{"id":111127,"date":"2024-04-14T19:31:07","date_gmt":"2024-04-14T17:31:07","guid":{"rendered":"https:\/\/www.iemj.org\/le-seder-de-pessah-chez-les-juifs-du-maroc\/"},"modified":"2026-02-19T10:55:51","modified_gmt":"2026-02-19T09:55:51","slug":"le-seder-de-pessah-chez-les-juifs-du-maroc","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/le-seder-de-pessah-chez-les-juifs-du-maroc\/","title":{"rendered":"THE PASSOVER SEDER IN THE\u00a0MOROCCAN RITE"},"content":{"rendered":"

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Audio samples <\/span> sung by Avner Azoulay<\/p>\n

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The Seder<\/h3>\n

The celebration of the first two evenings of the Passover holiday<\/a> holds a very special place among the various holidays <\/span>of the Hebrew calendar. For many people, it’s a unique <\/span> family time, an opportunity to reunite with an heritage and a memory.<\/p>\n

Being an eminently educational celebration, the Seder ritual puts into practice the biblical command: \u201cYou shall tell your child\u2026\u201d. (Exodus 13:8), re-enacting the liberation of the Hebrews from the yoke of slavery through text and gesture.<\/span><\/p>\n

As is often the case, music plays an important part. It accompanies the text of the Haggadah, forging a shared memory among participants of different ages gathered around one same table.<\/span><\/p>\n

The place of songs<\/h3>\n

\"\"Tradition has marked this evening’s ritual with fifteen steps. The first is called Kadech<\/em> – sanctification – which refers to the recitation of Kiddush<\/em>. Subsequent stages include Matzah<\/em> – the eating of unleavened bread – and Maror<\/em> – the eating of bitter herbs. But the central part remains <\/span>Maguid<\/span><\/i>: the storytelling of the exodus<\/span>. This section of the Haggadah contains many songs, such as Ma nichtana<\/em> and Dayenu<\/em>.<\/p>\n

However, the Haggadah<\/em> does not end with the completion of the fifteenth stage. Many pages of songs in Hebrew, Aramaic, Judeo-Arabic, Judeo-Spanish and other languages adorn the various editions of the Haggadah<\/em>. These texts include popular songs such <\/span> as the Song of Numbers (E’had mi yodea)<\/a> and the Song of the Goat (‘Had gadya)<\/a>.<\/p>\n

AUDIO 1: Kiddush<\/em> \u00a0\u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio1_Le-Kiddouch-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

Like every holiday <\/span> meal, Seder evenings begin with the recitation of Kiddush<\/em>. The glass of wine drunk at the start of the evening is the first of four symbolizing <\/span>freedom. It is also the first of the fifteen stages of the evening: the Kadech<\/em>.<\/p>\n

Baroukh Ata Adona\u00ef, Eloh\u00e9nou M\u00e9l\u00e8kh haolam, bor\u00e9 peri hagafen<\/em>.<\/p>\n

AUDIO 2: Bibilu<\/em> \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio2_Bibilou-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

Commonly known as the “Bibilu”, this passage, sung to a traditional Andalusian tune, represents, in Moroccan tradition, the beginning of the narrative part of the Seder (the Maguid<\/em>). During its recitation, which tells of the hasty departure from Egypt, it is customary to spin the tray containing the unleavened bread over the heads of the guests.<\/p>\n

Bivhilou yatsanou mimitsrayim, ha la\u2019hma anya \u2026 b\u00e9n\u00e9 \u2018horine.<\/em><\/p>\n

AUDIO 3: Ma nichtana<\/em> \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio3_Ma-nichtana-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

The story of the exodus is presented as a response to the child\u2019s curiosity as to why the the practices observed on the Seder evenings are different from that of a regular supper. Thus, children first ask \u201cMa nichtana?\u201d (\u201cHow is this evening different from all others?\u201d), allowing the adults to respond with the story recounted in the Haggada.<\/span><\/p>\n

It is noteworthy that this recording of an Ashkenazi tune is emblematic of the cultural exchanges and influences common in Jewish music<\/span><\/p>\n

Ma nichtana hala\u00efla haz\u00e9 mikol hal\u00e9lot.<\/em><\/p>\n

AUDIO 4: Vehi cheamda<\/em>\u00a0\u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio4_Vehi-cheamda-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

The text of the Haggadah reminds us of the timeless dimension of its story: over the generations, the Jewish people have often faced existential threats, but have been saved by the hand of God, Israel’s protector.<\/p>\n

It is noteworthy that this recording of an Ashkenazi tune is emblematic of the cultural exchanges and influences common in Jewish music<\/span><\/p>\n

V\u00e9hi ch\u00e9amda, laavot\u00e9nou velanou, ch\u00e9lo \u00e9\u2019had bilvad amad al\u00e9nou lekhalot\u00e9nou.<\/em><\/p>\n

AUDIO 5: The Ten Wounds \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio5_Les-dix-plaies-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

The list of the ten wounds that befell the Egyptians is recited. For each name recited, a little wine is poured from the cup. Once the cup has been emptied, hands are washed, symbolizing freedom from evil and its woes<\/span>.<\/p>\n

Dam, tzefard\u00e9a, kinim, arov, d\u00e9v\u00e8r, ch\u00e9\u2019hine, berade, arb\u00e9, \u2018hoch\u00e8kh, makat bekhorot.<\/em><\/p>\n

AUDIO 6: Dayenu<\/em> \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio6_Dayenou-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

This text details the many acts of divine kindness towards the Children of Israel. Each verse ends with the participants enthusiastic exclamation: \u201c<\/span>Dayenu<\/span><\/i>!\u201d (\u201cThat would have been enough for us!\u201d).<\/span><\/p>\n

Ilou hotsianou mimitsrayim v\u00e9lo assa bah\u00e8m chefatim \u2013 Day\u00e9nou ! <\/em><\/p>\n

AUDIO 7: Pessa\u2019h, matsa, maror<\/em><\/strong> \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio7_Pessah-matsa-maror-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

Three elements are central to the Passover practice: the lamb, the unleavened bread and the bitter herbs. The Hebrew terms for these three elements are recited aloud by the participants.<\/span><\/p>\n

Pessa\u2019h, matsa, maror.<\/em><\/p>\n

AUDIO 8: End of Maguid<\/em> \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio8_Fin-de-Maguid-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

The first part of the evening, devoted mainly to recital (Maguid<\/em>), closes with the recitation of a blessing. The second cup of wine of the evening is consumed immediately thereafter<\/span>.<\/p>\n

Baroukh Ata Adona\u00ef, gaal Isra\u00ebl. <\/em><\/p>\n

AUDIO 9: \u2018Had gadya <\/em>\u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio9_\u2018Had-gadya-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

This Aramaic nursery rhyme is one of the evening\u2019s favorite songs. Guests often repeat the words \u201c<\/span>Had gadya<\/span><\/i>\u201d (\u201cA goat\u2026\u201d) as a refrain.<\/span><\/p>\n

This song is often sung in the various local Judeo languages.<\/span><\/p>\n

\u2018Had gadia, \u2018had gadia, d\u00e9zabin aba bitr\u00e9 zouz\u00e9.<\/em><\/p>\n

AUDIO 10: E\u2019had mi yod\u00e9a<\/em> \u2013 Avner Azoulay<\/strong><\/p>\nhttps:\/\/www.iemj.org\/wp-content\/uploads\/2024\/04\/Audio10_Ehad-mi-yodea-\u2013-Avner-Azoulay.mp3<\/a><\/audio>\n

Reminding participants of the foundations of Jewish heritage, the verses of this recapitulatory song end consistently with the number one, reaffirming the unity of God.<\/span><\/p>\n

It is noteworthy that this recording of an Ashkenazi tune is emblematic of the cultural exchanges and influences common in Jewish music<\/span><\/p>\n

\u00c9\u2019had mi yodea, \u00e9\u2019had ani yod\u00e9a, \u00e9\u2019had \u00e9loh\u00e9nou ch\u00e9bachamayim ouvaarets.<\/em><\/p>\n

You can find the full text of the Haggadah on the following link: Haggadah_de_Pessah_5780.pdf (consistoire.org)<\/a><\/p>\n