Shir ha-Freha: The Stereotype of the Mizrahi Woman
Credits
Ofra Haza, “Shir ha-Freha,” with English subtitles, from the album Yemenite Songs (1980).
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In 1979, Assi Dayan, the son of Israeli military leader Moshe Dayan, directed a film called Schlager (“The Hit”), which included a song he wrote, performed by a young Ofra Haza: “Shir ha-Freha.” Haza had been born to a Yemenite family in the poor, immigrant neighborhood of Ha-Tikva. When Dayan had her sing “Shir ha-Freha,” she was already a rising pop star, and her fame only increased. She represented Israel at Eurovision; recorded songs with Paula Abdul and Iggy Pop; and played and sang in the Dreamworks film The Prince of Egypt. She was versatile in her music, and her international breakout album, Yemenite Songs, brought traditional Yemenite music to a wide audience. Despite these successes, “Shir ha-Freha,” a song that stereotypes Mizrahi women, continued to be associated with her (as Tsabari explains in her essay).
Listening to the song “Shir ha-Freha,” and reading the lyrics in English, do you think this piece of art reinforces Mizrahi stereotypes or challenges them?
What do you make of the song’s ending? Why does the narrator shift her current life of lipstick and fun to a future in a housing project with air pollution?
Mizrahi music has become very popular in Israel. Should “Shir ha-Freha” be played on the radio today? Should it come with a content warning?
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In “A Simple Girl,” Ayelet Tsabari examines stereotypes of Mizrahi women through Ofra Haza’s 1979 hit “Shir Ha’Freha,” reclaiming voice and identity through her writing.
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Duette: Mein Liebchen, wir sassen beisammen (Duet: My Sweetheart, We Sat Together)
Woman Playing Frame Drum
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