A bride wears the Tishbakh lulu (originally of the Sanaa region) and is accompanied to the hall for her pre-wedding Za'afah- a ceremony that works in a similar manner to a Moroccan Henna.
Binyamina, Israel. 2014.
The shouk remains the domain of blue-collar Mizrahim and Palestinians.
Carmel Market, Tel Aviv. 2014.
Adi Keissar, poet and founder of 'Ars Poetika, a poetry-evening-come-hafla, that seeks to provide a Mizrahi and female friendly poetic space, in a field traditionally held by white, Ashkenazi, males.
Kerem ha-Teimanim, Tel Aviv. 2015.
Women from the Yemenite dancing troupe prepare for the Za'afah. The dancing troupe is made up largely of elderly Yemenite individuals who hailed from the Northern tribal parts of Yemen. The troupe is strict to ensure that everything from the costumes to the ceremony is carried out as according to their region's tradition. With the youth uninterested in learning and preserving their traditions, the troupe is living on borrowed time.
A Yemenite Jewish dancing troupe adjust for the pre-wedding Za'afa.
My great-uncle Moshe Meshumar, he was part of the Shubelim band, one of the earliest players in the formation of Mizrahit music, a genre that combined Arabic, Turkish, Greek and Yemenite elements with lyrics sung in Hebrew and electric guitars. An integral part of the Mizrahi narrative.
Shabazi, Tel Aviv. 2015.
Moshav Yinon. 2015.
A Yemenite majority agricultural village in central Israel.
Ohel Moshe Yemenite Synagogue. Moshav Yinon. 2015.
Tel Aviv, 2014.