The songs of the Jewish Yemenite women were performed entirely in Yemenite Arabic and covered the circle of life - such as the well-known wedding and henna songs, and alongside them- songs that accompanied the woman's work every day, songs for childbirth, love songs, and also laments. This tradition was transmitted only orally and created within the women's groups - and today, it has almost disappeared because the environment in which the songs were created no longer exists.

Naama Perel Tzadok released the album "Memory Traces" - an album written as a result of research work that she did at the University of Haifa, on the integration of Yemenite music in Israeli art music. The album combines several musical styles - classical music and Yemenite folk music, modern music, and operatic singing. The recording of the album was produced by Naama through the "Headstart" crowdfunding platform. The piece is written for a large ensemble of instruments, thirteen musicians among them Einat Harel, the percussionist, and the singer, Shani Oshri. The album is structured as a song cycle, based on the circle of life - starting with a song in honor of the giving-birth mother and ending with a lament. Original instrumental pieces are also interwoven with the songs written in Yemeni Arabic. The entire piece moves between folk and traditional moments and modern sections, while along it the percussion instrument - the Zahn (a copper platter) gives the atmosphere and leads the transition from section to section. A special lament was written among the sections on the album. The lament sounds the voice of the mothers whose children disappeared in the first years of Aliya to the Land of Israel and to this day are waiting and expecting to know what happened to them. Also, a special bonus piece was added to the album, a new arrangement of the song "Yuma VeYaba" which tells about the feelings of a girl who gets married at a very young age.

Naama: "Sometimes I feel as if all the memories of my grandmother, (which is also on the cover of the album), of my great-grandmother, and my great-great-grandmother are folded inside the cells of the body, and even if the memory itself does not exist, there is the place it occupies and the feeling he conveys. The generation that composed and absorbed the tradition of Yemenite female songs is almost gone, and my grandmother only has a memory of the memory left, and I only have a dim feeling in my body, of some distant cultural experience, which I am a part of but have never experienced directly. In the piece I wrote - I chose to take the tradition, wake it up, break it down a bit, play with its meaning, create new memories, and awaken dormant voices.”

Naama Perel Tzadok Multi-stylistic composer and creator. Her works are performed in Israel and around the world. Ph.D. student in composition at the University of Pittsburgh, Pennsylvania, and ISEF Doctoral Fellow. Graduated with a master's degree in composition from the University of Haifa. As the daughter of Yemenite and Tunisian immigrants Grew up on Yemenite, Arabic, and Jewish music. In her work, she draws inspiration from many sources - nature, current events, plastic art, and the diverse worlds of music she grew up in. In recent years she tends to examine and expand the boundaries of ancient musical styles and traditions alongside new ones.