{"id":6031,"date":"2026-06-11T10:20:39","date_gmt":"2026-06-11T10:20:39","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/?p=6031"},"modified":"2026-06-11T20:56:49","modified_gmt":"2026-06-11T20:56:49","slug":"neta-elkayam-reimagines-ancestral-songs-on-album-arenas","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/neta-elkayam-reimagines-ancestral-songs-on-album-arenas\/","title":{"rendered":"Neta Elkayam Reimagines Ancestral Songs on Album Ar\u00e9nas"},"content":{"rendered":"

Neta Elkayam discovered tape recordings from the Camp du Grand Ar\u00e9nas, a French transit camp, which she considered a significant find. The recordings were made by Moroccan Jewish folklorist Prof. Yissakhar Ben-Amir, who interviewed people migrating from Morocco to Israel in the 1950s and 60s. \u201cI keep reliving this crisis of my community, when they were leaving the homeland and chasing this biblical dream,\u201d Elkayam said. \u201cHe caught them in a moment when they were super fragile, especially the women who could not write and read.\u201d<\/p>\n

From these recordings, which she described as containing \u201cthe hums and mutterings of immigrant women, and melodies interrupted by a baby’s cry, an embarrassed laugh, the clatter of pots… a trembling sentence and the voice of a woman,\u201d Elkayam observed how Moroccan Jewish women expressed their faith through lyrics and improvisation. \u201cAll of a sudden I also remembered my grandmother putting me to sleep like that. The tunes felt familiar, I felt it tickling my DNA,\u201d she said. \u201cI realized that there is a language here. The women were a community gathering around these songs.\u201d<\/p>\n

The recordings helped her imagine her grandmother\u2019s culture and life in Morocco, which her grandmother rarely described. \u201cI was always fascinated, because I felt the gap between my grandmother\u2019s house and society outside,\u201d she said. \u201cMy grandmother is the only reason I believe in God.\u201d<\/p>\n

At a time when she was reconsidering her artistic direction, the tapes inspired her latest album, Ar\u00e9nas<\/em>, created with her husband Amit Hai Cohen. The album reimagines Moroccan Jewish music, centering her voice as an extension of the women\u2019s voices of her ancestors. Cohen blends tradition with synths, sampling, beats with bendirs, and New Orleans-influenced horns. Half of the album is original, the other half is based on scattered lyrics and tunes Elkayam could make out in the recordings. \u201cWhen I caught a line, I tried my best to shape it in a way that is reasonable for today, but still keeps the same essence of the past,\u201d she said.<\/p>\n

Track three, \u201cHawa Hawa,\u201d is inspired by a word Elkayam repeatedly heard in the recordings. \u201cWhen the musicologist asked the woman \u2018what is Hawa?\u2019 she said \u2018if you won\u2019t sing it, what else would you sing?\u2019 It doesn\u2019t mean anything, it helps you process and fills the void between sentences.\u201d The word Hawa was sung collectively in a call and response style, echoed in Elkayam\u2019s song. To her, it felt like finding her ancestors\u2019 blues. \u201cThey used it to support each other while working,\u201d she said. \u201cMusic served life and not the other way around. In the western world, we almost make art and music holy. But for them, life came first and music was there to heal and help process loss.\u201d<\/p>\n

The album\u2019s New Orleans influences came naturally as the city\u2019s music holds a similar space of resilience and reclaiming one\u2019s roots. \u201cWe have so much common ground with the birthplace of jazz and blues and much of the lyrics which describe daily life,\u201d Elkayam said.<\/p>\n

Track two, \u201cA Lalla Ya Ima,\u201d is inspired by Tahdid singing, which refers to the traditional sword and protection rituals performed by Jewish communities in Morocco. It originally praised a heroic groom arriving on a horse, but Elkayam turned it around and praised a heroic woman and her beauty instead. \u201cIn the end, she doesn’t need anyone,\u201d she said with a laugh. \u201cI adapted it to my own life and I wanted to imagine how these songs would sound if they were written now. If there wasn\u2019t this historical tragedy through which I lost 1000 years of culture.\u201d<\/p>\n

The Tamazight language<\/a> was the first thing Elkayam\u2019s community lost upon migrating to Israel. They adopted Dajira to communicate with other North Africans; Elkayam learned it when reconnecting with her roots. \u201cI remember really falling in love with the language and the adults didn\u2019t understand why. They\u2019d say \u2018we moved on, it\u2019s a new country, stop emphasizing the differences, adopt the mainstream\u2019\u201d, she recalled. \u201cI refused, I was a big believer in the mother tongue. I wanted to communicate with my grandmother and the stories she\u2019d brought with her.\u201d<\/p>\n

When Elkayam speaks to Moroccans, they sometimes note with curiosity that she sounds like their grandmother. \u201cThe Jews took some of this language with them and wouldn’t let it go,\u201d she said. \u201cWhen I write songs in Darija, I don’t want to totally adapt and pretend I was born there. I want to be honest and create in a way that reflects my identity and my roots.\u201d<\/p>\n

Echoing other diasporic Moroccans, Elkayam said that her Moroccan-ness is never questioned, even though people realize there is a story behind her accent. \u201cMoroccan Jews and Muslims had an inter-faith connection like no other in the Jewish diaspora,\u201d she said. \u201cIt goes back to Andalusia and Amazigh culture, so Moroccans still have that muscle of practicing coexistence.\u201d<\/p>\n

Sonically, this connection is reflected in Jewish Moroccan music, which preserves some of the Andalusian music first co-created by the two communities. \u201cI remember hearing this Andalusian music in the synagogue I grew up in,\u201d Elkayam said. She heard it again in Morocco during Ramadan, suddenly feeling transported back to the synagogue.<\/p>\n

Elkayam\u2019s own music is inspired by Andalusian music, ancient Hebrew poetry found on Moroccan graves, and piyyutim<\/a>, liturgical songs layered over Amazigh tunes.<\/p>\n","protected":false},"excerpt":{"rendered":"Moroccan Israeli artist Neta Elkayam’s album Ar\u00e9nas reinterprets music from recordings of Jewish women migrating from Morocco to Israel in the 1950s and 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