Matriarch’s Melody: How Ladino Singer Nani Vazana Rose to Stardom

In the midst of rising antisemitism globally, Nani Vazana, an esteemed Israeli artist who excels as a singer, composer, trombonist, and pianist living in the Netherlands, performs her music.
Jewish language Ladino
, capturing the hearts of global audiences.

Her shows are all booked up, and the sole cancelations (in Chile) stem from organizers with security worries, not because of the crowd’s reaction, as the artist mentioned to the
Magazine
The crowd joins in singing.

For the last seven years, Vanzana, 42, has been performing in Ladino, restoring traditions, and writing original songs in the language of Sephardi Jews. With her song “Una Segunda Piel” (“a second skin”) from her most recent album, Ke Haber? (“What’s new?”), in November Vazana won the 2024 Liet International, a music competition for songs in European minority and regional languages, dubbed the “Eurovision for Minority Languages.”

Her music was archived at the Library of Congress in 2023. She ranked as number eleven on the International World Music Chart and placed thirteenth on the World Music Chart Europe in 2022.

When Vazana, who was educated in both classical and jazz music, played at the Tangier Jazz Festival in Morocco in 2016, she already had released her initial pair of records. She was taken aback to discover traditional Ladino tunes being sung in Arabic as she walked through the streets of Fez, which happened to be her grandmother’s birthplace. This encounter significantly altered the trajectory of her musical journey.

These were the same tunes her grandmother used to sing in the kitchen back in Israel during Vazana’s childhood years. Since she shared a strong bond with her grandmother—who affectionately called her Nani—whenever she encountered these recognizable melodies, she opted to study the language and started composing songs in it. This helped promote Ladino music along with its classic tones.
Sephardi Jews
.

Vazana highlighted that Ladino isn’t merely part of her individual narrative; it serves as the matriarchal tongue. She mentioned that this language captures aspects of daily female experiences along with numerous tales and emotions, which she conveys enthusiastically through her dynamic vocals at live shows and on recordings. Promoting women’s empowerment is a key element in her musical work, where she infuses conventional Ladino tunes with her distinctive, contemporary flair.

Vazana shares insights into her journey to becoming well-known.

During her most recent 20-concert US tour, I connected with Vazana as she looked back on her journey to stardom.

You began your journey as a jazz vocalist with roots in both classical and jazz music. Today, you have become an eminent performer of Ladino music, crafting new compositions in what many consider to be a nearly obsolete tongue—the so-called ‘Yiddish of Sephardic Jewry.’ What sparked your venture into the world of Ladino singing?

In 2016, I received an invitation to perform at the Tangier Jazz Festival in Morocco. Following the event, I spent a few days exploring my grandmother’s birthplace of Fez. During this time, I stumbled upon a lively street celebration. Although I wasn’t sure which occasion it marked, locals were singing tunes that brought back memories from when I used to listen to my grandma sing in her kitchen as she cooked. This experience triggered significant nostalgia for me.

When I returned home, I began looking for those tunes and attempting to discover their origins along with the song titles. Could I perform it? Could I sing it? It turned out that I became engrossed in this endeavor.

And you had to acquire a new language?

Indeed, it took a bit longer than expected. In 2018, I began composing texts in Ladino. Additionally, I enrolled in some classes since I was not particularly proficient at first. My knowledge of the language was quite limited.

Apart from your grandma performing in Ladino, did you encounter it during your childhood? Was the Ladino language used in your household?

Number two: The year my grandmother passed away, I was 12 years old, and since then, I became distanced from her legacy. Additionally, my dad prohibited us from using that particular language within our household.

Why?

He never shared the reason with us, but I believe it was due to his traumas. His family arrived as refugees from Morocco to Israel in 1952, and they wished to put their old life behind them completely. Discussing the past wasn’t something he desired. The Ladino language held painful memories for him, so he preferred we communicate solely in Hebrew.

I listened to your version of ‘Yesh Bi Ahava,’ a song by Arkadi Duchin, which you performed.
Arik Einstein
Which were recorded during the COVID pandemic. However, those performances were online because of the circumstances. Do you also do Hebrew-language shows on stage?

Seldom. Primarily when it involves a specific initiative or if I’m asked to participate in another artist’s work. I’ve produced numerous videos in Hebrew alongside various collaborators. While living in Amsterdam [Vazana’s residence], I initiated a venture named Hebrew Groove, which gathers individuals through their connection to the Hebrew language. This group functions somewhat akin to a choir but has a fresher, more contemporary feel. Our performances often include close harmonies, giving our ensemble an atmosphere similar to that of a pop band.

It seems intriguing. However, returning to Ladino, it’s a blend of Spanish, particularly Castilian, and Hebrew, correct?

Certainly, it resembles ancient Spanish, quite similar to Latin. It includes vocabulary from Hebrew, Arabic, Turkish, and various Balkan languages due to the language’s journey across multiple continents and numerous Jewish diasporas.

Your discussion of the matriarchal language on your site was fascinating. Would you be able to elaborate further on this topic?

In medieval times, Ladino was a language used and developed primarily by women. During this period, men would spend 10 to 12 hours each day at the synagogue or yeshiva studying the Torah as part of their occupation. Speaking Hebrew outside these religious spaces like the shul was strictly forbidden for them.

The women had the responsibility of managing the household. Managing a home involves communicating with others, purchasing food items, learning about herbal remedies, or sharing rumors since those were common ways to stay informed in earlier times. Therefore, having a means of communication was essential.

Due to exile, Jews lacked a shared language, leading Ladino to evolve as a blend of various regional tongues infused with Hebrew vocabulary and Arabic influences from the Moorish presence in the Iberian Peninsula. Later, Turkish elements were added when Jews fled to the Ottoman Empire following additional expulsions. Eventually, this linguistic amalgamation occurred across regions including the Balkans, North Africa, and Greece. Thus, numerous languages converged within Ladino.

Do you think it’s still considered a woman’s language?

Certainly. Female musicians primarily compose and perform in Ladino. Additionally, there’s an inherently feminine quality to the language. It can even be described as sensual. The essence of both the language and its musical expressions resonates with characteristics often associated with femininity.

Extremely dynamic and passionate music all at once. Didn’t you mention earlier that you perform Ladino as it allows you to envision the future through the lens of the past? Does this principle still guide you?

For sure.

What does your vision of the future look like?

A location where individuals uncover their origins, particularly those from my era. We were encouraged to let go of our history. My dad wished for us to solely embrace being Israeli. Thus, I aim to explore my heritage. I wish to learn more about my grandmother, known as “nonna” in Ladino.

Who is typically your target audience?

Individuals fond of global music and jazz will appreciate this blend. The crowd spans various age groups; you’ll find seniors as well as numerous youngsters present. In yesterday’s performances, which consisted of two events, a considerable portion of attendees fell within the 17 to 19-year-old range. This is great news since it indicates that younger generations are seeking connections with their heritage.

Sharing my tale becomes a source of strength for me since it encourages others to recount their experiences or feel motivated. The listeners join in singing. It feels as though we’re building a collective bond.

Do you think they search for their origins? Is their primary audience mainly Jewish or not?

Mostly not Jewish.

What’s the largest crowd you’ve ever played in front of?

Approximately 15,000 individuals in the Netherlands.

Amazing! The idea of attending a Ladino concert makes me envision more subdued and personal environments. Is it widely known that Ladino is a Jewish language?

I agree. The information is conveyed in the promotional material for the show.

Has the continuing conflict affected your work? Anti-Semitism has been increasing globally…

Several organizers were unwilling to schedule fresh concert dates. This led to my losing an entire tour; I had been scheduled for shows in Chile, which ended up being cancelled. Additionally, they requested that I publicly denounce the Israeli government via social media channels. Despite not agreeing with their policies, I refused because I believe such condemnation could fuel anti-Semitism at this time. As a result of my refusal, I forfeited nine performances.

However, it isn’t the spectators who have an issue; it’s the organizers. Throughout this period, I’ve received no unfavorable feedback from anyone attending. Thus, the audience remains committed.

In addition to singing and playing the piano, you frequently perform with the trombone as well—a skill you’ve honed since age nine. Despite being outside the conventional realm of Ladino music, you seamlessly integrate this instrument into your compositions.

It feels entirely natural for me to grab a trombone and start playing. Occasionally, folks say it’s unconventional, but I don’t pay them much heed; I’d rather stay true to who I am.

What were your aspirations when you were young in Beersheba?

I came from a background where women weren’t encouraged to take charge. I was informed of numerous restrictions placed upon me solely due to being female, which never seemed fair even at a young age. My desire for something beyond these limitations drove me towards self-empowerment. Additionally, wanting to support my peers, who faced comparable treatment, played a role as well.

These were also the days before the internet and the ability to simply google information. Although I wasn’t aware of feminism at the time, I suppose we were part of that movement. My aspiration was to become a songwriter, but such courses weren’t offered back then.

And here you are! Traveling the globe with your own compositions in Ladino, featuring your latest track, ‘Sin Dingun Hijo Varon’ (‘without any sons’), whose lyrics are inspired by
Middle Age Jewish
Sources, in the language that your grandmother would understand, and as you mentioned, like so many women before. Following your engagements in the US, you have performances lined up in Europe. Could you tell us when we can expect to see you performing in Israel?

In June.  

Nani Vazana is set to perform in Haifa on June 11 at Offbeat Society, followed by a show in Tel Aviv on June 12 at Shablul. She will also take the stage in Lehavim on June 14 at the Lehavim Jazz Club. Check out her website for more details: nanimusic.com