Jerusalem's 'Holy Derby' Celebrates Poetic Tradition

In Jerusalem of the 1960s and 70s, a unique tradition known as the "Holy Derby" took place between groups of poets from the Nachlaot and Bukharan Quarter neighborhoods. These gatherings, held in synagogues during the early morning hours, were a spiritual competition to see who could perform the "Shirat Ha'בקשות" (Songs of Supplication) most beautifully. Poet and music researcher Roni Ish-Ran shared his memories of these events on the "Piyutcast" podcast, hosted by Uziel Sabato. Ish-Ran described how these poetic duels, though lacking the physical elements of a football match, were filled with tension, anticipation, and team pride.

The "Holy Derby" involved two main events each year: one on Shabbat Chanukah, where poets from Nachlaot would travel to the Musayoff synagogue in the Bukharan Quarter, and a return match on Shabbat Shirah, usually near Tu B'Shvat, with Bukharan poets visiting Nachlaot. The synagogues would divide into two groups, each showcasing their poets' abilities. While the melodies and traditions were largely shared, each group had its unique nuances. Ish-Ran recalled instances of musical freedom, such as a poet incorporating a modern Israeli song melody into an ancient piyut, provided it fit the words and musical framework.

Beyond the music, the "Holy Derby" highlighted the inclusive nature of these communities. Traditional Jews who did not strictly observe Shabbat would participate in the singing before heading to football games or other activities. Rabbis like Rabbi Rachamim Levi of Nachlaot and Rabbi Naim Eliyahu of the Bukharan Quarter welcomed everyone, fostering a sense of community that blended deep religious tradition with a love for music and diverse lifestyles.

The intricate structure of "Shirat Ha'בקשות" involves two leading figures who direct the performance, managing the flow between group recitations and solo parts. Newcomers are gradually integrated, with progression based on experience and ability, rather than just vocal talent. The ultimate achievement for a poet is to perform an "opening," an improvised section within a specific "makam" (musical mode) that requires deep musical knowledge.

The article also delves into the concept of "makam" in Jewish liturgy, particularly the tradition brought by Aleppo Jews to Jerusalem, where each Shabbat has a designated makam linked to the weekly Torah portion's themes. For example, the makam Hijaz, associated with sadness, is used for Parshat Chayei Sarah (the death of Sarah), while the joyous Agam is used for Shabbat Chatan (groom's Shabbat). Ish-Ran also shared personal anecdotes, including a story about a cantor dismissed for choosing the wrong makam for a wedding and his own early experience as a cantor where a deviation from tradition caused a congregant to leave.

Ish-Ran also discussed musical discoveries, like finding a notation of the song "Od Ishama B'Arei Yehuda" by Avraham Zvi Idelsohn set to the makam Sigah, which he identified as the same melody as the Purim piyut "Tam V'Nishlam" from Aleppo, demonstrating how melodies travel and transform across different traditions.