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๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ LIVE @ Festival of Jewish Music Days - Bar Ilan university ูŠุง ุญุจูŠุจูŠ ูุฏูŠุชูƒ

๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ  LIVE @ Festival of Jewish Music Days - Bar Ilan university  ูŠุง  ุญุจูŠุจูŠ ูุฏูŠุชูƒ

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Title๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ LIVE @ Festival of Jewish Music Days - Bar Ilan university ูŠุง ุญุจูŠุจูŠ ูุฏูŠุชูƒ
AuthorYamma Ensemble - ื™ืืžื” - ูŠู…ุฉ
Duration0:49
File FormatMP3 / MP4
Original URL https://youtube.com/watch?v=ktukLKUTG50

Description

LIVE from the 13th Festival of Jewish Music at Bar Ilan university

๐™”๐™–๐™ข๐™ข๐™– ๐™๐™€๐™„๐™ˆ๐˜ผ๐™‰ - ๐™๐™๐™š ๐™ข๐™ช๐™จ๐™ž๐™˜ ๐™ค๐™› ๐™…๐™š๐™ฌ๐™ž๐™จ๐™ ๐™ฌ๐™ค๐™ข๐™š๐™ฃ ๐™ž๐™ฃ ๐™”๐™š๐™ข๐™š๐™ฃ
https://yammaensemble.com/teiman
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Spotify - https://open.spotify.com/artist/46AfakAbrog8AiGzjPvXEI

~ ๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ / ูŠุง ุญุจูŠุจูŠ ูุฏูŠุชูƒ ~
ูŠุงย  ุญุจูŠุจูŠ ูุฏูŠุชูƒ ุฑูˆู†ูŠ ุจุงุจ ุจูŠุชูƒย 
ุฑูŠุช ู„ุง ุฃูƒูˆู† ู‡ูˆูŠุชูƒ ุตุจุญ ูˆ ุฅู„ุง ุนุดูŠุฉย 

๐™”๐™–๐™ข๐™ข๐™– ๐™๐™€๐™„๐™ˆ๐˜ผ๐™‰
๐—ง๐—ฎ๐—น๐˜†๐—ฎ ๐—š.๐—” ๐—ฆ๐—ผ๐—น๐—ฎ๐—ป - voice
๐—›๐—ฎ๐—ฑ๐—ฎ๐—ฟ ๐—ก๐—ฒ๐—ต๐—ฒ๐—บ๐˜†๐—ฎ - voice
๐— ๐—ผ๐—ฟ๐—ฎ๐—ป ๐—”๐—น ๐—ฌ๐—ฎ๐—บ๐—ฎ๐—ป๐—ถ๐˜†๐—ฎ - voice
๐—ฆ๐—ฎ๐—ต๐—ฎ๐—ฟ ๐——๐—ฎ๐˜ƒ๐—ถ๐—ฑ - percussion, ney, arrangement
๐——๐—ฎ๐˜ƒ๐—ถ๐—ฑ ๐—–๐—ผ๐—ต๐—ฒ๐—ป - oud

lyrics & composition: ๐˜๐—ฟ๐—ฎ๐—ฑ๐—ถ๐˜๐—ถ๐—ผ๐—ฎ๐—ป๐—น
artistic director, executive producer & styling: ๐—ง๐—ฎ๐—น๐˜†๐—ฎ ๐—š.๐—” ๐—ฆ๐—ผ๐—น๐—ฎ๐—ป
musical director: ๐—ฆ๐—ฎ๐—ต๐—ฎ๐—ฟ ๐——๐—ฎ๐˜ƒ๐—ถ๐—ฑ

๐—ฆ๐—ฃ๐—˜๐—–๐—œ๐—”๐—Ÿ ๐—ง๐—›๐—”๐—ก๐—ž๐—ฆ :
- ๐Ÿญ๐Ÿฏ๐˜๐—ต ๐—™๐—ฒ๐˜€๐˜๐—ถ๐˜ƒ๐—ฎ๐—น ๐—ผ๐—ณ ๐—๐—ฒ๐˜„๐—ถ๐˜€๐—ต ๐— ๐˜‚๐˜€๐—ถ๐—ฐ ๐——๐—ฎ๐˜†๐˜€, ๐—•๐—ฎ๐—ฟ ๐—œ๐—น๐—ฎ๐—ป ๐—จ๐—ป๐—ถ๐˜ƒ๐—ฒ๐—ฟ๐˜€๐—ถ๐˜๐˜†
- ๐—๐—ผ๐˜€๐—ฒ๐—ฝ๐—ต ๐—ญ๐—ถ๐—ผ๐—ป
___________

ื™ื ื—ื‘ื™ื‘ื™ ืคื“ื™ื™ืชื›
ืฉื™ืจ ืื”ื‘ื” ืžืจืคืจื˜ื•ืืจ ืฉื™ืจืช ื”ื ืฉื™ื ื‘ืชื™ืžืŸ

ื˜ืœื™ื” ื’. ืกื•ืœืืŸ - ืฉื™ืจื”
ื”ื“ืจ ื ื—ืžื™ื” - ืฉื™ืจื”
ืžื•ืจืŸ ืืœ ื™ืžื ื™ื” - ืฉื™ืจื”
ืกื”ืจ ื“ื•ื“ - ื›ืœื™ ื”ืงืฉื”, ื ื™ื™, ืขื™ื‘ื•ื“ื™ื
ื“ื•ื“ ื›ื”ืŸ - ืขื•ื“

________
ืžื™ืœื™ื ื•ืœื—ืŸ: ืชื™ืžื ื™ ืขืžืžื™

๐—ง๐—˜๐—œ๐— ๐—”๐—ก is the Hebrew word for Yemen.
This new project by Yamma brings to the spotlight the ancient tradition of the Jewish community that lived in Yemen for two thousand years. New members who specialize in Yemenite music has joined Yamma and together have recorded TEIMAN, an album dedicated to music world of Yemenite women.

๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ
๐˜–๐˜ฉ ๐˜ฎ๐˜บ ๐˜ญ๐˜ฐ๐˜ท๐˜ฆ, ๐˜โ€™๐˜ฅ ๐˜จ๐˜ช๐˜ท๐˜ฆ ๐˜ฎ๐˜บ๐˜ด๐˜ฆ๐˜ญ๐˜ง ๐˜ง๐˜ฐ๐˜ณ ๐˜บ๐˜ฐ๐˜ถ.
๐˜š๐˜ฉ๐˜ฐ๐˜ธ ๐˜ฎ๐˜ฆ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฅ๐˜ฐ๐˜ฐ๐˜ณ ๐˜ต๐˜ฐ ๐˜บ๐˜ฐ๐˜ถ๐˜ณ ๐˜ฉ๐˜ฐ๐˜ฎ๐˜ฆ.
๐˜๐˜ง ๐˜ฐ๐˜ฏ๐˜ญ๐˜บ ๐˜ ๐˜ค๐˜ฐ๐˜ถ๐˜ญ๐˜ฅ ๐˜ฃ๐˜ฆ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜บ๐˜ฐ๐˜ถ ๐˜ญ๐˜ฐ๐˜ท๐˜ฆ,
๐˜ž๐˜ฉ๐˜ฆ๐˜ต๐˜ฉ๐˜ฆ๐˜ณ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ฐ๐˜ณ๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜ฐ๐˜ณ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฆ๐˜ท๐˜ฆ๐˜ฏ๐˜ช๐˜ฏ๐˜จ


"๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ" is a traditional Yemenite Arabic love song from the womenโ€™s Jewish community.
During the early years of the state Yemeni Arabic singing was abandoned and disappeared from public stages. immigrants had a strong urge to assimilate, and as a result, singing in their native languages gradually disappeared.

1950 - ๐—ฆ๐—ฎ๐—ฟ๐—ฎ๐—ต ๐—Ÿ๐—ฒ๐˜ƒ๐—ถ-๐—ง๐—ฎ๐—ป๐—ฎ๐—ถ - "๐— ๐—ฎ๐—ฐ๐—ต๐—บ๐—ฎ๐—ฑ ๐—Ÿ๐—ฒ๐˜ƒ๐—ฎ๐˜ƒ๐—ถ" -
The legendary Sarah Levi-Tanai took the ancient Yemenite melody of ๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ๐—ถ ๐—™๐—ฎ๐—ฑ๐—ฎ๐˜†๐˜๐—ฎ๐—ธ and turned to a beautiful Hebrew song - thus creating one of the most iconic songs associated with the early days of Israel. it became a major hit in the 1950s and 60s and was performed by artists from across the Israeli musical spectrum. Conductor Noam Sheriff even composed an orchestral piece based on the melody.

1974 - ๐—ข๐—ณ๐—ฟ๐—ฎ ๐—›๐—ฎ๐˜‡๐—ฎ - ๐— ๐—ผ๐—ฐ๐—ต๐—ฒ๐—ฟ ๐—›๐—ฎ๐—ฝ๐—ฟ๐—ฎ๐—ฐ๐—ต๐—ถ๐—บ (๐—ง๐—ต๐—ฒ ๐˜€๐—ฒ๐—น๐—น๐—ฒ๐—ฟ ๐—ผ๐—ณ ๐—ณ๐—น๐—ผ๐˜„๐—ฒ๐—ฟ๐˜€)
In the 1970s, the melody returned to the public arena once again: Bezalel Aloni wrote the lyrics for "๐— ๐—ผ๐—ฐ๐—ต๐—ฒ๐—ฟ ๐—›๐—ฎ๐—ฝ๐—ฟ๐—ฎ๐—ฐ๐—ต๐—ถ๐—บ " (The seller of flowers) as part of his work with the Hatikvah Neighborhood Theater Workshop. The Flower Seller became a popular Israeli song, even adapted into a folk dance.

1979 - ๐—”๐—ต๐—ฎ๐˜ƒ๐—ฎ๐˜ ๐—›๐—ฎ๐—ฑ๐—ฎ๐˜€๐—ฎ๐—ต
Another fascinating transformation occurred in 1979, when Gila Bashari and Uri Shvach combined the melody with lyrics by Rabbi Shalom Shabazi, creating "Ahavat Hadassah". The song returned to the embrace of Yemenite culture, though performed in Hebrew and without authentic Yemenite pronunciation.

๐Ÿฎ๐Ÿฌ๐Ÿฌ๐Ÿฌ - ๐—ฌ๐—ฎ ๐—›๐—ฎ๐—ฏ๐—ถ๐—ฏ
Only in the year 2000โ€”five decades after the melody had been hidden away and wrapped in conventional Western Israeli cultural normsโ€”the original melody was finally recorded on Gila Bashariโ€™s masterful album "Zaffa".
Bashari restored the melodyโ€™s honor, recording both the original version and "Ahavat Hadassah"โ€”this time with authentic Yemenite pronunciation.

The story of this melody raises important issues and serves as a kind of mirror to the relationship between East and West in Israel - to suppression versus preservation, and to questions of identity, belonging, and culture. It reveals the desire to assimilate into society alongside the pain of cultural uprooting, and it tells the story of an entire aliyah through sounds and words.
But above allโ€”it is a beautiful song, worthy of being heard and performed in its original form, with pride and love, on every stage in Israel and around the world.

๐—ง๐—ต๐—ฒ ๐—๐—ฒ๐˜„๐˜€ ๐—ผ๐—ณ ๐—ฌ๐—ฒ๐—บ๐—ฒ๐—ป
____________________________________
Yemenite Jewish music has been an integral part of Yemenite Jewish culture since time immemorial. The Jews of Yemen have preserved a well-defined singing arrangement which includes the very poetic creation itself and also involves a vocal and dance performance, accompanied by drumming on an empty tin-can (tankah) or a copper plate.

The Jews of Yemen are one of the most isolated and forgotten communities of the Jewish people. This vibrant Jewish community lived in Yemen until the mid-20th century, when almost all the inhabitants emigrated from Yemen and settled in Israel. Yemeni Jewish traditions claim that the Jewish settlement goes back to biblical times.These songs of Yemenite Jews divide into men's songs and women's songs. Men's songs are sung in Hebrew, mainly religious songs and women's songs always in Arabic. songs of the heart. The women's songs are aching and sensual and often witty, angry and bitingly sarcastic

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