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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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It was once Sweden’s only news broadcast — what did it say about Israel?

The team behind Israel and Palestine on Swedish TV 1958-1989 bares it all with the title of their documentary. It is, in fact, three and a half hours of footage about the conflict from the Swedish public broadcaster Sveriges Television AB (SVT), stitched together in mostly chronological order.
SVT was founded in 1956 and held a monopoly on news broadcasts in Sweden until the early 90s, when the commercial channel TV4 was launched. The intention behind SVT programs was to present impartial news produced solely by Swedes.
In the two years since the beginning of the current war, there’s been a renewed interest in understanding the history of the Israeli-Palestine conflict. For those well-versed in the region’s history, they likely won’t learn anything new here. For those who don’t know much, it’s a good crash course — if one considers three and a half hours to be succinct.

The film, directed by Göran Hugo Olsson, documents many major developments that happened in Israel during those three decades, including big waves of American immigration in the 60s, economic growth, and, of course, the Six Day and Yom Kippur wars. Although the early footage focuses on Israel’s impressive agricultural projects and the modernization of the country’s major cities, as the years go on, the increasing focus is on the plight of Palestinians in Lebanese refugee camps and the Gaza Strip, as well as political unrest within Israel.
The film opens with the statement that archival material “doesn’t tell us what really happened — but says a lot about how it was told,” so the broader implications of the footage are left up to the viewer’s interpretation. Some may see a welcome, growing awareness of Palestinian suffering. Others may see overly harsh criticisms of Israeli policies that disregard the country’s security issues. With no elaboration or editorializing, it doesn’t feel like the film is helping clarify or challenge the audience’s preconceived notions about the conflict.
And although the footage is Swedish, it’s unclear what, if anything, that lends to the conversation. There is barely anything in the film about Swedish attitudes towards Israel, though we get a peek into diverging viewpoints during a 1964 debate between diplomat Gunnar Häglöff and political scientist Herbert Tingsten about the issue of Palestinian refugees. In a 1968 broadcast, two Swedish journalists question Israeli Deputy Prime Minister Abba Eban about the Israeli government destroying Arab homes. There are also interviews with Swedish soldiers from the United Nations who were stationed at a former railway station on the border between Gaza and Egypt in 1975. They have little to say about the conflict, however, and are more interested in discussing how they can build a sauna, a luxury from home they can’t live without.

How the Swedish government or its citizens have felt about Israel over the years remains strangely obscured. Whatever impact this footage may have had on Swedish-Israel relations and how these broadcasts were received is never discussed. It’s especially unfortunate that the films offers no way to compare the countries’ past relationship to current diplomatic tensions around Israel’s treatment of activist Greta Thunberg
With the humanitarian crisis in Gaza growing more dire and the future of Israel’s democracy becoming an increasingly pressing issue, one wonders what can be gained from the rehashing of history on view in Israel and Palestine on Swedish TV. The documentary primarily underscores a point most people already understand by now: The situation in Israel and Palestine is complicated. It’s violent. It feels neverending. Most people probably don’t need to watch a three and a half hour documentary to tell them that.
‘Israel and Palestine on Swedish TV 1958-1989’ opens at Film Forum NYC on October 10th.
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It was one of klezmer’s greatest days — will there ever be another?
18 years ago, America’s finest and most influential klezmer musicians gathered on the steps of the historic Eldridge Street Synagogue, on Manhattan’s Lower East Side, for a photograph.
The picture was organized by Yale Strom, a violinist and klezmer musician who, having watched ‘A Great Day in Harlem,’ a documentary about Art Kane’s celebrated 1958 shot of America’s best-known jazz musicians, sought to do something similar by assembling those responsible for America’s klezmer revival. Strom called the photo, which was taken by Leo Sorel, ‘A Great Day On Eldridge Street’.
Whereas most of the musicians in Kane’s photograph knew each other, and indeed were friendly, a good few of Strom’s klezmer musicians had never met. “It certainly brought together a lot of people who had never been together at the same place at the same time,” recalled Hankus Netsky, a founding member of the Klezmer Conservatory Band and a central figure in the klezmer revival.
For Strom, this remains the photograph’s abiding achievement. “I accomplished something no one had ever done,” he told me. “And most likely never will.”
Several of the 106 musicians photographed that day have since passed away, including Theodore Bikel, one of the founders of the Newport Folk Festival; Elaine Hoffman Watts, the first female graduate of Philadelphia’s Curtis Institute of Music; and renowned Yiddish poet and songwriter Beyle Schaechter-Gottesman. But American klezmer has continued to grow in popularity, thanks to the contributions of Don Byron, John Zorn, Jake Shulman-Ment, and Pete Rushefsky, among numerous other performers.
‘A Great Day on Eldridge Street’ was partly a celebration of American klezmer’s New York roots, and of the Lower East Side’s historic Eastern European Jewish immigrant community, but since 2007, the klezmer revival, which began in the late 1970s, has taken on an increasingly international character. “There’s a lot more access to international workshops now, and klezmer’s presence in the global music scene is only increasing from year-to-year,” Netsky said.
“The music is larger and more varied,” Strom added. “More sounds, more venues, more academic study, and more global cross-pollination.”
And though the 2007 photo cannot be recreated, it is past time for a sequel, Netsky said — one that honors “the incredible dedication and virtuosity of the younger generation.”
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Has the Jewish joke become an endangered species — Òu sont les blagues d’antan?

Is the Jewish joke on the verge of becoming extinct? The Last Jewish Joke, written by the veteran Parisian sociologist Michel Wieviorka, and newly translated into English by Cory Stockwell, argues that in recent years, Jews began to seem less heimish for at least three reasons: The Holocaust receded from memory; Israel’s government became guilty of actions decried internationally as war crimes; and right-wing antisemites who were always present became more boldly vocal.
Reminiscing about when he heard certain jokes, the author compiles his own consoling self-portrait in an autumnal mood. Wieviorka will be 80 next year, and his prose has a tendency to poignantly deem things as the “last” or at their “end.”
English language readers may need to be reminded that, when Wieviorka alludes to family situations in which he first heard Jewish jokes, it is in the context of his distinguished family of overachievers. His sister Annette is an eminent historian of the Holocaust. Another sister, Sylvie, is a psychiatrist and academic, and a brother, Olivier, is a historian specializing in World War II and the French Resistance. The entire mishpocheh is inspired and motivated by the memory of their paternal grandparents, Polish Jews who were murdered at Auschwitz. Indeed, Annette Wieviorka recently published a “family autobiography,” which asked subtle, eloquent, and nuanced questions about her antecedents.
In a comparable emotional aura of reverence, Wieviorka characterizes Jewish comedy of the past as “never malicious” (though apparently insult comics like Jack E. Leonard, Don Rickles, and Joan Rivers never got the memo).
The notion that joking Jews had to be sympathetic victims to elicit empathy from non-Jewish audiences may be true of some raconteurs, but is also belied by historical examples of potty-mouthed rapscallions like Belle Barth, B. S. Pully (born Murray Lerman) and Joe E. Ross (born Joseph Roszawikz), who startled nightclub audiences of their day with profanity.
Later Jewish shock jocks of the Howard Stern variety likewise chose to surprise, rather than charm, the public as a way to win notoriety. And Larry David’s Curb Your Enthusiasm, far from relying on vulnerable Jews as victims, presented characters screaming putdowns to elicit hilarity.

To bolster his arguments, Wieviorka refers to the counterexample of Popeck (born Judka Herpstu), a demure, wry entertainer of Polish and Romanian Jewish origin, who at 90 still appears at French theaters with gentle monologues akin to those of the Danish Jewish wit Victor Borge. Popeck presents himself onstage as a grumpy Eastern-European immigrant speaking Yiddish-accented French.
Wieviorka values such exemplars of rapidly vanishing tradition; as a social scientist, he is convinced that because communal settings such as the Borscht Belt no longer exist, the comics who once flourished on hotel stages in the Catskills have disappeared from memory.
To be sure, American standups like Myron Cohen, Jan Murray, and Carl Ballantine, once familiar from TV variety shows, are rarely mentioned now, though others like Eddie Cantor are periodically rediscovered by a new public, as Cantor was when he showed up as a character in HBO’s Boardwalk Empire. But in his autobiographical deep dive, Wieviorka, who writes here more as a memoirist than a history of comedy, is naturally more concerned with things that he personally saw or heard, rather than any objective history of Jewish comedians through the ages.
Wieviorka also somewhat curiously refers to the “Yiddish-inflected” comedy of Groucho Marx. Apart from the word “schnorrer” which appears in “Hooray for Captain Spaulding,” a song written by Harry Ruby and Bert Kalmar, it is difficult to think of many other explicit Yiddishisms in Groucho’s verbal elan.
Wieviorka’s anecdotes tend to be hefty and hearty, like a family repast of kreplach that remains in the visceral memory for days after being consumed. Some of the quaintly old fashioned tales he refers to recall the precedent of Sigmund Freud’s The Joke and Its Relation to the Unconscious, a dissection of pleasantries that reflects a sturdy Yekke approach to light-heartedness. Of course, in this optic of Jewish humor, there is no room for concise one-liners from the likes of Henny Youngman or Rodney Dangerfield (born Jacob Cohen). For Wieviorka, as with Freud, brevity was so far from being the soul of wit that it might almost seem non-Jewish.
Another of Wieviorka’s claims appears to conflict with Jewish tradition itself, such as when he states that funny Jews laugh at themselves, never at others, negating the othering of mocked and disdained people in Chelm, a legendary village in Yiddish folklore inhabited by fools who believe themselves to be wise.
To support some of his claims, the author discusses the 1970s French film The Mad Adventures of Rabbi Jacob, a box office success, now somewhat frantic and dated-looking, starring the popular Gallic comedian, Louis de Funès disguised as a rabbi. More to the point, Wieviorka justly reveres the French Jewish comedian Pierre Dac for his still-fascinating wartime broadcasts from London for the Free French forces. Dac’s sense of humor simultaneously expressing Yiddishkeit and also undermining the enemy’s Fascist ideology is a subject that might have intrigued Freud himself.
To bolster the essentially serious messages of his book, Wieviorka mentions the writers Elie Wiesel and André Schwarz-Bart as well as the painter Marc Chagall, names rarely seen in books about humor.
Wieviorka’s elegiac, end-of-an-era tone might be cheered up by a glance at the Netflix streaming schedule or a visit to a comedy club. Of course Jewish humor is thriving, as Wieviorka himself admits; Le Monde headlined a relevant story about the aftermath of the Oct. 7 attacks, “Israeli comedians are boosting morale in wartime.”
So, for all its methodical, highly intellectual analysis, The Last Jewish Joke might be best appreciated as a moving Kaddish for the demise of anecdotes that were once considered the height of drollery. It is very much a product of brainy French Jewish creativity, which itself deserves to be cherished and celebrated.
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