Ofra Haza: Artist Yeshiva
On the Yartzeit of Israeli superstar Ofra Haza, Havurah’s Director of Music Leah Dunn explores the musician’s life and legacy.
Few voices have bridged cultural divides as powerfully and poetically as Ofra Haza’s. Born to Yemenite immigrant parents in the Hatikva Quarter in Tel Aviv on November 19, 1957, Haza rose from humble beginnings to become an international music icon. With her dynamic blend of traditional Yemenite Jewish melodies and contemporary pop sensibilities, she left an indelible mark on global music while remaining deeply rooted in her heritage.
Haza’s musical journey began in her local community center, where her undeniable talent shone in a youth singing group led by composer Bezalel Aloni, who would later become her manager and mentor. By the late 1970s, she had emerged as a solo artist, captivating Israeli audiences with her emotive voice and charismatic stage presence.
Her early work included hits like “Shir Ha’Freicha,” a playful yet controversial song that blended disco rhythms with modern Mizrahi themes. Eighties style drums combined with bass and guitars with funk inspired tones provide a bed over which Haza sings in Hebrew, “Because I want to dance, and I want nonsense / I feel like laughing and I don't feel like you / I want it during the day and I want it at night / I want to shout "I'm a flower." However, she was also dedicated to showcasing her Yemenite heritage through music.
Her breakout moment on the international stage came in 1983, when she represented Israel at the Eurovision Song Contest with “Chai.” The contest, held in Germany for the first time since 1957, saw Haza’s performance win 2nd place. Haza and her backup singers performed choreography reminiscent of Israeli folk dancing while singing, “I’m still alive, alive, alive / The people of Israel live /This is the song of my grandfather / Sang yesterday to my father / And today by me.”
“Chai,” an anthem of resilience, earned Ofra Haza second place at Eurovision, and cemented her status as a national treasure.
Haza’s work frequently drew upon the poetry of Shalom Shabazi, a revered 17th-century Yemenite Jewish poet. Many of her songs, including those on her 1984 album Yemenite Songs, seamlessly merged his poetry with contemporary music.
One of her most famous tracks, “Im Nin’alu” translates to "If the Gates are Locked". The lyrics express a mystical yearning for divine mercy, and the song’s hypnotic beat, utilizing western style drum programming with eastern drum sounds, and liturgical chanting vocals, helped it become a global sensation. The international version of the album, released as Fifty Gates of Wisdom, introduced Yemenite Jewish culture to a worldwide audience.
This unique fusion caught the attention of international producers, leading to collaborations with artists like Iggy Pop, with whom she recorded “Daw Da Hiya,” off her 1992 album Kirya, which Don Was produced.
Her collaboration with Iggy Pop was a striking example of cultural crossover, bringing together her Yemenite-influenced vocal traditions with his raw, avant-garde punk rock energy. While Haza's music was deeply rooted in Middle Eastern and Jewish heritage, Iggy Pop was known for his rebellious, boundary-pushing approach to rock.
Ofra Haza’s collaboration with Iggy Pop collaboration underscored the universal language of music, demonstrating how two seemingly different musical worlds could merge to create something innovative and unexpected.
In 1993 Kirya was nominated for Best World Music Album, making Haza the first ever Israeli to receive a Grammy nomination.
By working with artists outside her genre, Ofra Haza expanded the reach of Mizrahi and Jewish music, helping to bring Middle Eastern sounds into the global mainstream and solidifying her role as a cultural ambassador. Her influence extended far beyond traditional and pop music, as her distinctive vocals became a favorite among hip hop and electronic music producers, leading to her work being sampled across multiple genres.
One of the most notable examples is Eric B. & Rakim’s “Paid in Full (Coldcut Remix)” (1987), which prominently features a looped vocal sample from “Im Nin’alu,” chopped and layered over a breakbeat, giving the track a unique, ethereal quality. Similarly, Public Enemy’s “Can’t Truss It” (1991) uses her voice as a background texture, adding depth to the song’s layered production. In the electronic dance music scene, M|A|R|R|S’ “Pump Up the Volume” (1987) introduced Haza’s vocals from “Love Song” into the club scene, blending Middle Eastern influences into a house music staple.
These samples of Ofra Haza’s voice were often manipulated—chopped, looped, slowed down, or pitch-shifted—illustrating the versatility and timeless quality of here’s voice.
Her voice also features prominently in dance tracks, remixes, and even rock songs. “Atlas” by Bicep, “The Baguio Track” by Luzon, and “Temple of Love” by the Sisters of Mercy all feature Haza’s haunting droning voice. Haza’s ability to transcend cultural and musical boundaries ensured her presence in global music decades after her passing, as modern producers continue to reinterpret and honor her groundbreaking sound.
Haza’s music effortlessly weaves between Hebrew, Arabic, and English. She was known for recording her songs in multiple languages, including international overdubs for The Prince of Egypt soundtrack in 18 languages. Her haunting rendition of “Deliver Us” in the 1998 animated film introduced her voice to a new generation, adding an ethereal, divine quality to the soundtrack. This performance reinforced her status as a transcendent vocalist.
In 1994, Ofra Haza delivered a moving performance at the Nobel Peace Prize ceremony in honor of Yitzhak Rabin, Shimon Peres, and Yasser Arafat, who were awarded for their efforts in the Oslo Accords. Singing in Hebrew, Arabic, and English, Haza’s performance symbolized her lifelong commitment to peace and unity through music.
Haza’s soaring vocals and deeply emotive delivery captured the hopes of reconciliation in the region, demonstrating the power of art to transcend political and cultural divides.
Haza’s music found a passionate audience in the LGBTQ+ community, particularly in Tel Aviv’s underground club scene. Songs like “Love Song” were embraced for their expressive vocal delivery and emotional intensity, often played at queer nightclubs and pride events.
Haza was posthumously named one of the 200 Greatest Singers of All Time by Rolling Stone, recognizing her remarkable vocal ability and cultural significance.
Her death from AIDS-related complications on February 23, 2000, was met with shock and sorrow. The cause of her illness was kept a secret during her lifetime, and only after her passing did the public learn of her diagnosis. Despite this tragedy, her legacy remains intact. Tel Aviv honored her by a park after her, Gan Ofra, a testament to her enduring impact on Israeli culture. Her influence continues to be felt across music, from Middle Eastern pop to hip hop and electronic dance music.
In the words of her most famous song: "Even if the gates of heaven are locked, the gates of mercy will never be closed." Ofra Haza’s voice opened doors, unlocked hearts, and built bridges between cultures.
