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Redefining Diaspora Consciousness: Musical Practices of Moroccan Jews in Brooklyn

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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). Based upon ethnographic fieldwork carried out between 2008 and 2013, this study demonstrates how Maroka’im in Brooklyn use musical expressions to evoke more than one sense of diaspora consciousness—Jewish, Sephardi, and Maroka’i—to foster what I term a layered diaspora consciousness. To illustrate this layered diaspora consciousness, three domains of communal synagogue practice are analyzed. In the first domain, the ritual of sacred text cantillation called Kriat ha- Torah, community members rely upon a select repertoire of melodic motifs for chanting the Torah. These melodic motifs are instrumental in fostering a sense of pan-Maroka’i identity and for establishing co-ethnic recognition in communities throughout the Maroka’i diaspora. Choices about text, melody, and performance opportunities for processional liturgy and honorific songs determine the nature of associations with the Jewish and Sephardi diasporas. In the second ! iv! domain, of ḥazzanut or the art of cantorial performance, close analysis reveals ways in which Maroka’im compile liturgical text repertoires, employ certain melodic tropes and contrafacta as vehicles for conjuring associations with several different Moroccan musical traditions, and emphasize rhythmic, melodic, and vocal performance aesthetics to stylize liturgical chant. Liturgical texts include idiosyncrasies related to each layer of diasporic identity; performance aesthetics emphasize stylistic idiosyncrasies that evoke associations with specifically Mediterranean and Maghrebian patrimonies. In the third domain, a ritual celebration for venerating tsaddiqim (Jewish saints) called a hillula, local practices emphasize a standardized song repertoire which is recognized throughout the Maroka’i diaspora. This repertoire includes pieces from several different musical and poetic genres valued by community members for their historical associations with Maroka’i identity and modern associations with a new iteration of a Sephardi-Mizraḥi identity. Foregrounded in the synagogue life of Maroka’im in Brooklyn, musical expression is employed by community members to consistently reinforce and reiterate a sense of belonging to multiple Jewish diasporic ethnic communities. ! v! Acknowledgements יוצר השירה ומקור הברכה Yotzer ha-Shirah u-Makor ha-Berakhah (Creator of Song and Source of Blessing) At every turn along my journey to completing this work, I have had the support, love, and guidance of so many individuals that trying to acknowledge them all in these few paragraphs would be futile. I must, however, bring to the fore a few people that deserve my thanks in print. My professors never tarried in their devotion to developing me as a scholar, writer, and educator. Dr. Jane Sugarman, my dissertation advisor, always provided thoughtful comments for every page of every chapter, guiding this work and me with care and an attention to detail second to none. I am forever grateful to Dr. Stephen Blum, my rebbe from the beginning of coursework until the final signature, for sharing his wisdom and counsel. I benefit daily from experiencing the example he has set for me, in his commitment to seeking truth and in his undying devotion to his students. To Drs. Jane Gerber, Mark Kligman, and Edwin Seroussi, your mentorship over the years and as committee members on this dissertation will resonate for decades to come. My gratitude goes out to many others who have been a part of my musical education over the years, including professors Peter Manuel, Jeff Taylor, Antoni Piza, Ted Pease, Hal Crook, and Greg Christiansen. I am forever grateful to my friends and spiritual leaders in Brooklyn, who shared their knowledge and lives with me during my education. I would like to especially thank Elie Massias, Stephen Klein, Shalom Yemeni, Tal Zimm, Coco Tordjman, R’ Chaim Dahan, and R’ Michael Kakon for their support at every step. A special thank you to R’ Gad Bouskila and R’ Joseph Dweck, my spiritual mentors and central participants in my research; without your help, this work would never have been. ! vi! I gratefully acknowledge a dissertation-year fellowship (2008-2009) and several small- scale grants (2005, 2006, and 2007) from the Baisley Powell Elebash Fund, and several years of tuition support (2005-2010) from the Blankensteen Fellowship Fund for Jewish Studies. Finally, thank you to all of my family, especially my father Guy Thomas, and siblings Richard, Stefanie, and David Thomas, as well as Dennis, Ida, and Clive Jonas, and my extended families in Israel and France, including Malka Bohbot, Philippe Kling, the Dobrin family, and Eli Hazout. My most sincere thank you to my beloved wife, Hayley Jonas Thomas, who stood with me at every moment. To her and my children, Odelia and Josef, the completion of this work is your triumph as much as mine. This work is dedicated to Odette Bohbot Thomas, without whom none of this would be possible. Je t’aime toujours. ! vii! Table of Contents Acknowledgements ....................................................................................................................... vi List of Figures ............................................................................................................................... ix Notes on Orthography .................................................................................................................. xi Chapter 1: Constructing Diasporic Identity – Context and Concept ....................................... 1 New Jewish Migration ......................................................................................................... 5 Developing Diasporic Ethnic Identities ............................................................................... 8 A Layered Diaspora Consciousness .................................................................................. 10 Maroka’im in Brooklyn ................................................................................................................. 12 Maroka’i Layer .................................................................................................................. 13 Sephardi Layer ................................................................................................................... 15 Framing Diaspora .......................................................................................................................... 22 Defining Diaspora ............................................................................................................. 24 Boundary Maintenance ...................................................................................................... 31 Ethnicization ...................................................................................................................... 34 Transnationalism ............................................................................................................... 37 Music and Diaspora Consciousness .................................................................................. 39 Methodology and Chapter Outline ................................................................................................ 44 Methodology ...................................................................................................................... 44 Chapter Outline ................................................................................................................. 49 Chapter 2: Community Context ................................................................................................. 51 Histories of Dispersion .................................................................................................................. 54 Jewish Diaspora ................................................................................................................. 54 Sephardi Diaspora ............................................................................................................. 58 Maroka’i Diaspora ............................................................................................................. 65 Maroka’im in Brooklyn ................................................................................................................. 72 Maroka’i Music ............................................................................................................................
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