Tag: Hatikvah

Reimagining Hatikvah

Molly-Ann Leikin (photo from Molly-Ann Leikin)

For most of her five-decade musical career, Molly-Ann Leikin felt something was missing – many English speakers singing Hatikvah had no idea what the Hebrew words coming out of their mouths actually mean. So, she set about creating an English version of the Israeli national anthem.

Her version is not a translation, Leikin stressed in an interview with the Independent, from her home in Santa Barbara, Calif. She contends that no translation could possibly convey the meaning of the original Hebrew. Instead, she wanted an anthem set to the same melody that everyone singing it could enjoy, understand and, as she said, “feel the passion.”

Born in Ottawa, Leikin graduated from the University of Toronto. The author of How to Write a Hit Song and How to be a Hit Songwriter, she has composed themes and songs for more than five dozen television shows and movies, and her work has been performed by a diverse array of entertainers, such as Anne Murray, Tina Turner and Billy Preston. Among many other things, she has done private songwriting coaching in Vancouver since the 1980s.

Early in her career, Leikin said she felt there was no way for a tunesmith to make a living in Canada, so she hopped into her dented red Volkswagen Bug and drove – starting her journey during a severe snowstorm – to Los Angeles. Now, she co-writes and consults with new artists and lyricists, helping them advance their original songs to compete in the marketplace.

Leikin lists 12 of her clients as Grammy winners, another 17 as Grammy nominees. According to the latest count on her website, she has helped 7,518 writers and artists place their work in movies, television shows, on CDs, in video games and commercials, and their tracks can be downloaded from various sources on the internet.

“My motto is, ‘If you’ve got the tracks, I’ve got the contacts,’” she said.

In addition to writing songs, Leikin writes bar/bat mitzvah speeches, toasts, roasts, vows and memorials.

Revisioning Hatikvah

When she was a university student in the late 1960s, Leikin spent a year in Ashkelon and, after attending an ulpan for four months, could understand the lyrics of Hatikvah (The Hope).

In 2014, while in Toronto for the Toronto International Film Festival, she was stung by bees and fell into a coma for two years. By the time she recovered, in 2016, a freak accident on her right foot left her unable to walk for another 18 months. Every doctor she saw in Santa Barbara misdiagnosed her. Devastated and unable to work, she lost her home, her businesses and her savings.

In 2017, an old friend she had not seen in 37 years called from Montreal to wish her happy birthday. The friend arranged for Leikin to be transported from Santa Barbara to Los Angeles’s Cedars-Sinai Medical Center. There, the doctors discovered the problem and a 45-minute operation fixed it.

On the way into surgery, she promised God, if He would heal her, she would use her gifts to create something to benefit the Jewish community throughout the world.

During her three-month recovery, she tuned into a classical station and kept hearing the melody to Hatikvah. The words to what would become her take on the anthem slowly began to form.

A family in Toronto, for whom she had written a eulogy, asked Leikin what her next project would be. She told them about Hatikvah, and they arranged for a grant for her to record it. (That family wishes to be anonymous.)

Hatikvah became Israel’s official anthem in 2004. The melody had been heard throughout Europe and was adapted by Czech composer Bedrich Smetana. The Hebrew lyrics are based on a poem by Naftali Berz Imber, who was from what is now Zolochiv, Ukraine.

A growing number of synagogues in the Los Angeles area and throughout the continent, Leikin said, have been playing her version, the chorus of which is “Feel the hope that’s rising everywhere / Feel our song become an answered prayer / For our sisters and brothers as we stand with all of them / In our homeland Jerusalem.”

The B.C. connection

Leikin maintains strong ties to British Columbia. Early in her songwriting career, she was hired to write “It’s Time to Say I Love You,” the theme song for The Other Side of the Mountain Part 2, filmed at Victoria’s Butchart Gardens.

“I flew up to see what I would be writing about and, in the middle of all that beautiful, I didn’t want to leave,” she said. “Almost every summer since 1977 I’ve been back to Vancouver. I go there to celebrate the High Holidays and Passover. When you guys figure out how to make it rain less, I’m moving into English Bay.”

Leikin’s “Hatikvah” can be heard at youtu.be/XV0cX7jB4Q0.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Time to change Hatikvah?

(photo by Zachi Evenor via commons.wikimedia.org)

With Liberal MP Mauril Bélanger’s private members’ bill seeking to change the lyrics of O Canada having advanced to its second reading, I am thinking about another anthem close to many readers’ hearts: Hatikvah. With Yom Ha’atzmaut having recently passed, the content of Hatikvah deserves some reconsideration.

Bélanger’s amendment would make the Canadian national anthem more gender-inclusive, changing “in all thy sons command” to “in all of us command.”

As reported by CBC News, Bélanger said, “As Canadians, we continually test our assumptions and, indeed, our symbols, for their suitability.” He continued: “Our anthem can reflect our roots and our growth.”

It’s a statement that is rife for comparing with the Israeli experience. Israel’s Jewish state-building origins have long been challenged by the country’s democratic requirements.

When it comes to inclusiveness, Bélanger knows of what he speaks. Over the last several months, Bélanger has been an especially unifying figure in the corridors of Canadian power, having been recently diagnosed with ALS. Not long ago, my own synagogue in Ottawa honored him in a highly moving ceremony that easily transcended whatever residue of partisan divisions may have remained after what was an unusually divisive Canadian election.

Despite being written in the highly gendered language of Hebrew, Hatikvah doesn’t suffer from gender exclusion (its gender inflections are mostly in the neutral “we” form). But there is a different gap in its inclusiveness: the 20% of Israeli citizens who are Arabs. Reports about swearing-in ceremonies of Knesset members or Israeli judges from time to time include a mention of an Arab or Palestinian honoree walking out or simply refusing to sing.

Writing in the Forward in 2012, Philologos (a pseudonym for Hillel Halkin) proposed changing Hatikvah’s lyrics to make them more inclusive. “It’s unacceptable to have an anthem that can’t be sung by 20% of a population,” he wrote. “Permitting [the minority] to stand mutely while others sing is no solution.”

Philologos’ fix is simple. Change Yehudi (Jewish) to Yisraeli (Israeli), and le’Tzion (to Zion) to l’artzeinu (to our land). Close the song with “in the city in which David … encamped.”

It’s an idea that is top of mind for Israel’s Arab MKs, such as Yousef Jabareen, who told me in a 2015 interview that he believes Hatikvah should be adapted “to accommodate both national groups.” He added, “The Arab minority are not just another minority. They are a native minority. They were there before the establishment of the state of Israel.”

When thinking about any type of policy change, it’s important to consider who stands to gain and who stands to lose. Given that a recent Pew poll found that 79% of Israeli Jews feel they “deserve preferential treatment,” it’s clear that Jewish Israelis are comfortable with their position of privilege – whether legislative or symbolic – in Israel. It stands to reason that any erosion in perceived privilege might be seen as a threat.

Israeli Jews may not embrace these sorts of changes. Neither, when it comes to changing O Canada, do some Conservative MPs, citing no need to bend to “political correctness,” as Larry Maguire said. Another MP, Kelly Block, said she does “not believe the anthem is sexist,” according to CBC News.

However, there is something powerful about allowing for expanded boundaries of inclusion. Further enfranchising those who feel excluded can help buttress the institutions that constitute the state, and the costs would be relatively low.

By their design, national anthems are meant to express the will of the polity. Those who wield power might want to think about the effects of the content of national symbols on those who don’t feel represented by them. When it comes to nation-building, casting a net that extends to the edges of the polity bears fruit for democratic functioning and civic identity.

Mira Sucharov is an associate professor of political science at Carleton University. She is a columnist for Canadian Jewish News and contributes to Haaretz and the Jewish Daily Forward, among other publications. This article was originally published in the CJN.