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A New York celebration of Ladino aims to bust the myth that the Judeo-Spanish language is dead
(New York Jewish Week) — The sixth annual New York Ladino Day — which aims to celebrate and elevate Ladino culture in New York and throughout the world — will take place this Sunday at the Center for Jewish History in Manhattan.
For the first time since the pandemic, the program will be conducted in person, though a livestream option is also available. This year’s theme is “Kontar i Kantar” — “Storytelling and Singing” — and will include a performance from Tony- and Grammy-nominated Broadway singer Shoshana Bean and a conversation with Michael Frank, author of “One Hundred Saturdays: Stella Levi and the Search for a Lost World,” as well as additional music-oriented speakers and performances.
“Music is certainly one of the domains in which the language is doing well and generating new interest and new music,” said Bryan Kirschen, a professor of Hispanic Linguistics at Binghamton University and one of the event’s organizers. (Kirschen was one of the New York Jewish Week’s “36 Under 36” in 2017.)
Ladino, or Judeo-Spanish, was once the primary language spoken by Jews on the Iberian Peninsula. After the Jews’ expulsion in 1492, they brought language with them throughout the Ottoman Empire — Turkey, North Africa and the Balkans. Today, the estimated number of Ladino speakers around the world — mostly Sephardic Jews — ranges between 60,000 to 300,000, from fluent speakers to descendants who are familiar with some words.
Sephardic Jews were the first Jewish immigrants in New York, founding Congregation Shearith Israel in 1654, the oldest Jewish congregation in the United States. (It’s still in operation today at 2 West 70th St., where it has been since 1897.) Sephardic Jews remained the only active Jewish community in New York until the wave of German Jewish immigration in the early 19th century, followed by the mass immigration of Eastern European Jews that began at the tail-end of the 19th century.
Soon enough, Ashkenazi Jews quickly outnumbered New York’s Sephardic community, though Sephardic and Ladino culture continues to thrive today. Today, the main hubs for Sephardic and Ladino culture and education are the American Sephardi Federation and the Kehilla Kedosha Synagogue and Museum, a Greek Romaniote synagogue on the Lower East Side, said Kirschen, and there are large Sephardic synagogues in Canarsie, Brooklyn and Forest Hills, Queens that still conduct services in Ladino.
Ladino, said Kirschen, remains “a very living, in some ways thriving language, interestingly enough, particularly since the pandemic.”
Ahead of Sunday’s celebration — which is co-curated by Jane Mushabac, a professor emerita of English at City University of New York and a Ladino scholar and writer — the New York Jewish Week caught up with Kirschen to discuss the program, his personal interest in Ladino, and how Ashkenazi Jews can help uplift Ladino language and culture.
This interview has been lightly edited for length and clarity.
Kirschen, far left, leads a panel discussion during the 2020 New York Ladino Day celebration. (Courtesy Bryan Kirschen)
New York Jewish Week: How did you become interested in Ladino culture? Are you from a Sephardic family?
I’m from an Ashkenazi, Yiddish-speaking family. So I’m not Sephardic. But for the past 15 years or so, I’ve been doing my best to learn as much about and embrace Sephardic culture as I can, and learn as much as I can about Ladino as well. My own interest stems from learning languages — I’m a Spanish professor at Binghamton University and I have also studied Hebrew for numerous years. So when I first came across Ladino as this Judeo-Spanish language, it interested me for a number of reasons. Once I started to meet actual speakers, it became so much more than just about the language — it became about celebrating and promoting the culture, the history, the connections, of course the food and the music.
What is the origin story of New York Ladino Day?
The idea of Ladino Day came about in 2013 — to have a day when communities around the world would celebrate all that remains. Originally, the day was selected to be during Hanukkah. But because there is no real central organization that governs the language — though there are different institutions, particularly in Israel, that try to foster the language and help promote it — Ladino Day grew in many different directions.
These days, some communities celebrate in January, some in February, some still in December. The National Authority of Ladino in Israel has their own International Day of Ladino in March. But the important thing is that communities all around the world are committed to celebrating it in their own ways.
As far as New York goes, the American Sephardi Federation at the Center for Jewish History in Manhattan started holding a Ladino Day six years ago under the direction of my collaborator, Jane Mushabac, who is Sephardic from a Ladino-speaking family. I had been separately organizing Judeo-Spanish celebrations at a synagogue in Forest Hills, Queens, so the following year we joined forces and started co-curating the program together and have been doing that ever since.
The theme for this year’s program is “Kontar i Kantar.” How is this year’s theme different from years’ past?
Last year, we did “Salud y Vida,” which is a common expression for “health and life” and which was fitting for the time. Like most of the world, we had to pivot for the last two years and hold the program online. That afforded different opportunities — we were able to bring in speakers from around the world in a way that was much more doable, and we were able to open up our program to the world. Normally, we like to focus on New York talent and language, but the previous few years doing online events we were featuring different voices from the Sephardic world, so many new connections were made.
Because of that experience, this year’s program will be back in person at the Center for Jewish History, but with a hybrid option. The theme is “Kontar i Kantar,” “Storytelling and Singing.” It will both acknowledge how important music has been to Ladino, and celebrate how, in recent years, there have been so many initiatives for people to get together to share their stories in or about Ladino and to sing in Ladino.
Most Jews in New York have an Ashkenazi background. What role or responsibility do you think Ashkenazi Jews have in honoring and preserving Ladino culture?
Yes, the numbers [of Ashkenazi versus Sephardi Jews] don’t match up. Still, Sephardim from Turkey and areas of the former Ottoman Empire brought tens of thousands of Sephardic, Ladino-speaking Jews to New York City at the start of the 20th century, but as a minority — as a minority within the Jews, as a minority-speaking language, etc. So as someone who is Ashkenazi, I understand the enormous responsibility that I have to represent this language in a positive and genuine way to others and to work with and uplift speakers of Ladino.
Like Yiddish, thousands upon thousands of Ladino speakers were killed in the Holocaust, and those who didn’t experience the same fate often gave up their Ladino to assimilate. So many speakers today, who are typically in their 70s, 80s or 90s — or maybe younger generations who know some words here and there like foods, terms of kin — haven’t historically been so proud of using their Ladino. So aside from research and teaching, I’m really passionate about encouraging speakers and semi-speakers to use their language and to take pride in their language and ideally, to give them a platform to do so.
Bonus question: What are some common misconceptions about Ladino?
Ladino is not a dead language — that’s something I’m very vocal about. There are all sorts of ways to classify and categorize languages, but as long as they are living, breathing, speakers and semi-speakers, the language is living. So Ladino is a living language, despite all the obstacles. There are speakers and there are amazing resources out there willing to share their language and their story with people.
“Kontar i Kantar: The 6th Annual New York Ladino Day” will take place at the Center for Jewish History (15 West 16th St.) on Sunday at 2:00 p.m. A livestream option is available. Buy tickets and find more information here.
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Lia Koenig describes her life as an actress, from Bucharest to Tel Aviv
צװישן די יאָרן 2018 און 2024 האָט דער ישׂראלדיקער טעאַטער־פֿאָרשער ד״ר יניבֿ שמעון גאָלדבערג פֿונעם בר־אילן אוניװערסיטעט פֿאַרבראַכט לאַנגע שעהען שמועסנדיק מיט דער באַרימטער ייִדישער אַקטריסע ליאַ קעניג. פֿון דעם איז אַרױסגעװאַקסן דאָס בוך די בינע פֿון איר לעבן, װאָס איז פּובליקירט געוואָרן אױף ענגליש דורכן באָסטאָנער פֿאַרלאַג „אַקאַדעמיק סטאָדיז פּרעס“. קעניג, שרײַבט גאָלדבערג אין דער הקדמה, איז אײנע פֿון די לעצטע לעבעדיקע ייִדישע אַקטיאָרן, װאָס האָבן זיך געלערנט זײער קונסט דירעקט אין דער טעאַטער־סבֿיבֿה אין מיזרח־אײראָפּע פֿאַרן חורבן.
דאָס בוך פּרוּװט, װי װײַט עס איז מעגלעך אין דער ענגלישער איבערזעצונג, אָפּצוהיטן דעם נאַטירלעכן טאָן פֿון די שמועסן. גאָלדבערג שטעלט פֿראַגעס און קעניג ענטפֿערט אױף זײ, אָפֿט מאָל מיט לענגערע אָנאַזײַטן, װאָס ציִען נאָך זיך װײַטערדיקע פֿראַגעס.
דער לײטמאָטיװ פֿון קעניגס מאָנאָלאָגן איז די אַנטױשונג, װאָס ייִדיש האָט ניט באַקומען קײן געהעריקע אָפּשאַצונג ניט — דעמאָלט אין אײראָפּע און ניט הײַנט אין ישׂראל. „זײ האָבן ניט קײן דרך־ארץ פֿאַר ייִדישע אַקטיאָרן אין ישׂראל,“ זאָגט זי מיט אַ טאָן פֿון ביטערקייט.
דער שמועס נעמט אַרײַן פֿאַרשײדענע תּקופֿות פֿון קעניגס לעבן. זי איז געבױרן געװאָרן אין לאָדזש אין 1929. אירע עלטערן יוסף קאַמיען (שטײן) און דינה קעניג זײַנען געװען באַרימטע ייִדישע אַקטיאָרן אין פּױלן. לאה איז געװען דרײַ יאָר אַלט װען די עלטערן האָבן זיך צעשיידט און זי איז אַריבער קײן טשערנאָװיץ מיט דער מאַמען, װאָס האָט געשפּילט אינעם דאָרטיקן ייִדישן טעאַטער. דער טאַטע איז פֿאַרבליבן אין לאָדזש און איז אומגעקומען אינעם חורבן.
װען די דײַטשישע חיילות האָבן באַפֿאַלן דעם סאָװעטן־פֿאַרבאַנד אין 1941 זײַנען זײ אַנטלאָפֿן קײן אוזבעקיסטאַן. דאָרט איז די מאַמע שיִער ניט געשטאָרבן פֿון טיפֿוס. דאָס זײַנען געװען די סאַמע שװערסטע יאָרן אין קעניגס לעבן, אָבער אַזױ האָבן זײ זיך געראַטעװעט פֿונעם חורבן.
נאָך דער מלחמה האָבן די מאַמע מיט דער טאָכטער זיך באַזעצט אין בוקאַרעשט, װוּ לאה האָט אָנגעהױבן שפּילן אינעם ייִדישן טעאַטער. אירע אײַנדרוקן פֿון יענע יאָרן אין דער קאָמוניסטישער רומעניע זײַנען געמישטע. זי לױבט דעם ייִדישן טעאַטער װאָס איז געװען גוט אָרגאַניזירט און האָט באַקומען אַ סטאַבילע שטיצע מצד דער רעגירונג. דער בוקאַרעשטער ייִדישער טעאַטער האָט געהאַט אַ פּראָפֿעסיאָנעלע טרופּע און האָט געשמט װי אײנער פֿון די בעסטע טעאַטערס אינעם לאַנד.
אָבער דער קאָמוניסטישער רעזשים האָט ניט דערלױבט קײן פֿרײַהײט ניט אין קונסט און ניט אינעם פּריװאַטן לעבן. דער ייִדישער טעאַטער האָט עקזיסטירט אין אַ מין „געטאָ“ בעת אין דער אַרומיקער געזעלשאַפֿט זײַנען געװען פֿאַרשפּרײט אַנטיסעמיטישע געפֿילן. אינעם יאָר 1961 האָט זײ זיך אײַנגעגעבן עולה צו זײַן קײן מדינת־ישׂראל.
אין ישׂראל איז דער מצבֿ פֿונעם ייִדישן טעאַטער געװען גאָר אַנדערש פֿון רומעניע. אין דער ייִדישער מדינה זײַנען געװען פּריװאַטע טרופּעס, װאָס האָבן אָפֿט געשפּילט „שונד“. די מאַמע האָט שטרענג געהײסן לאהן: „הײב אָן אין העברעיִש און ערשט װען דו׳סט װערן באַקאַנט, קענסטו טאָן װאָס דו װילסט אױף ייִדיש.“
לאה קעניג האָט געשפּילט אױף דער העברעיִשער בינע מיט אַ גרױסן דערפֿאָלג העכער װי פֿופֿציק יאָר. און דאָך זאָגט זי: „איך רעד העברעיִש אָבער מײַן אמת איז אין ייִדיש.“ העברעיִש איז „ניט קײן שפּראַך פֿאַר טעאַטער.“ זי קען ניט שפּילן שלום־עליכם אױף העברעיִש אָדער אױף ענגליש: קײן שום איבערזעצונג „רירט נישט מײַן נשמה“.
ערשט פֿיר יאָר נאָך איר אָנקומען אין ישׂראל האָט זי װידער אָנגעהױבן צו שפּילן אױף ייִדיש, טײלװײַז צוליב פּרנסה. דער פּריװאַטער ייִדישער טעאַטער האָט באַצאָלט בעסער אײדער די מלוכישע „הבימה“. אין די 1960ער און 1970ער יאָרן האָט זי גאַסטראָלירט אין אײראָפּע, דרום־ און צפֿון־אַמעריקע און אין אױסטראַליע. איר מאַן הירשל (צבֿי) שטאָלפּער, דער רעזשיסער פֿון זײער טרופּע, „האָט כּסדר געבױט אַ פּראָגראַם װאָס האָט זיך אָנגעהױבן מיט נאָסטאַלגיע נאָכן נעכטן, און דערנאָך זײַנען מיר אַריבער צו די הײַנטיקע ענינים,“ דערמאָנט זיך קעניג.
די שמועסן קערן זיך װידער און װידער אַ מאָל צו לאהס טאַטע־מאַמע. זײ האָבן געהערט צו דעם דור ייִדישע אַקטיאָרן, װאָס האָבן „אײַנגעפֿלאַנצט די ליבע צום טעאַטער אינעם מיזרח־אײריפּעיִשן עולם“, האָט זי באַטאָנט. אין מדינת־ישׂראַל, להיפּוך, איז די באַציִונג צו ייִדיש אַ ביטולדיקע.
אינעם יאָר 1986 האָט קעניג באַקומען די העכסטע ישׂראלדיקע פּרעמיע „פּרס ישׂראל“ פֿאַר דער הױפּט־ראָלע אין יעקבֿ גאָרדינס דראַמע „מירעלע אפֿרת“. די קלאַסישע ייִדישע דראַמע האָט מען אױפֿגעפֿירט אױף העברעיִש בײַ „הבימה“ אין תּל־אָבֿיבֿ. דאָס איז געװען אַ מאָמענט װען קעניג האָט דערפֿילט אַז זי געהערט טאַקע באמת צו ישׂראל, כאָטש זי האָט ניט קײן מענטאַליטעט פֿון אַ ישׂראלי.
נאָך דעם דאָזיקן דערפֿאָלג האָט „הבימה“ דערלױבט צו שפּילן „מירעלע אפֿרת“ אױף ייִדיש מיט די אײגענע אַקטיאָרן. דאָס איז געװען דאָס אײנציקע מאָל װען דער טעאַטער האָט אַרײַנגענומען אַ ספּעקטאַקל אױף ייִדיש אין איר רעפּערטואַר. אָבער דעם ייִדישן נוסח האָט מען ניט געשפּילט אינעם הױפּט־זאַל, נאָר אױף דער קלענערער בינע „בית־החיל“ („דעם זעלנערס הױז“).
דער גרעסטער טײל פֿון די שמועסן אינעם בוך זײַנען געװידמעט פֿאַרשײדענע טעאַטראַלע עפּיזאָדן און ראָלעס פֿון לאה קעניג אין ישׂראל. עס זײַנען דאָ אַ סך אינטערעסאַנטע עפּיזאָדן, פּערזענלעכע פּרטים און שאַרפֿזיניקע באַמערקונגען. צום סוף פֿונעם בוך געפֿינט מען ניצלעכע צוגאָב־מאַטעריאַלן װעגן לאה קעניגס עלטערן; די רשימה פֿון אירע ראָלעס און אַ היפּשע צאָל פֿאָטאָגראַפֿיעס.
אַלץ איז זײער אַ װערטפֿולער מאַטעריאַל, אָבער צומאָל װערט דער לײענער, בפֿרט אַן ענגליש־רעדנדיקער, פֿאַרפּלאָנטערט אין די פֿילצאָליקע פּרטים װעגן פֿאַרשײדענע אױפֿפֿירונגען אױף דער ישׂראלדיקער בינע. פֿון דעסטוועגן וועט דאָס בוך זײַן ספּעציעל אינטערעסאַנט פֿאַר מומחים פֿונעם ישׂראלדיקן טעאַטער. דער אַלגעמײנער לײענער װעט זיך באַקענען מיט אַ מערקװירדיקער פֿרױ, װאָס האָט געװידמעט איר גאַנץ לעבן דער ייִדישער קונסט און איז טאַקע מצליח געווען, ניט געקוקט אױף די שװערע נסיונות און האַרבע מניעות אױף איר לעבנסגאַנג.
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Bondi gunmen condemned ‘Zionist’ actions prior to attack and threw bombs that failed to detonate, police say
The two gunmen who opened fire on a Hanukkah celebration in Sydney, Australia last week, killing 15, recorded a manifesto video prior to the attack in which they condemned the acts of “Zionists.”
The description of the video, which was included in newly released documents from the Local Court of New South Wales on Monday, comes as one of the attackers, Naveed Akram, 24, currently faces 59 charges, including 15 counts of murder and one count of terror. His father, Sajid Akram, 50, was killed on the scene of the attack.
In the video, which was filmed in October and found on Naveed Akram’s cellphone, the pair sit in front of an Islamic State flag and four long-armed firearms and appear to recite a passage from the Quran. Later, the pair explain their motivation for the attack on Bondi beach, and condemn the acts of “Zionists,” according to the court documents.
“Police allege that the Accused and his father, S. Akram, adhere to a religiously motivated extremist ideology linked to the Islamic State,” the court documents read. “This is demonstrated by their videoed speech and use of Islamic State flags during the attack.”
During the attack, the pair also threw three pipe bombs and a “tennis ball bomb” that failed to detonate, according to the court documents. Another explosive device was also found on the trunk of their car.
The court document also alleges that the father and son had “meticulously planned” the attack for “many months,” detailing that the pair had engaged in: “Making an ISIS inspired video; Making of ISIS flags; Firearms Training; Making of pipe bombs and improvised explosive devices; Booking of accommodation as a staging post; and Transportation of firearms and ammunition for the attack.”
In October, the pair booked a house on Airbnb that was used as a “staging post” for the attacks and were also recorded conducting firearms training in a “countryside location” that police believe was in New South Wales.
On Dec. 12, two days before the attack, the pair were also seen on CCTV footage driving to Bondi beach and walking along the footbridge from where they would later shoot at the Hanukkah event.
Naveed and Sajid Akram allegedly traveled to Bondi Beach on Dec. 12 to plan for the attack on the Hanukkah event days later, according to surveillance video shared by law enforcement. (Local Court of New South Wales)
“Police allege that this is evidence of reconnaissance and planning of a terrorist act,” the court documents said.
On Monday, Naveed Akram was transferred from the hospital where he had been healing from injuries sustained during the attack to the Long Bay Correctional Complex in Malabar, a high-security prison facility.
The parliament of New South Wales was also recalled on Monday to vote on new legislation that would limit gun ownership for non-citizens and reduce the number of firearms a person can legally own to four.
Sajid Akram was an Indian national who had been living in Australia on a resident visa and owned six firearms.
The new legislation would also ban the display of terror symbols and place restrictions on protests, including giving police the power to remove face coverings during protests. The state government has also vowed to ban the popular pro-Palestinian slogan “globalize the intifada.”
“We have got a responsibility to knit together our community that comes from different races and religions and places from all over the world. We can do it in a peaceful way,” New South Wales Premier Chris Minns told reporters outside of Parliament on Monday.
Australian Prime Minister Anthony Albanese was booed at a vigil on Sunday at Bondi beach for the victims of the attack, underscoring growing pressure on the Australian leader to call a Royal Commission, Australia’s highest level of inquiry, into the terror attack.
Albanese has so far dismissed calls for a Royal Commission, arguing that it would take too long, instead announcing a review of federal intelligence and law enforcement agencies.
“Emotions were raw and a lot of people in the community are hurting and angry, and some of that anger was directed towards me, and I understand that,” said Albanese at a press conference on Monday. “As Prime Minister, I feel the weight of responsibility for an atrocity that happened whilst I’m Prime Minister. And I’m sorry for what the Jewish community and our nation as a whole has experienced.”
This article originally appeared on JTA.org.
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Toronto men, including 1 linked to ISIS, charged with targeting Jewish women for assault
Three Toronto men were arrested by Canadian police on Friday for allegedly attempting kidnappings targeting Jews and women.
Waleed Khan, 26, Osman Azizov, 18, and Fahad Sadaat, 19, of Toronto each face over a dozen charges, including two counts of sexual assault with a weapon and two counts of attempted kidnapping with firearm, according to the Toronto Police Service.
Khan was also separately charged with multiple terrorism offenses, including providing property to fund ISIS and conspiring to commit murder on behalf of a terrorist group, according to the Royal Canadian Mounted Police.
The arrests stemmed from an investigation into two failed kidnappings allegedly perpetrated by the men several months ago. The attempted kidnappings stemmed in part from “hate-motivated extremism,” according to Toronto police, who said they found evidence in the suspects’ homes that they were “particularly targeting women and members of the Jewish community.”
The arrests were welcomed by Noah Shack, the CEO of Canada’s Center for Israel and Jewish Affairs, who warned that the recent terror attack in Sydney showed that “we are one intelligence failure away from a devastating loss of life.”
“It is alarming that multiple Islamic State-related terrorist plots have been uncovered over the past two years in Canada,” Shack said in a statement posted on X. “This goes far beyond the safety of any one group. It is a matter of national security and public safety. There is a ticking time bomb in our country that our leaders must confront before it’s too late.”
In September 2024, a Pakistani man was arrested in Quebec for plotting to kill “as many Jewish people as possible” in an attack in support of ISIS in New York City. Months earlier in July, a father and son were also arrested in Toronto for allegedly planning an ISIS-inspired attack on the local Jewish community.
This article originally appeared on JTA.org.
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