Habonim Dror Shnat UK 2016-17 Information Booklet
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Dorot: the Mcgill Undergraduate Journal of Jewish Studies Volume 15
Dorot: The McGill Undergraduate Journal of Jewish Studies Volume 15 – 2016 D O R O T: The McGill Undergraduate Journal of Jewish Studies D O R O T: The McGill Undergraduate Journal of Jewish Studies Published by The Jewish Studies Students’ Association of McGill University Volume 15 2016 Copyright © 2016 by the Jewish Studies Students’ Association of McGill University. All rights reserved. Printed in Canada. No part of this book may be used or reproduced in any manner whatsoever without permission except in the case of brief quotations embodied in critical articles or reviews. The opinions expressed herein are solely those of the authors included. They do not necessarily reflect those of the Department of Jewish Studies or the Jewish Studies Students’ Association. ISSN 1913-2409 This is an annual publication of the Jewish Studies Students’ Association of McGill University. All correspondence should be sent to: 855 Sherbrooke Street West Montreal, Quebec, Canada H3A 2T7 Editor in Chief Caroline Bedard Assistant Editors Akiva Blander Rayna Lew Copy Editors Lindsay MacInnis Patricia Neijens Cover Page Art Jennifer Guan 12 Table of Contents Preface i Introduction v To Emerge From the Ghetto Twice: Anti-Semitism and 1 the Search for Jewish Identity in Post-War Montreal Literature Madeleine Gomery The Origins of Mizrahi Socio-Political Consciousness 21 Alon Faitelis The “Israelization” of Rock Music and Political Dissent 38 Through Song Mason Brenhouse Grace Paley’s Exploration of Identity 54 Madeleine Gottesman The Failure of Liberal Politics in Vienna: 71 Alienation and Jewish Responses at the Fin-de-Siècle Jesse Kaminski Author Profiles 105 Preface Editor-in-chief, Caroline Bedard, and five contributors put together a terrific new issue of Dorot, the undergraduate journal of McGill’s Department of Jewish Studies. -
Yoni Rechter
Yoni Rechter Teev Events Inc. 16501 Ventura Blvd, Encino, CA 91436 Tel (818) 483-8818, Fax (818) 482-2708 www.teev.com Biography Composer, pianist, singer and arranger, Yoni Rechter has made a major contribution to Israeli music in a career spanning more than 40 years, and is considered among Israel’s most important musicians. In the dozens of songs that Yoni composed, he created a wide variety of styles, incorporating numerous influences, from Sixties pop (mostly Beatles) to Jazz, Israeli to classical, east and west, into a fascinating personal statement. Rechter always composes with originality, great sensitivity to text, and for the best performers. He is considered the mark of quality and integrity in Israeli music. Yoni’s music is sophisticated and ever unexpected, constantly shifts tones and beats, and his classical piano training is evident. Many of his compositions have become staples of Israeli music, and one has on several occasions been voted the most popular Israeli song of all times. Yoni has worked closely with many of Israel’s top artists, including Arik Einstein, Gidi Gov, and Yehudit Ravitz. Perhaps his two most well-known collaborations are the legendary Kaveret group (a.k.a. Poogy), and Hakeves Ha-16 (The 16th Sheep), released in 1978 and still Israel’s most-popular album of children’s songs. A sought-after musical director, producer and arranger, Yoni has worked on numerous musicals, films, dance and albums. Rechter has also written classical music, and the Israeli Philharmonic Orchestra performed a concert dedicated to his songs and compositions. Hebrew University, Honoris causa Born in Tel Aviv, Yoni started playing piano at the age of 7, and decided to be a musician at age 12 when he discovered the Beatles. -
¿La Hora De La Diplomacia?
Año 63 | # 974 | Diciembre 2013/Enero 2014 | $ 10,00.- ATENTADO A LA AMIA: 232 MESES SIN JUSTICIA Periodismo judeoargentino con compromiso Fundado en 1948 Relaciones Occidente-Irán- Medio Oriente ¿La hora de la Diplomacia? Escriben: Ricardo Aronskind, Damián Svalb y Carlos Escudé 30 años de democracia en Argentina “Entre esperanzas, explosiones, festejos y dilemas” por Guillermo Levy | Pag. 10 Entrevista a Luis Tonelli, director de la carrera de Ciencia Política de la UBA Pag. 9 “El día en que Hashomer Hatzair copó la plaza” , por Jonatan Lipsky | Pag. 14 “En Israel: muchos Madibas, ningún Mandela” , por Rodrigo “Afro” Remenik | Pag. 20 Diciembre 2013 - Enero 2014 Periodismo judeoargentino con compromiso | Staff-Humor 2 NUEVA SION #974 Sumario Chau 2013, otro año STAFF/HUMOR 2 EDITORIAL 3 que pasó y no volverá MEDIO ORIENTE 4 | 6 ARGENTINA 7 | 11 Por Por Roberto Moldavsky ISRAEL 12 | 13 relato contra la grieta, Lilita contra Moreno, Ventura contra Lanata y para terminar de hundir - COMUNITARIAS 14 | 16 Sacando los comerciantes del Once y Flores, todo nos la inconcebible separación de Wanda Nara y CULTURA 16 | 19 el resto de los humanos intentamos hacer un Maxi, el país esta dividido en 2 y encima Icardi balance en esta época del año y tratar de entender profundiza la división. REFLEXIONES 20 que pasó y donde estamos parados o acostados como mi caso. En el ámbito judío seguimos luchando, acá entre Duran Barba y los descerebrados que Sin duda, la noticia mas importante del irrumpieron en la catedral le dieron laburo a la año vino de Roma -
Identity, Spectacle and Representation: Israeli Entries at the Eurovision
Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest1 Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión José Luis Panea holds a Degree in Fine Arts (University of Salamanca, 2013), and has interchange stays at Univer- sity of Lisbon and University of Barcelona. Master’s degree in Art and Visual Practices Research at University of Castilla-La Mancha with End of Studies Special Prize (2014) and Pre-PhD contract in the research project ARES (www.aresvisuals.net). Editor of the volume Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte español 2017) with Ana Martínez-Collado. Aesthetic of Modernity teacher and writer in several re- views especially about his research line ‘Identity politics at the Eurovision Song Contest’. Universidad de Castilla-La Mancha, España. [email protected] ORCID: 0000-0002-8989-9547 Recibido: 01/08/2018 - Aceptado: 14/11/2018 Received: 01/08/2018 - Accepted: 14/11/2018 Abstract: Resumen: Through a sophisticated investment, both capital and symbolic, A partir de una sofisticada inversión, capital y simbólica, el Festival the Eurovision Song Contest generates annually a unique audio- de Eurovisión genera anualmente un espectáculo audiovisual en la ISSN: 1696-019X / e-ISSN: 2386-3978 visual spectacle, debating concepts as well as community, televisión pública problematizando conceptos como “comunidad”, Europeanness or cultural identity. Following the recent researches “Europeidad” e “identidad cultural”. Siguiendo las investigaciones re- from the An-glo-Saxon ambit, we will research different editions of cientes en el ámbito anglosajón, recorreremos sus distintas ediciones the show. -
Transdenominational MA in Jewish Music Program, Preparing
THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, Anita Schubert, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to theh azzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Word docu- ment, with a brief biography of the author appended. Musical and/or graphic material should be formatted and inserted within the Word document. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc., Cover design and Printing by Replica. © Copyright 2009 by the Cantors Assembly. ISSN 0449-5128 ii FROM THE EDITOR: The Issue of Niggunim in Worship: Too Much of a Good Thing? ..................................................4 THE NEO-HASIDIC REVIVAL AT 50 Music as a Spiritual Process in the Teachings of Rav Nahman of Bratslav Chani Haran Smith. 8 The Hasidic Niggun: Ethos and Melos of a Folk Liturgy Hanoch Avenary . 48 Carlebach, Neo-Hasidic Music and Liturgical Practice Sam Weiss. -
Noam Lemish Dissertation Final Submission Truly
Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition by Noam Lemish A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts in Performance Faculty of Music University of Toronto © 2018 Copyright by Noam Lemish ii Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition Noam Lemish Doctor of Musical Arts in Performance Faculty of Music University of Toronto 2018 ABSTRACT This dissertation is a case study of musical transculturation in jazz performance and composition through the examination of the practices of Israeli jazz musicians who began to operate on the international jazz scene starting in the 1990s. An impressive number of Israeli jazz performers have received widespread exposure and acclaim over the last twenty years. Artists such as Omer Avital (bass), Anat Cohen (woodwinds), Avishai Cohen (bass) among many others have successfully established themselves on a global scale, creating music that melds various aspects of American jazz with an array of Israeli, Jewish and Middle-Eastern influences and those from numerous other non- Western musical traditions. While each musician is developing his or her own approach to musical transculturation, common threads connect them all. Unraveling these entangled sounds and related discourses lies at the center of my study. While this is the first comprehensive study of the contributions -
Izraelská Populární Hudba Od Konce 40. Let 20. Století Do Současnosti Michaela Wittwarová
Západočeská univerzita v Plzni Fakulta filozofická Diplomová práce Izraelská populární hudba od konce 40. let 20. století do současnosti Michaela Wittwarová Plzeň 2016 Západočeská univerzita v Plzni Fakulta filozofická Katedra blízkovýchodních studií Studijní program Mezinárodní teritoriální studia Studijní obor Blízkovýchodní studia Diplomová práce Izraelská populární hudba od konce 40. let 20. století do současnosti Michaela Wittwarová Vedoucí práce: Mgr. Zbyněk Tarant, Ph.D. Katedra blízkovýchodních studií Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2016 Prohlašuji, že jsem práci zpracoval(a) samostatně a použil(a) jen uvedených pramenů a literatury. Plzeň, duben 2016 ……………………… Poděkování: Děkuji svému vedoucímu práce Mgr. Zbyňku Tarantovi, Ph.D. za přínosné konzultace. Děkuji také všem svým bližním, kteří mě během psaní práce podporovali. Obsah 1 ÚVOD ......................................................................................... 1 1.1 Cíle................................................................................................. 1 1.2 Představení tématu ...................................................................... 1 1.3 Metoda práce ................................................................................ 1 1.4 Terminologie................................................................................. 2 1.5 Technické poznámky ................................................................... 3 1.6 Důvody k výběru tématu, přínos ................................................. 3 2 PRVNÍ -
C.V.7.2. Israeli Popular Music
1 C.V.7.2. Israeli Popular Music Edwin Seroussi In the early period of Israeli statehood, the means for the support of musical performance, composition, dissemination and education were in the mostly in the hands of governmental agencies and thus controlled by the dominant political and cultural elites. This control by the establishment gradually weakened, particularly following the decentralization of the mass media since the early 1980s. Popular music, a characteristic modern urban phenomenon, and its hallmark, the appeal to heterogenic populations, cosmopolitanism, industrial production and mass distribution in an open market, became then the main mode of music making and consumption in Israel as it did at a global level. From the 1920ies up to the present Popular music defined along these lines first appeared in Israel with the growth of large cities (Tel-Aviv-Jaffa, Haifa, Jerusalem) propelled by the immigration of professional musicians from Poland, Germany and the former Austro-Hungarian Empire in the late 1920s and early 1930s. These musicians developed in Israel new musical venues similar to those of the European cities, such as musical theaters and cabarets where contemporary European songs sung to new Hebrew texts were mixed with new compositions by local composers in genres such as the tango and the fox-trot. The popular music industry in Israel was launched in the mid-1930s when the first commercial record company was founded and a radio station opened in Palestine under the British Mandate that included Hebrew broadcasts. Up to the 1970s, popular music was dominated by tight state-controlled cultural policies and mass media. -
Delegados Britannicos E Americanos Iniciaram Hontem, Em Londres, As
;-cr--~;'*r?'r:"'"-^ Í$!$$$^>4_"Y1^^;"""T TP^P^" BEIJ..C'1'OII-CIIBFB gS1 Correio da Manhã i—:COSTA KEÜO ——¦—-—¦_¦_¦¦-_____—-iimiihiiii.iii XXXIV N. 12.2G3 , _ æ¦ O ANNO IíHUACÇAO E OFFICINAS~~~_²Ä¦ ¦'"• ' _*}*]_ A_R_S (Mmr. tYfir_. hi Ãvcnirta _ __'IHO DE JANEIRO, QUTNTA-FETKA, 15 OE NOVEMBRO DE 1934"Zl G_.,Va.vc_ òias, 5 Delegados britannicos e americanos iniciaram hontem, em Londres, as conversações æpreliminares da Conferência Naval de 1935 ,=^ee A BÉLGICA DEBATE5E NUMA TREMENDA CRISE ECONÔMICA, OSCILLANDO ENTRE UMA DEFLAÇÃO THEORICA E A INTEGRAL MANUTENÇÃO DO PADRÀOOURO vww^^^^wvww 0 & vae obrigar aa A^^AAMAAAAAMMVSAA^o A governo grego ««Mgai as empresascuipicaas formadasluiumuas» comuuhi capitãesuapiiat.» estrangeirosesixaiigeiruj. a transferil-osiraiisieiii-us parapaia a moedauiut.ua nacionaluauuuai ALB, utopia do desarmamento íj __ B$æ-_ O GRANDE VOO DE SCOTT E BLACK DA HOLLANDA A A AVIAÇÃO CIVIL NA ILHA DE JAVA BRITANNICOS DELEGADOS E AMERICANOS ESTI- SUBMERSO INGLATERRA .ERAM REUNIDOS DURANTE TRES HORAS 0 snb-secretario Sassoon expõe, na Câmara dos Sensacional viagem do "K-18" Communs, os do Londres, 14 (UTB) — Os de- americanos, embora negando-se, a submarino planos governa «gados britannicos e americanos entrar em detalhes, deixam trans- is conversações prellminures da parecer que houve pontos muito Londrea, 14 (UTB) — Sir PM- do sub-secretario da Aeronoutlca, Conferência Naval estiveram hoje delicados ao longo das conversa- hp tíasson, sub-secreiarlo da Ae coincide Inteiramente com as que Amsterdam, 14 (UTB) ronautlca, fez hoje na Câmara doi ainda hoje reunidos durante tres horas e ções de hojo. -
Lahiton - Cinema World Image Archive M2036
http://oac.cdlib.org/findaid/ark:/13030/c8g73kxj No online items Guide to the Lahiton - Cinema World image archive M2036 Anna M. Levia Department of Special Collections and University Archives 2017 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Lahiton - Cinema M2036 1 World image archive M2036 Language of Material: Hebrew Contributing Institution: Department of Special Collections and University Archives Title: Lahiton - Cinema World image archive creator: Lahiton-Cinema World Identifier/Call Number: M2036 Physical Description: 38 Linear Feet(89 manuscript boxes, 1 flat box) Date (inclusive): 1955-1995 Biographical / Historical Lahiton magazine was conceived in 1969 by two partners, Uri Aloni and David Paz, and was funded by an investment from Avraham Alon, a Ramlah nightclub owner and promoter. The name “Lahiton,” reportedly invented by entertainers Rivka Michaeli and Ehud Manor, combines the Hebrew words for (musical) hit, “lahit” and newspaper, “iton.” In 1976, Lahiton merged with the fan magazine Olam ha-Kolnoa [Cinema World]. Scope and Contents The collection includes more than 15,000 photographs, most black and white, and more than 5000 color slides. The majority of the images were photographed in Israel between the 1950s and the 1980s, mainly by Israeli photographers. Some of the files contain ephemera such as newspaper clippings and other promotional materials. Arrangement Series 1, Cinema, consists of three sub-series: Sub-series 1, Actors; sub-series 2, Films; sub-series 3, Miscellaneous. Series 2, Entertainers. Series 3, Entertainment: Competitions and festivals. Series 4, Foreign visitors to Israel/Foreign celebrities. -
Usiikkikasvatus 01 & 02 2020 Vol
Musiikkikasvatus 01 & 02 2020 vol. 23 01 & 02 2020 Musiikkikasvatus Musiikkikasvatus Vol.23 The Finnish Journal of Music Education FJME ARTIKKELIT | ARTICLES usiikkikasvatus Alon Schab The Finnish Journal of Music Education | 01 & FJME 02 2020 vol. 23 Ancient modes in the modern classroom: Obsolete scales or The Finnish assets of cultural diversity? M Aditi Krishna Journal of Teaching music and transmitting ideologies: The heterotopic spaces of the new schools in contemporary India Music Alexandra Kertz-Welzel Education Cultural diversity or core culture? Politics and German music education FJME Julia Wieneke Perceptions of collaboration in Austrian whole class ensembles: A qualitative study of four general music teachers FJME 01&02 2020 Vol. 23.indd 1 27.10.2020 15.08 Musiikkikasvatus The Finnish Journal of Music Education (FJME) FJME 01 & 02 2020 Vol. 23 Julkaisijat | Publishers Sibelius-Akatemia, Taideyliopisto, Musiikkikasvatuksen, jazzin ja kansanmusiikin osasto | Sibelius Academy, University of the Arts Helsinki, Faculty of Music Education, Jazz and Folk Music Suomen Taidekasvatuksen Tutkimusseura Päätoimittaja | Editor-in-chief Heidi Westerlund, Sibelius-Akatemia, Taideyliopisto | Sibelius Academy, University of the Arts Helsinki Vastaava toimittaja | Managing editor Marja Heimonen, Sibelius-Akatemia, Taideyliopisto | Sibelius Academy, University of the Arts Helsinki Tämän numeron vastaavat toimittajat | Managing editors of this issue Danielle Treacy, Sibelius Academy, University of the Arts Helsinki, Finland Amira Ehrlich, Levinsky College of Education, Tel-Aviv, Israel Claudia Gluschankof, Levinsky College of Education, Tel-Aviv, Israel Ulkoasu ja taitto | Design and layout Lauri Toivio Kannet | Covers Hans Andersson Toimituksen osoite ja tilaukset | Address and subscriptions Sibelius-Akatemia, Taideyliopisto / Musiikkikasvatuksen, jazzin ja kansanmusiikin osasto PL 30, 00097 TAIDEYLIOPISTO | Sibelius Academy, University of the Arts Helsinki / Department of Music Education, Jazz and Folk Music P. -
Zionism Victoria Supporters
ZIONISM VICTORIA SUPPORTERS MAJOR COMMUNAL PARTNER LEAD PARTNER PARTNERS The Jakob Frenkiel Charitable Trust PATRONS white version for dark backgrounds CORPORATE SPONSORS EVENT SPONSORS ASHWATER Contents Messages................................................................................................................................................................ 2-13 Declaration.of.the.Establishment.of.the.State.of.Israel............................................................14-15 Activities.of.Zionism.Victoria...................................................................................................................16-19 Lead.Partner.............................................................................................................................................................20 Partners.................................................................................................................................................................21-23 Patrons..................................................................................................................................................................24-27 Corporate.Sponsors.....................................................................................................................................28-30 Event.Sponsors................................................................................................................................................31-34 Israel.Shabbat...........................................................................................................................................................58.