ABSTRACT Cheikh Mwijo was a central figure in the “Moroccan troubadour scene,” a grassroots cultural phenomenon that emerged within Moroccan immigrant communities in Israel’s periphery during the 1950s. Like other troubadours, he traveled across the newly established state, singing in the immigrants’ language, preserving the cultural heritage of Moroccan Jewry, and documenting their encounters with Israeli society. This article analyzes three “political ballads” he composed and performed, focusing on how they reflect the “mental maps” Moroccan immigrants used to interpret the divisions within Israeli space. By uncovering themes of mental mapping in Cheikh Mwijo’s ballads, the article explores how emotional experiences contributed to gradual shifts in consciousness—such as polarization and radicalization—among Moroccan immigrants as a result of social, cultural, and political marginalization in Israel. I argue that these shifts unfolded within the context of two major historical developments: the emergence of radical Mizrahi discourse and the rise of Mizrahi politics in the 1980s and 1990s. The article concludes with insights into the common duality in Moroccan Jews’ attitudes toward Israeli society—marked, on one hand, by sharp and even subversive criticism, and on the other, by moderation and forgiveness aimed at overcoming emotional burdens and integrating into society.
issue 27 / n.1 (2025)
