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UNIT FOUR: Songs of Belonging
UNITUNIT 4 FOUR:Studen t Workbook Songs of Belonging: Jewish/Israeli Songs Student Workbook A curriculum for Israel Engag ement Written by Belrose Maram In collaboration with Gila Ansell Brauner Elisheva Kupferman, Chief Editor Esti-Moskovitz-Kalman, Director of Education 1 UNIT 4 Student Workbook Lesson 1: Classical Poems and Songs Introduction In the first unit we explored the different types of connections that the Jewish People have with Israel. Since the Jews were expelled from the Land of Israel in ancient times, they have endeavored to remember and connect to the land in a variety of ways. The Arts in particular have played a major role in the expression of connection to Israel. It has provided an avenue for expression of yearning for the land, through poems, visual arts, music, etc. Even today, while we have the Modern State of Israel, artists worldwide are still expressing their connection to Israel through art. In the first lesson of this unit, we will learn about 2 poems that were written before the creation of the Modern State of Israel. One is a Psalm from the Bible: “If I forget you, O Jerusalem” and the second is a poem from the medieval period written by Yehuda Halevi: " My Heart is in the East, and I am in the furthermost West ". After analyzing both, we will do a short assignment asking you to reflect on Hatikva , the Israeli Hymn which later became Israel’s National Anthem, applying the themes of yearning you have studied in class to the hymn. " אם אשכך ירושלים ,If I forget you, O, Jerusalem " .1 The poem, If I forget you, O, Jerusalem , is part of Tehillim, Psalm #137, which is attributed to the First Exile, in Babylon, in the 6 th century B.C.E. -
Profile ‘It’S About Something Much Bigger Than You!’
PROFILE ‘IT’S ABOUT SOMETHING MUCH BIGGER THAN YOU!’ EXCLUSIVE INTERVIEW BY BORUCH MERKUR WRITTEN BY CHANA KATZ Friday afternoon. Music superstar enters and immediately starts to sing moving in their seats, if you can Matisyahu is being trailed by a a melody, “Dum, dum, dum, dum, imagine. The audience is ignited. reporter from one of America’s most dah, dah...” and then vocalizes a Matisyahu finishes, gives a shy prominent newspapers, The series of sounds that sizzle and but appreciative smile and is ushered Washington Post. Erev Shabbos and explode into song. into the interview seat. Taking in his the reporter is barely keeping pace The cameras occasionally flash on Chasidic composure, the host asks with the Chassid as he navigates the the crowd in the audience and no one with great interest, “How did you streets of New York City. is sitting still. Everyone is literally become this rapper?! The article is published with the Matisyahu smiles and says, headline, “Funny, He Doesn’t Look “Basically, I wasn’t always religious. I Jamaican!” referring to the reggae A SIGN THAT GEULA IS NEAR! was raised in a non-Orthodox Jewish roots of his music. Still, the essence family and listened to reggae like any “The success of Matisyahu is of the story is G-dliness. “Matisyahu high school kid.” does this (gives up Shabbos nothing short of pure G-dliness performances, etc.) because, as he and certainly the work of the Host: “You get criticism from the sees it, he has what he had because Rebbe MH”M. -
State of the Blues PAST, PRESENT and FUTURE by JACK HADLEY
BIMONTHLY NEWS OF THE COLORADO BLUES SCENE • VOL. 24, NO. 4 • AUG. - SEPT. 2018 • [email protected] 2013 KBA WINNER BLUES SOCIETY STATE OF THE BLUES PAST, PRESENT AND FUTURE BY JACK HADLEY Most Americans growing up in the age of pop music never listened to the blues. It wasn’t played on commercial radio and, sadly, not much has changed. I realize that any roots music in 2018 is hidden in plain sight. It’s out there if you look for it. I was at a blues jam re- cently and I was surprised at the music I heard. It was uniformly real blues mu- sic. There were no reggae covers or pop tunes played under the guise of blues. The most telling part of the night for me was a band of young people who hit the stage. A standard lineup of guitar, bass, drums and a lead vocalist. I have to admit they didn’t look like they knew any- thing about the music. I was dead wrong. These kids (anyone under 30 is a kid to me now) hit it real hard. It was on the blues rock end of the scale and more blues than I expected. Howlin’ Wolf and a few other classic covers. It was well done and I felt the blues coming from the stage. No, they didn’t sound like any of the artists on this page (Sonny Boy Williamson, Rick Estrin & The Nightcats and Christone “Kingfish” Ingram, clockwise from left to right). They sounded like themselves. And it’s still called the blues. -
Accelerated Reader Book List
Accelerated Reader Book List Picking a book to read? Check the Accelerated Reader quiz list below and choose a book that will count for credit in grade 7 or grade 8 at Quabbin Middle School. Please see your teacher if you have questions about any selection. The most recently added books/tests are denoted by the darkest blue background as shown here. Book Quiz No. Title Author Points Level 8451 EN 100 Questions and Answers About AIDS Ford, Michael Thomas 7.0 8.0 101453 EN 13 Little Blue Envelopes Johnson, Maureen 5.0 9.0 5976 EN 1984 Orwell, George 8.2 16.0 9201 EN 20,000 Leagues Under the Sea Clare, Andrea M. 4.3 2.0 523 EN 20,000 Leagues Under the Sea (Unabridged) Verne, Jules 10.0 28.0 6651 EN 24-Hour Genie, The McGinnis, Lila Sprague 4.1 2.0 593 EN 25 Cent Miracle, The Nelson, Theresa 7.1 8.0 59347 EN 5 Ways to Know About You Gravelle, Karen 8.3 5.0 8851 EN A.B.C. Murders, The Christie, Agatha 7.6 12.0 81642 EN Abduction! Kehret, Peg 4.7 6.0 6030 EN Abduction, The Newth, Mette 6.8 9.0 101 EN Abel's Island Steig, William 6.2 3.0 65575 EN Abhorsen Nix, Garth 6.6 16.0 11577 EN Absolutely Normal Chaos Creech, Sharon 4.7 7.0 5251 EN Acceptable Time, An L'Engle, Madeleine 7.5 15.0 5252 EN Ace Hits the Big Time Murphy, Barbara 5.1 6.0 5253 EN Acorn People, The Jones, Ron 7.0 2.0 8452 EN Across America on an Emigrant Train Murphy, Jim 7.5 4.0 102 EN Across Five Aprils Hunt, Irene 8.9 11.0 6901 EN Across the Grain Ferris, Jean 7.4 8.0 Across the Wide and Lonesome Prairie: The Oregon 17602 EN Gregory, Kristiana 5.5 4.0 Trail Diary.. -
Society of Children's Book Writers and Illustrators Official Reading List Summer 2016
SOCIETY OF CHILDREN’S BOOK WRITERS AND ILLUSTRATORS OFFICIAL READING LIST SUMMER 2016 All books are grouped by geographical region of the author or illustrator. They are listed in alphabetical order by title and divided into grade levels. TABLE OF CONTENTS ATLANTIC (Pennsylvania / Delaware / New Jersey / Washington D.C. / Virginia / West Virginia / Maryland) . 3 AUSTRALIA / NEW ZEALAND (May - December 2016) . 15 CALIFORNIA / HAWAII . 21 CANADA . 37 INTERNATIONAL / OTHER . 43 MID-SOUTH (Kansas / Louisiana / Arkansas / Tennessee / Kentucky / Missouri / Mississippi) . 45 MIDDLE EAST / INDIA / ASIA . 51 MIDWEST (Minnesota / Iowa / Nebraska / Wisconsin / Illinois / Michigan / Indiana / Ohio) . 53 NEW ENGLAND (Maine / Vermont / New Hampshire / Connecticut / Massachusetts / Rhode Island) . 69 NEW YORK . 81 SOUTHEAST (Florida / Georgia / South Carolina / North Carolina / Alabama) . 89 SOUTHWEST (Nevada / Arizona / Utah / Colorado / Wyoming / New Mexico) . 99 TEXAS / OKLAHOMA . 107 UK / IRELAND . 113 WEST (Washington / Oregon / Alaska / Idaho / Montana / North Dakota / South Dakota) . 117 SPANISH / BILINGUAL . 127 SOCIETY OF CHILDREN’S BOOK WRITERS AND ILLUSTRATORS OFFICIAL READING LIST — SUMMER 2016 ATLANTIC (Pennsylvania / Delaware / New Jersey / Washington D.C. / Virginia / West Virginia / Maryland) GRADES K-2: garten beginning readers. Author’s Residence: Reading, Pennsylvania Apple Days: A Rosh Hashanah Story Publisher: Reading Reading Books by Allison Sarnoff Soffer, illustrated by Bob McMahon Picture Book The Boy Who Said Nonsense Description: A touching story about a child’s beloved apple-picking by Felicia Sanzari Chernesky, illustrated by Nicola Anderson tradition, disappointment, and the power of community. Apple- Picture Book sauce recipe included. Description: Tate can count just by looking at things! All this count- Author’s Residence: Washington, D.C. ing makes everyone think Tate talks nonsense—until his brother Publisher: Kar-Ben Publishing sees everything from Tate’s perspective. -
Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
Matisyahu, Identity, and Authenticity by Sarah Imhoff on August
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks The Man in Black: Matisyahu, Identity, and Authenticity By Sarah Imhoff On August 6, 2006, thousands of fans at Chicago’s Lollapalooza music festival danced to reggae in the sweltering heat under the sun. The performer wore black pants and a gray long- sleeve collared shirt in spite of the heat. Instead of dreadlocks or a knit cap, he sported a full beard and a yarmulke. White fringes hung down in front of his pants, next to the badge identifying him as a performer. At one point, during a joyful frenzy of onstage dancing, his yarmulke came flying off. Without missing a beat, he took the nearby white towel—provided to performers for wiping away sweat—and held it atop his head with his left hand while his right hand held the microphone. He did not want to stop the show, but he also needed to ensure that his head would not be bare. The crowd had surprises, too: instead of a sea of red, green, and black Jamaican flags, as one might expect to see at a reggae show, this crowd had a smattering of white-and-blue Israeli flags. Some sang along with lyrics that called to “Hashem” and made allusions to the Torah. The crowd was a mixture of fans and others who might best be described as gawkers: Was he for real? Who was this observant Jew singing reggae and calling for “Moshiah now”? But one could also ask questions about most of the people watching: Why should a crowd of young, mostly secular pop-music listeners care about a Hasidic Jew? Was it just about the novelty? Critics and fans have already written much about the life, music, and performance of Matisyahu, the most prominent Hasidic reggae musician, and his visibility is still growing. -
Fire from My Tongue// 1
Fire From My Tongue // a lesson plan by Charlie Schwartz Goal: To raise questions and frame a discussion around the paradoxically universalist and particularist identities of many Diaspora Jews. Technical Requirments: Large Sticky Notes/Half Sheets of Paper with Tape Pens LCD Projector/Screen Computer with Internet Lyric Sheets Background: With its distinctive reggae cadence, Matisyahu's song "Jerusalem" runs deep with biblical allusions, references to the Holocaust, exile and the hope of messianic redemption. In contrast, the video for "Jerusalem" beautifully depicts people from diverse backgrounds placing photographs on a wall, forming a literal Kotel of human experience. On an intellec tual level, there is dissonance between the particular nature of the lyrics, and the universal themes of the video, yet on an artistic level the video and lyrics hypnotically integrate with one another. This session examines this apparent tension between the video and the song while exploring how participants integrate their Jewish identities into the non-Jewish world around them. Activity 1: What is Jerusalem? This activity is essentially a group brainstorm designed to get participants to start thinking about what Jerusalem means to them. Suggested Steps: *Handout half sticky notes/paper and pens. *Ask participants to write a sentence about what comes to mind when they hear the word “Jerusalem” *Ask participants to post their sentences on the wall. *Ask participants if they see any patterns. *Have participants move sentences into groups according to ideas and themes. *Have participants explain their grouping of sentences. Activity 2: Jerusalem, the Song. In this activity participants listen to the Matisyahu song “Jerusalem,” and try to understand the lyrics through chevruta (partner) study. -
Matisyahu – Light (2009)
Matisyahu – Light (2009) Written by bluesever Friday, 26 February 2010 17:39 - Last Updated Friday, 21 April 2017 09:10 Matisyahu – Light (2009) 01. Smash Lies 02. We Will Walk 03. One Day 04. Escape 05. So Hi So Lo 06. I Will Be Light 07. For You 08. On Nature 09. Motivate 10. Struggla 11. Darkness Into Light 12. Thunder 13. Silence Those who know Matisyahu only as “that Jewish reggae singer” will have to rethink their definitions. Matisyahu’s faith is as much a part of his music as ever, but no style dominates his third album, Light, which moves between reggae, dance hall, hip-hop, and rock (of both hard-edged and acoustic varieties), often within the same song. Matisyahu’s refusal to heed the constraints of genre is laudable. But by the time “So Hi So Lo,” a straightforward alt-rock banger with no appreciable reggae or hip-hop influence, kicks in, one begins to suspect that the artist’s able genre-switching reveals a deeper lack of confidence. Matisyahu, it seems, piles on the stylistic shifts and production gimmicks because few of his ideas are strong enough to build entire tracks around. While working his broad sonic palette with ingenuity and verve, he sacrifices the opportunity to develop a sound that is truly his own. Light ends up with exciting moments, but few memorable songs. 1 / 3 Matisyahu – Light (2009) Written by bluesever Friday, 26 February 2010 17:39 - Last Updated Friday, 21 April 2017 09:10 It’s not that Matisyahu wasted two years in the studio. -
Reinventing American Jewish Identity Through Hip Hop
University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2009-2010: Penn Humanities Forum Undergraduate Connections Research Fellows 4-2010 Sampling the Shtetl: Reinventing American Jewish Identity through Hip Hop Meredith R. Aska McBride University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/uhf_2010 Part of the Arts and Humanities Commons Aska McBride, Meredith R., "Sampling the Shtetl: Reinventing American Jewish Identity through Hip Hop" (2010). Undergraduate Humanities Forum 2009-2010: Connections. 1. https://repository.upenn.edu/uhf_2010/1 Suggested Citation: Aska McBride, Meredith. (2010). "Sampling the Shtetl: Reinventing American Jewish Identity through Hip Hop." 2009-2010 Penn Humanities Forum on Connections. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2010/1 For more information, please contact [email protected]. Sampling the Shtetl: Reinventing American Jewish Identity through Hip Hop Disciplines Arts and Humanities Comments Suggested Citation: Aska McBride, Meredith. (2010). "Sampling the Shtetl: Reinventing American Jewish Identity through Hip Hop." 2009-2010 Penn Humanities Forum on Connections. This other is available at ScholarlyCommons: https://repository.upenn.edu/uhf_2010/1 0 Sampling the Shtetl Reinventing American Jewish Identity through Hip Hop Meredith R. Aska McBride 2009–2010 Penn Humanities Forum Undergraduate Mellon Research Fellowship Penn Humanities Forum Mellon Undergraduate Research Fellowship, -
Matisyahu, The
by Dan Alleva By now, most “It showed me people know Matthew Paul Miller as a new Matisyahu, the z American-born perspective, z Hasidic Jewish reggae artist who a different u emerged on the version of scene in 2004 as b an interesting Judaism than character in the world of reggae and alternative I had been music. Matisyahu’s music, and his fan-base, is more similar exposed to. to that of bands like 311 and Sublime, than it is of a pure roots reggae origin, I saw something and—right or wrong—his devotion to beautiful there.” Hasidic Judaism is what has made him stand out in the mainstream, more so than has his music. I was starving for spiritual experience. It’s also not hard to find Matisyahu’s Also, I know that you are a fellow persona a little complex. Recently, during Brooklynite. What is special about the an exchange of emails, I gave Matisyahu Brooklyn community for you? an opportunity to open up to readers and Just moved to L.A., sorry. Brooklyn is share his thoughts on the world. But to still my fav [ sic ] though… love the my disappointment, I found him neighborhood aspect to it. suspiciously mum on topics of interest Recently, there was an incident that to people. In fact, prior to our exchange, involved a young Hasid and the son of a NYC police officer, which caused some controversy both in the news “First show was and the Crown Heights community. I wonder, in times such as these, how Worcester, MA, do you remain so positive? [I] didn’t know about it… don’t watch winter 1995 or [the] news much. -
Autologous Blood & Marrow Transplant Guidebook
Autologous Blood & Marrow Transplant Guidebook UIHC Adult Blood & Marrow Transplant Program Approved by the Office of Patient Education, 2014 Autologous Blood and Marrow Transplant (BMT) Guidebook The goals of this book are to: • Help you plan for your transplant • Answer your questions • Help you understand your treatment • List ways to lower the risk of complications, such as infections You will hear and read these terms throughout the transplant process: • Bone Marrow Transplant • Blood and Marrow Transplant • BMT • Stem Cell Transplant • Hematopoietic Stem Cell Transplant This Guidebook will use the term BMT to include all the above listed terms. UIHC Autologous Blood & Marrow Transplant Guidebook 1 Last update 3/2105 Book Contents Section One: The BMT Team 3-5 Section Two: Who to Contact Dr. Tricot/Abbi 6 Dr. Silverman/Farooq 7 Where is Care given? 8 Terms 9-13 Plasma Cell Disorders Plan 14 Section Three: The 5 Steps of BMT Step 1: Disease Treatment 15 Step 2: Harvesting (Collecting) Stem Cells 16 Step 3: Conditioning Regimen 17 Side Effects 18 Caregiver 19-24 Step 4: Transplant 25-26 Hospital Routines 27-29 What to Bring 30 Room Rules 31 Possible Complications 32 Step 5: Getting better 33-34 Hotel information 35 Stopping Infection 36-37 Celsius to Fahrenheit 38 Home: Common Questions 39-42 Being tired 40 Diet 43-44 When Should I Call? 45 Section Four: Other Helpful Tips UIHC Autologous Blood & Marrow Transplant Guidebook 2 Last update 3/2105 Section 1: Getting to Know Us Your BMT Team It takes many health care staff to help you and your family through transplant.