{"id":53997,"date":"2019-05-23T15:42:48","date_gmt":"2019-05-23T13:42:48","guid":{"rendered":"https:\/\/www.iemj.org\/la-musique-des-juifs-dethiopie-les-beta-israel\/"},"modified":"2025-10-06T12:58:42","modified_gmt":"2025-10-06T10:58:42","slug":"la-musique-des-juifs-dethiopie-les-beta-israel","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/la-musique-des-juifs-dethiopie-les-beta-israel\/","title":{"rendered":"The music of the Ethiopian Jews, the Beta Israel"},"content":{"rendered":"<p><strong>A historic, liturgic and musicologic analysis of the music of the Beta Israel, inspired from the works by Simha Arom, Frank Alvarez-Pereyre, Shoshana Ben-Dor and Olivier Tourny.<\/strong><\/p>\n<p>It is in the early 1980\u2019s that started the clandestine immigration of Ethiopian Jews to Israel. The latter, improperly called <em>Falasha<\/em> (pejorative word which means \u201crootless\u201d or \u201cexiled\u201d) fled, like many of their compatriots, civil war and famine and took refuge in Sudan. In 1984, the operation Moses organized by the state of Israel, allowed to welcome 7.000 Ethiopian Jews coming from the transit camps in Sudan; shortly after, the Operation Saba (1985) repatriated 648 people; finally, the Operation Salomon succeeded in bringing by airlift 14.300 people in 24 hours.<\/p>\n<p>The last <em>Beta Israel<\/em> who stayed in Ethiopia emigrated to Israel between 1991 and 1994. But in 1992 an irregular emigration began, due to the political evolution in Israel, the <em>Falash Mura<\/em>. Between 1992 and 2013, over 35.000 <em>Falash Mura<\/em> arrived in Israel. Officially not Jewish, once in Israel, they had to start a complete conversion to orthodox judaism before obtaining full citizenship.<\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\" alignright  wp-image-10856\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/05\/doc_2_ethiopie500px50-2.jpg\" alt=\"doc_2_ethiopie500px50-2.jpg\" width=\"235\" height=\"353\" align=\"right\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/05\/doc_2_ethiopie500px50-2.jpg 250w, https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/05\/doc_2_ethiopie500px50-2-199x300.jpg 199w\" sizes=\"(max-width: 235px) 100vw, 235px\" \/>The integration of the Ethiopian Jews into the Hebrew state wasn\u2019t done easily. Poor, often illiterate and living off of their handicraft, they had to face a modern and high technological society.<br \/>Moreover, under the pressure of Israeli religious authorities, they had to abandon their ancestral ritual practices to belong to a normalised judaism. The Great Rabbinate even tried to force them a symbolic conversion (ritual immersion, and for the men, a \u201crecircumcision\u201d by spilling a drop of blood), that was boycotted by most of them. Recognized today as full-blown Jews, the religious situation of the <em>Beta Israel<\/em> remains complicated. Their priests, called <em>qessotch<\/em>, got their religious and spiritual authority taken away&#8230; with the consequence of the progressive but inevitable disappearance of their rite.<\/p>\n<p>The Ethiopian community living in Israel numbered around 138,200 people in 2014. Nearly 30,000 children were born into the Jewish state and followed the Israeli educative curriculum. They speak Hebrew and practice the language of their ancestors less and less. The integration process started and the days of Ethiopian ritual, and of its music, are counted.<\/p>\n<p><strong>A few notions about the liturgical music of the <em>Beta Israel <\/em><\/strong><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_53997_1('footnote_plugin_reference_53997_1_1');\" onkeypress=\"footnote_moveToReference_53997_1('footnote_plugin_reference_53997_1_1');\" ><sup id=\"footnote_plugin_tooltip_53997_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_53997_1_1\" class=\"footnote_tooltip\">Excerpt of the book by <a href=\"https:\/\/www.iemj.org\/en\/musiques-liturgiques-juives\/\" target=\"_blank\" rel=\"noopener\">Herv\u00e9 Roten, Musiques liturgiques juives : parcours et escales<\/a>, Coll. Musiques du monde, Cit\u00e9 de la Musique \/ Actes Sud, 1998, pp. 107-115<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_53997_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_53997_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><br \/>\u201c The Ethiopian liturgy is composed of spoken and sung prayers, mainly in <em>ge\u2019ez<\/em> language \u2013 a sacred idiom, known only by the initiated. The liturgical chants are led by a priest, a true soloist, who is responded by a choir of the other priests. The soloist &#8211; traditionally the highest religious authority of the assembly \u2013 starts the prayer ; the others answer uniting their voices. (\u2026) The response of the choir leads to an \u201carchaic\u201d polyphony which appears by the encounter of several voices aiming to produce a one and only melody. (\u2026)<\/p>\n<p>The chants can have different forms. The antiphonal and responsorial forms are frequently used. In a chant of antiphonal type, the choir always repeats the musical tune of the soloist. In a responsorial chant, the choir takes a part of the soloist\u2019s musical material to enounce short responses like \u201cAmen\u201d or \u201cAlleluia\u201d. One can also find a third type of chant that Simha Arom and Olivier Tourny qualify as \u201chemiola type\u201d. The prayers of this category are characterised by a ternary distribution of the text and music, but in which the binary alternation remains. (\u2026)<\/p>\n<p><img decoding=\"async\" class=\" aligncenter size-full wp-image-24083\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim.jpg\" alt=\"capture_type_hemiolique_redim.jpg\" width=\"1578\" height=\"193\" align=\"middle\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim.jpg 1578w, https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim-300x37.jpg 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim-1024x125.jpg 1024w, https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim-768x94.jpg 768w, https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim-1536x188.jpg 1536w, https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/capture_type_hemiolique_redim-600x73.jpg 600w\" sizes=\"(max-width: 1578px) 100vw, 1578px\" \/><\/p>\n<p>Another peculiarity of the <em>Beta Israel<\/em>\u2019s liturgy is that the modalities of performance of the prayers is not established in advance. Depending on the circumstances, a same chant can be hemiola, antiphonal or responsorial. It is the soloist who, by singing first the chant, decides which configuration it will be. In the case of solemn events, the priests use more the hemiola chants. When they are in a rush, they generally use a responsorial type of chants, which permits to accelerate the flow rate of the text, alternating different verses each time. <em>On the contrary<\/em>, when they welcome an important religious figure, the priests honour their host by strictly repeating the textual and musical expositions, following the antiphonal form.<\/p>\n<p>Sometimes, the chanting is accompanied by a drum (<em>nagarit<\/em>) or a small metallic gong (<em>metke<\/em>). However, the role of these instruments remains secondary due to their prohibition on certain important holidays. (\u2026)<\/p>\n<p>The majority of the chants do not follow any regular metric structure. They are regulated by the prosody of the language. Only certain prayers, associated to dancing, are really measured. In Ethiopia, the dancing is performed by all the priests. It consists of a circular or semi-circular collective movement ; in this last case the <em>qessotch<\/em> perform rhythmed movements on the spot. They are accompanied by the feet hitting on the floor, and sometimes rhythmed panting. (\u2026)<\/p>\n<p>The chants use mainly a pentatonic and anhemitonic scale (a scale composed of five sounds, each of them distant of at least one tone of his neighbor). A few rare prayers are performed on a tetratonic scale (four sounds). The pitch of the sounds is more or less stable ; it can vary of a half-tone, or more. In fact, the general outline of the melody predominate on the absolute pitch of the degrees and the size of the intervals.<\/p>\n<p>The liturgical music of the Ethiopian Jews is composed of a limited number of melodic formulas which circulate through all the chants. These formulas, generally built upon joint degrees, can present varied profiles; however their global melodic outline remains easily recognizable. In definitive summary, the Ethiopian Jewish music is mainly built on formulas, and regulated by the principle of <em>centonisation<\/em>. This method \u2013 which consists of creating pieces from the arrangement, different each time, of a same stock of melodic formulas \u2013 is one of the characteristics of Jewish liturgical music.\u201d<\/p>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Beta_Israel\">Learn more on the story of Beta Israel<\/a><br \/><a href=\"https:\/\/www.iemj.org\/en\/the-liturgy-of-beta-israel-music-of-the-ethiopian-jewish-prayer-2\/\">Read the article on the CD boxset The Liturgy of Beta Israel<\/a><br \/><a href=\"https:\/\/www.iemj.org\/en\/the-ethiopian-jewish-liturgical-singing\/\">Listen to the radio podcast by Olivier Tourny about the liturgical chanting of Ethiopian Jews (in French)<\/a><br \/><a href=\"https:\/\/www.iemj.org\/en\/les-traditions-musicales-des-juifs-dethiopie\/\" target=\"_blank\" rel=\"noopener\">Listen to the playlist The musical traditions of Ethiopian Jews<\/a><\/p>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"1024\" height=\"133\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-1024x133.png\" alt=\"\" class=\"wp-image-110607\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-1024x133.png 1024w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-300x39.png 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-768x100.png 768w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-600x78.png 600w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER.png 1210w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/1_yitbarek_egzi_abaher_-_chant_responsorial_extrait_.mp3\">1) Yitbarek egzi&#8217;abaher &#8211; chant responsorial (Extrait)<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/2_yitbarek_egzi_abaher_-_chant_antiphonal_extrait_.mp3\">2) Yitbarek egzi&#8217;abaher &#8211; chant antiphonal (Extrait)<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/3_afqernaka_-_chant_h_miolique_extrait_.mp3\">3) Afqernaka &#8211; chant h\u00e9miolique (Extrait)<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/4_watatfesah_baba_aleka_-_chant_dans_de_yom_kippour.mp3\">4) Watatfesah baba&#8217;aleka &#8211; Chant dans\u00e9 de Yom Kippour<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/5_bahatitu_qedus_qedus_-_chant_h_miolique_t_tratonique.mp3\">5) Bahatitu qedus qedus &#8211; Chant h\u00e9miolique t\u00e9tratonique<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/6_kala_sallat_-_chant_h_miolique_2_m_lodies.mp3\">6) Kala&#8217; sallat &#8211; Chant h\u00e9miolique \u00e0 2 m\u00e9lodies<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/05\/7_queshera_-_2_pri_res_de_mariage_combinant_du_chant_antiphonal_h_miolique_et_responsorial_extrait_.mp3\">7) Queshera &#8211; 2 pri\u00e8res de mariage combinant  du chant antiphonal, h\u00e9miolique et responsorial (Extrait)<\/a><\/div>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_53997_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_53997_1();\">[<a id=\"footnote_reference_container_collapse_button_53997_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_53997_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_53997_1('footnote_plugin_tooltip_53997_1_1');\"><a id=\"footnote_plugin_reference_53997_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">Excerpt of the book by <a href=\"https:\/\/www.iemj.org\/en\/musiques-liturgiques-juives\/\" target=\"_blank\" rel=\"noopener\">Herv\u00e9 Roten, Musiques liturgiques juives : parcours et escales<\/a>, Coll. Musiques du monde, Cit\u00e9 de la Musique \/ Actes Sud, 1998, pp. 107-115<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_53997_1() { jQuery('#footnote_references_container_53997_1').show(); jQuery('#footnote_reference_container_collapse_button_53997_1').text('\u2212'); } function footnote_collapse_reference_container_53997_1() { jQuery('#footnote_references_container_53997_1').hide(); jQuery('#footnote_reference_container_collapse_button_53997_1').text('+'); } function footnote_expand_collapse_reference_container_53997_1() { if (jQuery('#footnote_references_container_53997_1').is(':hidden')) { footnote_expand_reference_container_53997_1(); } else { footnote_collapse_reference_container_53997_1(); } } function footnote_moveToReference_53997_1(p_str_TargetID) { footnote_expand_reference_container_53997_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_53997_1(p_str_TargetID) { footnote_expand_reference_container_53997_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>A historic, liturgic and musicologic analysis of the music of the Beta Israel, inspired from the works by Simha Arom, Frank Alvarez-Pereyre, Shoshana Ben-Dor and Olivier Tourny. It is in<\/p>\n","protected":false},"author":5,"featured_media":24101,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[950],"tags":[2083],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1116],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-53997","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-feature-articles-en","tag-ethiopia-en","genre-liturgy"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The music of the Ethiopian Jews, the Beta Israel - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.iemj.org\/en\/la-musique-des-juifs-dethiopie-les-beta-israel\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The music of the Ethiopian Jews, the Beta Israel - Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"og:description\" content=\"A historic, liturgic and musicologic analysis of the music of the Beta Israel, inspired from the works by Simha Arom, Frank Alvarez-Pereyre, Shoshana Ben-Dor and Olivier Tourny. 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