Israel, Energía Creativa: 65 Años De Músicai
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When Mizrahi Artists Said ‘No’ to Israel’S Pioneer Culture
Riches To Rags To Virtual Riches: When Mizrahi Artists Said ‘No’ To Israel’s Pioneer Culture Shoshana Gabay. Ills. Joseph Sassoon Semah Upon their arrival in Israel, Mizrahi Jews found themselves under a regime that demanded obedience, even in cultural matters. All were required to conform to an idealized pioneer figure who sang classical, militaristic ‘Hebrew’ songs. That is, before the ‘Kasetot’ era propelled Mizrahi artists into the spotlight, paving the way for today’s musical stars. Part two of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to Palestinian singer Mohammed Assaf. Read part one here. Our early encounter with Zionist music takes place in kindergarten, then later in schools and the youth movements, usually with an accordionist in tow playing songs worn and weathered by the dry desert winds. Music teachers at school never bothered with classical music, neither Western nor Arabian, and traditional Ashkenazi liturgies – let alone Sephardic – were not even taken into account. The early pioneer music was hard to stomach, and not only because it didn’t belong to our generation and wasn’t part of our heritage. More specifically, we were gagging on something shoved obsessively down our throat by political authority. Our “founding fathers” and their children never spared us any candid detail regarding the bodily reaction they experience when hearing the music brought here by our fathers, and the music we created here. But not much was said regarding the thoughts and feelings of Mizrahi immigrants (nor about their children who were born into it) who came here and heard what passed as Israeli music, nor about their children who were born into it. -
Why Stockton Folk Dance Camp Still Produces a Syllabus
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please -
Israel Resource Cards (Digital Use)
WESTERN WALL ַה ּכֹו ֶתל ַה ַּמ ַעָר ִבי The Western Wall, known as the Kotel, is revered as the holiest site for the Jewish people. A part of the outer retaining wall of the Second Temple that was destroyed by the Romans in 70 CE, it is the place closest to the ancient Holy of Holies, where only the Kohanim— —Jewish priests were allowed access. When Israel gained independence in 1948, Jordan controlled the Western Wall and all of the Old City of Jerusalem; the city was reunified in the 1967 Six-Day War. The Western Wall is considered an Orthodox synagogue by Israeli authorities, with separate prayer spaces for men and women. A mixed egalitarian prayer area operates along a nearby section of the Temple’s retaining wall, raising to the forefront contemporary ideas of religious expression—a prime example of how Israel navigates between past and present. SITES AND INSIGHTS theicenter.org SHUK ׁשוּק Every Israeli city has an open-air market, or shuk, where vendors sell everything from fresh fruits and vegetables to clothing, appliances, and souvenirs. There’s no other place that feels more authentically Israeli than a shuk on Friday afternoon, as seemingly everyone shops for Shabbat. Drawn by the freshness and variety of produce, Israelis and tourists alike flock to the shuk, turning it into a microcosm of the country. Shuks in smaller cities and towns operate just one day per week, while larger markets often play a key role in the city’s cultural life. At night, after the vendors go home, Machaneh Yehuda— —Jerusalem’s shuk, turns into the city’s nightlife hub. -
Carmiel 2006
Your Itinerary Day 1 – Thursday 13 July 2006 (Dinner) Shalom and welcome to Israel Arrival at Ben Gurion Airport and meet your Tour Guide.Transfer to Tel Aviv hotel Evening activity: Extra Special Karmiel Dance Festival Session with Gadi Bitton Overnight: Tel Aviv Day 2 - Friday 14 July 2006 (Breakfast, Dinner) Enjoy a guided tour of Tel Aviv neighbourhoods – Neveh Tzedek and Old Jaffa Enjoy a festive Shabbat dinner at the hotel Evening activity – Enjoy a live summer concert with the stars of the Israeli music scene – Possible performers can include Shlomo Arzi, Sarit Hadad, and Rita (subject to availability). Overnight: Tel Aviv Day 3 - Saturday 15 July 2006 (Breakfast, Dinner) Day of swimming and relaxation in Tel Aviv. Enjoy dancing on Gordon beach with Sarah Aviv Afternoon touring in Jerusalem. Dinner and show at an authentic Moroccan restaurant Evening activity: Dance session with Avner Naim Overnight: Tel Aviv Day 4 - Sunday 16 July 2006 (Breakfast, Dinner) Explore Caesaria, and see the new audio visual show. Enjoy a guided walking tour of the Roman Theatre, archaeological ruins and excavations. Evening activity: Extra Special pre-Karmiel Festival Dance Session with Mishael Barzilay. Overnight: Tel Aviv Day 5 - Monday 17 July 2006 (Breakfast, Lunch, Dinner) Head to Haifa to view the beautiful Gardens of the Bahai. Onward to Ossafia village for an authentic Druze lunch with the locals. Visit Rosh Hanikra to explore the magnificent Grottos carved by the sea. Evening activity: Dance session with Yaron Carmel at Chof Hacarmel Overnight: Karmiel Homestay Day 6 - Tuesday 18 July 2006 (Breakfast, Dinner) Depart for Tzfat – City of Mystical Judaism (Kabbalah). -
1 Lahiton [email protected]
Lahiton [email protected] 1 Lahiton magazine was founded 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. Uri Aloni was a pop culture writer and rabid music fan while David Paz, another popular music enthusiast, was an editor who knew his way around the technical side of print production. The name “Lahiton,” reportedly invented by entertainers Rivka Michaeli and Ehud Manor, combines the Hebrew words for hit, “lahit” and newspaper, “iton.” Lahiton [email protected] 2 Uri Aloni cites the British fan magazines Melody Maker and New Music Express as influences; (Eshed 2008) while living in London and writing for the pop music columns of Yediot Ahronot and La-Isha, he would lift editorial content and photos from the latest British pop magazines, write articles, then find an Israel-bound traveler at the London airport to transport the articles into the hands of his editors. In Lahiton’s early days, Aloni and Paz continued this practice (Edut 2014). Eventually, however Lahiton’s flavor became uniquely secular Israeli. Although in 1965 the Beatles were famously denied permission to perform in Israel (Singer 2015), by the time Lahiton got started in 1969 there was no stemming the tide; the international pop music scene had permeated Israel’s insular and conservative culture. At the time there were no other Hebrew publications that covered what was going on both at home and in America and Europe. Lahiton began as a bimonthly publication, but within the first year, when press runs of 5000 copies sold out on a regular basis, Paz and Aloni turned it into a weekly. -
The Contestants the Contestants
The Contestants The Contestants CYPRUS GREECE Song: Gimme Song: S.A.G.A.P.O (I Love You) Performer: One Performer: Michalis Rakintzis Music: George Theofanous Music: Michalis Rakintzis Lyrics: George Theofanous Lyrics: Michalis Rakintzis One formed in 1999 with songwriter George Michalis Rakintzis is one of the most famous Theofanous, Constantinos Christoforou, male singers in Greece with 16 gold and Dimitris Koutsavlakis, Filippos Constantinos, platinum records to his name. This is his second Argyris Nastopoulos and Panos Tserpes. attempt to represent his country at the Eurovision Song Contest. The group’s first CD, One, went gold in Greece and platinum in Cyprus and their maxi-single, 2001-ONE went platinum. Their second album, SPAIN Moro Mou was also a big hit. Song: Europe’s Living A Celebration Performer: Rosa AUSTRIA Music: Xasqui Ten Lyrics:Toni Ten Song: Say A Word Performer: Manuel Ortega Spain’s song, performed by Rosa López, is a Music:Alexander Kahr celebration of the European Union and single Lyrics: Robert Pfluger currency. Rosa won the hearts of her nation after taking part in the reality TV show Twenty-two-year-old Manuel Ortega is popular Operacion Triunfo. She used to sing at in Austria and his picture adorns the cover of weddings and baptisms in the villages of the many teenage magazines. He was born in Linz Alpujarro region and is now set to become one and, at the age of 10, he became a member of of Spain’s most popular stars. the Florianer Sängerknaben, one of the oldest boys’ choirs in Austria. CROATIA His love for pop music brought him back to Linz where he joined a group named Sbaff and, Song: Everything I Want by the age of 15, he had performed at over 200 Performer:Vesna Pisarovic concerts. -
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. -
Children As Architects of Web Directories: an Exploratory Study
Children as Architects of Web Directories: An Exploratory Study Judit Bar-Ilan and Yifat Belous Department of Information Science, Bar-Ilan University, Ramat-Gan, 52900, Israel. E-mail: [email protected], [email protected] Children are increasingly using the Web. Cognitive the- a wide range of difficulties while searching for information ory tells us that directory structures are especially on the Web. Existing Web search tools for children such suited for information retrieval by children; however, em- as Yahooligans! (http://www.yahooligans.com), KidsClick pirical results show that they prefer keyword searching. One of the reasons for these findings could be that the (http://kidsclick.org), and Ask Jeeves for Kids (http://www. directory structures and terminology are created by ajkids.com) do not contribute to children’s success in their grown-ups. Using a card-sorting method and an en- information tasks. In fact, it has been found that these tools veloping system, we simulated the structure of a direc- often cause a search failure due to their lack of special fea- tory. Our goal was to try to understand what browsable, tures essential for their young audience (Bilal, 1999, 2000, hierarchical subject categories children create when suggested terms are supplied and they are free to add or 2001, 2002a, Bilal & Watson, 1998; Large, Beheshti, & delete terms. Twelve groups of four children each (fourth Rahman, 2002). One possible explanation for this lack of and fifth graders) participated in our exploratory study. suitability to children’s needs can be the fact that search The initial terminology presented to the children was tools for children are mostly designed by adults, who do not based on names of categories used in popular directo- actively include the target audience in the design process ries, in the sections on Arts, Television, Music, Cinema, and Celebrities. -
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. -
MA Thesis: Linguistics: English Language and Linguistics
MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 1 The Stylistics of Language Switches in Lyrics of Entries of the Eurovision Song Contest MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 2 Acknowledgements It did not come as a surprise to the people around me when I told them that the subject for my Master’s thesis was going to be based on the Eurovision Song Contest. Ever since I was a little boy I have been a fan, and some might even say that I became somewhat obsessed, for which I cannot really blame them. Moreover, I have always had a special interest in mixed language songs, so linking the two subjects seemed only natural. Thanks to a rather unfortunate turn of events, this thesis took a lot longer to write than was initially planned, but nevertheless, here it is. Special thanks are in order for my supervisor, Tony Foster, who has helped me in many ways during this time. I would also like to thank a number of other people for various reasons. The second reader Lettie Dorst. My mother, for being the reason I got involved with the Eurovision Song Contest. My father, for putting up with my seemingly endless collection of Eurovision MP3s in the car. -
JUST WHO ARE GOOD PEOPLE? LOOK INSIDE and Find out 2014
JuSt WHO aRE GOOD PEOPLE? LOOK INSIDE aND fIND Out 2014 GOOD PEOPLE GuIDE www.goodpeoplefund.org Heshvan 5775 • November 2014 OuR StORY Dear Friends of the Good People Fund, Each year as I sit down to write this message, the final step in a process that spans several months, I am reminded of the generosity of each of you, our donors, who make this work possible. Once the body of this report is composed I can see before me the significant scope and impact of our work. It never ceases to amaze me and it certainly makes this work fulfilling beyond the norm. Photo by Mark Berkley I am often asked, “How do you find these amazing people and programs?” I sometimes ask myself that same question, not so much the mechanics of finding them (that’s another conversation) but how such extraordinary people or programs exist in the first instance, as each one of them is awe-inspiring and quietly engaging in acts that by all measure are selfless and compassionate. This past year alone we discovered 13 new Good People who are responding passionately and creatively to right some wrong in our world. Love and socialization opportunities for severely disabled people? For Rabbi Shaul Inbari, himself profoundly disabled, it was a most ordinary question but his response was extraordinary — starting an organization in Israel that opens doors for people with profound disabilities to establish meaningful relationships. Rescuing enslaved children? Yet another ordinary question that evoked an extraordinary response by Evan Robbins, a dedicated high school teacher, who read an article about kids sold into slavery in Ghana and was moved to form an organization to rescue them. -
University of California, Santa Cruz Music Department
University of California, Santa Cruz Music Department Music 80-i: Music of Modern Israel Instructor: Avi Tchamni ([email protected]) TAs: Nelsen Hutchison ([email protected]) Class meetings: MWF 12:00-1:05PM Music Center room 101 Instructor’s office: Music Center 126 (phone: 459-4238) Office hours: Wed 2:30-4:00PM, and by appointment The course will examine the development of popular music in Israel from the beginning of the 20th century until the present. We will discuss the complexity of national identity inherent in the study of immigrant and refugee societies, and the power struggle between the different forces involved in the process: the state and its institutions, the people, and the outside world. We will review the course of musical history in Israel, from nationalism and “invented” folk music through the emergence of the Other (“Musiqa Mizrahit”) and the arrival of rock and world music. TEXTBOOK Regev, Motti and Edwin Seroussi. Popular Music and National Culture in Israel (Berkeley: University of California Press, 2004) Available as eBook on UCSC library DOCUMENTARIES During the quarter we will watch episodes from “Sof Onat ha-Tapuzim” (“End of the Orange Season”) – a documentary series on the development of Israeli rock music. CLASS CONCERT AND PERFORMANCES There will be a live concert towards the end of the quarter (TBA). Students who would like to perform songs from the repertoire in class during the quarter, are encouraged to do so. RECORDINGS All playlists will be available on the class website: http://artstream.ucsc.edu/music80i OFF-CAMPUS ACCESS TO ONLINE RESOURCES 1.