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A new destination for troubled Jewish youth trying to kick drug dependency: Cyprus
TEL AVIV — Young people with substance-abuse dependencies often face a stark challenge when trying to overcome their problem: Any kind of lapse is seen as a failure, and if they backslide even occasionally they start to see themselves as hopeless recidivists.
“This 12-step idea says that once you’re an addict, you’re always an addict — that as soon as you touch drugs, you’re off the wagon,” said psychologist Tamir Rotman. “But it’s very detrimental to teens at such an early stage of their lives and self-exploration. It’s like a self-fulfilling prophecy.”
Rotman is the director of change at Free Spirit Experience, a program in Israel for troubled Jewish teens and young adults struggling with issues such as anxiety, depression, or other social and emotional problems.
Now Free Spirit Experience is launching a new program for Diaspora Jewish teens and young people with drug or alcohol dependencies that interfere with their daily living. This new therapy program, Free Spirit Holina, is organized around the idea that their problems can best be addressed by zeroing in on the core impetus for the substance abuse.
“It’s a different paradigm than the traditional rehab center; we deal much more with the underlying issues of drug usage, rather than the usage itself,” said Rotman, stressing that it is not meant to be a full-blown rehab center or a detox clinic. “We expect these kids to have a better sense of self that will enable them to function on a daily basis. The main point is for them to be productive and positive in life.”
The program, which opens in May, will be run by Israeli therapists but situated in Cyprus, a Mediterranean island about a 45-minute flight from Tel Aviv. Designed to be a three-month course, the program will enroll 15 youths per session, divided into two groups: one for ages 14-17 and the other for ages 18-26.
The campus of Free Spirit Holina Cyprus is located about half an hour’s drive northeast of Larnaca, a port city on the island with an international airport. (Courtesy of Free Spirit Holina)
The site for Free Spirit Holina Cyprus, located about half an hour’s drive northeast of the airport in Larnaca, is a 2.5-acre tract of land with horses, farm animals, a swimming pool and fruit trees. The farm previously was used by Chabad-Lubavitch of Cyprus, which will be involved in some aspects of the new program including kosher food, communal Shabbat dinners and celebration of Jewish holidays for those who choose to participate.
The therapists behind the program are importing many of the practices and principles that undergird their successful Israeli therapy program, Free Spirit Experience, an immersive therapy program located at Kibbutz Hazorea in Israel’s Carmel mountains. While some participants of that program have struggled with drug or alcohol use, the new program in Cyprus is geared toward young Jews from North America for whom substance-abuse is their primary problem.
Free Spirit Holina will be staffed by 12 employees in Cyprus, most of them Israelis with specialized training in addiction issues. Besides taking care of horses and other animals, daily activities will include routine farm labor, building projects, meditation and yoga.
There’s to be more than just farm chores and mindfulness, however. The program will include excursions to the Troodos Mountains, cliff jumping off the Mediterranean coast near Ayia Napa, and eventually sailing to Israel — a trip that takes 24 hours — on a yacht that can accommodate seven participants and two staffers.
“It’s the same Free Spirit program for people with dependencies who need a more isolated environment,” said Rotman, explaining that Kibbutz Hazorea “is not an appropriate environment for people with addictions because it’s a living community and it’s not isolated enough.”
Rotman and Free Spirit’s managing director, Rami Bader, had been looking to expand their program for a while, scouting out potential sites in Israel’s Negev. But then an opportunity appeared from an unexpected source: Thailand.
Holina, an addiction treatment and wellness center on a remote island in the Gulf of Thailand called Koh Pahngan, works exclusively with adults. When Holina began fielding numerous inquiries from parents looking for treatment solutions for their teenage children, Holina’s owner approached Free Spirit. The two eventually entered into a partnership to run the center in Cyprus.
Israelis Tamir Rotman, left, and Rami Bader founded a therapy program in northern Israel for emotionally troubled Diaspora Jewish youth, Free Spirit Experience, and now are opening a therapy program in Cyprus focused on Jewish youths with drug problems. (Larry Luxner)
Tuition will cost $20,000 per month for the three-month course. Comparable programs in the United States can cost as much as $30,000 to $40,000 a month, according to Rotman.
Chabad’s Cyprus director, Rabbi Arie Raskin, has lived in Larnaca since 2003. He says the new program will fill a gap because drug use among youths is high — and Orthodox Jews are no exception.
“Cannabis and alcohol use is becoming almost normal, and among haredim as well,” Raskin said. “Recently I was at an Orthodox wedding in B’nai Brak [Israel] and I smelled grass everywhere. In the past, when people smoked marijuana, they were ashamed. Today, they hold a joint in their hand and smile at you. This is very worrying.”
Rotman agreed, though he noted that dependency on marijuana is not necessary the main issue; it’s the underlying anxieties and depression that may have led youths to cannabis use in the first place. While most marijuana users can smoke pot occasionally and be OK with it, about 20% of youths become depressed and anxious.
“We’re seeing a lot of weed issues,” he said. “The idea that weed isn’t addictive or harmful is medically true, but that allows teens to be persistent in their usage.”
This, in turn, leads to a lack of motivation. In some cases, youths reach a point where they aren’t motivated to do much other than smoke weed, Rotman said.
“A lot of these kids don’t have coping skills,” Rotman added. “They learn to deal with their emotions via medications, so they don’t develop sufficient emotion regulation skills. Feeling anxious or depressed are normal parts of life. But for them, it just means they need more medication.”
In order to enroll in Free Spirit Holina Cyprus, Rotman insists on a crucial condition: The kids themselves must agree to the treatment. “We need to hear them say in their own the voice, ‘We want to come.’”
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The post A new destination for troubled Jewish youth trying to kick drug dependency: Cyprus appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”