Mom. Mommy. Ima. Madre. Mother. No matter how many ways I say it, the concept still catches me by surprise sometimes. I am a mother now. Up until 7 months ago when someone would ask me a defining attribute of myself, I would have said I’m a Ladino singer. That’s what I do; that’s what I am.
Being a Ladino singer has always been more than an occupation for me—it’s the fabric of my identity. Its roots run deeply through me—it’s a responsibility I have to my Sephardic ancestors to keep their traditions and stories alive and to make sure they get passed on to future generations. And now I am responsible for a member of that future generation. I am a Ladino singer, and a mother.
As I look at my beautiful daughter now, I have been asking myself how I want to transmit my family tradition to her. What part of my Sephardic heritage do I want to pass down? Do I try to speak to her in Ladino, aware that she will have few people to speak it with as she grows older? Do I sing her Ladino songs each night so they get planted into her subconscious?
There is no doubt being a mother has already changed my performance repertoire. Although I pride myself on writing original music in Ladino, I have recently added a song into my sets that hails from the traditional canon. “Durme, Durme” is a song about how your heart actually aches when you watch over a loved one as (s)he sleep, because all you want now is to protect him/her from ever feeling sorrow.
Sleep, sleep beautiful one
Sleep without worry or sorrow.
Here is your slave whose only desire is
To watch over your sleep with the greatest of love
As time goes by my heart aches
With the love I have for you
Listen, listen my love
Listen to the song of my heartache.
“Durme, Durme” has quickly become one of my favorite, and defining, songs for me. Performing this beloved Sephardic song connects me firmly to my tradition, and now that I picture my baby girl as I sing it, also lets me think about my future. I want my daughter to sleep without worry or sorrow that she will feel disconnected to her past. I want her always to know the beauty of her heritage. And of course, I want her to know that I, her mother, will always be there for her with love and song.
Passover is a time for storytelling. One of the main purposes of the holiday is to allow one generation to tell the next generation the story of how we came out of Egypt and journeyed from slavery to freedom. There are many children’s books that engage young minds by going beyond the telling found in the traditional Passover haggadah. In choosing among the possible additions the Seder, we have focused on books that celebrate the diversity of Jewish families and those that introduce the themes of Passover in new or particularly engaging ways:
A relatively newcomer to the Passover scene is the colorfully appealing Afikomen Mambo, by Joe Black and illustrated by Linda Prater. Sold together with the book is a CD with performance by Black, who is well known for his music. Geared to the 3–7 set, this playful combination of illustration and song, do exactly what the Afikomen is meant to do — pique the interest and engagement of the younger set so they stay awake until the end of the Seder. Somewhat puzzling is the plethora of children and the paucity of adults seated around the table. From the looks of it, one set of parents has invited a whole brood of young ones to join in the Passover fun. But at least everyone looks happy doing the Afiokmen Mambo.
The theme of grandparents passing on traditions to grandchildren is a familiar part of Passover; less familiar is the twist it takes in Abuelita’s Secret Matzahs, by Sandy Eisenberg Sasso and illustrated by Diana Bryer. Jacob loves to prepare for Easter with his grandmother, but one day she tells him a secret. Like many others whose Jewish ancestors who were forced to convert to Catholicism in Spain in the 14th and 15th centuries, this family of anusim continued to practice Judaism their Judaism in secret. For the 4–8 set, this is a wonderful introduction to an element of Jewish history that still plays out today. We love that this story brings attention to the stories of individuals who are now, after hundreds of years, finding their way back to their Jewish heritage.
Mindy Avra Portnoy’s A Tale of Two Seders, also offers a different take on the classic family themes of the holiday. The story follows a little girl who after her parents divorce spends one Seder at her mother’s and one at her fathers. Over the years the Seders vary and as Valeria Cis’s illustrations highlight how the people attending the two Seders are themselves varied. Adding to our sense of possibilities are the four recipes for charoset that are included. This book acknowledges the difficulties that the young protagonist faces, without presenting her situation as a tragedy.
The diversity of Passover observances around the world take center stage in two different celebrations of global Jewish life. From the National Geographic Holidays Around the World series comes Celebrate Passover and from Tami Lehman-Wilzig, Passover Around the World. As one expects from National Geographic, there are bold, beautiful photos depicting Jews from Africa to China, from Budapest to Ohio. Lehman-Wilzig’s book moves from place to place as it goes through the Seder, beginning in America and ending in Morroco; the journey is depicted in softly colored illustrations by Elizabeth Wolf.
Elements of the Exodus story can be frightening for children ages 4–8, but in this telling of a traditional tale, facing fears pays off. Nachson, Who Was Afraid to Swim: A Passover Story, by Deborah Bodin Cohen and illustrated by Jago, is a retelling of the rabbinic story of Nachshon ben Aminadav, who had to wade into the Red Sea until the water was up to his neck, in order to make the waters part and let the Israelites to escape the Egyptians on dry land. In the gentle illustrations, the characters’ features and skin tones blend and shift with the background, giving the book warmth and no clear racial focus.
Children ages 9–12 who are reading on their own may enjoy Private Joel and the Swell Mountain Seder, by Bryna J. Fireside and illustrated by Shawn Costello. Set in the Civil War, it tells the story of how Union soldiers improvise to make their Seder happen, even in the midst of a war. While not raising the possibility that there are Jews with dark skin and of African decent, the story does highlight the parallels between the African American experience of slavery and the ancient Israelite experience. The book shines a light on the possibility of sharing stories and traditions.
“Ensuenyo Te Vi”
Three words that normally don’t go together: Ladino, Pop, Pregnant. But in my world they make a perfect fit. Ensuenyo Te Vi is a music track off my latest Ladino (Judeo-Spanish) album, Gracia, named after the 16th century Sephardic heroine, Dona Gracia Naci. She is one of the great women of Jewish history, and yet her story is little told. Born into a family of conversos, Jews who converted to Christianity to save themselves from the Inquisition, Dona Gracia always understood the importance of preserving her Jewish identity. Widowed at 28 as a single mother, she amassed a great fortune and became the richest woman in Europe of the time. And what did she do with the money? She used it to secure safe passage for other Jews escaping the Inquisition and led them to safety in Tiberias, Israel. She saved multitudes through her immense courage, commitment to culture, and her feminine wisdom. And yet, she is but a footnote in most history books.
I wanted to pay tribute to her through many of the songs on my album. I wanted to say gracias to her for leading the way—for serving as a light and role model to me and to so many others.
The choice to include Ensuenyo to Vi, a contemporary Ladino song, not a traditional one from ages past, was a conscious one. Much of what people know about Ladino music comes from a standard repertoire that has been circulating for the last 500+ years. One thing I admire so much about Dona Gracia, is that she was seldom looking backwards; instead she was looking ahead. That is one of my primary goals for preserving Ladino culture as well. In order to keep the culture alive, we need to be writing and performing new works in the language. We need to be reimagining how Ladino culture, in its universality, can appeal to a wide audience today.
I am also indebted to my own family, who came from Macedonia and Greece, for working so hard to preserve our Ladino heritage through hundreds of years and many displacements and wars. As the culture continues to fade, I feel compelled to do what I can to highlight the most beautiful, uplifting message of Ladino. So this song has the simplest of themes, love: I dreamed of kissing you in my sleep, and when I woke up you were right there next to me. When thinking about how to present this song, I decided to literally breathe new life into the accompanying video. I purposely filmed it while 6+ months pregnant!
While very few video examples exist of other pop-style contemporary Ladino songs, I’m proud of the fact that Ensuenyo Te Vi is probably the only Ladino pop video featuring a pregnant singer. Ladino culture is full of life and I hope that my message comes out clear—this is not a dying culture. Far from it. Ladino is pregnant with possibilities to continue and thrive for a new audience and generation to come. I hope Dona Gracia would be proud.
Sarah Aroeste is an international singer of contemporary Ladino music She can be booked for appearances. Her third album, ‘Gracia,’ a mix of feminist, experimental and original Ladino songs, was released last year.