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This Israeli village on the Lebanon border was isolated for decades. Now it’s a tourist hotspot.
GHAJAR, Israel (JTA) – A group of 40 tourists filed into Khateb Sweets on a recent Sunday afternoon, bringing chatter — and their cash and credit cards — to what had been a quiet cafe in this equally sedate village in the Golan Heights.
They left after consuming pastries and hot tea spiced with ginger, anise and cinnamon, whereupon an Israeli Jewish couple came in, then an Israeli Arab family and three Canadians.
The steady foot traffic typifies the wave of tourists that since last fall has hit this community of 2,900 people, nearly all Alawites, an Islamic sect.
Ghajar (pronounced RA-zhar) had for decades been unusually cut off from the rest of Israel. Residents could come and go, but outsiders could visit only through prior arrangement with the Israel Defense Forces, which considered the village within a closed military area where Lebanon and Israel’s Galilee and Golan Heights regions intersect.
The IDF’s lifting of the restriction without explanation on Sept. 8 led to an immediate rush of visitors eager to explore Ghajar.
How immediate? Ahmad Khateb, a pastry chef who owns the eponymous cafe, was working that day at his consultancy job at a hotel in the Galilee town of Tzfat, when his employee called to report an unusual stream of tourists entering the shop. The following morning, Khateb resigned to work at his café full time.
People enjoy a food truck in a plaza in Ghajar, Oct. 14, 2022. (Yossi Aloni/Flash90)
Approximately 4,000 people visited Ghajar the day the town opened, he said. Another 6,000 visited the following day — briefly tripling the number of people in town. For day three, a Saturday, Ghajar turned a soccer field into a parking lot.
“It’s like a gift that fell from the sky,” Khateb said of the village’s opening and his subsequent increase in sales. He’s now considering expansion to other locations.
Ghajar possesses a Forbidden City-like attraction for Israelis, who travel extensively inside their own country because it requires a flight to visit others.
“You know why we came here? Because there aren’t a lot of places [in Israel] we haven’t been,” said Shmuel Browns, a Jerusalem-based tour guide accompanying his brother and sister-in-law visiting from his native Toronto. “We wanted to get a sense of what makes this village unique.”
It is also notable as the only Israeli community of Alawites, a Syria-based ethnic minority best known as the group that the country’s dictatorial rulers for the past 52 years — current president Bashar al-Assad and his late father, Hafez — are descended from. Bilal Khatib, who is Ghajar’s accountant and spokesman, said Alawites tend to be secular people who value a person’s character and are respectful of other Muslim sects and different religions. Ghajar contains no mosques, since, except on holy days, people pray individually at home.
People gather in front of a shop in Ghajar, Oct. 14, 2022. (Yossi Aloni/Flash90)
“It’s a way of life,” Khatib said. “We respect people as people. Our religion is to be a good person, love everyone and hold no hatred against anyone, be they Druze, Jew, Christian or Circassian.”
But most unusual is Ghajar’s provenance, on which outsiders tend to stumble. “Ghajar was part of Lebanon, right?” the Israeli couple at the cafe asked Khateb.
No, he responded.
So began a short primer that residents are wont to recite to visitors — a timeline of a village of just one-fifth of a square mile. (The fields on Ghajar’s outskirts constitute an additional five square miles, on which the village plans to expand.)
Israel captured the Golan Heights, including Ghajar, from Syria during 1967’s Six-Day War and officially annexed it in 1981. After Israel ended its 18-year war in Lebanon in 2000, the United Nations certified the IDF’s withdrawal and established the two countries’ border going through, rather than around, Ghajar. Israel later announced plans to withdraw below the U.N. line. That would have split the village into northern and southern sections. Residents protested, preferring to remain under Israeli sovereignty rather than be divided. Ultimately, Israel didn’t erect a barrier inside the village.
A man drives a golf kart in Ghajar, Sept. 7, 2022. (Jalaa Marey/AFP via Getty Images)
“It’s a headache,” Jamal Khatib, a physical education teacher at the village’s lone high school, said of the chronology.
Orna Mizrahi, an analyst at the Tel Aviv-based Institute for National Security Studies, agrees with that characterization. As a member of the National Security Council, she briefed then-Prime Minister Ariel Sharon on Ghajar at what proved to be his last Cabinet meeting hours before he suffered a debilitating and ultimately fatal stroke in 2006.
As to why the IDF recently opened the town, Mizrahi cited the completion of a security fence around Ghajar, along with the lessened threat of cross-border attacks by the Hezbollah terrorist organization, due in large part to the recent maritime border agreement between Israel and Lebanon that incentivizes the government in Beirut to restrain Hezbollah.
“The security considerations are different. The situation in Lebanon is different,” she said.
Exactly why the United Nations associated the town with Lebanon, even though most of its residents are from a Syrian sect, is a point of confusion for many who visit. A 1965 Syrian map that Bilal Khatib printed offers an explanation: It shows Ghajar as an enclave completely inside Lebanon except for a narrow sliver connecting it to Syria proper.
Bilal Khatib (he, Jamal Khatib and Ahmad Khateb are unrelated) lives in the northern section and said he would not want his sister, who lives south of the U.N.’s 2000 demarcation, to be inaccessible.
The U.N.’s dividing point, known as the Blue Line, would be “splitting families,” he said. “We have to be united.” In practice, this line exists only on maps and has no impact on the life of Ghajar residents, who are fully under Israeli rule.
Ghajar residents tend to see themselves as Syrians holding Israeli citizenship. It’s a high-achieving population: According to Jamal Khatib, 400 Ghajar residents hold a college degree, making the town far more educated, on average, than Israeli Arabs overall. He said there are 50 physicians, 30 lawyers, 27 dentists and two professors, most commuting to jobs in the Galilee. Until Syria’s civil war began in 2011, Ghajar residents legally crossed at nearby Kuneitra to attend Syrian universities, he said.
An Israeli soldier secures a checkpoint at the entrance of Ghajar, Sept. 7, 2022. (Jalaa Marey/AFP via Getty Images)
“There’s no profession in Israel that’s not represented here,” he said.
Politically, Ghajar stands out for supporting mostly Jewish-majority parties. In the recent election, Benny Gantz’s centrist party got 24% of the 555 citizens who went to the polls in the village. The Arab party Raam got only 14% of the votes and the rest went to other Jewish lists, including the haredi Orthodox Shas party.
Ghajar puts a premium on livability. Fountains, parks and outdoor sculptures abound, landscaping and building façades are colorful and nary a speck of litter is evident. Homes are large and well-kept, on par with other upscale areas in Israel. Motorcycles and the honking of vehicles’ horns are prohibited. Visitors may not enter between 8 p.m. and 8 a.m., Jamal Khatib said, adding that Ghajar has long banned hotels and bed-and-breakfast inns and does not plan to change the rules in response to the flood of visitors.
Some visitors have littered and urinated in public, even entered residents’ homes without knocking, he said.
“A year ago, you wouldn’t have seen that,” said his son, Ryad, who works as Ghajar’s coordinator of volunteers, including handling traffic control on days when tourists abound.
Unlike many small towns in Israel, Ghajar operates its own sanitation service rather than linking up with other municipalities through a regional council. Doing so is an unusual expenditure, but it’s one that means visitors to the town may see Ghajar’s name on a garbage truck — a potentially powerful symbol.
Tourists explore the streets of Ghajar, Oct. 14, 2022. (Yossi Aloni/Flash90)
“We’re doing it not for you, but for ourselves,” Jamal Khatib said of the village’s quality-of-life values. “I like that people come, but they should respect the rules, respect our privacy.”
For its part, Ghajar projects respect for the wider society. Street signs and storefronts appear in Hebrew and Arabic. The Park of Peace includes a statue of the Virgin Mary, a sculpture of an open Koran, an Alawite sword symbol and a menorah.
“You and I believe in one God,” Jamal Khatib said. “Your deeds speak as to who you are.”
From his back porch a few moments later, a donkey’s braying could be clearly heard, hundreds of sheep observed and calls to prayer drifted over from a mosque – all in Aarab el Louaizeh, a village in Lebanon perhaps 100 yards away.
In a ravine below, soldiers of the United Nations and the Lebanese army in their separate posts walked outside. The U.N. soldiers entered two vehicles and began their twice-daily patrol of the border. Alongside the border road is the Hatzbani River, where Khatib fished as a young man. At his property line, a separate fence on Ghajar’s northern perimeter is nearly complete.
But the fence wasn’t erected to divide people or demarcate boundaries: It’s to keep boars, jackals and porcupines from scaling the slope and entering the village, Khatib said. He soon received an alert on his phone.
“The notification says there are cows on the road,” he explained. “It’s dark. Be careful.”
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The post This Israeli village on the Lebanon border was isolated for decades. Now it’s a tourist hotspot. 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.”