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Patagonia’s first new synagogue in over 40 years reveals a growing Argentine-Jewish community
(JTA) — Patagonia, Argentina’s famously beautiful southern region, has been a haven for Israeli backpackers, vacationers from Buenos Aires and, in the 20th century, Nazi war criminals.
What the scenic territory hasn’t had for nearly 40 years is a new synagogue.
That has changed in the last year, as a group of Jews living in San Martín de los Andes have inaugurated the first-ever synagogue in their city. The synagogue is just the second Jewish institution in the 400,000-square-mile Patagonia region, and the first new synagogue in all of Argentina in years that is not affiliated with the growing Chabad-Lubavitch Orthodox movement.
Instead, the Hebrew Community of San Martín de los Andes is affiliated with the Conservative movement of Judaism, which is shrinking overall. Its founders have gotten support from Argentina’s Latin American Rabbinical Seminary, based in Buenos Aires, as well as from multiple synagogues in the Buenos Aires area.
The first event in the synagogue was a Passover seder in April, and over the last month, the community held services for the High Holidays for the first time ever in a permanent home.
The small venue, just 1,200 square feet, is located in the center of the city, just a few minutes’ walk from both the bus terminal and Lacar Lake. On Rosh Hashanah, 85 people gathered for a festive dinner, more than twice as many as had taken part in previous years. They included tourists from across Argentina and abroad, as well as people from the local community of about 150 Jews.
“It was very moving, the first Yom Kippur in our own synagogue in our city and we saw the children at the Neilah service with candles,” Eduardo Labaton, president of the city’s fledgling Jewish community, told the Jewish Telegraphic Agency. “It was a very important start of our synagogue services here.”
The synagogue was initially the vision of Labaton, who moved from Buenos Aires 20 years ago.
“We met in houses,” he recalled about past Jewish activities in San Martín de los Andes. “But we couldn’t invite a lot of people to houses.”
Three years ago Labaton, who works in real estate and retail, bought land near the lake and included a space to build a place for the community. But then Claudio Ploit, then the community’s vice president, proposed going even bigger and securing a Torah for the community. Suddenly, the group was talking about building a full-fledged synagogue.
Ploit, a well connected senior leader in the Buenos Aires community who has a tourist business in Patagonia and divides his time between the capital city and San Martín de los Andes, was instrumental in securing resources for the Patagonian project. In addition to the funding from the Seminario, he also secured a Torah from the Weitzman Jewish community and visiting rabbis from the Lamroth Hakol community, both in Buenos Aires.
Tourists walk down a shopping street in San Martín de los Andes, Argentina. (Arterra/Universal Images Group via Getty Images)
“I read texts about the deep importance of inaugurating a synagogue but experiencing that firsthand is a very moving experience,” Rabbi Deborah Rosenberg, the director of education at Lamroth Hakol from Buenos Aires who is working with the San Martín de los Andes community, told JTA. “The first Shabbat in a new temple was very emotional for me.”
Before the San Martín de los Andes dedication, the only Jewish institution operating in all of Patagonia was a Chabad house in Bariloche, another vacation spot three hours’ drive south, that routinely hosts hundreds of Israeli backpackers at Passover. (The Nazi war criminal Erich Priebke directed the German school of Bariloche for many years before being arrested in 1994 and becoming a symbol of how easily Argentina accommodated former Nazis.)
Argentina has the world’s sixth-largest Jewish population, estimated at 180,000 according to a 2019 report. But most of those Jews live in the Buenos Aires area, and there are no reliable estimates of the number of Jews living in Patagonia.
What’s clear is that there are more than Labaton and Ploit knew about — and that more are always passing through. Patagonia has always been a desirable region for travel, especially for nature-lovers and athletes eager to enjoy summer skiing. The recent collapse of the Argentinian peso is a crisis in many ways, but it has benefited Patagonia: Argentina has become more affordable for foreign visitors and the only place that many Argentines can afford to travel to.
Last year, the average hotel occupancy rate in Patagonia was 97%. Some of those visitors have made appearances at the new synagogue.
“I talked with a lady from the United States, a tourist that was very moved by the possibility of having a religious service during his trip to Patagonia and also some sportsmen that were in the city for trekking and running that happily joined the ceremonies,” Rosenberg recalled about the dedication ceremony.
Around 70 people were at the ceremony, mostly from major Jewish institutions in Buenos Aires. But local community leaders also welcomed around 15 Jews from the region that they didn’t know before, including a resident of another southern city called Zapala located 150 miles north and a man that came to donate a tallit, or Jewish prayer shawl, to the synagogue.
Mario Jakszyn, a community member who helped organize the event, said the turnout had not been anticipated.
“At first we set a few chairs to avoid the image of an empty synagogue in case few people came, but quickly we had to add more and more chairs,” Jakzyn said.
Jews living in San Martín de los Andes have inaugurated the first-ever synagogue in their city. (Gustavo Castaign/ Courtesy Comunidad Hebrea San Martín de los Andes)
He and another community member, Tamar Schnaider, have been volunteering to lead Shabbat services every Friday. Tourists are always present, he said, and because the group eats Shabbat dinner together, the festivities often do not end until midnight.
The group is hoping to hire a rabbi of their own in the future, but in the meantime, they are collaborating with Lamroth Hakol to organize regular services.
Ploit, a triathlete who was in Argentina’s record squad in this summer’s Maccabiah Games in Israel, wants to make the new synagogue a destination for Jewish athletes who come to Patagonia. He’s planning a Shabbat dinner focused on local athletes, and he is talking with the Argentine Maccabiah sports federation about launching a ski camp — and, potentially, Maccabiah’s first winter sports event in Argentina.
This week, Argentina is hosting the Gran Fondo Siete Lagos, an international cycling competition throughout Patagonia’s mountains, forests and lakes. This year’s route begins in San Martín de los Andes, and Ploit has organized a Shabbat meal at the synagogue the night before the race begins. He already has 80 people registered.
“We keep moving,” he said about his community.
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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.”