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Ethiopian, Israeli, New Yorker: Preserving The Jewish Heritage

Above: Beejhy Barhany, founder and director of BINA, and Bizu
Riki Mullu, founder of Chassida-Shmella. (Bizu photo via UJF.org)

Tadias Magazine
By Dana Rapoport

Published: Monday, December 20, 2010

New York (Tadias) – “My journey is nothing special,” said Beejhy Barhany at the Hue-Man Bookstore, on 125th street in Harlem. “It’s the every-Israeli, ordinary path.”

In many ways she was right. The curly-haired young Ethiopian woman with a pearl knitted sweater and a ton of charisma, Barhany, 34, pursued a common route for a young Israeli: graduation, military service, backpacking in South America, and finally – New York.

Barhany, founder and director of BINA, Beta Israel of North America, an Ethiopian-Jewish organization in New York, is driven by the same curiosity and entrepreneurial instinct that brought some 25,000 Israelis as immigrants to the city. But going three decades back, Barhany and approximately 500 Ethiopian Jews living in New York, share a saga of traveling that is everything but ordinary.

“We left everything behind — land, property, cattle — when my relatives in Israel wrote to us in a letter: “Now is the time to come,” she recalled of that middle-of-the night in 1980, when the three-year journey began from the northern province of Tigray, Ethiopia. Barhany was four-years–old.

The term for Ethiopian Jews in Amharic is Falasha, a term of derision as outsiders or foreigners. They call themselves Beta Israel, ”The House of Israel.”

For over 2,500 years the Beta Israel community observed Orthodox Judaism, but for hundreds of years, the Ethiopian Jewry was unknown or disregarded by the rest of the Jewish world.

The regime of Colonel Mengistu Haile Mariam, and persecution by different tribes in Ethiopia, prompted the Israeli government, with no diplomatic relations with Ethiopia, to facilitate the rescue of thousands of Beta Israel.

Barhany and the group of people from her village walked for two months, until they arrived in Sudan. Three years later, they were given the green light to leave, by car, from Khartoum to Kenya, from Kenya to Uganda, then to Italy and finally – to Israel.

With a huge support and millions of Jewish American dollars, in 1991 a secret negotiation with the Ethiopian government was made, and within 36 hours, with 34 jumbo jets, “Operation Solomon” brought a total of 15,000 Ethiopian Jews to Israel.

One of those young children who landed in Israel that year is Angosh Goshu (Dorit). After six years in Brooklyn, her memory of the emotional arrival in Israel seemed even more contrasted. “We saw toilets, bathrooms and things like that, things we never saw before,” she said during an interview in a busy, fluorescent-lit Dunkin’ Donuts shop.

For the thirty thousand agriculturally trained, Amharic speaking Ethiopian immigrants, Israel, in the midst of the high-tech boom, was a very different landscape.

After she completed her Army service, like Barhany, Gogshu too, found herself emigrating for the second time in her life. This time, to New York.

She lives with her brother Neo, on Church Avenue and is studying to be a nurse. Between her job and her studies she helps Bizu Riki Mullu, founder of Chassida Shmella, to foster a community and promote Ethiopian culture and tradition.

There’s another advantage to life in New York. “In Israel we are different, we stand out more than we do here,“ Barhany said. “It might be easier for a non-Ethiopian to find a job there, than it is for Ethiopians… here it can be easier, no one will categorize you.”

A recent Israeli study found that, roughly 20 years after they came to Israel, unemployment in the Ethiopian community is more than double than in the whole Jewish population in Israel. Forty percent of Ethiopians are jobless or are not looking for one. It also found that only sixteen percent of Ethiopian Israelis are high-school graduates.

Like many of their peers in their early twenties, they decided to come to New York. Unlike most, however, they founded, or helped to start two non-profits: BINA and Chassida Shmella.

Chassida Shmella is the word stork in Hebrew and Amharic. It echoes an old tradition, of asking the storks as they migrate from Europe, (over Israel) to Africa: “Stork, stork, how is our beloved Jerusalem?”

These two organizations help Ethiopians network in the big city as well as help them to preserve their tradition.


Above: The renowned Ethiopian-Israeli BETA Dance Troupe was one of the highlights at the 2010 Sigd
festival in New York hosted by Chassida Shmella, The Ethiopian Jewish Community of North America,
and the 92nd Street Y Resource Center for Jewish Diversity.

The community has grown in the last five years but these organizations still struggle for support. Their community is too small to receive funding from larger organizations, and they are having trouble growing, because they lack support for education, for Jews and non-Jews about Ethiopia’s Jewish heritage.

Shabbat Dinners with Ethiopian food, Annual Ethiopian Film Festival and other cultural programs by BINA and Chassida Shmella are much needed. It’s crucial not only to strengthen the sense of community, but also to overcome ignorance from American Jews and even Israeli New Yorkers.

“Ninety Nine percent of people did not believe that I was Jewish,” said Goshu, 28, wearing a silver Star-of-David pendant. “And then, there were the Israelis, who asked ‘What, are you Ethiopian? What are you doing here? Were you unhappy in Israel?’” She replied with the same question. “Why are you here? Were you unhappy there?”

American Jewish foundations, which were key players in the Ethiopian Jews’ exodus, replied to Barhany’s request: “Isn’t it enough we brought them to Israel?”

During the Sigd holiday festival in the Upper East Side 92Y in September, Mullu, dressed in a traditionally-embroidered white dress, said they still need a lot of help.

“We are reaching out for everybody, every organization, every individual to be involved, to help us grow this organization, to help a younger generation be a part of the Jewish nation.”

Reaching out to everyone has worked. Barhany said that more than thirty percent of the Ethiopian-American community supports and participates in the community’s events. With fewer resources but a lot of enthusiasm, their help is crucial for these organizations’ growth.

After ten years in New York, Barhany is no longer a stranger, but she’s not ready to announce the end of her journey just yet.

“I call myself the wandering Jew,” she said.

Like the storks, she will keep traveling. Israel, and Ethiopia are her next stops, but not the last.


About the Author:
Dana Rapoport is a journalist based in New York. She worked as a foreign news editor for Israel’s largest broadcast news channel, Channel2, before attending the CUNY Graduate School of Journalism. Rapoport also holds a BA in History and Theatre from Tel Aviv University. She hopes to keep covering the Ethiopian community here, and in Israel.

Ethiopian-Israeli Play makes U.S. Splash

By Liben Eabisa

Published: Monday, May 5, 2008

New York (Tadias) – An Ethiopian-Israeli play, based on a true story told from a perspective of a ten-year-old boy named Andargay, is making the rounds in the United States in conjunction with Israel’s 60th anniversary. I managed to catch One of a Kind at the New Victory Theater in New York (42nd street, just west of Broadway).

The show, which made its US premiere in Tulsa, Oklahoma on April 24th, is written by Yossi Vassa (the adult Andargay) and director Shai Ben Attar. One of a Kind, which chronicles Vassa’s exhausting childhood expedition from Ethiopia to Israel, from a humorous vantage point, was first produced in Hebrew in 2005 and was named Israel’s best play of the year in 2006.

Tadias Magazine featured Vassa five-years-ago this month (during our first year of publication) following his appearance at Stanford University during the U.S. tour of his one-man show, It sounds Better in Amharic, a lively comic relief about the socio-cultural differences between growing up in Ethiopia and Israel.

Just like his previous stage stint, One of a Kind is based upon Yossi’s own real-life experience. His family is one of the 20,000 Ethiopian Jews who left their homes between 1977 and 1985 to partake in a clandestine mass departure to Israel. Told through the brilliant and hopeful eyes of the 10-year-old Andargay, the play focuses not as much on the travails of the long trek by foot from Ethiopia to Sudan, but on the candid curiosity and bliss discovery of youth. Yet, the play does not hide the journey’s difficult moments: Andarge’s grandmother (played by Tihitina Assefa) dies under miserable conditions in a refugee camp in Sudan, while the rest wait for their turn to be flown to Israel, along with the added burden of having no money to bribe the Sudanese authorities. Life in Sudan’s harsh desert stood in stark contrast to the spectacular Gonder highlands they left back in Ethiopia, where Andargay’s father, Asmamo (played by Shai Fredo), was set to start a dairy farm business with his future son-in-law, Isaac (played by Roy Zaddok).

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Above: From left – Yossi Vassa, Mahereta Baruch, Sky Gete, Benny Gatahon,
Tihitina Assefa, and Roy Zaddok. New Victory Theater. New York.
Friday, May 2, 2008. Photo by Liben Eabisa.

The part that made me cringe is the rather cartoonish depiction of Andargay’s Amharic teacher (played by Benny Gatahon), the show’s only non-Jewish Ethiopian character. The geez alphabet instructor is portrayed as both goofy and a bigot. The racist and foolish gentile administers corporal punishments on Andargay for no more a crime than the young boy’s Ethiopian Jewish identity. He refers to him as “smart alec Jew” and screams “Jesus Christ” every time he swings his dula (stick) at the poor kid, whom as a result banishes himself from school at age ten, never to return again. Although, it’s done with humor in mind (the teacher is actually very funny, when he is not spewing antisemitic remarks), the play unnecessarily risks negatively stereotyping Ethiopians as anti-semetic to western audiences, which in turn gives the false impression of the actual diversity and relatively peaceful co-existence of the three Abrahamic faiths in Ethiopia. Certainly, not all Ethiopian teachers subscribe to identical religious principals – Ethiopia, often referred to as the cradle of humanity, has been home to Christianity, Judaism and Islam for far longer than most of us are willing to acknowledge.

So, I asked Vassa, who studied theater at University of Haifa and served in the theater section of the Israeli army, what he thought of my feelings. “I recently returned to Ethiopia and saw this harmony and coexistence personally,” he replied, “but our story takes place between the regimes of Sellassie and Mengistu. This Marxist/Communist regime had a lot of anti-semitism that was expressed on every level up to the point that we were called “Falashas”- strangers without a land only because people clung to their Jewish religion.”

Back at the theater performance, I had overheard one woman ask her friends, “What did you think of the play?” as we prepared to exit the theater. Her friend, who spoke with a hint of Slavic accent, hesitated for a moment, her facial expression suggesting that she was still searching for the right words. “Too heavy? The first woman assisted, rephrasing her question in a suggestive manner. “Different”, came the answer. “It’s different, it’s very different.”

Although mixed with humor, uplifting music and dance, the harsh reality of refugee camps may be a bit depressing and the cultural settings might indeed be “very different”. However, the ‘edutainment’ value of One of a Kind is not lost on Beejhy Barhany, whom as a seven-year old girl, had made the same risky journey from Ethiopia to Israel, via Sudan. The story might as well have been hers, except that she was three years younger than Andargay and she did not live in a refugee camp in Sudan. She now lives in New York City, where she serves as Director of the Beta Israel of North America (BINA) Cultural Foundation, Inc., an organization dedicated to preserving and advancing the culture and history of Ethiopian Jews.

“It is educational and entertaining as well. For those who don’t know much about the Ethiopian Jewish experience, it is a brief introduction into the journey of Ethiopian Jews immigrating to Israel”, Barhany said. “Plus, it’s delivered in an entertaining and humoristic way. I definitely recommend it for people with families to go and see it.”

Monica Haynes-Kassa of Brooklyn, who was present with her daughter Farah Wiggan, was also impressed: “My daughter and I throughly enjoyed One of a Kind, so many funny scenes woven into a very serious topic of faith, hope and redemption”, she said. ” I loved the role of the grandmother who had so much love and hope for her family in seeing that they kept her life-long dream to migrate back to Israel, even though she sacrificed her own life in helping them to achieve that dream along the way. The animiation was a special touch and very creative. I was also surprised at how well the actors performed in English. Congrats (mazel tov) to Yossi Vassa on an excellent job.”

More than the play itself, what caught our attention mainly was the young and remarkable stars of the Nephesh Theatre, the most celebrated Ethiopian acting group in Israel, according to the program’s literature.

“All of the cast except Roy Zaddok are from Ethiopia (Roy is from Yemen)”, Howard Rypp, the show’s Producer and Artistic Director, told Tadias via an email interview. “It has been a gratifying experience seeing how the production has been so well received in the U.S.”

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Above: Actor Shai Fredo and Beejhy Barhany. New Victory Theater. New York.
Friday, May 2, 2008. Photo by Liben Eabisa.

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Above: Roy Zaddok and Mahereta Baruch. New Victory Theater. New York.
Friday, May 2, 2008. Photo by Liben Eabisa.

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Above: Monica Haynes-Kassa of Brooklyn (far right), who was present with
her daughter Farah Wiggan (left), is pictured here with Beejhy Barhany.
New Victory Theater. New York. Friday, May 2, 2008. Photo by Liben Eabisa.

Yossi Vassa is popular, having had regular appearances in the Israeli prime time television program, Israel Live as well as being featured in Dan Wollman’s film, Foreign Sister. Vassa has starred in three movies in Amharic, and has appeared with the Nephesh theatre in Athol Fugard’s Sizwe Bansi is Dead. Speaking about his performance in One of a Kind, Vassa notes, “I feel we as an ensemble that presents their story..we are writing our history..there is special significance that we have lived this experience and sharing it through the writing and the entire body.”

Vassa also appreciates the support of the Ethiopian American community: “Their responses are good and positive – I see how they look at the Ethiopian side of me with pride and I am happy when we have this meeting in a neutral place where we can hug each other. My connection to Ethiopia is important to me.” Vassa points to the growing success of Ethiopian youth. “There is a huge motivation among the Ethiopian Jews in Israel and we will see many more successes in many fields in Israel. I see my success as a mirror to the younger generations to look at their past and at themselves as an inspiration” he tells us.

Shai Ben Attar is the co-writer with Vassa of One of a Kind. After studying at the Telma Yellin Arts School Attar directed both the one-man show It Sounds Better in Amharic and One of a Kind. His play More Hana than Laslow has won the Best Entertainment Show award in 2004 and recently toured North America. Attar has also worked as head writer for Israeli Television’s National Channel as well as for the Educational TV Channel.

The other casts of One of a Kind include, Tehitina Assefa, a dedicated nurse as well as member of the acclaimed Itim Ensemble; the elegant Mahereta Baruch, a graduate of the University of Haifa’s Psychology program who finished second place in the Israeli reality program based on The Apprentice; Sky Gete, a graduate of Beit Tzvi’s School for Stage Art and whose acting experience includes performances of Macbeth, Hair, and Peter Pan; Shai Fredo, a graduate of Nissan Nativ Acting Studio and producer of the one-man play Judean Lion; Benny Gatahon, a graduate of the University of Haifa’s Theatre Department, and featured in the television series The Champion; and Roy Zaddok, a graduate of the Nissan Nativ Acting Studio and Tel Aviv’s University’s Faculty of Law, whose screen appearances include Miller’s Death of a Salesman, Vonnegut’s Catch 22, as well as various guest spots and commercials on Israeli television.

The Nephesh Theatre will be playing on Broadway until May 12th, in Seattle from May 14th through the 18th, and in Toronto on May 20th. Additional information about the Nephesh Theatre shows can be found on their website: www.nepheshtheatre.co.il

LIVE AND BECOME: A film by Radu Mihaileanu

The year is 1985. “Operation Moses” is at its peak — the massive airlift of thousands of “Falasha,” Ethiopian Jewish refugees, who are fleeing oppression in their native country. One Jewish boy, marked for a rescue-flight to Israel, dies as the story begins. Another boy, a Christian (Moshe Agazai), secretly takes his place. He does so with the tacit cooperation of both the dead boy’s mother, and his own mother. At age 9, “Schlomo” (as he is renamed; we never learn his earlier name) is too young to realize his life is being saved. He knows only that he is being cruelly separated from his real mother, and that he must never ever reveal his true identity to anyone. Israeli authorities are very severe about deporting pretenders they discover among the rescued. His adoptive mother dies, apparently of tuberculosis, very shortly after their arrival. Schlomo is now completely on his own. He proves a gifted but difficult student. He learns Hebrew easily, but refuses to eat. In his heart, he speaks to his mother in Africa each night by addressing his thoughts to the moon, overhead. He picks fights with schoolmates. He finally even flees the dormitory one night, headed south to Ethiopia wearing little more than a bedsheet. The authorities overtake him. They then arrange for Schlomo to be adopted by a liberal, French-Israeli couple, Yael (Yael Abecassis) and Yoram (Roschdy Zem). And so begins the most hopeful, and healing journey of Schlomo’s young life. The way is still fraught with difficulty. He not only has new parents, but new siblings. (He also has a warm, droll new grandfather, played by Rami Danon.) They all adjust to one another by stormy degrees. However, a deep and mutual love is gradually forged, especially between the boy and his new mother, Yael. She becomes his ferocious protector when the parents of Schlomo’s schoolmates recoil from his color, or what they pre-judge to be his lack of intellect, or what they imagine to be the diseases he may have brought with him from Africa. Yael will have none of it. She curses their pettiness, and wins the confrontation.
live_and_become.jpg

His adoptive father Yoram is no less fierce in his love, especially when a group of fundamentalist clerics at the Chief Rabbinate of Jerusalem manhandle the boy in a misguided effort to ritually “cleanse” him (attempting to take a drop of blood from his penis), in tandem with every other Ethiopian they can lay hold of. Through this episode, which triggers a riot and afterward sparks vigorous marches of protest, we become privvy to rich layers of conflict and nuance in Israeli society which are seldom communicated in the American news media. Around this time, the boy pays a visit to a prominent Ethiopian rabbi he sees on television, Qes Amhra (Yitzhak Edgar). Qes agrees to write letters to Africa for the boy. If the old man suspects that his new young friend is secretly a gentile, he lets it pass. As a teenager, circa 1989, Schlomo (now played by Mosche Abebe) grows tall and princely. He falls in love with a local beauty Sarah (Roni Hadar). She is as much in love with him, but her father vehemently, even brutally, opposes the match. Racial prejudice is a factor. Yet Sarah’s father also intuits something we and Schlomo know to be true — that deep down, he is inauthentic. Schlomo counteracts this by mastering the Torah. He enters a steep intellectual competition known as The Controversies, in which he must debate profundities of Scripture with no margin for error. Qes tutors him in nuances of spiritual law, but advises him to understand it from his heart. Schlomo is obliged to debate the skin-color of Adam. The very topic is a pointed insult aimed at him by Sarah’s father, one of the judges, yet Schlomo speaks to it beautifully. Nevertheless, her father remains unmoved by his triumph. Sarah still loves him, but as he becomes an adult (played by Sirak M. Sabahat), Schlomo keeps her at arm’s length. However deeply he has assimilated, however passionately he has embraced the spiritual and intellectual rigors of Judaism, there is no one he feels he may trust with his secret. Moreover, he longs to be reunited with his biological mother. The eventful, surprise-filled climax of Schlomo’s journey centers on the reconciliation of these particular sufferings, and his bold actions toward healing …



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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