eSTWANAT HAI
The Songs of Mothers
Piyyutim from North African Roots
God - two pieces, the same title, different religions, Islam and Judaism
Jewish | יהודיה | يهودية
The constitution calls Morocco
"A sovereign Moslem State, committed to the ideals of openness, moderation, tolerance and dialogue to foster mutual understanding among all civilizations; A Nation whose unity is based on the fully endorsed diversity of its constituents: Arabic, Amazigh, Hassani, Sub-Saharan, African, Andalusian, Jewish and Mediterranean components."
North African Music: A Cultural Blend
North African music merges Amazigh, Arab, Sub-Saharan, and Andalusian influences, shaped by migration and history. It features intricate rhythms, microtonal melodies, and expressive vocals, often accompanied by percussion, oud, and call-and-response singing.
Four Key Genres:
- Gnawa (Morocco) – Spiritual, trance-like music rooted in West African traditions.
- Raï (Algeria) – Rebellious folk-pop blending Bedouin melodies with modern sounds.
- Chaâbi (Algeria/Morocco) – Lively street and wedding music with poetic lyrics.
- Andalusian Classical (Maghreb) – Elegant court music from exiled Andalusian Jews and Muslims.
The Role of Jews in North African Culture
For over 2,000 years, Jews have shaped North African culture through music, literature, trade, and scholarship. They played a key role in Andalusian classical music, Raï, and Chaâbi, enriched local languages with Judeo-Arabic and Judeo-Berber, and contributed to art, craftsmanship, and philosophy. Though many emigrated in the 20th century, their influence remains deeply woven into the region’s heritage.
To Jerusalem / Yehuda Halevi
O fair of view! World’s joy! Great monarch’s home!
For you, from earth’s far end, my spirit yearns.
Compassion stirs in me when my mind turns
To your lost cloister and its splendor’s doom.
Would that on an eagle’s wings I flew
To mix the water of my tears with your parched clay!
Always I think of you—and though your king’s away,
And snakes and scorpions scuttle where once grew
Your balm of Gilead, your stones and earth
Would taste when kissed like honey in my mouth
Translation by Hillel Halkin
יפה נוף / ר' יהודה הלוי
יְפֵה נוֹף מְשׂוֹשׂ תֵּבֵל קִרְיָה לְמֶלֶךְ רָב
לְךָ נִכְסְפָה נַפְשִׁי מִפַּאֲתֵי מַעְרָב
הֲמוֹן רַחֲמַי נִכְמָר כִּי אֶזְכְּרָה קֶדֶם
כְּבוֹדֵךְ אֲשֶׁר גָּלָה וְנָוֵךְ אֲשֶׁר חָרַב
וּמִי יִתְּנֵנִי עַל כַּנְפֵי נְשָׁרִים עַד
אֲרַוֶּה בְדִמְעָתִי עֲפָרֵךְ וְיִתְעָרָב
דְּרַשְׁתִּיךְ וְאִם מַלְכֵּךְ אֵין בָּךְ וְאִם בִּמְקוֹם
צְרִי גִּלְעֲדֵךְ נָחָשׁ שָׂרָף וְגַם עַקְרָב
הֲלֹא אֶת אֲבָנַיִךְ אֲחוֹנֵן וְאֶשָּׁקֵם
וְטַעַם רְגָבַיִךְ לְפִי מִדְּבַשׁ יֶעְרַב
Yehuda Halevi, a renowned Jewish poet of the Golden Age of Spain, was not only a master of Hebrew poetry but also a philosopher and physician who wrote in both Hebrew and Arabic. Despite his success, he left Spain in his later years to fulfill his deep spiritual longing for the Land of Israel, where he ultimately died. His poetry blends personal devotion, national longing, and religious themes, making him a pioneering figure in Jewish literature. He also wrote The Kuzari, a philosophical work in Arabic that defends Judaism through a dialogue between the King of the Khazars and a Jewish scholar. This book became a foundational text in Jewish philosophy. Halevi broke new ground by intertwining spirituality with emotional depth, influencing both Hebrew poetry and Jewish thought for centuries. His legend, particularly the story of his tragic death at Jerusalem’s gates, further cemented his legacy.
Ya Belaredj
Ya Belaredj ya tawil el-gaïma
Ah ya saken bein el-ghoraf ettnin
La ter’ach fi bahira Lalla
Moulat el-khelkhal bou ratleen
Ah yema yema chouchti mafzoura
Hado sab’ snin ma sallit
Ki jit n’ssai w nsit es-soura
Tfakkart khalili w bkit
W ida mit w radli maktoubi
Dirou gabri ‘and bab el-beyt
Nebki w ngoul ya mahboubi
Malek ya welfi ‘alach btit
Ah yema yema fi nahar el-joum’a
Ya yema yetsamhou l-arwah
Kharajli w ‘ayounou b’dam’a
Gatlou Allah ysamhak, arwah
Yema yema li’yati maktouba
W elli habito mcha w khalani
Mach ydir elli tarak et-touba
Rahi ed-dam’a kahret ‘ayani
Ah ya Belaredj ya tawil el-gaïma
Ya lli saken bein el-ghoraf ettnin
La ter’ach fi bahira Lalla
Moulat el-khelkhal bou ratleen
يا بلارج
يا بلارج يا طويل القايمة
اه يا ساكن بين الغرف الاتنين
لا ترعاش في بحيرة لالا
مولاة الخلخال بو رطلين
اه يما يما شوشتي مظفورة
هادو سبع سنين ما صليت
كي جيت نصاي و نسيت السورة
اتفكرت خليلي و بكيت
و اذا مت و رادلي مكتوبي
ديرو قبري عند باب البيت
نبكي و نقول يا محبوبي
مالك يا ولفي علاش بطيت
اه يما يما في نهار الجمعة
يا يما يتسامحو لرواح
خرجلي و عيونو بالدمعة
قتلو الله يسامحك ارواح
يما يما ليعتي مكتوبة
و اللي حبيتو مشى و خلاني
ماش يدير اللي ترك التوبة
راهي الدمعة قهرت عياني
اه يا بلارج يا طويل القايمة
يا للي ساكن بين الغرف الاتنين
لا ترعاش في بحيرة لالا
مولاة الخلخال بو رطلين
Fadila Dziria (1917–1970) was a renowned Algerian singer known for her contributions to hawzi and shaabi music. Born in Algiers, she became a key figure in preserving Andalusian musical traditions while also embracing popular styles. With her powerful voice and expressive interpretations, she captivated audiences and played a crucial role in promoting Algerian music, particularly in the mid-20th century. Despite facing societal challenges as a female performer, she established herself as a respected artist and remains an important figure in Algeria’s musical heritage.
Haouzi music is another style of Algerian music. It took the melodies of Andalusian music and modernized them. Haouzi music is most often played at weddings and ceremonies.
To Jerusalem /Yehuda Halevi
יפה נוף / ר' יהודה הלוי
יְפֵה נוֹף מְשׂוֹשׂ תֵּבֵל קִרְיָה לְמֶלֶךְ רָב
Yafeh nof mesos tevel kiryah lemelech rav
O fair of view! World’s joy! Great monarch’s home!
לְךָ נִכְסְפָה נַפְשִׁי מִפַּאֲתֵי מַעְרָב
Lecha niksefa nafshi mi'pa'atei ma'arav
For you, from earth’s far end, my spirit yearns.
הֲמוֹן רַחֲמַי נִכְמָר כִּי אֶזְכְּרָה קֶדֶם
Hamon rachamai nikmar ki ezkerah kedem
Compassion stirs in me when my mind turns
כְּבוֹדֵךְ אֲשֶׁר גָּלָה וְנָוֵךְ אֲשֶׁר חָרַב
Kevodech asher galah ve'no'vech asher charav
To your lost cloister and its splendor’s doom.
וּמִי יִתְּנֵנִי עַל כַּנְפֵי נְשָׁרִים עַד
Umi yitneni al kanfei nesharim ad
Would that on an eagle’s wings I flew
אֲרַוֶּה בְדִמְעָתִי עֲפָרֵךְ וְיִתְעָרָב
Araveh b'dim'ati afarech v'yit'arav
To mix the water of my tears with your parched clay!
דְּרַשְׁתִּיךְ וְאִם מַלְכֵּךְ אֵין בָּךְ וְאִם בִּמְקוֹם
Drashtich v'im malkech ein bach v'im bimkom
Always I think of you—and though your king’s away,
צְרִי גִּלְעֲדֵךְ נָחָשׁ שָׂרָף וְגַם עַקְרָב
Tzuri Gil'adch nachash saraf v'gam akrav
And snakes and scorpions scuttle where once grew
הֲלֹא אֶת אֲבָנַיִךְ אֲחוֹנֵן וְאֶשָּׁקֵם
Halo et avaneich achonen v'esha'kem
Your balm of Gilead, your stones and earth
וְטַעַם רְגָבַיִךְ לְפִי מִדְּבַשׁ יֶעְרַב
V'ta'am regavayich lefi midvash ye'arav
Would taste when kissed like honey in my mouth.
Istikhbar - استخبار | a Musical Intro
In Music (Andalusian & North African Traditions) – Istikhbar refers to an improvised vocal introduction in classical Algerian and Andalusian music, often performed a cappella. It serves as a free, unmetered prelude that showcases the singer's skill and sets the mood for the following piece. In this context, it can be translated as "musical prelude," "improvisation," or simply "vocal improvisation.
הנה לך תיטב זמרת אנוש
על כן אודך
בעוד תהיה נשמת אלוה בי
בעוד תהיה נשמת אלוה בי
שלמה אבן גבירול
Maqam Zarka / C
C – D – E – F – G – A – B♭ – C
Nerdi Natan Reicho / Rabbi Avraham Ibn Musa
Nerdi Natan Reicho is a special Jewish poem (piyut) sung on Shavuot, when God gave us the Torah.
It was written long ago by Rabbi Avraham Ibn Musa in Spain, and later sung with melodies from Morocco.
The words mean “My perfume gave its smell” , a way of saying the Torah is beautiful, like a sweet smell.
The poem tells how God gave the Torah on Mount Sinai, and ends with a prayer for peace and blessings.
Rabbi Avraham Ibn Musa was a wise Jewish teacher from Morocco. He learned Torah, taught others, and helped people make good choices. He lived in cities like Tetouan, Salé, and Tunis. A long time ago, in 1733, he passed away, but we still remember his songs and teachings today.
נרדי נתן ריחו / ר' אברהם אבן מוסה
נִרְדִּי נָתַן רֵיחוֹ מֶלֶךְ בִּמְסִבּוֹ
יוֹם עָשָׂה ה' נָגִיל נִשְׂמַח בּוֹ
2. הַר סִינַי בּוֹ נִגְלָה לְעַם זִכָּהוּ
שָׁם שָׂם חֹק וּמִשְׁפָּט וְשָׁם נִסָּהוּ
עֶשֶׂר דִּבְּרוֹתָיו שָׁמָּה צִוָּהוּ
לְרוּם הַמַּעֲלוֹת אָז הֶעֱלָהוּ
לִמְכוֹן שִׁבְתּוֹ אֲשֶׁר שָׁמָּה מִשְׁכָּנוֹ
1. אֵל נָתַן לְעַמּוֹ תּוֹרָה תְמִימָה
יָפָה כַלְּבָנָה בָּרָה כַּחַמָּה
נוֹתֶנֶת לִפְתָאִים דַּעַת וּמְזִמָּה
יָרְדָה מִשְּׁחָקִים מִשְּׁמֵי רוֹמָה
לְעָם אֲשֶׁר אָהַב בְּכָל לְבָבוֹ
3. מִסּוֹעָה וָסַעַר מִפְלָט הָחִישָׁה
וְהוֹצֵא מִתּוֹךְ כּוּר אֶבֶן הָרֹאשָׁה
סְמוֹךְ הַנּוֹפְלָה עֵדָה קְדוֹשָׁה
נִשְׁמַת חַי תְּבָרֵךְ נֶעֱרָץ בִּקְדֻשָּׁה
וְרוּחַ כָּל בָּשָׂר נִשְׁמַת חַיִּים בּוֹ
נִרְדִּי נָתַן רֵיחוֹ מֶלֶךְ בִּמְסִבּוֹ
Nirdi natan reicho, melech bimsibo
יוֹם עָשָׂה אֲדֹנִי נָגִיל נִשְׂמַח בּוֹ
Yom asah Adoni, nagil nismecha bo
2. הַר סִינַי בּוֹ נִגְלָה לְעַם זִכָּהוּ
Har Sinai bo niglah le’am zikhahu
שָׁם שָׂם חֹק וּמִשְׁפָּט וְשָׁם נִסָּהוּ
Sham sam chok u’mishpat, ve-sham nissahu
עֶשֶׂר דִּבְּרוֹתָיו שָׁמָּה צִוָּהוּ
Eser dibrotav shamah tzivahu
לְרוּם הַמַּעֲלוֹת אָז הֶעֱלָהוּ
Lerum ha-ma’alot az he’ela-hu
לִמְכוֹן שִׁבְתּוֹ אֲשֶׁר שָׁמָּה מִשְׁכָּנוֹ
Limchon shivto asher sham mishkano
1. אֵל נָתַן לְעַמּוֹ תּוֹרָה תְמִימָה
El natan le’amo Torah temimah
יָפָה כַלְּבָנָה בָּרָה כַּחַמָּה
Yafah ka-levanah, barah ka-chamah
נוֹתֶנֶת לִפְתָאִים דַּעַת וּמְזִמָּה
Notenet lifta’im da’at u’mezimah
יָרְדָה מִשְּׁחָקִים מִשְּׁמֵי רוֹמָה
Yardah mishchakim mi-shmei romah
לְעָם אֲשֶׁר אָהַב בְּכָל לְבָבוֹ
Le’am asher ahav bechol levavo
3. מִסּוֹעָה וָסַעַר מִפְלָט הָחִישָׁה
Misso’ah va-sa’ar miflat hechishah
וְהוֹצֵא מִתּוֹךְ כּוּר אֶבֶן הָרֹאשָׁה
Ve-hotzi mitoch kur even ha-roshah
סְמוֹךְ הַנּוֹפְלָה עֵדָה קְדוֹשָׁה
Smokh ha-noflah, eidah kedoshah
נִשְׁמַת חַי תְּבָרֵךְ נֶעֱרָץ בִּקְדֻשָּׁה
Nishmat chai tevarekh, ne’eratz bikdushah
וְרוּחַ כָּל בָּשָׂר נִשְׁמַת חַיִּים בּוֹ
Veruach kol basar, nishmat chayyim bo
נעמי
פיוט לחג השבועות
מאת אפרים קהאן
לחן: אי זה מקום בינה
ותאמר נעמי
בִּתִּי עַרְבוֹת שָׂדֵךְ שְׁבִי
פֶּרַח וּפְרִי גַּנֵּךְ לָבִיא
מָה לָךְ רְעוֹת מֵיצָר צְבִי
מִצְאִי לָךְ מְנוּחָה בְּרֵעוּת וְשָׁלוֹם
ותען רות
לִבִּי אַחַר פְּעָמַיִךְ
שָׂם פְּעָמָיו בִּנְדוֹדַיִךְ
אֵין בַּיִת לִי כֶּאלֹהַיִךְ
שֹׁכַנְתְּ בַּשָּׂדֶה אֹהָלַיִךְ שָׁלוֹם
ותאמר נעמי
בִּתִּי נִרְדִּי רֵיחוֹ אָבַד
שִׂמְלַת יָגוֹן לְגֵוִי בַד
לִבְשִׁי עֵלוֹם אֵל לָךְ זָבָד
אֲנִי אֵלֵךְ לִמְקוֹם אִמּוֹתַי בְשָׁלוֹם
ותען רות
אַף אִם לִבֵּךְ עָטָה אֵבֶל
שִׁירוֹ יֶעֱרַב מִשִּׁיר נֵבֶל
חֵיקֵךְ חֶלְקִי מִכָּל חֵבֶל
כִּי בוֹ תוֹרַת חַיִּים וְאַהֲבַת שָׁלוֹם
ותאמר נעמי
בִּתִּי יָדַעְתְּ כִּי לְפוּקָה
הִיא לִי כוֹסִי כּוֹס מְצוּקָה
וְעוֹד נַפְשֵׁךְ בִּי חֲבוּקָה
אֲבַקְשָׁה נָּא טוֹב לָךְ אֲדַבְּרָה שָׁלוֹם
ותען רות
טוּב תּוֹרַת פִּיךְ לֹא אֶטּוֹשָׁה
בּוֹ אַחֲזִיק לֹא אֵבוֹשָׁה
גַּם כִּי אַזְקִין בָּךְ אֶדְרוֹשָׁה
מָצָאתִי בְחֵילֵךְ שַׁלְוָה וְגַם שָׁלוֹם
שִׂישִׂי שִׂמְחִי פִּרְצִי פֶרֶץ
תּוֹרָה אֲשֶׁר בִּשְׁמֵי עֶרֶץ
בָּךְ נָֽשְׁקָה אֱמֶת אֶרֶץ
כִּי נָֽעֲמָה דַּרְכֵּךְ נְתִיבָתֵךְ שָׁלוֹם
Bridging Time, Distance and Distrust, With Music
