This is a Hebrew adaptation of the poems traditionally recited by the Beta Israel community for the festival of Sigd, altered and adapted to fit the traditional qedushta form of poetic Amidah additions. The texts of the first few prayers were rewritten substantially and combined with relevant verses so as to fit in the strict form of the magen, mehaye, meshalesh, and El Na. After this, the qiqlar is slightly edited to fit a couplet rhyme scheme, while the silluq (the freest of the genres of qedusha piyyut) is almost entirely preserved — the only change being several verses whose placement is postponed so as to better lead into the qedusha as a silluq should. Regarding translations, the silluq largely uses my original translation with slight alterations (replacing the clunky use of ‘God’ as a pronoun with a gender-neutral THEIR, translating the Agaw passages into Latin rather than English to preserve general comprehensibility while clarifying that this is a different language), while the rest of the poems are different enough for their translation to largely be from scratch. These would be recited with the Ark open for all the piyyutim, as one would on the Yamim Noraim, ideally using melodies from the Sigd liturgy. . . .

This is the Aqdamut for Purim by Avraham Menaḥem Mendel Mohr from his Kol Bo l’Purim (1855) transcribed and translated from Aramaic into English by Isaac Gantwerk Mayer. . . .

This is the Hosha’not for Purim by Avraham Menaḥem Mendel Mohr from his Kol Bo l’Purim (1855) transcribed and translated from Aramaic into English by Isaac Gantwerk Mayer. . . .

This is the Ne’ilah for Purim (a parody of the last two paragraphs of the Ne’ilah confession) by Avraham Menaḥem Mendel Mohr from his Kol Bo l’Purim (1855) transcribed and translated from Aramaic into English by Isaac Gantwerk Mayer. . . .

This is the Haqafot for Purim by Avraham Menaḥem Mendel Mohr from his Kol Bo l’Purim (1855) transcribed and translated from Hebrew into English by Isaac Gantwerk Mayer. . . .

In North Africa, a unique custom developed of reciting a Mi Khamokha v-Ein Kamokha piyyut, inspired by the famed Shabbat Zakhor work of Yehuda haLevi, on the Shabbat before a local Purim (a celebration of community’s deliverance from destruction). This piyyut, written by R. Avraham ben Rafael Khalfon, was recited on the Shabbat before 29 Tevet in the community of Tripoli, to celebrate the victory of the Karamanlid dynasty over the despotic usurper Ali Burghul (after events transpiring from 1793-1804). . . .

This seliḥah, “Moshel ba-Elyonim Atah Yadata,” was written by Rabbi Mosheh ben Yeshayah Menaḥem Bachrach during an epidemic. It is included in the Seliḥot of Posen, Krakow, Prague, Worms, and Alsace. The text here was transcribed from the Siddur Kol Bo, vol. 3 (1923), p. 33. . . .

This is a Mi Khamokha piyyut by Yisrael Najara for Shabbat Ḥanukkah retelling Megilat Antiokhos in a lengthy fourfold acrostic with each stanza ending in בוֹ. . . .

According to Joseph Judah Chorny’s On the Caucasian Jews, this acrostic piyyuṭ was customarily used as an epithalion before a wedding. He writes, “Before morning light, the bride is led to the groom’s house accompanied by many women and men, all carrying lit wax candles in their hands, and singing this song along the way.” Variants of this piyyut are found throughout the greater Sephardic world, generally in an abbreviated and slightly altered form. In Syria it is sung during the haqafot for Simḥat Torah, while in Livorno Sephardic practice (and subsequently in most Eastern Sephardic maḥzorim) it is a Shavu’ot piyyut. . . .

Ana is a poem for the first commandment, that discusses all that God did for the ancestors. . . .

“Ar’a Raqda,” a piyyut read directly before the Ten Commandments in the Targum, uses wedding imagery and language from the Shir haShirim to paint Sinai as a ḥuppah. . . .

This seliḥah poem, written by R. Joseph of Chartres, commemorates the martyrdom of approximately 150 Jews in Clifford’s Tower, York, England, in the year 1190. A summary of the events of 1190, sometimes referred to as “the English Masada,” can be found here. Like many medieval Jewish poems about massacres, Elohim B’alunu carefully treads the line between assuming guilt and declaring innocence. This poem, interestingly enough, directly calls out the person seen by R. Joseph of Chartres as ultimately responsible — the crusader King Richard Ⅰ. Beloved in Christian memory, this radical zealot of a king has a much darker, more horrific reputation among Jewish and Muslim groups. . . .

The maaravot-cycle of piyyutim for the first night of Shavuot, by Joseph ben Samuel Bonfils. In normative maaravot fashion, it is one extended cycle with an overarching structure (the first words of each of the Ten Commandments) throughout the whole of the kriat shema, with additional piyyutim incorporated into the first blessing after the shema. . . .

Ḳerovot for Tu biShvat, a celebration of Divine verdancy, which namedrops a stunning array of flora from throughout the land of Israel. . . .

This piyyut, Izel Moshe (Arise, Moses), the fifth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the second verse of the song proper, as an elaboration on God’s strength. The English translation preserves the Hebrew acrostic of the original. . . .

This piyyut, Abunan D’biShmaya (Our Parent in Heaven), the second in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the fifth verse of the first aliyah (or second verse of the second aliyah on Shabbat). . . .

This piyyut, Elaha Alam (Ageless God), the fourth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the Song of the Sea proper as an introduction to the targum of the text. . . .

This piyyut, Ilu Pume Nima (If Our Mouths Were Thread), the first in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the first aliyah, as an introduction or ‘reshut’ to the seder meturgeman as a whole. . . .

The traditional Ashkenazi qerovot added to the Musaf repetition for Shabbat Sheqalim, alongside a new gender-neutral translation . . .

This anonymous ofan, also recited on the second day of Shavuot in some communities, uses alliteration to describe the many hosts of angels descending upon Sinai in awe and reverence as the Torah was given. The translation preserves the alliteration over the alphabet, seeing as the ofan in this form doesn’t include the entire alphabet either. As an ofan, it is recited within the Ḳedusha d-Yotser, between the verses of Isaiah and Ezekiel (included here). The ofan is recited on the second day of Shavuot in some communities. . . .