24
Federation Star
February 2021
JEWISH INTEREST
Pharoah’s daughter unplugged By Arlene Stolnitz
W
e are just past Hanukkah and not even close to Passover, but I am anxious to write my column this month about a group called Pharoah’s Daughter. That name intrigued me when I heard their unique sound. Founder and lead singer of the seven-piece world/rock folk band, Basya Shechter also is known as Cantor and Hazzanista at Fire Island Synagogue, which features an egalitarian conservativestyle service. Her earthy voice blends beautifully with the soulful sounds of the oud (a pear-shaped guitar-like instrument), strings and keyboard, creating a meditative sound at times. Currently, besides acting as cantor at Fire Island Synagogue, Basya is music director and cantor at Romemu Brooklyn, whose mission is to create a place where music can empower us, cause us to feel more deeply, and be of service to the world. She is also associated with a group called Darshan, whose project is to bring Jewish mysticism to prayer through music. And she is part of an ensemble at B’nai Jeshuran’s Shabbat services in Manhattan, where she plays unique instruments such as darbuka (drum), riq (tambourine), frame drum (ancient early drum) and saz (stringed instrument). I learned a lot recently about Basya when watching her in an interview with Matthew Lazar on a Zoom program called, “Taking Note: Conversations About Music in Challenging Times,” hosted by Zamir Choral Foundation. Basya grew up in Borough Park, Brooklyn, in an Orthodox Heredi family. As a young person, she began to question the lifestyle she was born into. More and more, she felt a pull to get away from the Borough Park/Brooklyn/Manhattan/ Catskill scene. She took a gap year in Israel and eventually, due to attitude and behavior issues, was kicked out of the Yeshiva she was attending. From there, she went to Egypt, and while in Cairo, she had an “aha moment” when she heard Mediterranean style music played in a Kentucky Fried Chicken restaurant! Listening to the Mideastern melodies, she came to realize her musical talents were being stifled by her Orthodox lifestyle. At this time, she had not yet formed her first band, which later was known as
“Band Anonymous.” Influenced by music from folk traditions of the Mideast, she came to realize that West African music is the Arlene Stolnitz “mother” of Egyptian music. Other influences were Arabic, Turkish, Israeli, Chassidic, Hassonish, Gypsy and random forms of Eastern music. In time, she formed the group she is known for today, Pharaoh’s Daughter. So how did the band get the name, Pharoah’s Daughter, which attracted me in the first place? It all has to do with her name “Basya.” According to sources I read, in “Shmot” (Exodus) Moshe is saved by Pharoah’s daughter who was renamed Basya. Given the name by her parents, Basya’s name means “daughter of a higher spiritual source.” “Bat” (Bath in Yemenite and Hebrew) means daughter and “yah” is the first part of the tetragrammaton. In translation, it means “daughter of a higher spiritual form.” And finally, how does Basya’s family accept her leaving Orthodoxy? Her father is not thrilled with her decision; she has a complex relationship with her mother; but presently, there is no tension in the rest of the family. And she is the mother of a wonderful 3-year-old daughter! Basya has turned to a branch of progressive Judaism known as Jewish Renewal, which seems more relevant to her. I encourage you to listen to the recording on YouTube of the Zamir conversation with Matthew Lazar, which gives a more complete understanding of her passion and enthusiasm. To hear her music, I refer you to “Songs of Wonder,” containing the poetry of Abraham Joshua Heschel, which Basya has set to music. Arlene Stolnitz is a retired educator from Rochester, NY., who has lived in Venice, Florida for the last 25 years. Founder of the Sarasota Jewish Chorale, her interest in Judaic Music has led to her column, which appears monthly in Southwest Florida Federation newspapers. She can be reached at arlenestolnitz@gmail.com.
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