Mizrahi

Teapacks brings happiness

Israeli music pioneers Teapacks perform at the Queen Elizabeth Theatre May 14 (photo from Teapacks)

“We will bring a lot of Mediterranean happiness, with a lot of Jewish chutzpah,” Israeli singer-songwriter Kobi Oz told the Independent about Teapacks’ upcoming concert here on May 14. The event at Queen Elizabeth Theatre is the culmination of the community’s many Israel @ 75 celebrations.

Teapacks will sing about 30 of their hits, spanning their more than 30 years of composing and performing. Plus, said Oz, there will be many “duets with our fabulous female lead vocalist Shani Yizhari, one Arik Einstein cover, one Moroccan song and our version of Hatikvah.”

Teapacks was established some 35 years ago. Named after the correction fluid Tipp-Ex, Oz has explained the choice to be related to the band’s aim to “erase boundaries between people,” but the English transliteration of the name was changed relatively early on to Teapacks to avoid infringing on the trademark. (The Hebrew remains the same.)

Oz and Gal Peremen (bass) are founding members, and Rami Yosifov (guitar) is basically one, too. The rest of the band is Yizhari (vocals), Motty Joseph (drums), Shahar Yampolsky (accordion and synthesizer) and Adam Mader (violin, mandolin, flute and trumpet).

“We are good friends,” Oz told the Independent. “Playing in a band like ours is like riding a bike – you cannot unlearn it. We are like a mobile circus, very different from each other but something funny and worth dancing is always happening when we start making music together.”

photo - Teapacks members are good friends — Teapacks members are good friends. *(photo from Teapacks)*

Teapacks is credited by many as having led the way in making Middle Eastern music popular in Israel.

“Teapacks is basically a get-together of three kibbutz members from the northern Negev, with me from Sderot, a small town populated with Israelis who made aliyah from Morocco,” Oz explained. “From the start, we tried to make music that would go with each other’s taste – I brought the rai [Algerian folk] music influence and they came with rock and Israeli folk. Mizrahi Oriental music was ‘underground music’ and wasn’t played on the radio as often as it should be. Teapacks offered a sound that was suited to ’90s playlists, with refreshing ethnic lines and sound – Teapacks opened the door to [Israeli singer] Sarit Hadad with two smash hit duets.”

Oz said the band “started as a funny electronic pop band. With time, we became more acoustic, with social awareness messages, incorporating an elegance – accordions with oud and rock beats.

“We were pioneers in Israeli hip-hop from 1992, but our 1999 Disco Menayak album was filled with sampled tracks from old Israeli vinyl [recordings],” he said. “Our last three albums are all about blending these styles and creating the right balance between electronic and acoustic instruments, hip-hop and Israeli and North African folklore.”

About performing in the Diaspora for Yom Ha’atzmaut, Oz said, “I believe the Jewish people is one big cultural fabric, in Israel and all over the world. We know that music is a great way to celebrate this deep connection. For us, it’s like singing for our families. A lot of politicians are trying to tear us apart, inside and outside Israel. We believe that our music is the right dance floor for a lot of people longing to be together.”

The concert event at the Queen Elizabeth Theatre on May 14 starts at 6:30 p.m. The program will include the national anthems of Canada and Israel and a prayer for Israel by the Jewish day schools (Vancouver Hebrew Academy, Vancouver Talmud Torah and Richmond Jewish Day School). Local Israeli dance groups will perform, there will be a few speeches, a surprise video and Teapacks. The night’s emcees are honorary co-chairs Jonathan and Heather Berkowitz.

For tickets ($18 plus fees; children under 5 are free), go to jewishvancouver.com/israel75.

Trying to fix broken wings

Not fitting in. Being misunderstood and miscategorized. These are recurring themes in Flying Camel: Essays on Identity by Women of North African and Middle Eastern Jewish Heritage, edited by Loolwa Khazzoom, a Seattle writer, musician, activist and occasional contributor to the Independent.

The book was first released in the 1990s and was recently re-released.

“I wish I could say that this book is no longer as revolutionary, cutting-edge, or as needed as it was when I began compiling it in 1992, but, unfortunately, that is not the case,” writes Khazzoom, the daughter of an Iraqi Jew, in the new introduction. “Even though there have been changes – shifts in consciousness, language, and even representation – Mizrahi and Sephardi women remain overall excluded, in theory and practice, from spaces for women, Jews, Middle Easterners, people of colour, LGBTQI folk, and even Mizrahim and Sephardim. In addition, so many of the presumably inclusive conversations about us seem basic and superficial, with an undertone of it being a really big deal that these conversations exist at all.”

Khazzoom’s struggle to fit in led her to Seattle, in large part because it is home to one of the largest Sephardi communities in the United States. But even in that milieu she found herself an outsider.

“In June 2014, however, on the first sh’bath [Sabbath] after driving my U-Haul up the coast from Northern California, I was appalled by a sermon so sexist – where women were equated with ‘meat’ – that I walked out of the Sephardi synagogue, just 15 minutes after arriving,” she writes.

“I have been a hybrid all my life, forever caught between two or more worlds,” writes Caroline Smadja in her contribution to the collection. It is a state of being that is shared by many of the writers.

Yael Arami, born in Petah Tikvah to parents from Yemen, speaks of others’ perceptions of her.

“In Germany, I have had to avoid certain areas, fearing local skinheads’ reaction to my skin colour. In France, I have been verbally ridiculed and insulted for being yet another ignorant North African who does not know French,” she writes. “In California, people’s best intentions have resulted in a number of social blunders: When I left a tip in a San Francisco café, I got a courteous ‘gracias’ from the politically correct Anglo waiter. After a predominantly African-American gospel group sang at a Marin County synagogue, several members of the congregation approached me, to express their admiration for our wonderful gospel performance! It seems that wherever I go in white-majority countries, I am, in accordance with local stereotypes, seen as the generic woman of colour – Algerian in France, African-American or Puerto Rican in California.”

Rachel Wahba, an Iraqi-Egyptian Jew, calls out politically correct hypocrisy.

“Sometimes, when I bring up the oppression of Jews in Arab countries, progressive Jews get strangely uncomfortable – as if recognizing the Jewish experience under Islam would make someone racist and anti-Arab,” she writes. “During my mother’s cancer support group intake, I listened as my mother told her story of living in Baghdad and surviving the Farhud. She ended with an ironic ‘I survived the Arabs to get cancer?’ The Jewish oncology nurse was shocked that my mother was so ‘blunt.’

“Should we revise our history? Leave out the details of our oppression under Islam? Pretend my mother never saw the Shiite merchants in Karballah wash their hands after doing business with her father, because he was a ‘dirty Jew?’”

The book’s title comes from an essay by Lital Levy, “How the Camel Found Its Wings” and an Israeli film of the same name.

The metaphor involves the repair of a broken statue of a flying camel, which actually stood at the entrance to the international fairgrounds in Tel Aviv in the 1930s. In the film, the two wings of the camel become stand-ins for a dichotomy that mostly excludes Mizrahi/Sephardi Jews and yet still casts them in a negative light.

“By the end of the screening, the camel had found two new wings, and I got to thinking,” writes Levy. “I started putting my own pieces together – making my own flying camel out of the remnants of the past, borrowing missing pieces from the present, and using my imagination and willpower to try to make it all stick together. The pieces of my own American childhood, the histories that preceded it in Israel and in Iraq, and the challenges I see before me in my work are the various fragments I have been remembering and re-membering into an integral whole. I do not yet know its shape – camel, dromedary, llama, yak – but I do not care, as long as it will fly.”

About the Rosh Hashanah cover art

I was introduced to the Sephardi and Mizrahi tradition of a Rosh Hashanah seder by a dear friend, at whose home I celebrate most of the Jewish holidays. This New Year’s, given the pandemic and that we are not in each other’s immediate bubble, I will join their seder on the first night of Rosh Hashanah either outdoors, weather permit, I was looking, perhaps, to prepare myself mentally for this year’s socially distanced gathering, and a Zoom with my family in Ontario, when I thought of the idea for the cover, which is created using watercolour and ink (and surprisingly little Photoshop).

In a Sephardi or Mizrahi seder, special dishes are served of specific foods whose Hebrew or Aramaic names are linked in a blessing to another word that has the same root letters. Puns flourish. So, for example, the Hebrew word for carrot and that for decree have different vowels but the same root letters – gimel, zayin and resh – and the blessing over the carrots translates as, “May it be your will, Lord our God, that that our bad decrees be torn up and our merits and blessings be proclaimed.” The word for leeks, chives or scallions – karti – is akin to yikartu, cut off, so the blessing over these vegetables is, “May it be Your will, God, that our enemies be cut off.”

Spinach or beet leaves also symbolize the hope that God will make our enemies retreat and we can “beat” a way to freedom. Dates carry the hope that hatred will end; the many seeds of a pomegranate that our mitzvot will be many; an apple that we will have a sweet year; string beans that our merits will increase; a pumpkin or gourd that God will “tear” away all evil edicts against us, while our merits are proclaimed. You get the idea.

For information on the New Year’s seder, I visited, among other sites, theicenter.org/resource/hebrew-and-rosh-hashanah-seder and myjewishlearning.com/article/a-sephardic-rosh-hashanah-seder. Not being adept at puns myself, I will leave you simply with a wish for a happy, meaningful and healthy 5781.

Evolution of the Jewish calendar

Rosh Hashanah greeting cards (above and below) from the author’s family’s collection. The cards are almost 100 years old. The translation of the one in which people are walking is “Into the synagogue.” It is signed by Chaim Goldberg, a well-known artist who also illustrated many children’s books. The party postcard, also done by Goldberg, is a printed rhyme, which translates as, “Boy, girl! Dear, refined! Who is like you? Happy letters, dear writings, I have for you!”

The Jewish calendar is an amazing conceptualization of time that has evolved (what else?) over time.

In his blog on the Museum of the Jewish People at Beit Hatfutsot website, Ushi Derman relates that, originally, the Jewish calendar was a solar calendar. But it was not just a solar calendar, it was a holy solar calendar, delivered by angels to Enoch. (See the Book of Enoch, the section dealing with astronomy, called “The Book of Heavenly Luminaries.”) Temple priests had to follow a rigorous schedule – time itself was judged to be sacred. Thus, the Temple in Jerusalem was regarded as both the house of G-d and the dwelling of time.

With the destruction of Jerusalem’s Second Temple, the priests lost their power. They were no longer the mediators between G-d and the people. Authority switched to the scholars (our sages) of the Mishnah (edited record of the Oral Torah), Talmud and Tosefta (similar to the Mishnah, but providing more details about the reasons for or application of the laws).

In a bold move, the scholars declared that G-d had handed religious authority to humans. “Each month, envoys were sent to watch the new moon and to determine the beginning of the month. Thus, the ownership of time was expropriated from G-d and delivered to man – and that is why the Hebrew calendar has survived for so many centuries,” writes Derman in the 2018 blog “Rosh Hashanah: The Politics and Theology Behind Jewish Time.”

Here is a lovely story from The Book of Legends, edited by Hayim Nahman Bialik and Yehoshua Hana Ravnitzky, illustrating the above change. A king had a clock. “When his son reached puberty, he said to him: My son, until now, the clock has been in my keeping. From now on, I turn it over to you. So, too, the Holy One used to hallow new moons and intercalate years. But, when Israel rose, He said to them, until now, the reckoning of new moons and of New Year’s Day has been in My keeping. From now on, they are turned over to you.”

Perhaps oddly, the Mishnah mentions more than one new year. In fact, it points out four such dates on the Jewish calendar:

The first of Nissan is the new year for kings and for festivals;
The first of Elul is the new year for tithing of animals (some say the first of Tishrei);
The first of Tishrei is the new year for years, sabbaticals and Jubilee, for planting and vegetables;
The first of Shevat is the new year for trees, according to the House of Shammai, while the House of Hillel (which we adhere to today) says the 15th of Shevat, or Tu b’Shevat.

With its thrice daily prayers, the synagogue came to replace the Temple. Excluding Yom Kippur, synagogue attendance is higher on Rosh Hashanah than any other time of year. Rosh Hashanah prayers are compiled in a special prayer book, or Machzor.

Amid COVID-19, the following words about Rosh Hashanah have heightened meaning: “The celebration of the New Year involves a mixture of emotions. On the one hand, there is a sense of gratitude at having lived to this time. On the other hand, the beginning of a new year raises anxiety. What will my fate be this year? Will I live out the year? Will I be healthy? Will I spend my time wisely, or will it be filled in a way that does not truly bring happiness?” (See the Rabbinical Assembly’s Machzor Lev Shalem for Rosh Hashanah and Yom Kippur, published almost a decade ago.)

Sounding the shofar is one of the special additions to Rosh Hashanah services. According to Norman Bloom – in a 1978 article on Rosh Hashanah prayers in Tradition: A Journal of Orthodox Jewish Thought – the timing of the shofar blowing weighed in the physical safety and comfort of the congregation. Hard as it may be to comprehend today, scholars considered potential attacks from both local enemies of the Jews and from Satan himself. They also considered the comfort of the infirm, who might not be able to stay through a long service.

Rosh Hashanah has other curious customs. For example, there is a tradition of having either a fish head or, among some Sephardim, a lamb’s head as part of the Rosh Hashanah meal. This is meant to symbolize that, in the year to come, we should be at the rosh or head (on top), rather than at the tail (at the bottom). Vegetarians and vegans substitute a head of lettuce.

Both Sephardi and Ashkenazi Jews have Rosh Hashanah seder traditions. The symbolic foods include beets, leeks, pomegranates, pumpkins and beans. As Rahel Musleah has pointed out, each food suggests a good wish for the coming year. Thus, before eating each one, people recite a special blessing. Humour is at play, too, as some of the blessings are puns on the food’s Hebrew or Aramaic name. (Read Musleah’s article “A Sephardic Rosh Hashanah Seder” at myjewishlearning.com/article/a-sephardic-rosh-hashanah-seder.) Of course, we cannot neglect to mention that the festive table also includes apples dipped in honey, for a sweet new year, and a round challah, symbolizing both the cycle of life and G-d’s kingship.

Another Rosh Hashanah custom is Tashlich. This ceremony involves going to a body of water to symbolically cast off one’s sins. Breadcrumbs are often used, as are leaves, but, seeing that COVID-19 will be a part of this year’s holiday, here is another suggestion. Originally, this activity was used with youth groups of the Reform movement – participants wrote out their sins and then the papers on which they were written were put through a paper shredder. A dramatic gesture, suited to our current need for social distancing.

My city, Jerusalem, is a land-bound city without a sea or lake in its immediate vicinity. So, what do residents of the capital do? Those who wish to practise Tashlich go to one of the following four sites. Two of the four places are near the Supreme Court: the Jerusalem Rose Garden and the Jerusalem Bird Observatory. Also in the same general area is the Botanic Garden in the Nayot neighbourhood and, in the Old City, one can go to the Shiloah Springs in City of David.

Wishing all readers a year of blessings and not of curses.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

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Additional observations

• Hebrew has a number of expressions using the word rosh. Here are just a handful of examples: rosh hamemshala (prime minister); rosh kroov, literally cabbage head, or a negative reference to someone who is not very bright; rosh katan, someone who is small-minded; l’kabel barosh, to be defeated; and rosh tov, or good vibes.

• Anyone interested in learning more about the solar calendar should read Prof. Rachel Elior’s article, “Enoch Son of Jared and the Solar Calendar of the Priesthood in Qumran,” which can be found in a Google search.

A-WA to electrify Biltmore

A-WA plays at the Chutzpah! Festival on March 12. (photo by Tal Givony)

For a breakup song, “Habib Galbi” is pretty darn upbeat. And the three women in the video – who are singing of a lover who has left – don’t seem too crushed. In fact, they end up dancing the Yemenite step with three young men in tracksuits and baseball caps, who seem to have popped in from a hip-hop video. Colorful clothing contrasts with bleak desert, a traditional melody pulses with a pronounced electronic beat. In a word, A-WA.

The three women are sisters Tair, Liron and Tagel Haim. They hail from the village of Shaharut in southern Israel. The video for the title track of their first CD was filmed nearby, though the sisters have been based in Tel Aviv for about five years now. “Tel Aviv is one of our favorite cities in the world and one of the coolest places in terms of culture, food, fashion and music,” they told the Independent in an email interview.

And they have been to many cities in recent years, touring all over Israel, Europe and now North America. On March 12, they perform at Biltmore Cabaret as part of the Chutzpah! Festival. The week later they’re in Toronto. The only other place they’ve performed in Canada to date is Montreal. “We had so much fun and we can’t wait to be back again!” they said.

A-WA’s CD Habib Galbi (The Eighth Note, 2015) is described as “electronic, funk/soul, folk, world and country”; its style, “Afrobeat.” Produced by Tomer Yosef of Balkan Beat Box, it comprises 12 traditional Yemenite songs that have been modernized with the help of Yosef’s unique vision, for sure, but the Haim sisters grew up listening to, creating and/or performing an eclectic musical mix, from “Greek music, Yemenite music, jazz, R&B, hip-hop, reggae, progressive rock and more,” according to their website. And they grew up in a culturally mixed household, with their father’s parents having come to Israel from Yemen and their mother being of Ukrainian and Moroccan heritage.

“We grew up in a very musical family,” they explained to the Independent. “Our parents are both music lovers and they used to play records around the house all the time; a lot of Middle Eastern stuff, but also a lot of great pop from the West. Our dad used to play his bouzouki and guitar every day – he’s obsessed with old Greek music. We have one brother and two younger sisters and they all sing and play instruments. Our brother is a sound engineer and he helped us from the very beginning to record demos for the album. Our littlest sister, Tzlil, is working on composing the film score of her dreams.”

When the sisters heard the recording by Yemeni singer Shlomo Moga’a of “Habib Galbi,” they were hooked. “From there,” reads their website, “a door was opened [to] a hidden treasure of ancient Yemenite women’s chanting, that was passed from generation to generation for centuries and has been recorded a few times. Moga’a was one of the only chief curators of these songs and after passing has left a legacy just waiting to be discovered.”

“When we released the track ‘Habib Galbi,’ we had no idea how people would react to it, but we loved it and wanted to share it with the world,” the sisters told the Independent. “We always had a good feeling but the fact that it went viral so fast and reached so many people worldwide is still overwhelming for us. It was such an awesome surprise!”

In an August 2015 article in the Forward, writer Madison Margolin describes A-WA – pronounced Ay-Wah, and meaning yes or yeah in Arabic – as “part of a movement that celebrates Jewish-Israeli cultural roots in Arabic. Now, after decades of discrimination, the younger generation of Mizrahim is rediscovering their Jewish ethnic identity as Middle Easterners and reclaiming their heritage.”

“It seems like there is a revival of Mizrahi culture and also a longing for the magic and simplicity of old times, not only in Israel, but in the whole world, and we think it’s great,” the sisters told the Independent. “People feel a strong desire to explore their histories, especially artists, who are constantly seeking inspiration from their roots. For us, Yemenite culture was always really fascinating and something we are very proud of.”

The sisters said that, in school, they all took dance, theatre, art and voice lessons, and performed as much as they could around the area. But then they went their separate ways for a spell. Tair got a BA in music and did her master’s at Levinsky College of Education, Liron got a degree in architecture and interior design, and Tagel studied illustration and visual communication.

“We started A-WA,” they said, “because we were always already playing music together and just wanted to keep creating, so the project was born. Music was always our passion and having our own band is a dream come true. We actually are best friends (really!) so working together is a lot of fun and it keeps our bond strong.”

About touring, they said, “Being on tour means having a very dynamic schedule with long hours of traveling, but the chance to meet new people, see cool places for the first time, expand our own perspectives, and opportunities to try a lot of different food, make it all worth it. It is also really challenging because of the feeling of being away from our home and family and close friends, but, in a way, it keeps us and the whole band very united.”

While they’ve already started working on their next album, the sisters said, “We’re mainly focused right now on the release of our debut Habib Galbi in the U.S. and Europe, but, in the meantime,” they admitted, “we’re already jotting down songs for the next album and finishing up collaborations with some musicians we’re really excited about. We will always keep true to our funky Yemenite sound and might mix in some English stuff, but as for the Greek” – the music their father loves so much – “we’ll have to wait and see.”

For more on A-WA, visit a-wamusic.com. Their March 12 performance at Biltmore Cabaret, 2755 Prince Edward St., starts at 8:30 p.m. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com.