abroad who work in diplomacy, aid, or international development. As more Jews arrived to work in these sectors, it became clear the synagogue needed physical improvements.
“When I arrived, there were poles supporting the roof,” Tenzer-Silva told me. “And every time we would go to services, if the wind blew, my children would think the roof was going to fall in.”
Larry Herman remembered one Shabbat where a corner did fall in — and another where a rat fell from the rafters.
In 2009, congregant Juliana Becker decided she wanted a bat mitzvah — the first to happen in the country — and turned to Larry for tutoring. A Torah was brought in from South Africa, since the synagogue lacked its own, and 125 people attended from Maputo and from abroad. The event prompted Honen Dalim’s leaders to successfully file for official recognition from the government in 2010, making them the legal owners of the synagogue.
Five years later, in preparation for the bar mitzvah of Tenzer-Silva’s older son, Jordan, the congregation decided to replace the roof. But this could not be done safely without updating the walls and flooring. Tenzer-Silve said what was originally supposed to be a $25,000 bill became more than $120,000.
With help from the local community, and friends and family abroad, Honen Dalim managed to raise the money — just in the nick of time for Jordan.
“The Friday of his bar mitzvah, they had finished painting the walls,” Tenzer-Silva said.
In 2013, Honen Dalim held a rededication ceremony celebrating the rebuild. Ann Harris, then-President of the African Jewish Congress, and Rabbi Moshe Silberhaft gave the congregation a kosher Sefer Torah — something they had lacked before. Other faith leaders and government representatives attended, including then-Minister of Justice Maria Benvinda Levi, who now serves as the country’s Prime Minister and has Jewish ancestry.
Multiple members of Honen Dalim described the environment of Maputo as extremely tolerant and supportive of the Jewish community.
“The entire time I lived in Mozambique, I wore a kippah on the streets and never had any problems,” Larry Herman told me.
Many attribute this respect for religion to the role faith leaders played in dissuading violence during the civil war. A wing of the city’s central church is dedicated to Pope John Paull II, who made a famed visit in 1988 advocating for peace. Ultimately, the Catholic lay movement, the Community of Sant’Egisio, brokered peace. Tenzer-Silva and others remarked that the civil war made people tired of conflict.
Honen Dalim is part of the COREM — the Council of Religions in Mozambique. Its President, Moisés Chiziane, spoke at the centenary event, urging continued coexistence.
“Peace is not built only by the absence of conflicts,” he said. “Peace is built by respect, listening, acceptance of diversity and recognition of the dignity of every human being.”
Levy told me Honen Dalim has hosted a Muslim adult study group at the synagogue to learn about Jewish practices, such as putting on tefillin.
“The people who run the different faith organizations,” Levy said, “they make it an article of faith that they need to actively get along — not tolerate, but learn about the faith of other people.”
In recent years, a branch of ISIS has established itself in the northern part of Mozambique, displacing local residents and leaving other religious groups — and non-affiliated Muslims — fearful of being attacked. But Natalie Tenzer-Silva said that type of extremism has not been seen in Maputo.
“It won’t come down south,” she told me confidently. “People wouldn’t tolerate it.”
A tenuous position
Although the community is still active, members described Honen Dalim as “fragile.” Tenzer-Silva said there could be anywhere “between three and 12 people” at a Friday service — the turnout isn’t big or consistent. They also lack the type of programming that bigger synagogues offer.
“I would like to take my kids to synagogue to learn Hebrew,” Nuno Soeiro said. “We don’t have that.”
Individuals like Levy can help organize lessons for kids like Soeiro’s daughter to be on track to become bar or bat mitzvahs. But the number of people with that type of knowledge is limited.
According to Levy, COVID was “a big blow to the Jewish community.”
“At that point we had Sunday school with eight kids,” he said. “After that, things kind of became a little more tenuous and they’re a little more tenuous today, but we try to keep going.”
The congregation’s reliance on expats also puts it in a delicate position. Synagogue leaders say only around a third of congregants are permanent residents. While some expats find a permanent home in Maputo, others leave due to work or family. After 16 years in Maputo, the Hermans left and now live in Los Angeles. Levy divides his time between Maputo and Dubai, although all three help manage things from a distance.
The recent cuts to USAID programs to Mozambique will likely diminish the number of American Jews who have jobs that require them to move there. And a hidden debt scandal in the mid-2010s that cost the country nearly $2.2 billion broke the trust of investors from around the world who may have sent Jewish employees to Mozambique.
“A lot of the international community withdrew support for many years,” Marcos Vaena said. “It was 10 years of economic crisis.”
Vaena, who grew up in Brazil in a Sephardic family with Turkish roots, first moved to Maputo in 2006 as a UN volunteer for a development program. He left in 2010 to work in other developing countries, but returned in 2024. He told me he saw “a diminished community” compared to the Honen Dalim he’d left behind. He decided to start leading Shabbat services a couple times a month.
“I wanted to make sure that my kids have continued exposure to a Jewish tradition and education,” he said.
It’s not just expats, however, who want a more formal way to be involved in Judaism.
“There’s a regular interest from Mozambicans that are seeking spiritual connection through Judaism,” Vaena said. “But then you need, I think, a more structured process and support for those who are there.”
“There were a lot of people who had been happy to convert, and that just wasn’t possible,” Diane Herman added. “There was no rabbi around.”
“We have a lot of people who were, I call, ‘lovers of Zion’ as opposed to Jews,” Larry Herman told me. “They were some of the biggest supporters.” He recounted what happened when he and Diane lost their fathers. ”Both of us went to the funerals in the United States and came back, and we were in our period of mourning — it was the non-Jews who supported us by coming to every service.”
There is also no mikveh, the ritual bath needed for conversions. Diane said some people go to South Africa for the rite, but they tend to be those with money. In a country where half of all workers earn less than 60,000 Metical a year — less than $1,000 — it’s not a viable option for the vast majority of Mozambicans.
Rabbi Moshe Silberhaft, chief rabbi for the AJC, occasionally helps the congregation with critical events, but Silberhaft serves nine different countries and cannot be everywhere at once. Tenzer-Silva told me that bringing in a permanent rabbi for such a small congregation would be difficult, especially with the lack of kosher food options. Vaena said he himself has considered seminary training.
“That experience leading the services and being more engaged on a daily basis has really brought me a lot of joy,” he said.
Perseverance
Despite the struggles the community faces, the 100th anniversary ceremony did not feel like a pity party for a dying congregation. Kids ran around the lawn during the reception, which was stocked with bagels and cakes from a kosher caterer in South Africa. Tenzer-Silva’s son Jordan, who’s in his late twenties now, helped usher people at the event and recited “Tzadik Katamar” alongside other synagogue leaders. The younger generation of the synagogue is small, but present.
And those who have moved away don’t really leave Honen Dalim behind. From Los Angeles, Larry Herman serves as the president of the Friends of the Jewish Community of Mozambique, helping garner international support for Honen Dalim. Although he and his wife haven’t lived in Maputo in 10 years, they spoke of it with great reverence.
“It’s a wonderful community,” Larry said. “I’m very proud of it.”
Honen Dalim continues to welcome new members and serve as a place where Jewish visitors can have a home. Members told me that travelers have come from America, Paris, Israel and other parts of the world. For Jews who end up in Maputo — whether for a few days, a few years, or the rest of their lives — Honen Dalim serves as a vital source of community. Several people said they had never been more Jewish than they had been in Mozambique.
“May the next hundred years be of peace, prosperity, and abundant blessings for all,” Chapo said toward the end of his speech. Although his words were practically all in Portuguese, he closed with a message Jews around the world could understand: “Shalom. Shalom. Shalom.”
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