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Meet the woman who built a home for Latin Jewish youth in Miami
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with Jewish teens around the world to report on issues that affect their lives.
MIAMI (JTA) —After spending her early childhood in Venezuela, it was not always easy for Gabriella Koenig to feel connected to the Jewish community she grew up around in Miami.
“When I moved from Venezuela, I had to leave behind the whole community and my friends. Living in a new place, it was difficult to meet and connect with other Latin Jewish friends. That is until I found La Casa,” said Koenig, 14. “La Casa has allowed me to connect with other Latin Jewish teenagers and has inspired me to learn Torah and grow to a higher spiritual level.”
La Casa is the first Latino chapter of the Orthodox youth group National Conference of Synagogue Youth in the United States. The person responsible for building this community for Koeing and other Latino Jews in Miami is Lea Bekhar.
When Bekhar moved to Miami from Panama at the age of 29 to start working for NCSY, she had one goal in mind: to make a home for the large population of Latin American Jewish teenagers in the Miami-Dade area through La Casa.
“There were no classes for teens, everything available in the area was for young professionals — 20 and up,” Bekhar said. She noticed that the few programs that were available for teens were often tailored for those who did not keep Shabbat, having meetings every Saturday. With this in mind she began running her own events for all teens.
Each Thursday after school, La Casa hosts events mean to be both community-building and educational. The meetings include a meal, religious education and an activity — which ranges from movies to discussions to games — to end the night. There isn’t a physical building; instead, each week a teenager from the group opens their home for the gathering.
Although aimed towards the Latino audience, La Casa is open for all teenagers seeking religious studies, guidance and community. And while the staff and institution is Orthodox, the organization serves Jewish kids from many backgrounds. About 40% of individuals in attendance don’t observe Shabbat or keep kosher and about 1% are not Latino, according to La Casa membership data.
“The slogan is ‘a home for your soul.’ It’s a place where they know there is no judgment, they could ask all the questions and they could find a community of like-minded people that they’re going to feel safe to open up,” Bekhar, 31, said.
Her goals for La Casa stem from her own teenage experience in Panama.
“When I was a teenager, I found that the one thing that kept me grounded was that aspect of faith,” Bekhar said. “And that’s what I want [here]. I want them to thrive for meaning in their life and to find a Jewish family, outside of their nuclear family.”
After teaching Judaic studies at the high school level in Panama for two years and through her previous work in NCSY, Bekhar learned to recognize an engaged community in which members are eager to attend and participate in events and programs. Yet, upon her arrival to the Miami-Dade area she saw first-hand the lack of opportunities for engagement, specifically for Latino teens. The Jewish Latino teens she met that were part of other religious groups didn’t seem to actually enjoy the youth community. La Casa marked a shift in engagement and provided an opportunity which teenagers were excited to participate in, she said.
“I never thought I would see so many kids go to an optional, after-school shiur [Torah lesson] on a Thursday night. Bringing all of us together, from both religious and non-religious backgrounds, La Casa provided us an opportunity to bond and still enjoy some words of Torah,” one teen participant, Jaime Mizrahi, said. “I look forward to the La Casa events throughout the week to be able to enjoy myself with my friends while still learning. In fact, even when I have already studied Torah throughout the day, I still go to La Casa because it is a nice environment to be in.”
Creating an engaged community did not come easy, and Bekhar had to do much research before beginning her mission.
“Every community is different. This is a community of Latin Jews, so it was important to recognize the community in Miami as Latino and treat it as such,” Bekhar said. In one of her first updates to her bosses prior to the September kickoff event, Bekhar recognized that the Latino population mostly lives in the Aventura and Bal Harbor area, and “they are divided into communities according to where they came from.” Some differences she noticed were that “Argentinians are less open about religion” while “Mexicans and Colombians are more open but aren’t part of the same community.”
Bekhar was able to use this knowledge to better target her audience.
“I have had to really mold the program to my audience. Many of the kids who regularly attend are second generation Latinos, so although their parents relate to their Latin origin, many of the kids not so much,” said Bekhar. “The Latin group is very different to their American counterparts culturally. Parents want them to connect not only to their religion, but to their Latin roots.”
Bekhar also incorporated program ideas from the Latin communities in Chile and Argentina.
“Programming made for American teens tends to have a very educational base, ours is more rooted in community,” Bekhar said. “The content is always very morally oriented and is centered on character development.”
One of the biggest hurdles for her was distrust from parents in the community. New and unknown, she had to create “an open relationship with all [the] mothers” in order for them to “feel comfortable voicing any concern.” Her approach worked.
“Since meeting Lea and becoming familiar with La Casa I’ve been impressed with her incredible personality and her ability to connect not only with young people, but with people of all ages. She’s a kind and empathetic young woman who will change the future of many Jewish souls,” said Anat Garzo, a mother to a La Casa teen and former board member of the Jewish Community Services Latin Committee.
Despite troubles she faced at first, Bekhar persevered and in the six months she’s been building La Casa, she grew participation to 120 teens.
One of those teens is Sofia Wengrowsky, a second-generation Mexican teenager. She recognizes the influence La Casa has on all aspects of her life.
“La Casa has allowed me to grow as an individual and has given me the opportunity to open a door to other young teenagers who are looking to grow in Judaism,” Wengrowsky, 17, said. “I leave every activity being able to learn something of impact.”
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The post Meet the woman who built a home for Latin Jewish youth in Miami 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.”