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Sarajevo Jews celebrate a second Purim. For centuries, they weren’t alone.
(JTA) — Starting tonight, many Jews around the world will celebrate Purim in the same ways: by reading the story of the heroic Queen Esther, dressing in festive costumes and drinking alcohol.
For many of the 900 or so Jews in Bosnia and Herzegovina, it will be the first of two annual Purim celebrations.
Since 1820, locals have also observed the Purim de Saray (Saray being a root of the word Sarajevo) early in the Hebrew calendar month of Cheshvan, which usually falls in October or November of the Gregorian calendar.
In that year, the story goes, a local dervish was murdered, prompting the corrupt Ottoman pasha of Sarajevo, a high-ranking official, to kidnap 11 prominent Jews, including the community’s chief rabbi, a kabbalist named Moshe Danon. The pasha accused them of the murder of the dervish — who had converted from Judaism to Islam — and held them for ransom, demanding 50,000 groschen of silver from the Jewish community.
But the pasha, who was a transplant from elsewhere in the Ottoman empire, deeply offended the multiethnic populace of Sarajevo, who considered the Jewish community — then around one-fifth of the city’s entire population — an essential part of their home. So local Jews, Muslims and Christians rebelled together, storming the pasha’s palace and freeing the imprisoned community leaders.
Ever since, Bosnian Jews have celebrated that story by visiting the grave of the Sarajevan Jewish historian Zeki Effendi, who was the first to document it. Dozens also take part in a pilgrimage every summer to the grave of Rabbi Danon, who is buried in the south of Bosnia, not far from the Croatian border, where he died on his way to what was then Ottoman-controlled Palestine.
For centuries, several other Jewish communities around the world observed their own versions of Purim based on stories of local resistance to antisemitism, inspired by Esther and her uncle Mordecai, who in the original holiday story save all of Persia’s Jews from execution in the 5th century BCE.
Here are the stories behind some of those traditions.
Ancona, Italy
An aerial view of Ancona in 2006. (Wikimedia Commons)
Jews settled in and around Ancona on Italy’s Adriatic coast in the 10th century, and by the 13th century they had established a flourishing community, which included figures such as the Jewish traveler Jacob of Ancona — who may have beaten Marco Polo to China — and famed poet Immanuel the Roman, who despite his title was born in a town just south of Ancona.
Though the city’s Jewish community was largely spared by the Holocaust, it has slowly declined over the years and is believed to have fewer than 100 members today. What it is not short on, however, are local Purim stories — the city is known for multiple celebrations that were established over the centuries.
The first, marked on the 21st of the Hebrew month of Tevet (usually in January) was established at the end of the 17th century and marks an earthquake that nearly destroyed the city.
“On the 21st of Teveth, Friday evening, of the year 5451 (1690), at 8 and a quarter, there was a powerful earthquake. The doors of the temple were immediately opened and in a few moments it was filled with men, women and children, still half-naked and barefoot, who came to pray to the Eternal in front of the Holy Ark. A true miracle then took place in the Temple: there was only one light, which remained lit until it was possible to provide for it,” wrote Venetian Rabbi Yosef Fiammetta in 1741, in his text “Or Boqer,” meaning “the light of the morning.”
Other Ancona Purims were established a half and three-quarters of a century later, respectively. The story for the first commemorates fires that nearly destroyed the local synagogue but miraculously did not, and the next tells of a pogrom that nearly destroyed the community as Napoleon marched through Italy during the French Revolutionary Wars.
Today, these stories have largely faded into memory. But a few centuries ago, Italy had a high concentration of communities that celebrated local Purims — including in Casale Monferrato, Ferrara, Florence, Livorno, Padua, Senigallia, Trieste, Urbino, Verona and Turin — some into the 20th century.
“It would be hoped that the local Purims are not forgotten or that they are restored in the communities that have not completely died out,” the late Italian Rabbi Yehuda Nello Pavoncello once wrote, according to the Turin Jewish Community, “so that the memory of the events reconnects us to the infinite links of the chain of the generations that have preceded us, who have suffered.”
North Africa
An illustration shows King Sebastian of Portugal being fatally wounded at a battle in Morocco in 1578. (Bettmann/Getty Images)
The extra Purim phenomenon was not confined to Europe.
In Tripoli, Libya, local Jews established the so-called Purim Barghul after the deposition of a local tyrant in the late 18th century. Ali Burghul, an Ottoman officer who was installed after the downfall of the Qaramanli dynasty, ruled the region brutally for two years, treating minorities particularly harshly. After factions of the Qaramanlis were reconciled, Burghul was driven out. Jews would go on to celebrate that day, the 29th of Tevet (usually in January).
(Centuries later, in 1970, dictator Muammar Gaddafi established his own holiday, the Day of Revenge, which celebrated the expulsion of Italian officials from Libya; some say it also celebrated the exodus of Jews since the formation of the state of Israel. Within a few years after Gaddafi’s decree, Libya’s Jewish community had dwindled to less than two dozen, effectively ending the nearly 3,000-year history of Jews there.)
In northern Morocco, Jews commemorated the defeat of a Portuguese king, Don Sebastian, who attempted to take over parts of the country but was defeated in a battle in August 1578. Jews had believed that Sebastian would have tried to convert them to Christianity if he had prevailed.
Today only around 2,000 Jews remain in Morocco, but some Moroccan communities marked the day into the 21st century.
Saragossa
A view of an 11th-century palace in Zaragoza, Spain. The Purim of Saragossa story is set in either Zaragoza or Syracuse, Italy. (Hulton Archive/Getty Images)
Scholars still debate which city was the origin of the Purim of Saragossa story — it could have been Zaragoza in Spain or Syracuse in southern Sicily, which was often referred to in the medieval era as Siragusa. Both cities were part of the Spanish empire in 1492 and were depopulated of Jews following the Inquisition.
Either way, Sephardic descendants in places around the world, including Israel and the Turkish city of Izmir, observed their own Purim story by fasting on the 16th of the Hebrew month of Shevat — generally in February — and feasting on the 17th.
The story tells of an apostate named Marcus who slandered the Jewish community to a non-Jewish king, putting their status in jeopardy. But at the last minute, Marcus’ deception is revealed, and he is executed while the community is saved.
The story could have been entirely fabricated. According to Jewish historian Elliot Horowitz, the establishment of this second Purim story may have been a way for the descendants of Saragossan Jews, whether they are originally Spanish or Sicilian, to maintain a unique identity in the larger Sephardic diaspora.
“The Jewish communities of the eastern Mediterranean in the early modern period were often composed of émigré subcommunities, each of which was distinguished by the customs and liturgy of its place of origin,” he wrote in his 2006 book “Reckless Rites: Purim and the Legacy of Jewish Violence.” “The ‘Purim of Saragossa,’ the earliest manuscript evidence for which dates only from the mid-eighteenth century, may well have been ‘invented’ by former ‘Saragossans’ eager to maintain their distinct identity in the multicultural Sephardi Diaspora of the eastern Mediterranean.”
Regardless of its origins, the Megillah of Saragossa text continued to be published through at least the end of the 19th century. It was well known enough that an American Reform rabbi from New York would publish a stage play based off of it in the 1940s.
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Soccer helped my family survive the Nazis. Our community has lost sight of that story’s meaning
A new exhibit at the Holocaust Museum LA should be telling my great-grandfather’s story as part of its study of soccer, Jews and the Holocaust. But it won’t, because the museum failed to internalize the great moral lesson that my family learned from surviving the Holocaust: to never value the safety of one group over that of others.
The museum describes The Beautiful Game: The Untold Story, which opened this week, as an exploration of “the deep and often overlooked relationship between Jewish life and the global game.” It could have been curated specifically to tell my family’s story, because it was soccer that saved them from the Holocaust.
Pavel Mahrer, my great-grandfather, was a Jewish professional soccer player for Czechoslovakia. He played for teams in Teplitz and Prague, as well as at the 1924 Olympics. In the 1920s and 1930s he moved across the Atlantic to play for the Brooklyn Wanderers and for a Jewish team, New York Hakoah. His son Jerry was born during that time; eventually, the fact that Jerry held American citizenship would save much of the Mahrer family from the Holocaust.
During the Shoah, Pavel became the star player in the league at the Theresienstadt ghetto. He once wrote to his wife, as they were imprisoned separately, “tell our boys that I played soccer again and even played well and was successful.” Soccer brought him joy during those years of total despair. He avoided transport to Auschwitz — possibly because he was a famous athlete — and eventually reunited with his family in New York after the war.
The Holocaust Museum LA exhibit doesn’t tell that story, but it wanted to. My family pulled out of the exhibit because we didn’t want our story told by an institution that we think has faltered in holding true to the back half of its stated mission of inspiring “a more dignified and humane world.”
‘Never Again’ for whom?
We had already been in contact with the exhibit curators when the museum became entangled in a public relations crisis last fall over an Instagram carousel featuring a cover image of six interlocking arms of different colors with the text: “’Never Again’ can’t only mean never again for Jews.”
Further slides added: “Jews must not let the trauma of our past silence our conscience” and “To be Jewish is to remember and act.”
Finally, I thought, a Jewish institution that will stand against genocide and violence, full stop. Not just genocide and violence against Jews.
Over the past few years, I’d watched the Jewish institutions I grew up respecting make excuses for or ignore Israel’s assault on Gaza. At best, they remained silent as Israel killed innocent civilians in the name of the Jewish people. At worst, they supported Israel’s actions unreservedly.
But here was one Jewish institution that was sending the right, albeit subtle, message.
My family agreed that this was a museum that was teaching the history and lessons of the Holocaust in a way we wanted to support. We had told the museum of our interest in loaning them Pavel’s 1924 Paris Olympics jersey and photos of his soccer career for the exhibit, and grew more excited for the collaboration.
But not everyone had the same reaction to the post that we did. Comments flooded the museum’s page claiming that the phrase “Never Again” was only for Jews, and criticizing the museum for generalizing the Holocaust — as if Jews have a monopoly on being victims of genocide. I figured the museum must have been prepared for some backlash, but had decided it was worth upsetting some to show that they cared for all.
I was wrong.
The museum deleted the post, then issued an apology, calling the post “easily open to misinterpretation by some to be a political statement reflecting the ongoing situation in the Middle East.” To us, it read as if they were apologizing for giving the appearance of caring about Palestinian lives. The apology post drew outrage as well — although not in the comments section, which was disabled.
A humane world for everyone
The apology felt like cowardice to me and my family. So we asked to meet with Beth Kean, the museum’s CEO. By the time we connected with her over Zoom in October, the apology post had been deleted as well. We wanted to understand what was behind their decision to post, remove, apologize and then act like none of it ever happened.
After the meeting, we understood that the museum hadn’t expected the response to the first post; some museum staff, horrifyingly, had received death threats. But we didn’t get a good answer as to how capitulating to hateful comments and violent threats aligned with the stated mission of the museum. We were promised an updated public statement that would specifically state the museum’s humanitarian goals; but if one was ever published, I didn’t see it.
We decided that we no longer felt comfortable lending the material that told Pavel’s story to the museum. I take pride in being the descendant of Holocaust survivors, and I’m especially proud that my family has always told our story in a way that emphasizes that the safety of all peoples is and has always been intertwined. I don’t think Pavel would be proud to see his story used to help suggest in any way that Jewish lives should be valued over others.
I didn’t expect the museum to change its mind because of a thirty minute Zoom call with my family, but its willingness to, in my eyes, bend on its principles left me disheartened. If we can’t take stories of Jewish suffering and strength — like that of my family — and apply their lessons to the suffering that is occurring to this day around the world, what is the point of telling them?
I’m a soccer player myself. Every time I score a goal or make a tackle I think of how I wouldn’t be alive if it wasn’t for this beautiful game. I feel a kinship with other players, other soccer fans, because we share that love of the game. It brings us joy, it brings us hope.
I find my family’s story compelling not just because it is a story about Jews during the Holocaust, but because it is a story about survival — a story about luck, talent and both good and terrible timing. The drive to survive, and the need to ensure others’ survival, should be universal. If the message that our Jewish institutions send is that Jewish survival matters most, who is that message for? How can we expect the rest of the world to care about our safety if we don’t do anything to prove that we care about theirs?
Dani Mahrer is a former Jewish educator who now works in renewable energy in Los Angeles.
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Eliya Smith says plot is what happens when you’re busy doing nothing
Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.
“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.
“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”
Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)
The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.
“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”
Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.
“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”
In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.
Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.
The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.
“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.
“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.
About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.
Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.
We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.
“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”
She has yet to write her Texas play — or her New York one.
“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.) “Until I was like 23 I was like I can only write about being 17.”
Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.
It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.
“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”
She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.
“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”
Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.
While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.
The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.
“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”
Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.
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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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