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A Brazilian, Moroccan and Israeli singer brings her unique North African sound to NYC
(New York Jewish Week) — Though she grew up in Israel, Tamar Bloch’s childhood was a mishmash of cultures. With a Moroccan mother and Brazilian father, Bloch often heard Portuguese and Arabic alongside Hebrew, and felt connected with the music from all three cultures.
It wasn’t until she was in her early 20s, however, that Bloch discovered the language and culture of “Haketia,” a Romance language once spoken by Sephardic Jews in North Africa. Haketia has elements of Darija (Moroccan Arabic), Spanish and Ladino.
“I was hooked immediately,” Bloch, 33, told the New York Jewish Week. She could only find ethnographic recordings of Haketian songs at the Israel State Archives and at Hebrew University in Jerusalem, which she painstakingly transcribed and re-recorded herself — becoming the first modern artist to record an album in Haketia.
Over the last decade, Bloch — who goes by the stage name Lala Tamar; Lala is a Moroccan honorific meaning “Lady” or “Miss” — has traveled the world touring her music, working with bands and promoting the language and sound of Haketia.
This weekend, Bloch is traveling to New York from her home in Essouria, Morocco to perform several concerts at Lincoln Center for the Performing Arts. The New York Jewish Week caught up with her to talk about her performances in the United States and what Haketia means to her.
New York Jewish Week: How did you become aware of Haketía and then decide to pursue it in your music?
Bloch: I did not know it as a kid. I grew up with a mom who did speak Darija, which is Moroccan Arabic, which integrated and mixed inside Haketia, and with a dad who was born in Brazil, so there was Portuguese and a lot of Latin music in the house.
So I grew up with the basics of Haketia at home — the words and the Latin languages and the Arabic languages surrounding me. But I never really spoke it because they were speaking it with the older generations, with my grandparents and not with us, the kids.
When I grew up a bit I fell in love with Moroccan music. I happened to hear Haketia music. Immediately, I was hooked. For me, it was a very condensed cultural combination of my background, of the way I grew up. Not only literally, with the words and the language, but also musically because it has this combination of Spanish and Andalusian music and North African music. It’s all fused together in Haketia. I decided that I needed to investigate and to search for more of this music. These songs were never really recorded in an artistically contemporary way. If anything, they were recorded for the sake of preservation as a part of ethnographic research for universities. But it was not out there as music for everybody. I felt that this music deserves to be heard and to be served to everybody. It doesn’t have to be a part of a long forgotten tradition that’s lost in the archives.
What has been like the most meaningful part of the last decade of bringing Haketia back into the modern world and of touring your music around the globe?
I think that the biggest moment was when I got into the playlist of Galgalatz in Israel, which is one of the country’s most popular radio stations. One of the singles got into a playlist, and it was the first time that Haketia was played on contemporary, popular radio. That was really exciting. Also when we released our album. Even though it was in the middle of COVID, so it did not get any of the attention we were expecting for it, it was still exciting to to release an album in this in this lost language, and to hear people play it at parties and to have people sending me videos in restaurants. It’s always exciting to hear it.
I didn’t feel like I had a mission to make Haketia or this music more mainstream. It just happened because I felt that this music was relevant for me. I felt very much connected to it in a way that made me just release it as if there was nothing different about it, as if I would be singing anything else.
Why did you decide to move to Morocco from Israel during the pandemic?
I started performing in Morocco and realized that it’s always been the source of my inspiration, the fountain of my creation. At one of the festivals that I did there, I met Maalem (Master) Seddik, a Muslim musician that teaches Gnawa, a specific style of religious Moroccan music that I was fascinated by and, also, I was fascinated by the connection with the Jewish history in Morocco. I was waiting for the opportunity to go and study with him and then COVID struck and I had no job, of course.
Also, my inspiration and everything in my life that I create comes from Morocco. (During the 18th and 19th centuries, Jews made up nearly half of the population of Essouira — then called Mogador.) So when I was not singing I felt that my fountain was being dried out, so I already had this dream of going to study with him and I managed to find a way to get into Morocco which was really complicated at the time. He [Seddik] was waiting for me and welcomed me in. I started studying with him and he really adopted me, almost as a daughter, cooking for me, making me all these Jewish foods that he knows how to make from his neighbors and all his Jewish friends, and I just stayed. I have a lot of followers and an audience in Morocco as well as a lot of musicians that I work with so for me, it really felt like home from the beginning.
How does it feel to be performing in New York for the first time?
I have been doing online shows for Lincoln Center, but I’ve never performed physically in New York. It’s really exciting. I can’t describe how blissful we feel to come all this way. It’s a really big honor for my band’s first live performance in the United States to be at Lincoln Center.
I can only imagine how it will be because I don’t know. I can say I perform around the world, more than in Israel these past few years. I feel that this music has something that just can reach people from whatever background they come from. I hope that’s going to be the case as well, here in New York and New Yorkers are very open minded, very aware of what’s happening around the globe culturally.
Lala Tamar will perform a series of five concerts between May 5-7 at Lincoln Center for Performing Arts (113 West 60th St.). To find concert times and purchase tickets (choose-what-you-pay), visit their website.
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The post A Brazilian, Moroccan and Israeli singer brings her unique North African sound to NYC appeared first on Jewish Telegraphic Agency.
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Why Dolly Parton sang a song about a Jewish journalist
A Broadway show, a star-studded television tribute, a new hotel and museum in Nashville. As odes to Dolly Parton keep coming, a recording of the late country music singer honoring an American Jewish journalist has recently surfaced.
Never before released in America, the song, “A Bridge Across,” sung by Parton and accompanied by the Nashville Symphony, honors slain journalist Daniel Pearl.
The song features spare lyrics set to violin music composed in honor of Pearl, a Wall Street Journal reporter who was brutally murdered by terrorists in Pakistan in 2002.
Originally recorded in 2008 by Parton, renowned fiddler Mark O’Connor, and the Nashville Symphony, the song was intended to be part of a compilation album called This is My America, produced and funded, oddly enough, in Canada but never released in the U.S.
It was O’Connor and his wife Maggie who resurrected the recording this fall, shortly after the deaths of Parton and another musician that connected the four artists: Oregon violinmaker Jonathan Cooper, who died in September.
Deeply troubled by the journalist’s murder in 2002, Cooper learned Pearl was an amateur fiddler and set out to create a quartet of string instruments – two violins, a viola and a cello – in the journalist’s honor. He entrusted the instruments to O’Connor to use during his annual summer music camp in North Carolina. Every year since, four students from the camp have received one of the Daniel Pearl memorial instruments to play for a year.
“These young people carry the message that love fights hatred through music-making and understanding that Daniel Pearl’s family want him remembered for,” O’Connor told The New York Times. Likewise, Cooper’s loving gesture inspired Parton, O’Connor said.
Canadian violinist Samantha Robichaud received one of the violins in 2005 and has gone on to become a successful recording artist with more than a half dozen albums. She has toured North America as an ambassador for the Daniel Pearl Foundation, sharing Pearl’s story, including his passion for
music and its power to change lives. Enter songwriters Tom McBryde and Lynn Wilbanks, whose introduction to Robichaud inspired verse.
On the album, the Nashville Symphony played one of Robichaud’s compositions while Parton introduced Pearl to listeners.
“He believed that music was something that could cross all social barriers, political borders and imaginary boundaries,” Parton says, before singing McBride’s and Wilbanks’ lyrics.
“A bridge across a question one journey begins, one step at a time to a place within.
A bridge across a border, a hand reaching out one heart at a time to erase the doubt.
A bridge across a difference can close a divide, one song to be sung on the other side.”
“It was perfect. She knows what he stood for,” Pearl’s father, Dr. Judea Pearl, told the Forward. “She was such a giving person.”
Judea Pearl met Parton in 2018 at the Los Angeles Press Club where she received that year’s Public Service Award for Contributions to Civic Life for her Imagination Library, which sends free books to children. (It inspired the creation of the PJ Library for Jewish books.) The Press Club recently dedicated its upcoming National Arts & Entertainment Journalism Awards to Parton’s memory.
In 2018, Judea Pearl was there to present the Daniel Pearl Award for Courage and Integrity in Journalism to Saudi Arabian writer and blogger Raif Badawi whose wife accepted the award while he served a 10-year prison sentence for his online activism.
The foundation devoted to Daniel Pearl’s legacy has been less visible since the 2021 death of Pearl’s mother Ruth who, as a young girl, witnessed and survived the anti-Jewish pogroms in Baghdad known as the Farhud.
As the 25th anniversary of his son’s murder approaches in February, Judea Pearl said the foundation will start a new chapter under his daughters’ leadership. Parton’s song lends the effort a touching soundtrack.
The post Why Dolly Parton sang a song about a Jewish journalist appeared first on The Forward.
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Mamdani marks first Oct. 7 anniversary as mayor with statement blasting Israel’s war in Gaza as genocide
On the third anniversary of the Oct. 7, 2023, Hamas attack on Israel — his first commemoration as New York City’s mayor — Zohran Mamdani mourned the Israeli victims and the 251 people taken hostage before devoting most of a statement to condemning Israel’s war in Gaza as a “genocide” and accusing the U.S. government of complicity in Israeli war crimes.
“The suffering did not begin nor end that day,” Mamdani said in a 200-word statement, noting the Palestinian casualties of the war that was launched as a military campaign against Hamas. “Three years later, we must refuse to accept a world in which occupation and apartheid continue, where war crimes are met with impunity, and our federal government continues its complicity with every arms shipment.”
The mayor’s words were in stark contrast to statements released by other elected officials, including New York Gov. Kathy Hochul, who noted it was the deadliest day for the Jewish people since the Holocaust.
“The pain of that dark day has not faded,” she wrote. “But neither has the strength, resilience and enduring hope of the Jewish people.”
House Democratic leader Hakeem Jeffries also noted the attack was carried out by “Hamas terrorists intent on destroying Israel,” but also acknowledged Palestinian deaths and Gaza destruction.
New York Attorney General Letitia James also released a statement, to “honor the innocent people murdered and families forever changed by the Hamas terrorist attacks,” a term some noted Mamdani did not use.
Jonathan Greenblatt, CEO of the Anti-Defamation League, noted another term Mamdani did not include.
“Not once do you say ‘Jews,’ Greenblatt wrote on X.
“You are weaponizing a day meant for mourning the worst massacre of Jews since the Holocaust to recycle your usual antizionist talking points,” he added. “The city with the largest Jewish population outside Israel deserves a mayor who can honor the dead without exploiting them.”
Democratic congressional nominee Brad Lander, an outspoken Jewish ally of the mayor, did not criticize the mayor’s statement. Instead, on his Substack, he shared his reflections on the anniversary, calling for Israelis, Palestinians, Jews and Muslims to mourn together as a first step toward peace.
“We can mourn for those lost on October 7th and still acknowledge the enormous imbalance of power between Israel and the Palestinians,” he wrote. “Over the past three years, so much more death, destruction, and displacement has fallen on Palestinians.”
But David Greenfield, a former Councilmember and head of the Met Council charity group, called Mamdani’s statement unhelpful, one that risks “further dividing” New Yorkers. “I really wish the Mayor of NYC would just focus on NYC,” he wrote on X.
Alex Vindman, a former Democratic Senate candidate in Florida, also criticized the statement, posting on X that it “did a real disservice” to Democrats and democratic socialist candidates who are making their appeals to moderates and independents in battleground states.
Former Republican congressman turned-Trump critic Joe Walsh posted on X: “Shame on you @NYCMayor. You can’t just give one day for Israel to mourn? One day? The deadliest day for Jews since the Holocaust, and you can’t remember only that atrocity today? You must throw in everything else today?”
A pro-Palestinian activist since his college years, Mamdani has been unapologetic about his anti-Zionist views that continue to shape his tenure. His harsh rhetoric on Israel and handling of antisemitism — including refusal to define that term — and defense of pro-Palestinian protests outside synagogues have strained relations with parts of the Jewish community.
Mamdani drew fierce backlash earlier this year when he produced a Nakba Day video commemorating the displacement of Palestinians during Israel’s founding in 1948 around Israel’s independence day.
A new poll published Wednesday morning found that 64% of Jewish voters in the city prefer that Mamdani skip any event marking the Oct. 7 massacre. As a Democratic nominee last year, Mamdani attended an Oct. 7 commemoration marking the loss of Israeli and Palestinian lives. That event is not on the mayor’s daily public schedule, but a meeting with a group of local Palestinian Americans is on the calendar.
Still, he has failed to satisfy some of his supporters, including young activists who backed his bid for mayor and attended the pro-Palestinian protests on college campuses after the Oct. 7 attacks. Multiple chapters of the Young Democratic Socialists of America are planning to demonstrate outside city hall tonight on the premise that Mamdani failed the Palestinian movement, capitulating, they say, “to Zionist pressure.”
The mayor declined to comment on this demonstration.
The post Mamdani marks first Oct. 7 anniversary as mayor with statement blasting Israel’s war in Gaza as genocide appeared first on The Forward.
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Chicago Jewish theater drops Naomi Ragen play, saying actors feared repercussions of working with the Israeli writer
(JTA) — Naomi Ragen, the New York-born Israeli novelist and playwright known for her portrayals of Orthodox Jewish women in crisis, says the cancellation of a planned Chicago revival of one of her plays represents a “return to McCarthyism” in the American cultural scene.
Ragen, 77, has revealed that plans by a Jewish arts company in Chicago to revive her 2001 play “Women’s Minyan” have been shelved. In a post shared with her thousands of followers on Facebook, Ragen included an email from the company’s artistic director saying that she had been inundated by messages from actors, directors and designers who feared that working with a “a pro-Zionist Jew/Israeli” like Ragen could damage their careers.
Ragen told the Jewish Telegraphic Agency that Chicago-based Arts Judaica first approached her in July with a request to stage her play about a haredi woman trying to flee her abusive marriage. Elayne LeTraunik, the company’s artistic director, told Ragen they intended to stage 13 performances next March.
Happy to collaborate, Ragen asked for a contract. She heard nothing until this week when she received a reply from LeTraunik, saying she “must sadly withdraw my intent to do the show.”
LeTraunik’s email continued: “People were seeing you were a pro Zionist Jew/Israeli and I was bombarded with actors, directors and designers who were actually afraid that doing a show with you as playwright would hurt their careers. I never have faced this before and I was stunned about all the accusations of ‘genocide’ flying around.”
The episode stands in contrast to Arts Judaica’s stated mission: Its website says that “American audiences need Jewish stories on stage more than ever.”
“In the past I have done plays about suicide bombers and never had a peep from anyone,” LeTraunik told Ragen. “This world is getting insane. Perhaps once all this dies down (if it ever does) I will try again. I am so sorry.”
Born in New York, Ragen emigrated to Israel in 1971, where she settled in Jerusalem. In addition to best-selling novels like “Sotah” and “The Sacrifice of Tamar,” she regularly writes opinion pieces sharing her hawkish views on Israel. On her website and on social media, she shares dispatches from her “Israel War Diary,” expressing strong support for Prime Minister Benjamin Netanyahu and IDF military action against Hamas. She has also spoken against what she describes as a worldwide “climate of hatred, fear, and intimidation.”
Some people, she said, have suggested the play was canceled because she is a right-wing Zionist. “Are we now back to McCarthyism, where you have to check the political credentials of an artist [before deciding] whether or not to promote their work?” she said.
“I thought all the progressives were against McCarthyism. Now we’re back there where I have to pass some kind of political test in order to have my work shown.”
LeTraunik told JTA she could never have predicted the pushback or the cancellation when she first approached Ragen. “This situation is one I have never faced before after a lifetime in theater,” she said.
“Since the play has nothing to do with politics I didn’t anticipate any problems,” she continued. “But unfortunately people had done research on Naomi and felt so triggered by her politics it appeared that there were concerns from would-be actors, etc. and even the person who had offered to put up some of the funding was not comfortable.
“As for me, I am almost 80 years old, [a] lifetime American and Jew and I have long decided not to get involved in the current political turmoil. I just want to do interesting theater.”
Ragen told JTA that while it is “strange to get such a response from a Jewish venue,” particularly one whose mission statement includes Holocaust education, she is not angry at LeTraunik.
“I have only sympathy for her,” she said. “I think all these Jewish cultural organizations are now under fire and what we need is not to criticize them because they’re not brave enough, but to understand the pressures they’re under.”
Earlier this month the Anti-Defamation League published a report alleging “the systemic exclusion and marginalization of Jewish and Israeli artists across American cultural life.” In its examination of museums, publishing and live entertainment, the ADL said it found that Jewish, Israeli and Zionist artists have “faced growing scrutiny, organized protest activity, online targeting, event disruptions, reputational campaigns and, in some cases, cancellations or institutional distancing.”
Ragen said her play, originally commissioned by Habima, Israel’s national theater, has previously been staged in the United States. She is not taking the cancellation personally, she said, but as a symptom of a far greater problem.
“You had a situation in Germany in 1938 where you couldn’t produce a Jewish play or any play which didn’t toe the Nazi line,” she said. “Are we going back to that?”
In her conversation with JTA, Ragen called on “American Jews and good people” to “be a little brave,” adding: “It’s not time to build another Holocaust museum — it’s time to wake up, smell the coffee, and put your money and your time and your effort where your mouth is.
“If you are a person who wants to promote Holocaust education, well, you’re living in the middle of it.”
This article originally appeared on JTA.org.
The post Chicago Jewish theater drops Naomi Ragen play, saying actors feared repercussions of working with the Israeli writer appeared first on The Forward.
