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The founder of Peru’s only Jewish bakery looks to educate non-Jews through food — and Instagram stories
LIMA, Peru (JTA) — The story of Lima’s only Jewish bakery begins on Christmas.
On the eve of the holiday in 2016, Deborah Trapunsky was baking challah for a non-Jewish friend who wanted a unique gift for her boyfriend. Her friends had always loved her challah, and she enjoyed sharing this aspect of her culture with them. But on that night, Trapunsky figured that she would see if anyone else would be interested in some challah to go with their Christmas dinner. So she posted on Facebook.
The response was overwhelming.
Trapunsky ended up receiving nearly 100 orders, and without a professional oven, she barely kept up with the demand. Using her parents’ small kitchen to complete the orders, Trapunsky said that she had to “colonize” her parents’ apartment — using every countertop to knead dough, laying out challahs throughout the rooms to cool down and then packaging them.
As she drove around Lima on Christmas day completing all the deliveries, as the majority of Peruvians were celebrating with their families, Trapunsky hatched a plan to turn the unexpected response into a business.
“I was really surprised when the orders started to grow and grow,” she said. “I had no idea about anything, no idea how much challah I could bake, no idea how to do the packaging…but that’s how it all started.”
She named her creation Oh-jalá — a bit of wordplay, as “ojala” means “I hope” and jalá is the Spanish word for challah, the braided Ashkenazi bread traditionally made on Shabbat and holidays.
Seven years after that Christmas Facebook post, the bakery has moved from a cramped 120-square-foot kitchen to a 1,200-foot brick and mortar space that opened in 2020 in a garage of an old colonial home in the posh neighborhood of San Isidro.
Trapunksy, who is 30, has gone from selling four flavors of challah to 12 — including vegan and nutella varieties — and has expanded from only selling challah to offering coffee, hamantaschen (for Purim), a variety of sweetbreads and even bagels. (She made sure to add the disclaimer that hers are not on par with New York bagels but that they suffice for the traveler in Peru who is craving the Jewish-American staple).
Over the years, Trapunsky’s clientele has also shifted from mostly Jewish customers — who found her after the initial Christmas rush — to mostly non-Jews. She therefore sees Oh-jalá as more than a job: it’s her attempt to combat stereotypes, encourage the integration of Jews into Peruvian society, and perhaps most importantly, it’s her attempt to forge a unique Jewish-Peruvian identity for herself.
The bakery is housed in a garage of an old colonial home in the posh neighborhood of San Isidro. (Courtesy of Deborah Trapunsky)
“Here in Peru people like ‘different’ [cultures and cuisines], and being Jewish in Peru is very different,” Trapunsky said. “And I really enjoy having a bakery that exists at the intersection between this minority community and the larger Peruvian world.”
Jewish Peruvians make up fewer than .01% of the country’s population of 34 million and are mostly concentrated in the capital Lima. Trapunsky and her family are currently close with other members of the community here, but they didn’t always fit in.
Like many South American Jews, her family mostly descends from Eastern Europe. Before 1998, they lived in Chile, but looking to leave financial struggles behind, the Trapunskys left for Peru. Siblings, parents, cousins, aunts and uncles all lived together in an old house in Lima. Trapunsky recalled these memories fondly, as she was only a child and enjoyed being with her cousins. But she also remembers the tension between her parents and uncles and aunts, as their economic hardships were compounded by feeling like outcasts among Lima’s Jews.
Oh-jalá includes bagels on the menu. (Courtesy of Deborah Trapunsky)
Lima’s Jewish community of around 2,000 is very wealthy, and the Trapunskys came to Peru with almost nothing. Starting from scratch, they had to fight for a place within a community that Deborah describes as “hermetic.” She spent much of her childhood feeling like she didn’t belong in the traditional but not Orthodox community that was supposed to embrace her. It made her bitter.
“The Jewish community here is very closed-minded. When [my family] arrived in Peru, we didn’t have any money…I was young but I remember feeling the struggle of my family trying to exist in an unwelcoming community,” Trapunsky said. “So although I’ve always felt grateful for being Jewish and for the Jewish community here, I also have always felt a little resentment.”
After graduating from Peru’s only Jewish high school, she went to university and immersed herself in the non-Jewish world. She quickly discovered that the majority of Peruvians know very little about Jewish people, and what they do know is often based in stereotypes and anachronisms. She often tried to educate her peers about Jewish holidays, traditions and food, and through that process felt more Jewish than she ever had.
“Sharing my culture with friends helped me discover what made me feel Jewish. When I was only spending time with other Jews, I lost the ability to identify myself by contrasting myself to others,” she said. “But being immersed in Peru’s secular world gave me the opportunity to connect to my Judaism in a very different way.”
She added that she thinks the insularity of Lima’s Jewish community leads non-Jewish Peruvians to view the community with suspicion and reinforces negative stereotypes about Jewish people. With Oh-jalá, Trapunsky is trying to change that — to foster interaction between local Jews and others, and to show Peruvians how Jews enrichen their society.
Trapunsky is shown with some of her employees inside Oh-jalá. (Courtesy of Deborah Trapunsky)
“Food is a safe and secular space,” she said. “It gives me the opportunity to share cultural information in a non-political manner.”
But Oh-jalá’s physical space is not the only tool that Trapunsky uses in her mission — she also uses the bakery’s Instagram account to educate Peruvians about Judaism. With more than 18,000 followers, she does educational Instagram stories on Sukkot, Pesach, and other Jewish holidays. She even did an Instagram live video on “Judaism 101.” In a series of highlighted stories on her page, she talked about topics ranging from the fasting on Yom Kippur to why Jews don’t celebrate Christmas to, of course, the origins of challah.
As a result, she has received hundreds of positive direct messages from Peruvians eager to learn more about the religion and compare Judaism to their own Catholicism. She said this was her exact goal.
“I want to overturn the hermetic reputation of the Jewish community and turn it into something accessible, open to the public, and even trendy,” she said. “I want everyone in Peru to be able to get to know us… and explore our culture.”
Starting Oh-jalá has also helped her let go of the resentment. She now not only feels more secure in her identity as both Peruvian and Jewish, but also more of a valued member in the Lima Jewish community.
As the financial success continues, Deborah is focused on the future. She wants to franchise her bakery and plans to open another one on the other side of the city.
Ever the entrepreneur, she also made sure to tell the Jewish Telegraphic Agency that she’s looking for investors — and for a Jewish boyfriend.
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The post The founder of Peru’s only Jewish bakery looks to educate non-Jews through food — and Instagram stories 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.”