{"id":6095,"date":"2026-06-10T19:08:55","date_gmt":"2026-06-10T19:08:55","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/neta-elkayam-reimagines-ancestral-moroccan-jewish-blues-on-arenas\/"},"modified":"2026-06-10T19:08:55","modified_gmt":"2026-06-10T19:08:55","slug":"neta-elkayam-reimagines-ancestral-moroccan-jewish-blues-on-arenas","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/neta-elkayam-reimagines-ancestral-moroccan-jewish-blues-on-arenas\/","title":{"rendered":"Neta Elkayam Reimagines Ancestral Moroccan Jewish Blues on ‘Ar\u00e9nas’"},"content":{"rendered":"

Neta Elkayam<\/strong><\/a> has released Ar\u00e9nas<\/strong>, an album that reimagines the music of Moroccan Jewish women from archival recordings made in a French transit camp during the 1950s and 60s.<\/p>\n

The project began when Elkayam discovered tape recordings from the Camp du Grand Ar\u00e9nas<\/a>, collected by folklorist Prof. Yissakhar Ben-Amir<\/strong>. The tapes captured interviews with Moroccan Jews migrating to Israel, a moment Elkayam describes as a crisis of leaving homeland for a biblical dream.<\/p>\n

“I keep reliving this crisis of my community, when they were leaving the homeland and chasing this biblical dream,” she says. “He caught them in a moment when they were super fragile, especially the women who could not write and read.”<\/p><\/blockquote>\n

Unearthing a Lost Repertoire<\/h2>\n

Listening to the recordings, Elkayam heard hums, mutterings, and melodies interrupted by everyday sounds: a baby’s cry, an embarrassed laugh, the clatter of pots. She says these fragments revealed how Moroccan Jewish women practiced faith through lyrics and improvisation.<\/p>\n

“All of a sudden I also remembered my grandmother putting me to sleep like that. The tunes felt familiar, I felt it tickling my DNA,” she says with a chuckle. “I realized that there is a language here. The women were a community gathering around these songs.”<\/p><\/blockquote>\n

The tapes helped her imagine her grandmother’s life in Morocco, a culture rarely described to her. “My grandmother is the only reason I believe in God,” Elkayam says.<\/p>\n

Building ‘Ar\u00e9nas’<\/h2>\n

The album, created with her husband and collaborator Amit Hai Cohen<\/strong>, centers Elkayam’s voice as an extension of those ancestral women. Cohen’s production blends tradition with synths, sampling, beats, bendir drums, and New Orleans-influenced horns. Half the tracks are original compositions; the other half are built from scattered lyrics and tunes Elkayam deciphered from the tapes.<\/p>\n

“When 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.”<\/p><\/blockquote>\n

The Blues of Hawa<\/h2>\n

Track three, “Hawa Hawa,” is inspired by a word Elkayam heard repeatedly. When the musicologist asked a woman what Hawa meant, she replied, “If you won’t sing it, what else would you sing?” It doesn’t mean anything; it helps you process and fills the void between sentences.<\/p>\n

The word was sung collectively in call and response, a practice Elkayam echoes in her song. She likens it to finding her ancestors’ blues.<\/p>\n

“They used it to support each other while working,” she says. “Music 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.”<\/p><\/blockquote>\n

New Orleans and Andalusian Threads<\/h2>\n

The album’s New Orleans influences arose naturally, as the city’s music holds a similar space of resilience and reclaiming roots. “We have so much common ground with the birthplace of jazz and blues and much of the lyrics which describe daily life,” Elkayam says.<\/p>\n

Track two, “A Lalla Ya Ima,” draws on Tahdid singing, a traditional sword and protection ritual of Moroccan Jewish communities. The original lyrics praised a heroic groom arriving on a horse; Elkayam flipped the narrative to praise a heroic woman and her beauty.<\/p>\n

“In the end, she doesn’t need anyone,” she says with a laugh. “I adapted it to my own life and I wanted to imagine how these songs would sound if they were written now. If there wasn’t this historical tragedy through which I lost 1000 years of culture.”<\/p><\/blockquote>\n

Language, Loss, and Identity<\/h2>\n

The Tamazight language<\/a> was the first thing Elkayam’s community lost upon migrating to Israel. They adopted Darija<\/a> to communicate with other North Africans; Elkayam learned it while reconnecting with her roots.<\/p>\n

“I remember really falling in love with the language and the adults didn’t understand why. They’d say ‘we moved on, it’s a new country, stop emphasizing the differences, adopt the mainstream,'” she recalls. “I refused, I was a big believer in the mother tongue. I wanted to communicate with my grandmother and the stories she’d brought with her.”<\/p><\/blockquote>\n

When she speaks to Moroccans today, they sometimes note that she sounds like their grandmother. “The Jews took some of this old language with them and wouldn’t let it go,” she says. “When 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.”<\/p>\n

Elkayam points to a deep inter-faith connection between Moroccan Jews and Muslims, rooted in Andalusia and Amazigh culture. “Moroccan Jews and Muslims had an inter-faith connection like no other in the Jewish diaspora,” she says. “It goes back to Andalusia and Amazigh culture, so Moroccans still have that muscle of practicing coexistence.”<\/p>\n

Sonically, this connection is preserved in Jewish Moroccan music, which retains some of the Andalusian music co-created by the two communities. Elkayam recalls hearing Andalusian music in the synagogue she grew up in, and again in Morocco during Ramadan, feeling transported back. Her own work is inspired by Andalusian music, ancient Hebrew poetry found on Moroccan graves, and piyyutim, liturgical songs.<\/p>\n","protected":false},"excerpt":{"rendered":"Neta Elkayam’s album Ar\u00e9nas reimagines the songs of Moroccan Jewish women recorded during migration in the 1950s, merging ancestral blues with contemporary 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