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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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Words of rescue: Yermiyahu Ahron Taub’s new book of poetry
עס זײַנען דאָ פּאָעטן װאָס זײַנען נבֿיאים, ווי למשל משה קולבאַק און חיים־נחמן ביאַליק. פֿאַראַן פּאָעטן פֿילאָסאָפֿן, װי עמילי דיקינסאָן אָדער אַהרן צײטלין. און טײל פּאָעטן זײַנען קינסטלער פֿון אימזאַש, װי רחל פֿישמאַן. זעלטן װען אָבער זעט מען אַ פּאָעט, װאָס איז מסוגל דורך זײַנע לידער צו באַלעבן אָדער באַװױנען עטלעכע פּערזענלעכקײטן, פּאַרשױנען, און דערבײַ אױפֿצובױען אַ גאַלעריע פֿון פֿאַרשײדענע מענטשן־טיפּן.
דער פּאָעט איז אָפֿט מאָל אַ שרײַבער פֿון ליריק, דאָס הײסט, פֿערזן װאָס װערן אַרױסגעזאָגט פֿון אַ געװיסן „איך“ װען לידער זײַנען אינטערעסאַנט, װיל מען הערן אַלץ מער פֿונעם „איך“. נאָר אַ פּאָעט װאָס קען באַשילדערן פֿאַרשײדענע פֿיגורן טוט אױף עפּעס ברײטערס.
אין זײַן נײַסטן ביכל פּאָעזיע, „עלות־הלילה אױפֿן בױדעם,“ שטעלט ירמיהו אַהרן טאַוב פֿאָר סײַ קאָמפּאָזיציעס פֿון לירישן „איך“, אַ נאַראַטאָר װאָס איז אין געװיסע אַספּעקטן ענלעך צו טאַובן אַלײן, סײַ דיכטונגען פֿון אַנדערע װעלטן, גאַסן און געגנטן. דאָס אַלץ טוט ער אין פֿאַרשײדענע זשאַנערס (לידער, פּראָזע־מיניאַטורן) און פֿאַרשײדענע שפּראַכן: נישט נאָר ענגליש מיט ייִדיש, נאָר אױך (אין אײן פֿאַל) ענגליש צוזאַמענגעפֿלאָכט מיט לשן־קודש.
לײענערס װאָס זײַנען שױן באַקאַנט מיט טאַובס װערק װעלן דאָ דערקענען פֿריִערדיקע מאָטיװן, װאָס זײַנען עיִקר־טעמעס פֿאַרן דאָזיקן מחבר. ער איז דער מײַסער־פּאָרטרעטיסט פֿון סעקסועלע דערװאַכונג, אַנטױשטן באַגער (סײַ רעליגיעזער, סײַ קערפּעלערכער), ריסן צװישן דורות, פֿאַרװעלקטער פֿרומקײט. נאָר זיכער האָט מען שױן אין אַנדערע קאָנטעקטן באַרירט די פֿאַרבינדונגען צװישן „קװירשאַפֿט“, אָפּגעפֿאָרנקײט פֿון פֿרומען דרך, און ייִדיש, װי טעמעס פֿון פּאָעזיע און ליטעראַטור בכלל. די דאָזיקע צװישנשײדן זײַנען גאָר װיכטיק פֿאַר טאַובס שאַפֿונגען.
באַזונדערש רירנדיק דאָ זײַנען די בילדער פֿון משפּחה־רײַבונגען, פֿון באַגעגענישן װאָס ברענגען נישט צו קײן עמאָציאָנעלע פֿאַרשטענדיקונגען.
אין אײנעם אַ ליד טרעפֿן מיר דעם נאַראַטאָרס פֿאָטער, אַ פֿרומען ייִד, װאָס סע װילט זיך אים גאָר שטאַרק לערנען זײַן קינד װי אַזױ צו װאַרפֿן אַ בײסבאָל. צום באַדױערן, טױג דאָס קינד צו דעם אַזױ פֿיל װי ער טױג צו לערנען — דאָס הײסט, גאַנץ שװאַך.
די זעלבע פֿיגור, דער פֿרומער פֿאָטער װאָס איז נישט צופֿרידן מיט זײַן אָפּגעפֿאָרענעם קינד, באַװײַזט זיך אין נאָך עטלעכע לידער אין באַנד, אַלע מאָל אין הינטערגרונד, בעטנדיק נאָך אַ קדיש, נאָך אַ בלאַט גמרא, כאָטש אַ מנחה, און אַלע מאָל דעם שטױס נאָך פּרו־ורבֿו. דער נאַראַטאָר, װידער, פֿאַרצײכנט זײַנע פֿאָטערס באַגערן. זײַנע אײגענע באַגערן ליגן אָבער ערגעץ אַנדערש.
טאַוב פֿאַרברײטערט אָפֿט זײַן קוק צו באַקענען אונדז מיט אַנדערע פּאַרשױנען: פֿרױען אין פֿאַרשלאָפֿענע שטעטלעך, ערשטמאָליקע „גײ“־ליבע־באַגעגענישן, אױסשטאַרבנדיקע מנינים. אױך חיות באַלעבט ער אין זײַנע פֿערזן:
די װילדע קאַץ װאָס האָסט געראַטעװעט פֿונעם הינטערגעסל
קאָרטשעט זיך, אומרויִק אונטערן גלעט פֿון דײַן האַנט,
ניט אין שטאַנד אױסצוהאַלטן, ניט אין שטאַנד זיך אַװעקצודרײען פֿון אַזאַ הנאָה.“
אַ באַמערקונג װעגן שפּראַך: װי אין זײַנע פֿריִערדיקע ביכלעך, װערן דאָ אַרײַנגענומען לידער אױף ענגליש און אױף ייִדיש. די ייִדיש־נוסחאות זײַנען אַלע מאָל באַגלײגט מיט פּאַראַלעלע ענגלישע װערסיעס. (איך דערלױב זיך דאָ אַ פּאָר אײדעלע טענות װעגן די גרײַזן װאָס זײַנען אַרײַנגעפֿאַלן אין די ייִדישע טעקסטן, און דאָס, װאָס טײל פֿון די ייִדיש־װערסיעס װערן געדרוקט אין קלענערע אותיות פֿון די ענגלישע.)
מע װאָלט דאָ געקענט זיך אַרײַנלאָזן אין אַ לענגערער דיסקוסיע װעגן די באַציִונגען פֿון די דאָזיקע װערסיעס. זײ זײַנען איבערזעצונגען אײנס פֿון אַנדערן, נאָר אױך אינטערפּרעטאַציעס. די ייִדישע לידער זײַנען (װאָדען?) מער אַדורכגעדרונגען מיט דער דראַמע װאָס באַגלײגט דאָס גאַנץ ביכל: די רײַבונגען צװישן דעם טראַדיציאָנעלן לעבן־שטײגער, פֿול מיטן שטרענגען דין, און דער בענקשאַפֿט פֿון דעם נאַראַטאָר, אַן אָפּגעפֿאָרענער װאָס װיל זיכער נישט זיך אומקערן, און פֿאָרט בענקט זיך אַהין. אינעם ליד „מילך־און־האָניקדיקע לבֿנה־האַרבסטונג“ לײענט זיך אַ ביסל טרוקן די ענגלישע שורה And, in that way, the Day of Rest lived up to its name
בשעת דאָס ייִדישע „און אַזױ טאַקע האָט דער יום־מנוחה אונדז נישט אַנטױשט“ גיט איבער אױף אַ קלאָרן אױפֿן װעגן װאָסער מין רו גײט דאָ די רײד.
איך האָב דאָ באַװיזן איבערצוגעבן נאָר אױפֿן שפּיץ מעסער די טעמאַטיק פֿון די דאָזיקע לידער. כאָטש טאַוב, בדרך־כּלל, גיט די בכורה עמאָציעס און געפֿילן, נישט קאָנסטאַטירונגען און אידעאָלאָגיעס, איז דאָס ביכל נישט קיין אומפּאָליטישע. פֿאַרקערט, די (ענגלישע) לידער „דער אָפּרו פֿון אַקטיװיסט“ און „פּערמאַנענטער אײַנװױנער, אָן קײן גרינעם קאַרטל“ גיבן איבער אױף אַ האַרץ־רײַסנדיקן אופֿן, װי זײערע טיטלען זאָגן אָן, די אָנשטרענגען און קאָמפּראָמיסן פֿון הײַנטיקן פּאָליטישן מאָמענט.
לױט מײַן מיינונג ווערט דאָס ביכל אָרגאַניזירט מיטן דראַמאַטישן בױגן פֿון אַ מענטשלעכן לעבן, פֿון ענגלישן ליד „דאָס ליכט בײַם אָנהײב טונעל“, אין אָנהײב, ביזן לעצטן ליד „צום סוף“, װאָס װענדט זיך צום לײענער אַזױ:
װען איך גײ אַװעק,
רײַס ניט די קלײדער,
און טראָג ניט קײן שװאַרץ,
באַהאַלט ניט דעם שפּיגל….
זײַ נישט קײן אָבֿל אין גאַנצן.
„װען איך גײ אַװעק,“ זאָגט דער נאַראַטאָר, „מאַך פֿאַר זיך אַ שׂימחה.“
נאָכן געזעגענען זיך מיטן דאָזיקן ביכל, װינטשט מען דעם מחבר נאָך לאַנגע יאָרן פֿון דער שׂימחה פֿון שאַפֿן נאָך טיף־גרײכנדיקע און פֿילעװדיקע מעדיטאַציעס װעגן לעבן און טױט, פֿרומקײט און װעלטלעכקײט, סעקס און ליבשאַפֿט, „קװיר“־ און העטעראָ־אידענטיטעט.
אין „געבעט“, דאָס סאַמע ערשטע ליד, װענדט זיך דער פֿאָטער צום נאַראַטאָר: „דער טאַטע רופֿט מיך צו היטן שבת“, צו דאַװנען, צו לערנען, זאַכן װאָס דער נאַראַטאָר װיל נישט, איז נישט מסוגל צו טאָן. קומט דער פּאָעט צום אױספֿיר אַז „נאָר די װערטער קענען מיך ראַטעװען.“
אַ בעסערע װעלטלעכע תּפֿילה קען נישט זײַן. הלװאַי אױף אונדז אַלעמען געזאָגט געוואָרן.
The post Words of rescue: Yermiyahu Ahron Taub’s new book of poetry appeared first on The Forward.
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Israel, US condemn Belgium over planned prosecutions tied to Jewish circumcisions
(JTA) — A diplomatic spat erupted on Wednesday after Belgian prosecutors moved to charge two Jewish men tied to ritual circumcisions, prompting Israeli and U.S. officials to accuse Belgium of targeting Jews for practicing their faith.
Gideon Saar, Israel’s minister of foreign affairs, lit into the country in a post on X Wednesday morning, calling the indictments a “scarlet letter on Belgian society.”
“With this act Belgium joins a short and shameful list, together with Ireland, of countries that use criminal law to prosecute Jews for practicing Judaism,” Saar wrote, later calling circumcision a “cornerstone of Jewish faith” and urging the Belgian government to “act immediately and to find a solution.”
Saar’s condemnation was quickly joined by the U.S. ambassador to Belgium, Bill White, who had previously called on Belgium to drop the “ridiculous and antisemitic” investigation of mohels in February.
“This is a shameful stain on Belgium,” White wrote in a post on X. “The prosecution of these religious figures (mohels), one of whom is American, is WRONG and won’t be tolerated. Belgium will be thought of now as anti Semitic by world. Until this is resolved – there is no way around it.”
White, a President Donald Trump appointee who faced criticism for amplifying social media posts by a far-right Belgian political activist convicted of racism and Holocaust denial, added that the “Trump Administration condemns this judicial action” and called on the Belgian government to “work with the Jewish leaders and communities to find a certification solution immediately.”
The condemnation by White and Saar comes after the Antwerp Public Prosecutor’s Office announced that it intends to prosecute two Jewish men on charges related to performing circumcisions, a practice that is required by law to be performed by licensed medical professionals in Belgium.
Last year, Belgian authorities raided multiple sites, including two in Antwerp’s Jewish Quarter, at the beginning of an investigation into illegal circumcisions. Investigators also requested lists of children who had recently been circumcised, according to VRT NWS, the Flemish public broadcaster.
But the sharp criticism by the two leaders was later dismissed by Belgian Foreign Minister Maxime Prévot, who wrote in a reply to White’s post that it was “inappropriate to publicly criticize a country and tarnish its image simply because you disagree with judicial proceedings.”
“I recall that the proceedings in question were initiated by representatives of the Jewish community themselves,” Prévot continued. “To portray those as a country’s desire to undermine the religious freedom of Jews is defamatory. This freedom has never been called into question and never will be in our country. Our Constitution protects it. And it is not for an ambassador to dictate the government’s agenda.”
In response to Saar’s post, Prévot wrote, “Enough with these caricatures.”
“Since you yourself recently urged against conducting diplomacy via Twitter, I suggest that we discuss all these issues during a meeting in Israel at a time that suits you best, in order to put an end to any misinterpretations,” Prévot continued.
This article originally appeared on JTA.org.
The post Israel, US condemn Belgium over planned prosecutions tied to Jewish circumcisions appeared first on The Forward.
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Rutgers disinvites commencement speaker over tweet claiming Israelis ‘train dogs to sexually assault prisoners’
(JTA) — Administrators at Rutgers University have canceled a commencement speaker scheduled for next week, citing an “inflammatory claim” the speaker tweeted about Israel.
Rami Elghandour, a Rutgers alumnus and a producer of an Oscar-nominated docudrama about a Palestinian girl who died in Gaza, was set to deliver the speech at the university’s School of Engineering on May 15. But the university, New Jersey’s public flagship, rescinded the invitation on Wednesday.
The Associated Press was the first to report that Elghandour’s invitation had been rescinded and that the university said social media posts about Israel were the cause.
To the Jewish Telegraphic Agency, a university representative specifically cited an April 20 tweet by Elghandour that accuses Israel of genocide and says the Israelis are “running dungeons where they train dogs to sexually assault prisoners.”
The tweet was a response to a post from California Rep. Ro Khanna advocating for cutting U.S. aid to Israel, which was itself a response to a post by AIPAC, the pro-Israel lobby that has become a bogeyman in U.S. politics. The unsubstantiated claim that Israel trains dogs to assault prisoners has circulated widely in recent weeks among some pro-Palestinian activists.
“The Rutgers School of Engineering was recently informed that some graduating students would not attend their graduation ceremony due to concerns about the invited speaker’s social media posts, including one that shared an inflammatory claim,” Dory Devlin, a representative for Rutgers University, told JTA in an email. “After discussing these concerns with the speaker, the School of Engineering has rescinded the convocation speaker invitation to Rami Elghandour.”
Elghandour, who owns a biotech company and was an executive producer for the award-winning documentary “The Voice of Hind Rajab,” declined through a spokesperson to respond to a JTA request for comment. The spokesperson pointed to his statement on social media, where he disparaged the school’s decision.
“After a ‘few’ students complained about my selection as speaker because of my social media advocacy for Palestine, Rutgers has canceled my speech,” Elghandour wrote. “They decided that the feelings of a handful of students who said that my social media posts ‘opposed their beliefs’, were more important than the experience of the entire graduating class, the reputation of the school, the dignity and belonging of Arab and Muslim students, and the First Amendment.”
In addition to executive-producing “The Voice of Hind Rajab,” Elghandour was also a producer on the film “American Doctor,” about three physicians — including a Palestinian and a Jew — who traveled to Gaza to aid civilians there.
Rutgers University Hillel, the campus Jewish group that also engages students around Israel, did not immediately respond to a request for comment.
Rutgers settled a federal civil rights investigation into its handling of antisemitism in January 2025. It agreed to update its anti-discrimination policies as investigators were poised to find that the school did not protect Jewish students from antisemitism in the wake of the Oct. 7, 2023, attack on Israel and the subsequent war in Gaza.
The incident adds to a string of dustups over Israel at commencements this year and in the past. The University of Michigan’s president apologized after faculty senate chair Derek Peterson praised pro-Palestinian student protesters during his speech on Saturday; Elghandour shared several posts in defense of Peterson’s speech.
This article originally appeared on JTA.org.
The post Rutgers disinvites commencement speaker over tweet claiming Israelis ‘train dogs to sexually assault prisoners’ appeared first on The Forward.