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Singing the Memory of Sepharad: Traditional Sephardic Song and Its Interpretation
Singing the Memory of Sepharad: Traditional Sephardic Song and its Interpretation Katerina Garcia Abstract The transmission and interpretation of Sephardic songs is inextricably linked to Sephardic culture, and to this day represents a powerful marker of identity. It is the aim of this article to first contextualise traditional Sephardic song by outlining a brief introduction into the cultural background of the Sephardic Diaspora. Subsequently, I will introduce the various secular forms and genres of Sephardic traditional song, focusing on the modes of their interpretation by both contemporary Sephardic and non-Sephardic musicians. In doing so, I will propose a typology of performance approaches, with regards to the role that the re-imagining of Sepharad as a mythical land of the past plays in this process. Keywords: Sephardic music, Judeo-Spanish song, interpretation Introduction The Sephardic Jews, or Sephardim1, represent the second largest ethnic division within Judaism, the first one being the Ashkenazim, or German and Eastern-European Jews. In the narrowest sense of the term, Sephardim are the descendants of the Jews expelled from the Iberian Peninsula at the end of the 15th century (Spain, 1492; Portugal, 1496), and those who assimilated culturally to them in the main areas of Sephardic settlement post-1492 The areas of the Sephardic diaspora are indicated in Figure 1: Figure 1 – The Sephardic Diaspora (Sephiha and Weinstock 1997) Ethnomusicology Ireland 5 (2017) Garcia 172 For the present discussion of traditional Sephardic music, only the areas of the Eastern Mediterranean (incl. the present-day state of Israel), the Balkan Peninsula and North Africa (the former Ottoman Empire) are relevant, as it is here that a specific Sephardic language and culture develop. -
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Anthology of Music Traditions in Israel The Hebrew University of Jerusalem • The Jewish Music Research Centre 27 Anthology of Music Traditions in Israel • 27 Editor: Edwin Seroussi Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Study and commentaries: Rivka Havassy and Edwin Seroussi Research collaborators: Michael Aylward, Joel Bresler, Judith R. Cohen and Risto Pekka Pennanen Jerusalem, 2020 Jewish Music Research Centre, The Hebrew University of Jerusalem The Hebrew University of Jerusalem • Faculty of Humanities Jewish Music Research Centre In collaboration with the National Library of Israel With the support of Centre for Research and Study of the Sephardi and Oriental Jewish Heritage (Misgav Yerushalayim) at The Hebrew University of Jerusalem For additional materials related to this album, see www.jewish-music.huji.ac.il Academic Board of the Jewish Music Research Centre Chairperson: Shalom Sabar Steven Fassberg, Ruth HaCohen, Yossi Maurey, Elchanan Reiner, Eliyahu Schleifer, Assaf Shelleg, Rina Talgam Director: Edwin Seroussi Digital Transfers: SMART LAB, Hayes, Middlesex Digital Editing and Mastering: Avi Elbaz Graphic design: www.saybrand.co.il Cover photograph: Splendid Palace Hotel, Salonika, c. 1910, location of recordings © and P The Hebrew University of Jerusalem 2020 4 Preface In 2008 the Jewish Music Research Centre released a 4 CD package entitled An Early 20th-century Sephardi Troubadour: The Historic Recordings of Haim Effendi of Turkey. Catering to the increasing scholarly and general public interest in the role commercial recordings had on musical traditions from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic music prior to the rapid chain of events leading to the dissolution of the traditional communities that maintained this music. -
Diwan-Flyer-2015 For-Web.Pdf
photography: Shmulik Balmas www.facebook.com/diwansazmusic www.twitter.com/diwansaz www.instagram.com/diwansaz Multi-Cultural Middle Eastern World Music Ensemble [email protected] +972-525-999-161 www.diwansaz.com Diwan Saz is a multicultural Jewish ,Christian & Muslim group of musicians who perform ancient music from Central Asia, Turkey, Persia, and the Holy Land - promoting peace and understanding through music. Diwan Saz marries together two great traditions that coexist in the Holy Land - Hebrew and Arab music, The songs are sung together by Rabbi David Menachem , Hamudi Gadir, Tzipora El Rei, lubna sallame & Amir shahsar whose powerful voices, rising at times above the instruments, demands almost undivided attention. Music of peace: The Daly Lama was once asked how to end the conflict between nations and people. He answered, “Through music - playing, learning, and teaching together”. The Diwan Saz Interfaith Ensemble embodies this philosophy photography: Andy Alpern through its repertoire of authentic folk and classical music of the Middle East performed by some of the most respected musicians in the region. The ensemble, led by Musical Director and Baglama musician Yohai Barak, has performed in festivals and venues ”But the most inspiring and quite symbolic performance throughout Europe, Israel , India and several prestigious of the night, was given by the Diwan Saz. A group which festivals in the United States and Canada including The South embodies the ideals of the Festival - diversity and mutual By Southwest Music Festival - Austin Texas. As musicians, respect. Diwan Saz marries together two great traditions artists and teachers Diwansaz combine their many years that coexist in the Holy Land - that of Jewish and Muslim of commitment to their art and their communities to bring a music …A true music of peace and harmony. -
Music As a Cultural Diplomacy Between Israel and Turkey (2008-2016)
DOI: 10.7816/idil-06-32-04 idil, 2017, Cilt 6, Sayı 32, Volume 6, Issue 32 MUSIC AS A CULTURAL DIPLOMACY BETWEEN ISRAEL AND TURKEY (2008-2016) Mehtap DEMİR1 ÖZ The objective of this research is to explore how musical and cultural diplomacy have influenced political relationships between Turkey and Israel. Cultural diplomacy encompasses the exchange of ideas and information for the purpose of promoting mutually benefiting understanding between different cultural groups. Music diplomacy is the use of songs to promote respect, cooperation and understanding. The article emphasizes how Israel and Turkey have benefited from the power of music and cultural exchanges to maintain friendly ties when they have the lowest level of connection in terms of diplomatic relations. In the diplomatic crisis of two countries in 2010, the musicians, from both countries, took on the roles of peace ambassador and helped to soothe the masses through concerts. Using the constructivist theory of international relations, this article argues for promotion of culture and music as crucial diplomatic instruments for improving cooperation and communication between countries. In this context, it is very crucial to raise the highest possible levels of musical and cultural diplomacy between Israel and Turkey and to find ways to respect each other's cultural uniqueness. The topic of this article has been probed through the historical and critical method of musicology in the interdisciplinary context, including politics, international relations and cultural studies. Keywords: Israel, Turkey, Cultural Diplomacy, Music, International Relations Demir, Mehtap. "Music as a Cultural Diplomacy between Israel and Turkey (2008-2016)". idil 6.32 (2017): 1225-1240. -
2.6 Israeli Song Festivals
2.6 MULTIPLE ISRAELI PERFORMERS Ad Olam -- Neda’ House Israeli Worldwide Music Chatzar abu Sunshine and flowers Afifonim Ma-ayan Sichat ha-dkalim Sinai Rachok kolchach mehabait Tikva Tzocheket im mal‟achim Solo kamencha Folkot mizrach tichoniyot Abadai The Beautiful Songs of Jerusalem Jerusalem of Gold From the Top of Mt. Scopus Shalom Jerusalem The Jerusalem of Yesterday Yerusalalayim Ha‟acheret The Guard of the Walls Everybody Has His Jerusalem At Your Gates, Jerusalem Pray for Peace for Jerusalem My Jerusalem Rejoice O Jerusalem My City, My Bride Shabchi Yerushalayim The Wall O Beautiful Jerusalem Bathed in Light This Is Jerusalem Ir Va‟em May You Be Blessed To Jerusalem Your City If I Forget Thee O Jerusalem Hatikva Born in Israel: The Next Generation Familiar Song Dor (Generation) I Wish (Halevai) I Have No Other Land My Kid Brother Yehuda Good Reason Son Name the Stars Daysd of Binyamina Mediterranean Born in Israel It‟s You Hand in Hand Happy New Year Bashana Habaah Dror – La’menatze’ach Shir Mizmor (The Best of the Mizrachi Song Festival 1) Yachdav Nasoova (Together We Will Round) - “Mizmor Shir” & “Zimrat” Choruses Ha‟Malach Ha‟Tov Yofiah (The Good Angel Will Appear) - Lilit Nagar Kol Hod Ha‟Shamaim (All the Sky‟s Glory) - Shoshana Damari Lechah Dodi (Come My Beloved) - Ofira Glooska Simi Anak (Put on a Necklace) - Yaffa Yarkoni & Moti Fleisher Ahava Gan Na‟ool Hee (Love Is a Locked Garden) - Moti Fleisher Kinat Yaakov (Jacob‟s Lament) - Rivka Zohar Bo‟oo Ve‟Nashir Achim (Let‟s Sing Together Brothers) - Sasi Keshet Shtei Achayot -
Adio Kerida": Narrating the Sephardic Diaspora a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
"Adio Kerida": Narrating the Sephardic Diaspora A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/adio-kerida-narrating- sephardic-diaspora. Introduction “Adio Kerida,” or “Goodbye, Dear,” is a popular song in the large repertoire of Judeo-Spanish, or Ladino, songs. Currently endangered, Ladino was the common, everyday language of hundreds of thousands of Jews throughout the Sephardic diaspora (especially in the Ottoman Empire, North Africa, and the Mediterranean basin) after their expulsion from Spain in 1492. Sephardic history and culture is a rich mosaic resulting from centuries of life in diverse Christian, Muslim, and Jewish societies across the world, and many words in Ladino reflect this diversity. This resource kit presents resources to help teachers contextualize “Adio Kerida” and use it to teach about Sephardic history and culture, Ladino, and themes of diaspora, homeland, and nostalgia. Cover image: Copy of the "Alhambra Decree/Edict of Expulsion," signed by King Ferdinand II and Queen Isabella I on March 31, 1492. Subjects Anti-Semitism, Ladino, Music, Sephardi Reading and background: For a brief history of the Jews in Spain through 1492, read Jane Gerber’s article “‘Ornament of the World’ and the Jews of Spain” or her book The Jews of Spain: A History of the Sephardic Experience (Free Press, 1994). For an overview of Sephardic life in the Ottoman Empire, see Sephardi Jewry: A History of the Judeo-Spanish Community, 14th-20th Centuries by Esther Benbassa and Aron Rodrigue (University of California Press, 2000). Both the University of Washington in Seattle and the University of California, Los Angeles, have websites devoted to Sephardic history in the United States and beyond. -
Musical Personae in a Cosmopolitan Society by Merav Singer A
Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society By Merav Singer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Tamara Roberts Professor Paola Bacchetta Professor Edwin Seroussi Fall 2015 Abstract Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society by Merav Singer Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair Israel in the 21 st century is an intensely multicultural society where several types of cosmopolitanism vie with regional and ethnic forms of expression, a phenomenon that plays out in musical life. I propose that such a society offers a variety of possibilities for what a woman is, what she can do, and how she can work. This dissertation is an ethnographic study of four female singer-songwriters that examines the ways they negotiate and sometimes challenge socio-cultural norms in creating their careers and constructing their artistic personae, or the version of themselves that they present as musicians. The artists I focus on straddle four major rifts in Israeli society, between Arabs and Jews, Mizrahim and Ashkenazim, Russian-speaking immigrants and native Israelis, and Orthodox and non-Orthodox communities. In using their ethnic heritage as cultural capital to corner a unique market niche, these artists become enmeshed in social politics that include tensions between ethnic and religious groups, conflicting gender roles, and struggles over belonging. I argue that as they create legible personae to meet the demands of the music industry, their liminality between mainstream society and a minority sector challenges the discourse around those identities. -
Ladino Theatre
LADINO THEATRE : TRAGEDY , CULTURAL POLITICS AND REPRESENTING THE PAST IN THE SEPHARDIC JEWISH DIASPORA BY MARA MARIE LOCKOWANDT DEPARTMENT OF DRAMA AND THEATRE ROYAL HOLLOWAY , UNIVERSITY OF LONDON SUBMITTED FOR THE DEGREE DOCTOR OF PHILOSOPHY SEPTEMBER 2012 1 DECLARATION OF AUTHORSHIP I Mara Lockowandt hereby declare that this thesis and the work presented in it are entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ___21 September, 2012 ______ 2 - ABSTRACT - This thesis considers the role of performances in the modern Sephardic diaspora. Live performances have been an integral part of Sephardic life for centuries: songs and narratives in Ladino (Judeo-Spanish) are performed to mark life cycle events, religious holidays, remember the past, and maintain cultural distinctiveness. Despite the decline of Ladino throughout the twentieth century, the language continues to be utilized in singing, storytelling, and dramatic events, often as a means of connecting a community to their diasporic past. In light of the ongoing value of Ladino in performance, the present study undertakes a wide historical examination of Sephardic performances from the nineteenth century to the present day to consider the shifting significance of Ladino and representing the past in constructing ethnic and cultural identities. Two key periods in modern Sephardi history are considered: 1) the emergence and development of modern Sephardi Theatre in the Ottoman Empire; 2) the revitalisation of Sephardi theatre during the late twentieth century in Israel and the United States. A relational approach is utilized throughout this work, as forwarded in contemporary scholarship on diaspora and performance, to draw connections between different migratory experiences and cross-cultural encounters. -
Yasmin Levy's Ladino Ballads and Flamenco Songs
John C. Mc Intyre. Yasmin Levy’s Ladino ballads and flamenco songs: background for students of Spanish Yasmin Levy canta romances ladinos y canciones flamencas: Orientación para los estudiantes de Hispánicas John C. Mc Intyre Independent researcher University of Strathclyde Recibido el 18 de octubre de 2009 Aprobado el 14 de noviembre de 2009 Resumen: Yasmin inició su carrera cantando los romances antiguos de la tradición llamada ladina de los judeo-españoles o sefardíes. Las comunidades judías, radicadas en España desde el Imperio romano, florecieron durante el reinado de Alfonso X (1252- 1284 AD). En 1492 los judíos practicantes fueron expulsados de España. Se desparramaron por todo el Mediterráneo, conservando sobre todo en sus canciones su forma de hablar castellano. Se detallan las características principales de la lengua ladina. En su primer disco compacto Yasmin canta diez canciones en el ladino antiguo. En el segundo disco maneja una mayor variedad de fuentes y pretende „fusionar‟ el ladino y el flamenco. Se comentan dos canciones de cada disco. Dos discos posteriores y un DVD ofrecen más material para los profesores y estudiantes de Hispánicas que quieran comprender mejor la cultura de la Edad Media española. Palabras clave: Yasmin Levy. Romances ladinos. Canciones flamencas. Summary: Yasmin‟s career started with ballads from the Judaeo-Spanish (Sephardic) or Ladino tradition. Jewish communities, established in Spain since Roman times, flourished under Alfonso X (1252-1284 AD). In 1492 practising Jews were driven out of Spain. They re-settled all over the Mediterranean, preserving their 15th-century Spanish especially in their songs. The major features of Ladino are outlined. -
Of Love Exile Songs
95652 Songs of Love &Exile A Sephardic Journey Channa Malkin soprano Izhar Elias guitar Songs of Love & Exile My first introduction to Sephardic songs came as a present from my mother: the book A Sephardic Journey Sephardic Songs and Ballads. This book is an anthology of virtually all Sephardic songs in existence, painstakingly collected and transcribed by Dutch-Jewish singer Sephardic melodies Mario Castelnuovo-Tedesco 1895-1968 Chanah Milner in the early seventies. When I first sang through a couple of these 1. Lavava y suspirava 5’12 The divan of Moses-Ibn-Ezra songs, they touched me immediately. Underneath the seemingly simple melodies 2. La serena 2’36 14. Drink deep, my friend 0’47 telling life’s usual stories, I felt the longing of generation upon generation for a arr. Daniel Akiva b.1953 15. Dull and sad is the sky 1’29 homeland left long ago but never forgotten. 3. Durme, hermozo hijico 3’08 16. The garden dons a coat © Channa Malkin arr. Daniel Akiva of many hues 1’41 4. La rosa enflorece 3’36 17. The dove that nests 5. Hija mia 2’19 in the tree-top 2’35 Sephardic Songs 6. Como la rosa 4’16 18. O brook 1’41 This homeland was Sepharad, today’s Spain and Portugal, home to a large Jewish 7. Morenica 4’12 19. Fate has blocked the way 4’24 population since at least the 8th century A.D. During the Moorish occupation of Spain 8. Nana Sefardí 3’30 and Portugal, or Al-Andalus as it was then called, Sephardic Jews enjoyed a degree arr. -
Redalyc.Judeo-Spanish Song: a Mediterranean-Wide Interactive
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Cohen, Judith R. Judeo-Spanish song: a Mediterranean-wide interactive tradition Trans. Revista Transcultural de Música, núm. 14, 2010, pp. 1-8 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82220947013 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative TRANS - Revista Transcultural de Música - Transcultural Music Revie... http://www.sibetrans.com/trans/a18/judeo-spanish-song-a-mediterrane... Home PRESENTACIÓN EQUIPO EDITORIAL INFORMACIÓN PARA LOS AUTORES CÓMO CITAR TRANS INDEXACIÓN CONTACTO Última publicación Números publicados < Volver TRANS 14 (2010) Convocatoria para artículos: Judeo-Spanish song: a Mediterranean-wide interactive tradition Judith R. Cohen Explorar TRANS: Por Número > Por Artículo > Abstract Por Autor > Judeo-Spanish Sephardic ("Ladino") songs have been sung, remembered, composed, and adapted around the Mediterranean, from the late-fifteenth-century expulsions from Iberian lands to festivals of new Ladino songs. This reflective survey explores mythologies around this multi-site, interactive tradition, of which diaspora and re-invention have been defining elements since its inception. Following a brief background, it evokes a lost ethnographic utopia, then moves on to the fledgling recording industry and early forays into systematic fieldwork. It surveys developments in the mid-to-late twentieth and the early twenty-first centuries, when solid scholarship and documentary recordings appeared alongside exoticization and myths. -
Challenges Encountered on Wikimedia Projects for Endangered Languages
Challenges encountered on Wikimedia projects for endangered languages Carlos Manuel Colina [[lad:User:Jewbask]] Haifa, Israel. August 5, 2011 Challenges encountered on Wikimedia projects for endangered languages What is an Endangered Language? A language is endangered when it is on a path towards extinction. A language is in danger when its speakers cease to use it, use it in an increasingly reduced number of communicative domains, and cease to pass it on from one generation to the next. That is, there are no new speakers, adults or children. Without adequate documentation, a language that is extinct can never be revived. According to the UNESCO Atlas of the World's Languages in Danger, “It is estimated that, if nothing is done, half of 6000 plus languages spoken today will disappear by the end of this century. With the disappearance of unwritten and undocumented languages, humanity would lose not only a cultural wealth but also important ancestral knowledge embedded, in particular, in indigenous languages. “ Challenges encountered on Wikimedia projects for endangered languages Degrees of endangerment These terminology is based on UNESCO’s Language Vitality and Endangerment framework that establishes six degrees of vitality/endangerment based on nine factors. Of these factors, the most salient is that of intergenerational transmission. Challenges encountered on Wikimedia projects for endangered languages The languages used in this study Wayuunaiki (Guajiro) Challenges encountered on Wikimedia projects for endangered languages Wayuunaiki An indigenous Arawakan language spoken mainly in the northern tip of South America, specifically in the colombian department of La Guajira, and the venezuelan state of Zulia, which share the border common to both countries.