ABSTRACT

This article presents the conclusions drawn from field work done in Morocco between 2007–2019 of the Judeo-Spanish repertoires of Northern Morocco and their internal societal functions. My findings conclude that their communal use is strictly inner facing and specific to their life in Morocco and not a representation of a long nostalgia for life in pre-Expulsion Spain, contrary to the prevailing focus in previous studies on this repertoire. Moroccan Jews have repurposed this material drawn from the cultures of contact to act as sonic protection against assimilation to the majority culture, through a complex system of encoded messages woven through the song texts, their contexts and moments of performance culminating in a pre-wedding ritual heavy with songs which reifies the bride as sacred vector for communal continuity through her sexual purity and fertility. Their use of music for constructing boundaries exemplifies sociological theories on boundaries and community identity which demonstrate a complex weaving and nesting of multiplicity of identities within their sung repertoires.

摘要

本文介绍了 2007 年至 2019 年期间在摩洛哥完成的摩洛哥北部犹太-西班牙曲目及其内部社会功能的实地工作得出的结论。我的研究结果得出的结论是，他们的公共使用严格来说是面向内在的，并且是针对他们在摩洛哥的生活的，而不是对驱逐前西班牙生活的长期怀旧的代表，这与之前对该剧目研究的普遍关注相反。摩洛哥犹太人重新利用了这种从接触文化中提取的材料，通过歌曲文本中编织的复杂编码信息系统，作为声音保护，防止被主流文化同化，他们的背景和表演时刻在婚礼前的仪式中达到高潮，歌曲中充满了歌曲，通过她的性纯洁和生育力将新娘具体化为社区连续性的神圣载体。他们使用音乐来构建边界，体现了关于边界和社区身份的社会学理论，这些理论展示了他们所演唱的曲目中多重身份的复杂编织和嵌套。