One of the earliest documented recordings of the songs sung by Yemeni Jews was captured by the German musician Hans Helfritz in Yemen between 1931-1932, during his second visit to the country. He recorded over 100 tracks on wax cylinders, carefully selecting 9 recordings to categorize them as "Yemeni Jewish Songs" in a document where he wrote titles and notes for all the preserved recordings, now housed in the Ethnological Museum in Berlin. These recordings were divided into two sections: the first consisting of songs in Arabic, and the second in Hebrew.
A Blend of Religious and Folkloric Influences
The recorded Hebrew songs, while showcasing a prominent Yemeni Hebrew dialect, may encompass a religious collection that lacks a distinct Yemeni identity. Interestingly, some of these melodies do not possess an Eastern essence and seem to have been introduced to Yemeni Jews through European Jewish missions during the 19th century, aiming to establish connections with the local Jewish community. Additionally, in the Arabic section, Helfritz notes the participation of a Jewish woman from Dhammar in singing these songs. Upon listening to them, it becomes evident that they are Yemeni folk songs, devoid of religious connotations, be it Jewish or otherwise. This thought-provoking observation raises an intriguing question: Do genuine Yemeni Jewish songs truly exist, or are they simply an integral part of the broader Yemeni musical tradition?
Indeed, it is evident that titles and descriptions provided by researchers of Jewish heritage, such as Helfritz, Robert Lachman, and Abraham Idelson, may have the primary intention of constructing a broader Jewish musical identity, regardless of its specific origin, be it Yemen or even Eastern Europe. However, this perspective contradicts the essence of the Yemeni Jewish musical heritage, which is deeply intertwined with the wider Yemeni musical tradition, particularly preceding the "Bisat Al-Rih" era and the notable migration of Yemeni Jews. These songs and melodies were an integral part of Yemeni society, as Yemeni Jews lived in isolation yet derived their cultural and material sustenance solely from their Yemeni surroundings for an extended period of time.
In reference to one of these recordings, the "Yemeni Jewish woman" sings the following verses in recording number (85):
"As I descended to the valley, though I was not used to going down,
I suddenly encountered a tall, dark-haired boy.
I said, 'Oh mother, my heart is drawn to him.'
She replied, 'Oh my daughter, his homeland is far away.'
I retorted, 'Oh mother, the land of love is never far away.'"
Through these remarkable recordings and the remnants of Yemeni Jewish musical heritage before 1948, we can truly appreciate the intricate tapestry that beautifully intertwines with the broader Yemeni musical landscape. It is a testament to the rich cultural fabric that existed, while also showcasing the unique elements that were shaped by the social class structure of Yemeni Jews.
What sets the Jewish musical heritage apart, however, is its distinctiveness from the classical poems of the Humaini tradition or the use of stringed instruments by Jewish artists. Instead, the focus lies on the raw power of the human voice, as the heartfelt lyrics take center stage. This choice speaks volumes about the deep connection between the Yemeni Jewish community and their cultural identity, drawing inspiration from their surroundings and creating a musical legacy that is uniquely their own. As we delve deeper into the enchanting world of Yemeni Jewish musical heritage, we unearth a treasure trove of melodies that not only celebrate their individuality but also resonate with the shared human experience, transcending boundaries and captivating all who have the privilege to listen.
This musical heritage remained somewhat concealed until after the complete migration of Yemeni Jews out of Yemen in the 1950s and 1960s. It was during this time that the situation underwent a significant transformation, allowing the Yemeni Jewish community to finally bring forth these songs, giving birth to what would later be known as "Yemeni Jewish songs."
The Humaini and Political lyrics
However, this musical heritage remained somewhat concealed until after the complete migration of Yemeni Jews out of Yemen, specifically in the 1950s and 1960s, when the situation underwent a significant change. It provided an opportunity for Yemeni Jews to bring forth these songs, giving birth to what later became known as "Yemeni Jewish songs". Among the first artists to record these songs were Shlomo Mouhia and Shlomo Dahan, both of whom played the oud, an Eastern lute instrument. Their songs reflected events that took place in Yemen in the years prior to the Jewish exodus and conveyed many hidden poems that had been concealed due to the isolation of Yemeni Jews within the originally secluded Yemen for many years. These included poems in Arabic and Hebrew by Rabbi Yosef Al-Shabazi. Shlomo Dahan sings the poem "Shijani Barq Al-Qibla" by Al-Shabazi, which highlights a unique value for these songs, specifically the Yemeni Jewish "Humaini" poem, with its well-structured composition and powerful lyrics:
"Shijani Barq Al-Qibla, with the first light of dawn
And it awakened me from slumber and adorned me with a shawl
And we achieved honor and celebration with those who took respite
And its Jewish identity shines through in the verse:
The chosen children of Jacob, above all nations
Guided by the Torah, with the secrets of wisdom
And they are accustomed to knowledge, following in the footsteps of Moses."
In addition to the reasons for the limited recording in commercial North Yemen and elsewhere during the first half of the 20th century, which hindered the documentation of these songs, they were also prohibited from being openly sung. Consequently, the Yemeni Jews resorted to singing repetitive and circulating songs within their communities. It was the departure from Yemen that allowed the emergence of these songs with a distinct "Jewish" character in terms of lyrics, though not necessarily in terms of melody. The year 1948, marked by the Nakba and the establishment of the State of Israel, along with the death of Imam Al-Mutawakkil Yahya in the same year, created a positive memory of Imam Yahya's personality in the minds of Yemeni Jewish immigrants. This was reflected in Jewish songs and poems, including those performed by Shlomo Mouhia.
The poor Imam (Yahya) was killed, and he chose to end his own life with a bullet,
He became destitute, no longer possessing any wealth, and news of him ceased to come,
They did not wash him, nor shroud him, his body was clean when he was laid to rest.
This song serves as a reminder of the significant events that left a lasting impact on the memories of Yemeni Jews who migrated from Yemen. It specifically references the "Constitutional Revolution," the assassination of Imam Yahya, and the appointment of a new minister as the Imam:
"In the early hours of a Friday morning, the sword entered Sana'a,
And the people were commanded to grind it like flour.
Subsequently, the people entered Sana'a and squeezed it like juice.
The gates of Sana'a were closed by the minister to ease his departure."
These lines evoke the tumultuous times and the upheaval experienced during those historical moments. The song allows the Yemeni Jewish community to recall and reflect upon the events that shaped their lives and led to their eventual departure from Yemen.
And these Jewish immigrants also recall in verses from another song about this event:
Oh, how the house of happiness weeps for him
And the royal palace weeps, along with the borders
They say, "Oh, our separated ones and our imams,
How is Yahya now, lying in the graves?"
And oh, house of the minister, what a disgrace!
To speak ill of Imam Yahya, the leader.
The blending of cultures and languages was quite prominent in many songs during that era, particularly in those presented as Yemeni Jewish songs. One notable example is the song "Neshikot Bayam" performed by Afra Haza in 1978. In this song, she beautifully sings in both Arabic and Hebrew, showcasing the fusion of these two languages. The excerpt you mentioned, "Ala nazaltu lilwadi wala a'rif nazuluh," also appears in Helvertz's song, which was recorded at the beginning of this article. This blending of languages and cultural elements allowed for a rich and diverse musical expression that reflected the experiences and heritage of Yemeni Jews.
The portable Heritage
Indeed, the songs during that period carried the portable heritage of Yemeni Jews and served as a powerful medium for preserving their memories. These songs originated from the diaspora, reflecting the experiences and emotions of Yemeni Jews who had left their homeland. Through these songs, Yemen, as remembered by the Jewish community, remained suspended in time, frozen at the moment of their departure, which coincided with the Nakba (catastrophe). The songs drew heavily from the cultural heritage that the Jews carried with them from Yemen, incorporating both the melodies and lyrics that were deeply rooted in their Yemeni upbringing. Since a significant number of Yemeni Jews in the 1950s and 1960s were born in Yemen, these songs retained their original and authentic form, mirroring the way they were once performed in Yemen. As a result, a consistent image of Yemeni songs, as sung by Yemeni Jews, became imprinted in the collective consciousness, preserving the essence of their heritage.
This image of blending Yemeni songs with Western musical influences was carried forward to the subsequent generation in the 1970s and 1980s. As the music landscape in the Western world underwent changes with the emergence and widespread popularity of pop music, disco, and other dynamic musical genres, Yemeni Jews, being open to these influences outside of Yemen, infused their Yemeni songs with these Western colors. Even the instruments that were considered "simple" and readily available for temporary playing by the Jews, such as the "tank" or "jalan" (a small metal container emptied of its contents and used as a musical instrument), became iconic and indispensable in such songs, representing an integral part of their identity. Many artists embraced this innovation, including prominent figures like Aharon Amram and Afra Haza.
This blending of musical styles became evident in many songs during this period, presented as Yemeni Jewish songs. One notable example is the song "Neshikot Bayam" performed by Afra Haza in 1978, where she sang in both Arabic and Hebrew. The recurring melody of "Ala nazalat lilwadi wala a'rif nazoolah" in the song, which was recorded by Helmutz as mentioned earlier in this article, exemplifies this adaptation. This integration was not limited to merely incorporating elements of the heritage, but rather using it as an integral part of an independent song, thereby highlighting the characteristics of what came to be known as Yemeni Jewish songs. These songs drew from the Yemeni cultural heritage embedded in the memories of Yemeni Jewish immigrants.
This song has evolved into what we can describe as a unique and blended genre, combining elements of Yemeni folk music with Western musical arrangements. It is not solely based on a "Jewish" categorization, as these songs still maintain their Yemeni and Arab essence. Additionally, many of these songs have non-Jewish religious backgrounds. Therefore, classifying these songs based on religious or ethnic criteria ignores the shared cultural fabric in which Yemeni Jews lived alongside others.
Modern Orchestration
During the 1990s and the first decade of the 21st century, these songs continued to evolve in the same gradual manner, occasionally repeating the original Yemeni folk lyrics with folk melodies but with modern arrangements that gave them a unique character. Noteworthy artists such as Zion Golan, Bracha Cohen, and others emerged during this period, who still maintained a pronunciation of Arabic closer to the correct form compared to artists of the subsequent era. They also presented these same songs carried by the migrating Jewish communities.
It is worth noting that while these songs had many similarities with the existing folk heritage within Yemen, some were specifically preserved by the Jewish immigrants. As a result, they safeguarded many of these Arabic songs that had become extinct in Yemen but remained in the Yemeni Jewish memory, with their old lyrics that are no longer commonly used in Yemen.
This genre of songs continues to evolve and integrate further, preserving its uniqueness and essence. With the emergence of artists who specialize in this particular style, drawing from the original heritage and incorporating contemporary innovations, all these artists have been able to make a strong impact. For example, the recently emerged band A-WA, which revives the earliest memories of Yemeni Jews and the early stories of their migration outside Yemen, with a completely different arrangement even from its predecessor. Similarly, the band Yemen Blues, as reflected in their name, explores the fusion of Yemeni songs with Western influences in their diaspora.
The uniqueness and categorization of this song stem from the harmonious blend of Yemeni folk music and Western musical orchestration. While it incorporates elements from both traditions, it is important to emphasize that its classification is not solely centered around its "Jewish" identity. These songs retain their Yemeni and Arab essence, and many of them have religious backgrounds that extend beyond Judaism. By limiting the classification of the song based on religious or ethnic grounds, we risk overlooking the intricate and interconnected cultural fabric in which Yemeni Jews coexisted alongside other communities. It is crucial to take into account the societal dynamics, including the social class differences, that shaped and influenced their musical expression. This holistic perspective allows us to appreciate the richness and diversity of Yemeni Jewish music within the broader cultural context.
The ongoing exploration presented in the article serves as a narrative of a specific Jewish memory associated with Yemeni songs, inviting analysis and expansion in each period of the memory's development. The journey begins with the existence of these songs within Yemen, rooted in Yemeni folk music and reflecting the rich cultural heritage of the Yemeni people. However, the story extends beyond Yemen's borders as Yemeni Jews migrated during the mid-20th century, bringing these songs to new lands and communities. The 1950s and 1960s witnessed a concerted effort to document and preserve these musical traditions, ensuring their survival and preventing them from being lost to history. As time progressed, the songs evolved and matured, gaining distinctiveness in the 1970s and 1980s due to the increased integration of Yemeni Jews with the Western world. This integration brought influences from Western musical orchestration and arrangements, expanding the horizons of Yemeni Jewish music and fostering new realms of creativity and expression. Notably, the classification of these songs goes beyond a strict religious Jewish categorization, instead embracing a "Yemeni Jewish" classification that acknowledges the unique cultural and historical context in which these songs exist. This classification recognizes the interconnectedness of Yemeni Jews with their Yemeni and Jewish identities, as well as the influences they encountered through migration and integration. By adopting this classification, these songs remain open to influences from the outside world, allowing for their continued evolution and adaptation. This approach emphasizes the shared cultural fabric in which Yemeni Jews lived alongside other communities and moves away from the insular nature of Yemeni songs, which continue to evolve within Yemen's borders.
