Israel to See It in Tachlit

Total Page:16

File Type:pdf, Size:1020Kb

Israel to See It in Tachlit April 2008 • Nisan, 5768 www.kolotchayeinu.org congregation kolot chayeinu • • voices of our lives From the Rabbi in this issue From The Rabbi ......................................... 1 olot Chayeinu’s Values State- has to go to Israel to see it in Tachlit ........................................................ 3 ment says this about our con- all its engaging and frustrating nection to Israel: “We believe complexity, allowing for breadth From Kolot’s Israel Trip: that Jews have an obligation to and depth in the shaping of A Reflection .......................................... 4 Kgrapple with the many issues and emotions opinion in a way that is not true The Very Air of Israel ........................... 5 connected to our historic attachment to sitting here in New York. There The Kotel .............................................. 6 Israel and the current political situation in is something about seeing Walls..................................................... 6 Israel and Palestine. While we join Jews ev- how close Syria, Lebanon and Photographs from the Trip ...............4-6 erywhere in facing Jerusalem while we pray, Jordan are, for instance, that we have no consensus on political solutions adds texture to one’s thinking Other Israel Wrestlers: nor their philosophical underpinnings.” about Israel’s wars of the last 40 Stuck On a Bus in 1968 ........................ 7 This is an accurate reflection; the discus- or 60 years. There is some- Dreaming the Actual ............................ 8 sions we had about just this small section thing about seeing the mix of Recommended Reading and Music ..... 9 of the Values Statement were heated, once Palestinian villages and Jewish Tehillim and Eretz Yisrael .................. 10 nearly arriving at a member leaving the settlements in the West Bank, Kolot Donations Pages ......................11-13 congregation. and how close they are, say, that So with this level of heat and this lack of informs one’s opinions about Is- consensus, why did I take 7 Kolot members raeli withdrawal from the West demolished in an all too typical Jerusalem to Israel this fall for the first-ever Kolot Bank. And there is something about seeing catch-22: In their area of east Jerusalem Chayeinu trip to Israel? up close the ancient it is impossible to get a permit to build a The first answer is stones, the tunnels deep home, and when people build their homes that Kolot board mem- under the Western wall, are demolished for lack of a permit. We ber Margie Fine pushed Wrestling the Mediterranean as it began to rebuild, we saw another home de- me into it. A few years With has been for centuries, molished before our eyes, and last year we ago, Margie and I and the villages built on top learned that the rebuilt Dari family home a few others were part israel of the ruins of older had once again been demolished. I wept of a small-group discus- ones, the Jordan River and wept as that cruel reality sunk in, and I sion about possible Kolot with all its significance, came home saddened, embittered. I wanted action related to Israel that remind one of an- and needed a “corrective,” a trip whose mis- when Judy Mann said, “I don’t think anyone cient ties and how hard they can be to give sion would be broader, more complex. And who has not been there should criticize up, for all the peoples of that land. I wanted both to show the broader reality Israel.” Margie heard that loud and clear So yes, Margie pushed me into this. But to Kolot members and to see it with them, and decided that Judy was correct and that the second answer to why I wanted to take members of my community. Yet I could not she – as a critic – needed to go to Israel and a Kolot trip to Israel is more personal to go again unless we visited, learned from wanted to go with Kolot. me. I had last been in Israel two years be- and engaged in some of the incredible work I am not sure one has to go to Israel to fore, a painful trip with Rabbis for Human for justice that goes on among Israelis and be able to be critical of it; we do have the Rights to rebuild the home of the Dari right to free speech, after all. I do think one family, Palestinians whose home had been continued on page 2 FROM THE RABBI farmer from field, and yes, suicide bomber from new membeRs Judith Loebl Ami Kaplan & elka Gould on new babies: Cedar Lee destination. And for the rest of my time in Israel Sally Minker the death of Elka’s mother Charlemagne Drury, born and since I have returned, it is that wall I have Alana Alpert Marian Nadboy Nadia Gould Feb 26, 2008, to Alissa struggled with, beating my head against the wall, Marcie Bachar Seth Pearce Schwartz and Andrew Drury mike Cockrill & ellen lubell as it were, as I tried to reconcile the reality of the Rafael Bachar Myra Podorson on the death of Mike’s sister- Published: wall providing more security for Jews in Jerusalem Alexander Basson Gil Podorson in-law, Debbie Cockrill while it hampers almost every aspect of life for Caroline Batzdorf Pamela Potischman Arthur Goldwag, author of Palestinians. I felt safe, in other words, because of Elizabeth Berdann Joel Potischman Cindy menell & michael “-Isms and -Ologies: All the a wall whose existence I strongly question. Meggan Berley Pamela Price skinner on the death of Cindy’s Movements, Idealogies, and I think the security it provides is temporary Peter Berley Leslie Richartz father Doctrines that Have Shaped and that it is creating additional frustration and Elizabeth (Betsy) Biele Steven Rosenbush our World;” rage among Palestinians against Israel, Israelis Louise Bordeaux Silverstein Jack Ross Phillip saperia on the death of and Jews. I saw the wall up close and if it divided Bonnie Jeneba Charkey Aram Rubenstein-Gillis his Uncle Allen Roberta Samet, article in “DISASTER SPIRITUAL CARE; me from my neighbors and family and livelihood Jennifer Egan Scott Shifrel Debra Everett-Lane Practical Clergy Responses as it does so many Palestinians, I too would be Lisa Shuchman simKhAs: Michael Everett-Lane to Community, Regional and enraged. Yet even Jessica Montell, who spends Dara Silverman Dori Fern b’ne mitzvah: Amelia Holcomb, National Tragedy”; days and years trying to protect Palestinian rights Stacey Simon Claire Fontaine Maya Park, Emily Dinowitz, through advocacy and lawsuit, believes that the Lisa Sirkin Phillip Saperia, article in “The Paula Freedman Rosie Silber-Marker Kolot members with Palestinian Israeli youth and their families in Masj Dul Krum. Photo courtesy wall may be necessary. She argues against its route, David Stevens Still Small Voice: Reflections of Cindy Greenberg. Laura Glassman mazel tov to all the students on Being a Jewish Man,” URJ not against having it at all. Why? She is rais- Elka Gould that got in to new middle and Press. ing children in Jerusalem and wants them to be Alyssa Gray CondolenCes to: RAbbi continued from page 1 safe. So does her Palestinian co-worker, who has high schools this year Lisa Heller Arthur Goldwag on the death Film released: children in East Jerusalem and works for B’tselem David Herskovits mazel tov to lisa sigal on Palestinians. It is that work that gives me hope and of his mother, Anita Goldwag David Novack’s, “Burning the C because it works, it has had success, he sees great Andrew Hoffer being included in the 2008 Future: Coal in America” makes me think again, when I am most despairing, potential for his people in its work. Beverly Hoffman betsy biele & her husband Whitney Biennial that peace – a real and just settlement for Israelis i felt a love for We also visited the Bethlehem checkpoint Carol Horwitz harvey on the death of his and Palestinians – may be possible. with Hana Barag, a member-leader of Machsom Sharon Jaynes father, Irving Fisher new homes: Gabriel Heller So off we went, 8 members of different ages, 2 Watch, a group of 500 mostly older women who Michele Kirsh and Sara Murray, Alex Basson, Adam Fredericks on the death men and 6 women, only 2 of whom had been to Marion Lipshutz Jonas and Marie Nachsin the place i had stand in witness at the checkpoints around the of his uncle Mel Israel before. And it was wonderful: wading in the country through which Palestinians enter Israel. Mediterranean, swimming in the Kinneret (sea of They are mostly older because young women can’t Galilee), basking in the sun’s glow on Jerusalem’s not felt in follow the schedule of getting up at 5 am to be stones was as delightful as ever. Visiting the site at the checkpoints before 6, and returning in the ruling by the Supreme Court against torture. But holy but rather is made holy by the ethical deeds of a hard-won battle against Syria in the 1967 war afternoon for return trips. during my last trip I learned how much torture goes of it inhabitants. Yet there is something about the was as sorrowfully touching as ever. Putting a note twenty years. Hana is 72, a mother, and a grandmother, on anyway, and in spite of much that it is good, interaction of this place and all the deeds of all its in the cracks of the warmly-energetic stones of the a widow. She spoke to us of the hardships the Israel’s occupation of the Palestinian lands is itself a inhabitants that gets under my skin, into my heart. Western Wall was as moving as ever. Walking to checkpoints inflict on Palestinians, preventing violation of human rights, as my friend (and direc- A friend suggests I am trying to deny my love for shul along stone and tree-lined streets in Jerusalem them getting to from everything from weddings tor of Rabbis for Human Rights in Israel) says.
Recommended publications
  • 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.
    [Show full text]
  • Table of Contents
    Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us.
    [Show full text]
  • Verbotsliste Zum Members´ Favourite 2012 (MF 2012)
    Verbotsliste zum Members´ Favourite 2012 (MF 2012) Interpret Titel Wettbewerb MF = Members´ Favourite (ab 01) OGAEVC = OGAE Video Contest OGAESC = OGAE Song Contest SCC = Second Chance Contest MSC = Member Song Contest (bis 00) auch nicht erlaubt: alle ESC-Final-Lieder von 1956 - 2012 auch nicht erlaubt: alle ESC-Semifinal-Lieder von 2004 - 2012 auch nicht erlaubt: alle ESC- Vorentscheidungs-Titel 2012 2 Eivissa Viva la fiesta MF 02 2Raumwohnung 2 von Millionen von Sternen MF 05 2raumwohnung Besser geht's nicht OGAEVC 07 3Js De stroom SCC 11 4 Elements Kludu labojums MF 04 4´33" Ave Maria Laudata SCC 02 7 Up Daj, spusti se SCC 99 A1 Don´t wanna lose you again SCC 10 Aalto, Saara Blessed with love SCC 11 Aardvarks Disguised by the night MSC 97 ABBA oder Abba As good as new MF 05 ABBA oder Abba Dream world MSC 95 ABBA oder Abba No hay a quien culpar MSC 99 ABBA oder Abba One of us MSC 99 ABBA oder Abba Put on your white sombrero MSC 00 ABBA oder Abba S.O.S. MSC 00 ABBA oder Abba Slipping through my fingers MF 11 Abel Ademloos MF 05 Abel Onderweg MF 02 Abel, Morten The Birmingham Ho OGAEVC 04 Abi 93 Lauf, Siggi, lauf MSC 95 Abrahamsen, Jannicke Rocket ride MF 08 Abreu, Anna Perdone-me MF 09 Academia Operación Triunfo Mi música es tu voz MF 02 Acapella Army of the Lord MSC 00 Ace of Base Black Sea MF 11 Adam Yachad na'amod SCC 91 Adams, Oleta Get here MSC 98 Adele Set fire to the rain MF 11 Adele Someone like you OGAESC 11 Adini, Dana & Salomon, Daniel Rabot hadrachim MF 08 Adler, Ines Ich war so lange nicht verliebt MF 11 Adomaitis, Linas Floating to you SCC 11 Adoro Horizont MF 11 Adrian, Benedicte & Ingrid oder Björnov Kanskje i morgen OGAESC 00 After Dark (Åh) När ni tar saken i egna händer MF 07 Agnes Release me MF 10 Aguilar, Feddy Anak MSC 98 Aharoni, Chen Or SCC 11 Aika Stay SCC 02 Aikakone Alla vaahterapuun OGAESC 96 Ainbrusk Singers Lassie OGAESC 91 Ainhoa Mi razón de vivir SCC 03 Air & Hardy, Françoise oder Francoise Jeanne MSC 99 Airport Impressions Freedom OGAESC 11 Åkerström, C.-S.
    [Show full text]
  • Yehuda Poliker Is One of Israel’S Premier and Most Important Artist of All Times
    Yehuda Poliker is one of Israel’s premier and most important artist of all times. With a career that spans over 40 years, Poliker’s songs became a cornerstone of Israeli music and redefined Israeli contemporary pop/rock with his unique combination of electric guitars and bouzouki with Greek-Mediterranean rhythms and a rock flavor. All of Poliker’s albums achieved gold and platinum status and in 2012 Yehuda Poliker received the Life Time Achievement Award for his contribution to Israeli Culture. In his new show Yehuda Poliker, accompanied by 9 of Israel’s most talented musicians, is performing all the greatest hits from the early days of “Benzin” to the Greek classics from “Enayim Sheli” and to the latest 2014 album “Dreams Museum”. This show is a must see for anyone that loves Israeli music, Rock music and Mediterranean music and especially for those who admire the musical magic of the melting pot of Israel. “For three hours he turned the Caesarea Amphitheatre into a tremendous celebrations, with his world class production. The most Israeli artist is presenting the best most valuable performance in Israel.” Amit Salonim— Mako “From a Greek “Hafla” to a Rock Party, Poliker is one of the few that is blessed with an audience that will run to see him in any version. In this new tour he is sharp, warm and more exciting than ever before”. Amir Schwartz - Yediot Acharont DISCOGRAPHY Biography Yehuda Poliker was born in Kiryat Haim to Holocaust survivors from Salonika, Greece. As a teenager, Poliker played in several bands, such as FBI, HaNamerim (the Leopards), and Bareket.
    [Show full text]
  • Love and Rock 'N' Roll in Sderot, an Israeli City Under Near-Constant
    Love and Rock ‘N’ Roll in Sderot, an Israeli City Under Nea... http://www.tabletmag.com/scroll/192600/love-and-rock-n-roll... Print | Close Love and Rock ‘N’ Roll in Sderot, an Israeli City Under Near-Constant Fire A new documentary from filmmaker Laura Bialis explores the influential music scene in a place you’d least expect By Beth Kissileff | August 4, 2015 1:28 PM The story goes like this: A woman journeys to a desolate, forsaken, and unlovable place for purely professional reasons. There, she falls in love—first with the place itself and the brave spirit of its people, and then with a local who becomes her husband and the father of her child. Now, she’s made a movie about her experience. The woman is Laura Bialis, whose documentary film Rock in the Red Zone recently premiered at the San Francisco Jewish Festival, and will open to a wider release in November; and the place is Sderot, a city in southern Israel near the Gaza Strip that’s populated mainly by Jews from Moroccan backgrounds (with some Persian and Kurdish Jews also in the mix), who settled there in waves of mass immigration in the 1950s. For years, Sderot—a city far from the center of Israel with limited economic and educational opportunities—has been shelled by rockets over 2500 times since 2012. In fact, the city has special underground playgrounds so that kids who have to spend much time in bomb shelters will have something fun to do. (A recent study showed that 40% of Sderot’s children suffer from post-traumatic stress.) And yet, Sderot is home to an important part of the Israeli music scene.
    [Show full text]
  • June July 2018 Bulletin
    A Congregation Affiliated with the Congregation B’nai Israel United Synagogue of Conservative Judaism 6525 Sylvania Avenue Sylvania OH 43560 151 Years of (419) 517-8400 Consecrated Service to www.cbitoledo.org God, Torah and Israel 5778 1 Notes from the Cantor ………………………………………. POWER OF MUSIC V The past month in Jewish history and in our calendar has been momentous. We experienced Israel’s 70th anniversary, celebrated in several excellent events in our community, the 51st anniversary of the reunification of Jerusalem, and the relocation of the US Embassy in Israel from Tel Aviv to Jerusalem. In the midst of all this euphoria, what might have escaped your attention is Israel’s winning the prestigious Eurovision song contest on May 12th 2018 in Lisbon, Portugal. That night in our Jewish calendar - the 28th of Iyar, commemorates the reunification of Jerusalem during the Six Day War of 1967. This is the fourth time Israel has won Eurovision, one of the world’s most famous international song contests. The winning song “Toy”, a pop anthem about female independence, was performed by 25 year old Netta Barzilai, accompanied by her signature “chicken dance.” Netta had placed third by the official judges, but won thanks to tele-voters from around the world catapulting her to victory. Hours before the victory, Israeli superstar film actress Gal Gadot had urged her twenty million Instagram followers to vote for Israel’s entry. Including words like “I’m not your toy you stupid boy...,” it was influenced by the #MeToo movement. The Eurovision contest has often been embroiled in political and religious controversies, although politically tinged songs are unofficially disallowed.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Israeli Music and Its Study
    Music in Israel at Sixty: Processes and Experiences1 Edwin Seroussi (Hebrew University of Jerusalem) Drawing a panoramic assessment of a field of culture that resists clear categorizations and whose readings offer multiple and utterly contrasting options such as Israeli music is a challenge entailing high intellectual risks. For no matter which way your interpretations lean you will always be suspected of aligning with one ideological agenda or another. Untangling the music, and for that matter any field of modern Israeli culture, is a task bound to oversimplification unless one abandons all aspirations to interpret the whole and just focuses on the more humble mission of selecting a few decisive moments which illuminate trends and processes within that whole. Modest perhaps as an interpretative strategy, by concentrating on discrete time, spatial and discursive units (a concert, a band, an album, an obituary, a music store, an academic conference, etc) this paper attempts to draw some meaningful insights as sixty years of music-making in Israel are marked. The periodic marking of the completion of time cycles, such as decades or centuries, is a way for human beings to domesticate and structure the unstoppable stream of consciousness that we call time.2 If one accepts the premise that the specific timing of any given time cycle is pure convention, one may cynically interpret the unusually lavish celebrations of “Israel at Sixty” as a design of Israeli politicians to focus the public attention both within and outside the country on a positive image of the state 1 This paper was read as the keynote address for the conference Hearing Israel: Music, Culture and History at 60, held at the University of Virginia, April 13-14, 2008.
    [Show full text]
  • Newsletter 17 Autumn 2009 • • Im! Newsletter JEWISH MUSIC INSTITUTE SOAS Yearbook of 2009 Informing, Teaching, Performing, Inspiring
    newsletter 17 Autumn 2009 • • Im! newsletter JEWISH MUSIC INSTITUTE SOAS Yearbook of 2009 informing, teaching, performing, inspiring JMI Forging Ahead Towards 2010 Chairman Jonathan Metliss looks forward to the future Under its immensely committed group of officers and trustees, and with the assistance of my deputy chair, Jennifer Jankel, daughter of the late Joe Loss, I am delighted to say that JMI is striding forward confid ently and with energy and enthusiasm into the next decade. We warmly welcome new trustees, David Mencer, Gordon Hausmann and lan Braidman, Professor Stuart Stanton and Rabbi Norman Solomon, all of whom are in the forefront of communal and business affairs. They all love Jewish music and bring a wealth of experience , creativity and imagination to the Board. Short profiles are set out on page 3. Our August klezmer concert in the heady atmosph ere of Camden Town's Jazz Cafe during KlezFest drew a rich mix of audience members who relished music from the leading lights of European Klezmer - and the classical virtuoso Em ma Johnson. [S ee the article on What makes klezmer so special? on page 6]. This was an id eal exam ple of JMI eng ag ing the interest of a wide audience including the younger generation. 'Klezmer in the Park' was an outstanding afternoon with the Jewish Community out in force enjoying a real feast of great Jewish music in the su nshine of Regent's Park. Many thanks to the Mayor of London and the Royal Parks and our co llea gu es in Jewish Culture UK, for ena bling JMI to organise and prese nt this wonderful Festival.
    [Show full text]
  • University of London Thesis
    REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author C£VJ*r’Nr^'f ^ COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D.
    [Show full text]
  • ISRAEL PI.Indd
    Putumayo Presents: ISRAEL EXIL 90574-2 / LC 08972 / VÖ: 14.9.2007 / DISTRIBUTION: INDIGO 1. Etti Ankri: “Nilkach Meemeni Sad” (Etti Ankri) 2. Itay Pearl: “Chipopo” (Itay Pearl) 3. Hadas Dagul: “Seret Eelem” (Hadas Dagul) 4. Rona Kenan with Gidi Gov: “Ha‘rikud Ha‘muzar Shel Ha‘lev” (Rona Kenan) 5. Mosh Ben Ari: “Eem Rak Na‘iz”(Mosh Ben Ari) 6. Moshav Band: “Bereshit” (Y. Solomon/D. Swirsky/A. Naftali) 7. Zafa: “Tariki” (Naomi Amrani) 8. Sheva: “Ashrey Ha‘ish” (Psalms 1 – The Bible, arranged by Sheva) 9. David Broza: “Srochim” (Yehonathan Geffen/David Broza) 10. Tea Packs: “Vehapa‘am Shir Ahava” (Kobi Oz) 11. Amal Murkus: “Ta‘alu” (Tawfeq Zayad/Amal Murkus) 12. The Idan Raichel Project: “Mi‘ Ma‘amakim” (Idan Raichel) Die täglichen Nachrichten lassen es kaum vermuten, dass in Israel Spielraum und Muße für interkulturelle Experimente bleibt. Wir sind abgestumpft von den jahrzehntelangen Horrormeldungen über den Konflikt zwischen Israelis und Palästinensern. Dass im trendigen Tel Aviv, im historischen Jerusalem, in Haifa und einer ganzen Menge kleinerer Städte eine quirlige Musikszene blüht, bekommen wir allenfalls marginal mit, wenn einmal Namen wie Ofra Haza oder Noa aufs internationale Parkett treten. Immerhin sind Popstars wie Idan Raichel und Mosh Ben Ari oder der Songwriter David Broza auch bei uns keine gänzlich unbeschriebenen Blätter. Putumayo enthüllt um diese bekannteren Persönlichkei- ten herum nun weitere Gesichter. Da sind vielversprechende Newcomer genauso aufgeboten wie Tonkünstler mit Legendenstatus, verschrobene Eurovision Song Contest-Teilnehmer genau wie Experimentatoren zwischen den Kulturräumen. Und diese Vielfalt ist kein Konstrukt, sondern spiegelt nur den Staat Israel als Immigrantenland, eingebettet in eine flirrende Geographie am Kreuzungspunkt zwischen Europa, Afrika und Asien wider – mit jemenitischen, russischen, arabi- schen, asiatischen und äthiopischen Einflüssen.
    [Show full text]