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When Mizrahi Artists Said ‘No’ to Israel’S Pioneer Culture
Riches To Rags To Virtual Riches: When Mizrahi Artists Said ‘No’ To Israel’s Pioneer Culture Shoshana Gabay. Ills. Joseph Sassoon Semah Upon their arrival in Israel, Mizrahi Jews found themselves under a regime that demanded obedience, even in cultural matters. All were required to conform to an idealized pioneer figure who sang classical, militaristic ‘Hebrew’ songs. That is, before the ‘Kasetot’ era propelled Mizrahi artists into the spotlight, paving the way for today’s musical stars. Part two of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to Palestinian singer Mohammed Assaf. Read part one here. Our early encounter with Zionist music takes place in kindergarten, then later in schools and the youth movements, usually with an accordionist in tow playing songs worn and weathered by the dry desert winds. Music teachers at school never bothered with classical music, neither Western nor Arabian, and traditional Ashkenazi liturgies – let alone Sephardic – were not even taken into account. The early pioneer music was hard to stomach, and not only because it didn’t belong to our generation and wasn’t part of our heritage. More specifically, we were gagging on something shoved obsessively down our throat by political authority. Our “founding fathers” and their children never spared us any candid detail regarding the bodily reaction they experience when hearing the music brought here by our fathers, and the music we created here. But not much was said regarding the thoughts and feelings of Mizrahi immigrants (nor about their children who were born into it) who came here and heard what passed as Israeli music, nor about their children who were born into it. -
2009 Hamerkaz
50883_Book_r3:50883_Book_r3 9/16/09 2:21 PM Page 1 F ALL 2 0 0 9 E DITION HAPPY NEW YEAR 5770 HAMERKAZ A PUBLICATION OF THE SEPHARDIC EDUCATIONAL CENTER SECuring Our Jewish Future 50883_Book_r3:50883_Book_r3 9/16/09 2:21 PM Page 2 BOARD MEMBERS Dr. Jose A. Nessim, Founder & President MESSAGE FROM THE BOARD W o r l d E x e c u t i v e C o m m i t t e e Ronald J. Nessim, Chair Sarita Hasson Fields Raymond Mallel Freda Nessim By Ronald J. Nessim Steven Nessim Prof. Eli Nissim There has been significant and exciting changes at the SEC over the past two Dr. Salvador Sarfatti years. Let me update you on some of them. Neil J. Sheff Marcia Israel Weingarten Larry Azose, World Executive Director In the fall of 2007, we hired Larry Azose as our full-time executive director. Larry has a rich Sephardic background, brings organizational skills to the SEC and is S E C J e r u s a l e m C a m p u s 200% committed to our cause. We are fortunate to have him. Rabbi Yosef Benarroch, Educational Director [email protected] Our executive committee which I am proud to chair has been meeting monthly in Israel Shalem, Administrative Director Los Angeles. The executive committee has made great progress in revitalizing the [email protected] SEC and each member has assumed primary responsibility in one or more areas such as finance, Israel programs and our Jewish day school initiative. S E C C h a p t e r s Los Angeles• Argentina• New York• Montreal It is our intent over the coming months to create Advisory Committees consisting World Executive Offices of community leaders in our local chapters. -
Israeli Music and Its Study
Music in Israel at Sixty: Processes and Experiences1 Edwin Seroussi (Hebrew University of Jerusalem) Drawing a panoramic assessment of a field of culture that resists clear categorizations and whose readings offer multiple and utterly contrasting options such as Israeli music is a challenge entailing high intellectual risks. For no matter which way your interpretations lean you will always be suspected of aligning with one ideological agenda or another. Untangling the music, and for that matter any field of modern Israeli culture, is a task bound to oversimplification unless one abandons all aspirations to interpret the whole and just focuses on the more humble mission of selecting a few decisive moments which illuminate trends and processes within that whole. Modest perhaps as an interpretative strategy, by concentrating on discrete time, spatial and discursive units (a concert, a band, an album, an obituary, a music store, an academic conference, etc) this paper attempts to draw some meaningful insights as sixty years of music-making in Israel are marked. The periodic marking of the completion of time cycles, such as decades or centuries, is a way for human beings to domesticate and structure the unstoppable stream of consciousness that we call time.2 If one accepts the premise that the specific timing of any given time cycle is pure convention, one may cynically interpret the unusually lavish celebrations of “Israel at Sixty” as a design of Israeli politicians to focus the public attention both within and outside the country on a positive image of the state 1 This paper was read as the keynote address for the conference Hearing Israel: Music, Culture and History at 60, held at the University of Virginia, April 13-14, 2008. -
Izraelská Populární Hudba Od Konce 40. Let 20. Století Do Současnosti Michaela Wittwarová
Západočeská univerzita v Plzni Fakulta filozofická Diplomová práce Izraelská populární hudba od konce 40. let 20. století do současnosti Michaela Wittwarová Plzeň 2016 Západočeská univerzita v Plzni Fakulta filozofická Katedra blízkovýchodních studií Studijní program Mezinárodní teritoriální studia Studijní obor Blízkovýchodní studia Diplomová práce Izraelská populární hudba od konce 40. let 20. století do současnosti Michaela Wittwarová Vedoucí práce: Mgr. Zbyněk Tarant, Ph.D. Katedra blízkovýchodních studií Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2016 Prohlašuji, že jsem práci zpracoval(a) samostatně a použil(a) jen uvedených pramenů a literatury. Plzeň, duben 2016 ……………………… Poděkování: Děkuji svému vedoucímu práce Mgr. Zbyňku Tarantovi, Ph.D. za přínosné konzultace. Děkuji také všem svým bližním, kteří mě během psaní práce podporovali. Obsah 1 ÚVOD ......................................................................................... 1 1.1 Cíle................................................................................................. 1 1.2 Představení tématu ...................................................................... 1 1.3 Metoda práce ................................................................................ 1 1.4 Terminologie................................................................................. 2 1.5 Technické poznámky ................................................................... 3 1.6 Důvody k výběru tématu, přínos ................................................. 3 2 PRVNÍ -
Songs of Grief, Joy, and Tragedy Among Iraqi Jews
EXILED NOSTALGIA AND MUSICAL REMEMBRANCE: SONGS OF GRIEF, JOY, AND TRAGEDY AMONG IRAQI JEWS BY LILIANA CARRIZO DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Professor Donna A. Buchanan, Chair Professor Gabriel Solis Associate Professor Christina Bashford Professor Kenneth M. Cuno ABSTRACT This dissertation examines a practice of private song-making, one whose existence is often denied, among a small number of amateur Iraqi Jewish singers in Israel. These individuals are among those who abruptly emigrated from Iraq to Israel in the mid twentieth century, and share formative experiences of cultural displacement and trauma. Their songs are in a mixture of colloquial Iraqi dialects of Arabic, set to Arab melodic modes, and employ poetic and musical strategies of obfuscation. I examine how, within intimate, domestic spheres, Iraqi Jews continually negotiate their personal experiences of trauma, grief, joy, and cultural exile through musical and culinary practices associated with their pasts. Engaging with recent advances in trauma theory, I investigate how these individuals utilize poetic and musical strategies to harness the unstable affect associated with trauma, allowing for its bodily embrace. I argue that, through their similar synaesthetic capability, musical and culinary practices converge to allow for powerful, multi-sensorial evocations of past experiences, places, and emotions that are crucial to singers’ self-conceptions in the present day. Though these private songs are rarely practiced by younger generations of Iraqi Jews, they remain an under-the-radar means through which first- and second-generation Iraqi immigrants participate in affective processes of remembering, self-making, and survival. -
REVIEWS May/June 2012 Volume II, No
Association of Jewish Libraries REVIEWS May/June 2012 Volume II, No. 2 In The Spotlight Dublin, Anne. The Baby Experiment. Toronto: Dundurn, 2012. 152 pp. $9.99. (9781459701359) Pbk. Reviewed from an advance reading copy. Gr. 5–8. “‘We have a strict rule. An unbreakable rule. The caregivers will not be permitted to speak to the babies. And you may not hold a baby beyond what is absolutely necessary for its physical care.’” These are the orders that Johanna is given when, hiding her Jewish identity, she gets a job in an orphanage. After experiencing the cruelty of the baby experiment, where lack of nurturing leads to infant deaths, her strongly held Jewish values impel her to take a huge risk. She runs away from the orphanage, taking a baby with her. Set in Germany in 1703, Johanna’s suspenseful story captures the harshness of the times: disease, poverty, crime, and rampant anti-Semitism. Her escape takes her, after many harrowing events, to Amsterdam, thanks to the kindness of strangers whom she meets during her flight. Jewish values provide the motivation for Joanna’s actions and imbue her character with its steely sense of knowing right from wrong. The novel’s other characters are also portrayed as realistic and distinct individuals, interacting against a vividly realized historical background. Anne Dublin is the author of numerous works of fiction and non-fiction for young people, including the award-winning Bobbie Rosenfeld: The Olympian Who Could Do Everything and The Orphan Rescue. Like those books, The Baby Experiment should not be missed. -
Home Beyond Borders and the Sound of Al-Andalus. Jewishness in Arabic; the Odyssey of Samy Elmaghribi
religions Article Home beyond Borders and the Sound of Al-Andalus. Jewishness in Arabic; the Odyssey of Samy Elmaghribi Jessica Roda 1,* and Stephanie Tara Schwartz 2,* 1 School of Foreign Service, Center for Jewish Civilization, Georgetown University, Washington, DC 20056, USA 2 Association for Canadian Jewish Studies, Montreal, QC H3G 1M8, Canada * Correspondence: [email protected] (J.R.); [email protected] (S.T.S.) Received: 19 October 2020; Accepted: 11 November 2020; Published: 16 November 2020 Abstract: In their conversation about music, Edward Said and Daniel Barenboim discuss a process of seeking home in music and literature. For Moroccan-Jewish superstar Samy Elmaghribi (Solomon Amzallag), who migrated to France and Israel and then settled for most of his life in Montreal, Canada, the reference to Al-Andalus through the sound of the nouba became his home. Beginning his career in his native country of Morocco as a singer and composer of modern Moroccan music, in Montreal, Samy Elmaghribi became the cantor in the Spanish and Portuguese Synagogue, the oldest Jewish congregation in Canada. Based on ethnographic research and investigation within the archives of the artist, the authors suggest that Samy Elmaghribi created a sense of home in music, a homeness, one that transcends our present understanding of Arabness and Jewishness, religiosity and secularism, tradition and creativity. Focus on Samy Elmaghribi, an artistic persona emblematic of his generation, demonstrates how the contemporary reassessment of renowned Jewish artists’ North African heritage is often misread in light of the political present. This example encourages us to rethink the musical legacy to which these North African Jews contributed beyond what is labelled Judeo-Arabic, traditional, religious, or secular. -
Musical Practices of Moroccan Jews in Brooklyn
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Redefining Diaspora Consciousness: Musical Practices Of Moroccan Jews In Brooklyn Samuel Reuben Thomas Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/392 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] REDEFINING DIASPORA CONSCIOUSNESS: MUSICAL PRACTICES OF MOROCCAN JEWS IN BROOKLYN by Samuel R. Thomas A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 Samuel Reuben Thomas All Rights Reserved ! ii! This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Stephen Blum Date Chair of the Examining Committee Norman Carey Date Executive Officer Jane Sugarman Jane Gerber Mark Kligman Edwin Seroussi Supervisory Committee THE CITY UNIVERSITY OF NEW YORK ! iii! Abstract Redefining Diaspora Consciousness: Musical Practices of Moroccan Jews in Brooklyn by Samuel R. Thomas Advisor: Dr. Jane Sugarman This dissertation examines the role of musical practices in the synagogue life of Maroka’im (Moroccan Jews) in Brooklyn, New York. Living in an urban setting known for its diverse and robust Jewish life, community members utilize several different types of musical expression to emblematize three distinct diasporic ethnic identities: Jewish (of ancient Israel), Sephardi (Spanish), and Maroka’i (Moroccan). -
The Chronicle North Central Florida’S Jewish Community Newspaper Published and Supported by the Jewish Council of North Central Florida
the chrOnicle North Central Florida’s Jewish Community Newspaper Published and Supported by The Jewish Council of North Central Florida November 2014 Cheshvan - Kislev 5775 There Is A Project For Everyone During Sixth Community Mitzvah Day November 9 Jews believe that mitzvah goreret Temple Shir Shalom, is proud to carry breakfast are hosted at the Tabacinic mitzvah - one mitzvah leads to another. on that tradition. Lubavitch-Chabad Jewish Student and This month’s Tikkun Olam column Mitzvah Day is an opportunity to Community Center. (below) features Randy Kraft, who bring together everyone in the Jewish Additionally, the day’s projects started something in Gainesville that is community in an effort to help those were planned and organized by a com- a testament to that principle. In June in need in Gainesville and beyond. mittee made up of both community of 2010, Randy Kraft, Mandy Kaiser- The only requirement is a little bit of members and students from the Uni- Blueth and many others organized the your time and desire to make a differ- versity of Florida. Projects will be first ever day of service for the Jewish ence. Come - with family, with a hosted at Chabad and Hillel, and also community of North Central Florida. friend or on your own – just come to at Congregation B’nai Israel, Temple On Sunday, November 9 - four and a help us help others! Shir Shalom and other sites around half years later - the Jewish Council, in This is a particularly special year Gainesville. Mitch Chupak from the partnership with Chabad and Hillel at for Mitzvah Day as this will be the Jaffa Institute in Israel will speak at UF, Congregation B’nai Israel and first time that the registration and (Continued on page 3) Tikun Olam Area Volunteer Randy Kraft Is Making A Huge Difference In Our Community Every Single Day By Dawn Burgess-Krop community who are struggling and Reichart House is a program that JCNCF President provide opportunities for parents and targets at-risk boys, picks them up When we refer to Repairing the children to break the cycle of poverty. -
Journal of Synagogue Music Fall 2013 Volume 38 Traditions This Is the Inside Front Cover
JOURNAL OF SYNAGOGUE MUSIC JOURNAL OF SYNAGOGUE MUSIC NON-ASHKENAZIC TRADITIONS NON-ASHKENAZIC TRADITIONS FALL 2013 VOLUME 38 2013 VOLUME FALL FALL 2013 VOLUME 38 ISSN 0049-5128 THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard M. Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Sanford Cohn, Gershon Freidlin, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, David Sislen, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to the hazzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Microsoft Word document using footnotes rather than endnotes. Kindly include a brief biography of the author. Musical and/or graphic material should be formatted and inserted within the Word document. Links to audio files may be inserted as well, along with a URL for each. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc. Cover Design by Replica, based on the interior of the Synagogue of Santa Maria La Blanca, 12th century, Toledo, Spain. Copyright © 2013 by the Cantors Assembly. -
Joseph Sassoon Semah &A
The Art Of Cooking – Hummus With Minced Meat Hummus in Israel can be comparable to Pizza for Italians! Normally the Hummus can be enjoyed plain or with some extra. One day in Israel me and my dad visited Caesarea as a couple of tourists, and to our surprise we tumbled upon this Hummus dish topped with warmly spiced minced meat. That moment left a strong impact on us and I have been making it ever since. The smooth texture of the Hummus combined with the savory bites of the minced meat creates a balanced taste at the moment you scoop as much as you can with a small piece of pita bread. Trust me, this is the way to eat Hummus, scooping as much as you can with a small piece of pita bread – but do not get it on your fingers, there’s a limit! Hummus Ingredients: 1 Large Can Chickpeas Tahini (a paste made from sesame seeds) 2 Cloves of garlic Lemon juice Olive oil Coldwater Salt Ingredients for the minced meat: 200-gram Minced meat (you can choose either lamb or beef) 2 Cloves of garlic Paprika powder Cumin powder Salt & Pepper Cooking oil Toppings: Olive oil Pine Nuts Fresh Parsley Making the Hummus: Inside a blender add the chickpeas, two tablespoons of tahini with the garlic, a pinch of salt, a squirt of lemon juice, and a drizzle of olive oil. Now it is all about finding the perfect texture and flavor that you want! Keep tasting by adding a small amount of cold water to make the texture smoother. -
Jerusalem: Vision and Reality
Lewis Glinert, Dartmouth College Jerusalem: Vision and Reality Description Jerusalem, as a vision and as a reality, has always mesmerized Jewish minds -- Royal City of Solomon, Holy of Holies, kabbalistic core of the world, site of a foretold apocalypse, twice rased to the ground, focus of Diaspora dreams, since 1948 once more a Jewish capital, but divided for two decades by war and still savagely fought over. In this course, we will sample the symbolism of Jerusalem across 3000 years of Hebrew and Jewish intellectual and artistic expression, from the Bible down to the contemporary Israeli and Diaspora arts, in poetry and prose, in film, music and the visual arts. Through the Biblical prophets, medieval folklore, Israeli cinema, Elie Wiesel's Nobel Prize winning fiction, Yiddish lullabies and many other forms of expression, we will ask: Can one find in “Jerusalem” a consistent set of symbols and values holding firm down the centuries, uniting contemporary Jews with their distant ancestors? And why has this city evoked such passions? No knowledge of Hebrew is required. Books referred to in this syllabus: Abramson, G. The Writing of Yehuda Amichai. Albany, NY : SUNY Press, 1989. Amichai, Y. Poems of Jerusalem and Love Poems, Riverdale-on-Hudson: The Sheep Meadow Press, 1992. Bahat, D. Illustrated Atlas of Jerusalem New York: Simon & Schuster, 1990. Bar-Am, Micha. Israel: A photobiography. New York: Simon & Schuster. 1998. Bialik, H N & Y Ravnitzky (eds). The Book of Legends , Schocken Burnshaw, Stanley et al. The Modern Hebrew Poem Itself, Cambridge: Harvard University Press, 1989 Carmi, T. The Penguin Book of Hebrew Verse.