Pack up your instruments and picnic baskets and join us in the Lahav Forest, in the area just across the road from the Joe Allon Bedouin Center (see stairs going down towards large horseshoe shaped benches and picnic tables). If you haven't yet visited the museum, come early and check it out for a modest entrance fee. (For those with sensitive bottoms, bring folding chairs or blankets.)

We'll meet by 11am on FRIDAY, NOVEMBER 16. It's just over an hour's drive from Tel Aviv, Jerusalem and of course, Sde Boker.... 20 minutes or so from Beersheva. The turnoff is south of Kiryat Gat on Route 40. Coming from the north, pass gas station and traffic light at Bet Kama Intersection. Get into the left lane and turn left onto Route 326 at Dvira Junction.

For further information, call Laurie (08) 653-2080. I'll have my cell phone on that morning (058) 459-543.

See you there!

This August the Hebrew University at Mt. Scopus hosted the weeklong 13th World Congress of Jewish Studies. This year it included some 1200 lecturers from all around the world. Amongst the myriad topics they cover, there are lectures on folk- lore, music, folk literature, Hebrew, Yiddish and Ladino. I made sure I didn't miss the first evening of Sephardi culture, offered as enter- tainment for participants in the congress. The theme of the presentation was "dying for love," although many of the items offered ventured far beyond that concept.

There were three acts. First on stage was Ruth Ya'acov, sensitively accompanied on the oud by Nizar Ruhana. Ms. Ya'acov sings Ladino in the Bulgarian style, somewhere between her nose and her throat. It's a very powerful sound, not particularly pretty, but very emotional and evocative. She had chosen women's songs about love, marriage and giving birth. The version of Ir Me Kero, Madre, A Yerushalayim that she sang was particularly moving.

Next, for contrast, came the redoubtable Matilda Koen- Sarano. She is known far and wide for her publications - several books of folklore and folk tales - and poetry*, and as a storyteller. She teaches Ladino around the country, and does everything she can to help transmit and keep alive the rich Sephardi cultural tradition. Matilda usually tells stories in Ladino but, on this occasion, with a mainly Hebrew- speaking audience, she was so kind as to tell them either in Ivrit or in both languages. She covered the touching and the humorous, and the audience just lapped it up. I can well imagine what a particular treat it was for all those who had spent two days already trudging from lecture to lecture.

Third on the agenda came Duo Kol-Tof, who are always worth hearing. Singer/dancer/ choreographer Esti Kenan- Ofri is a very gentle, creative singer. Her work is strongly influenced by her study of Andalusian and Arabic singing and, with her dance back- ground, she is a pleasure to watch. As always, Oren Fried accompanied her on various percussive instruments, showing yet again his skill and versatility. They work very well together. Their set was smoothly executed, taking different versions of the same text through the traditions of different communities.

The first thing that struck me about the evening was that, in these sad and troubled times, a Jew (Ya'acov) and an Arab (Ruhana) made music together to the delight of all present: no politics, just respect for somebody else's tradition. It was a relief to see that, yes, it is possible...

The second was some of the reactions after the evening. Both singers, but particularly Ms. Kenan-Ofri, interpreted the music in quite an idiosyncratic manner. As Yitzhak Navon, the fifth President of Israel, commented at the enof the performance, "I couldn't sithose songs like that!" but the audience was atten- tive and showed their appreciation unreservedly. On the other hand, some of the older members of the audience felt a little bam- boozled by the direction some of the interpretations took. It's a healthy sign when a tradition can be interpreted in so many different ways, and remain intact: I'm happy that there seems to be room for all.

-- Jill Rogoff

* If anybody is interested in purchasing Matilda's books of folklore and folk stories, please contact me and I'll get them the information. All four are bilingual; i.e. Ladino and Hebrew texts on opposite pages. They make wonderful gifts for Jewish friends and family.

Don't anybody get excited, this is not erotica but rather a report on some music I managed to squeeze in to my crowded schedule when I flew to America in June.

I stayed with a friend on Long Island, and we were wondering what to do, when we reached the decision that the New York Mets were not worth the money. Instead, David suggested that we all go to Judy Collins' Wild Flower Festival at the Westberry Music Fair.

Judy Collins organized this festival, which may or may not be an annual event. Performing, in addition to Ms. Collins, were Roger Mcguin, Richie Havens and Janice Ian. It was a particularly poignant event, as it was in memory of Mimi Farina who had very recently passed away. The place was packed. We walked in to Judy Collins singing Both Sides Now, of course. She sounded great. This is very noteworthy because for many years her voice seemed to be in decline. Indeed her voice had returned to such an extent that she occasionally felt it necessary to strut her vocal stuff, as in holding high notes for up to a minute in duration. I thought this was not vital for her to do, but if it made her happy… She did old favorites and maybe one or two new songs. At one point, when she messed up the words she said: "Sorry folks. I had a junior moment." I loved it. They tell me she's looking great with her long blond hair.

Janice Ian was the most vibrant of the artists. She did the obligatory Society's Child and Seventeen. But then she did a bunch of new stuff, which was super neat. Her voice is rich and she has wonderful stage presence.

Roger McGuin came on stage with a banjo, a twelve string acoustic guitar, and a twelve string electric, and proceeded to blow everyone away with Mr. Tambourine Man, Turn Turn Turn, and a host of other songs. He very much encouraged the audience to sing along and it was a wonderful chilling feeling to hear all those voices in perfect harmony.

Richie Havens is stuck in time. He plays the same and sings the same as he did thirty-five years ago. He has a nice sense of humor and delighted us with his anecdotes. But I felt that he is a relic of a long gone era.

The performance concluded with all four of them jamming together, and that in itself was reason enough for coming. They sang Just Like a Woman and of course, Amazing Grace. I should tell you that my friend David is blind, and his wife Lori is sighted. She was sitting between us and when the "blind line" in Amazing Grace rolled around, David and I dared each other to sing an alternative appropriate line. Which we both did. Lori, not missing a beat, started to sing I've looked at blind from both sides now… Those sitting next to us were, how should I say this, somewhat taken aback. Later we were all a bit taken aback when Janice Ian ended the show with These Boots Were Made For Walking. I'm not quite sure why, but she was hilarious and it made us all grin as we took our leave.

David's daughter is engaged to the son of the supervisor of the Jones Beach Theater. James Taylor was performing there that very weekend, and the place was sold out. I have never espoused vitamin P, until that night, when it was arranged for us to sneak in for the second half, free. We stood right next to the stage. I am told that James Taylor has lost some hair and gained some weight. But his voice was out of this world. He sang a wonderful mix of old and new material, all of it superbly done. I was gratified to hear him do old favorites such as Fire and Rain, Going to Carolina in My Mind, Handy Man, etc.

--Larry Gamliel

A life story in one sentence doesn't quite work, but in brief: born in southern California, classical ballet dancer and teacher in a previous life, technical writer by day, in Israel since '87, has two boys (one in the army and one in his second year of university) and a new husband. Ray and Joanna were married on June 21 in Cyprus, which Joanna says is beautiful, relaxing and recommended. They have moved into their new home in Karkur, which is also the new home of Scudero's Place and can be reached at (04) 637-8587. Forthcoming performances will be announced.

Joanna got involved in the music scene in Israel after her divorce. She did some soul- searching, decided there's more to life than working for a living, and proceeded to create a list of the things that made her happiest. At the top of the list were music and writing.

She then picked up the guitar that she'd neglected for years, and started playing again, and writing music. She found out about FolkNotes, contacted people in the folk scene, arranged to perform with Harold Jacobs at the Tel Aviv Folk Club, and the rest, as they say, is history.

Joanna is at home on stage because of her ballet background - she's been performing since she was 11. She grew up with music. Her Dad was a very big influence - he taught her to sing harmony and accompanied her when she was a child. He was always handing out instruments to people and insisting they could play even if they didn't know how. Joanna actually taught herself to play the guitar. She performed in restaurants, played music with high school friends, and always wrote.

Since it's so strange to interview your friends, I tried to be serious, but silly won out. I borrowed some questions (thanks, Dave!) from the DC CityPaper:

[Rigs and Cigs] What equipment do you use and what's your favorite smoke? Whatever Ray sticks in my face, and uh-uh, no smoke.

[Sets and Pets] What other instruments do you play and what pets do you own? Today, not even really guitar, but I'm trying. The only pets I have are pet peeves.

[Threads and Breads] What do you like to wear onstage and what do you eat on the road? If it's comfortable, I'll wear it; if it's tasty, I'll eat it.

[Bitchin' and Twitchin'] What's the stupidest move a fellow performer ever pulled? Taking drugs. In high school … he got into heroin and just disappeared.

[Digs and Wigs] What's the worst place you've crashed and your worst haircut? My ex-mother-in-law's, and any haircut I've ever had in Israel.

What's your favorite music hangout and your favorite automobile? McCabe's (guitar store in southern California), whoever's familiar with it will know why. Excalibur? TR6? MG Midget?

What were your major musical influences? I like all kids of music: hip-hop, folk, bluegrass, country, classical, even some forms of jazz. Who influenced me the most? I always tried very hard to listen as little as possible to what other people do so that whatever comes out comes from the heart, and it's me. That's the most difficult part of performing (unlike ballet that's choreographed and practiced and you know exactly what to do and that you can do it.)

Can you define your sound? New, in the making. We don't plan it; we don't rehearse it. It's actually a learning process during which songs often take a new shape. We just do it. We feel like the song tells us what it wants from us.

What's your favorite memory of a performance? I thoroughly enjoJacob's Ladder; it was fun in every way.

Where would you like to go with your music? Most important to me is to keep writing. If I'm not writing, I don't feel fulfilled.

She says: "Music has always been my biggest love. I've always danced because for me, dance is the physical incarnation of music. Music has been and will always be an integral part of my life, heart and soul."

Scudero's Place has a newsletter called Folkus, which comes out whenever they have news. Anyone interested can email Joanna at joannak1@netvision.net.il and ask to be added to the mailing list.

--Janet Lerner

Happy Birthday to: Sashi Clarsfield, Diane Kaplan, Adi Katz, Tali Rogoff, Shay Tochner, Max Wiener

Mazal Tov to David Decklebaum on the birth of his first grandchild

NOT TRAD ADS - fee is NIS 10 (NIS 5 for members).

**SUZALEH'S SILK ART - Glassed and framed, modestly sized and modestly priced, door signs, mazal tovs, etc. Handmade by Sue Tourkin- Komet (02) 676-3346.

**SHELLEY ELLEN - guitarlessons, also available for performances (03) 674-5356. **Jill Rogoff's THE CELTIC CRADLE and ACROSS THE NARROW SEAS (ALC 129) are available on cassette and CD. Tel/Fax (02) 679-0410.

DISCLAIMER: FolkNotes is the official publication of the Israel FolkStuff Society. Views are those of the writers, not necessarily those of IFS.

FolkNotes and all of the articles, photographs and material contained therein

are, unless otherwise noted, copyrighted by IFS 2001.

Advertisement tariffs for FolkNotes are available on request.

FolkNotes Staff: Sherry Whetstone, Larry Gamliel, Carol Fuchs, Cecile Panzer