When I think of home, I imagine the physical space I return to at night, the one with the white-washed façade, the apple trees in the backyard, and of course my daughter’s contagious toothy grin waiting for me inside. But I also feel home, that indescribable sense of peace, safety and grounding.
I suspect that I am not the only one who has felt a little ungrounded lately. In a world that has been marked recently by so much violence and insecurity, and one in which so many people have been physically displaced, it is no wonder that many of us are feeling that lack of “home.”
The times in my life when I have most often struggled to retain that feeling of being grounded, I have turned to music. It is not coincidence that the first song I ever wrote is about a young girl trying to find her way home. The song, “Chika Morena” is about the iconic Sephardic girl who has been kicked out from her homeland, and has been searching the world over to return home. Along the way, she simply longs to be guided by her ancestors to return to the comfort of her roots.
Working in Ladino (Judeo-Spanish), a language and discipline that is, sadly, disappearing, I have extra inspiration to grapple with my feelings of connectedness. I believe that in this globalized world today, in the end we are all just searching for our identities and to understand from where we come. “Chika Morena” is, for me, a way to express this deep desire to connect with the Sephardic heritage of my past.
I recently visited with my last remaining Ladino-speaking relative, and I discovered that she was in possession of the mezuzah to my family’s ancestral home in Macedonia. On the eve of WWII when my family had to make a quick escape, a friendly neighbor held on to the mezuzah (pictured here), and returned it to my cousin following the war. I never knew about it until now. I Google-mapped the address of the house, and what I saw was a modern café that lacked all traces of my family’s former life. It looked so foreign to me. But in the end, I know that home is not the physical space. It is the comfort attached to it.
In “Chika Morena,” the protagonist, with the help of memories and family mementos, does find her way back home. May we all as well.
I am the dark beauty
The one with the long hair
And the strong eyes
But with a happy heart.
I have lived more than 1000 years
I have crossed seas and borders
One day I will return to my land
Where the warmth of my mother awaits me.
They call me the dark beauty
But I was born quite fair
I have lost my color
I am the dark beauty
Who has abided by many kings
Climbed ladders of gold
Married into the world and lived.
I have kissed the feet of my children
And the hands of my brothers
I am following the voices of my ancestors
To return to the garden of my mother.
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A video circulating on the interwebs features Ms. Perry dressed up in a variety of intentionally ridiculous getups, from an aged Las Vegas showgirl to an animal farm operator, each character ranging from odd to creepy. This is fine for abstract characters, but her depiction of a Jewish Bar Mitzvah DJ willing to do anything for money among her cast of characters raises a host of questions, not just about the diva herself, but about prejudice and power in America today.
Katy is no Sacha. She displayed all of the base offensive aspects of risky humor without any of the brilliant subtext that can make racially, ethnically and religiously oriented humor funny and, at times, poignant. In fact, Perry’s Jewish stereotype was so devoid of any redeeming quality, it makes one question whether she even understands the difference between ridiculing a rodeo clown and a Jew. Maybe she doesn’t.
This is not Katy Perry’s first foray into racial politics. She was widely lambasted for a video that many argued used offensive stereotypes about Asians. One might have expected that the backlash would have made Katy and her handlers a tad more careful. The introduction of “Yosef Shulem,” (who doesn’t do funeral’s… but will for the right price) seems to indicate otherwise.
So what’s the deal? Is Katy Perry a bigot? Does she feel similarly free to caricature other races, ethnicities and religions? Or does she feel uniquely emboldened vis-à-vis Jews and Asians? The truth is that we don’t know for sure what Perry’s personal views are, there is something else going on here.
Jews and Asians share a precarious place in American society. They are the “model minorities,” still differentiated from general American society by their racial, ethnic and cultural attributes, but simultaneously regarded as having “made it.” The politics of prejudice in America are closely tied to perceptions of power and barriers against bigotry diminish for groups that are seen as privileged. In a sense, minority success brings with it a decreasing ability for the minority group in question to dictate what is or is not offensive.
No matter Perry’s true personal views of Jews or Asians, it is very unlikely that these two groups were selected by happenstance. Katy is cultivating, like her contemporaries, a risqué reputation. Instead of wagging her tongue and twerking like Miley Cyrus, she is playing with cultural taboos. Unfortunately for her, she does not have the cultural bandwidth to intelligently, and humorously, riff off of racial and ethnic stereotypes. We do not see her bravely representing anti-Black, anti-Latino, anti-Muslim or anti-LGBTQ characters for a reason. She can’t do it in a way that would not simply be offensive. Instead we see her picking the low hanging fruit, dabbling in anti-Semitism and Orientalism without much thought about what it means, either in the context of general society, or in her shows. But given her cultural influence, such disregard has broad implications. We have every right to expect better.
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