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The Languages of the Jews: a Sociolinguistic History Bernard Spolsky Index More Information
Cambridge University Press 978-1-107-05544-5 - The Languages of the Jews: A Sociolinguistic History Bernard Spolsky Index More information Index Abu El-Haj, Nadia, 178 Alliance Israélite Universelle, 128, 195, 197, Afrikaans, 15, 243 238, 239, 242, 256 learned by Jews, 229 Almohads, 115 Afrikaaners forced conversions, 115 attitude to Jews, 229 Granada, 139 Afro-Asiatic persecution, 115, 135, 138 language family, 23 alphabet Agudath Israel, 252 Hebrew, 30 Yiddish, 209 Alsace, 144 Ahaz, 26, 27 became French, 196 Akkadian, 20, 23, 24, 25, 26, 30, 36, 37, expulsion, 125 39, 52 Alsace and Lorraine borrowings, 60 Jews from East, 196 Aksum, 91 al-Yahūdiyya, 85 al-Andalus, 105, 132, 133 Amarna, 19 emigration, 135 American English Jews a minority, 133 Yiddish influence, 225 Jews’ languages, 133 Amharic, 5, 8, 9, 90, 92 languages, 136 Amoraim, 60 Aleppo, 102 Amsterdam emigration, 225 Jewish publishing, 169 Jewish Diasporas, 243 Jewish settlement, 198 Jewish settlement, 243 multilingualism, 31 Alexander the Great, 46 Anglo-Israelite beliefs, 93 Alexandria, 47, 59, 103 anti-language, 44 Hebrew continuity, 48 Antiochus, 47, 56 Jews, 103 Antipas, 119 Alfonso X, 137 Antwerp Algeria, 115 Anusim, 199 consistories, 236 multilingualism, 199 emigration, 197, 236, 237 Yiddish maintained, 199 French rule, 234 Antwerpian Brabantic, 18 French schools, 236 Anusim, 132, 139, 232 Jews acquire French, 236 Algeria, 115 Vichy policy, 236 Belgium, 199 342 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-05544-5 - -
POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 the Contemporary Jewish Muse
POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 The Contemporary Jewish Museum San Francisco 2015 Sokołów, video; 2 minutes Courtesy of the YIVO Institute for Jewish Research, New York Letters to Afar is made possible with generous support from the following sponsors: POLIN Museum of the History of Polish Jews Polish Ministry of Culture and National Heritage Museum of the City of New York Kronhill Pletka Foundation New York City Department of Cultural Affairs Righteous Persons Foundation Seedlings Foundation Mr. Sigmund Rolat The Contemporary Jewish Museum Patron Sponsorship: Major Sponsorship: Anonymous Donor David Berg Foundation Gaia Fund Siesel Maibach Righteous Persons Foundation Taube Foundation for Jewish Life & Culture Anita and Ronald Wornick Major support for The Contemporary Jewish Museum’s exhibitions and Jewish Peoplehood Programs comes from the Koret Foundation. POLIN Museum of the History of Polish Jews, Warsaw 05.18.2013 - 09.30.2013 Museum of the City of New York 10.22.2014 - 03.22.2015 The Contemporary Jewish Museum, San Francisco 02.26.2015 - 05.24.2015 Video installation by Péter Forgács with music by The Klezmatics, commissioned by the Museum of the History of Polish Jews and the YIVO Institute for Jewish Research. The footage used comes from the collections of the YIVO Institute for Jewish Research in New York, the National Film Archive in Warsaw, the United States Holocaust Memorial Museum in Washington, Beit Hatfutsot in Tel Aviv and the Steven Spielberg Jewish Film Archive in Jerusalem. 4 Péter Forgács / The Klezmatics Kolbuszowa, video; 23 minutes Courtesy of the YIVO Institute for Jewish Research, New York 6 7 Péter Forgács / The Klezmatics beginning of the journey Andrzej Cudak The Museum of the History of Polish Jews invites you Acting Director on a journey to the Second Polish-Jewish Republic. -
What Makes Klezmer So Special? Geraldine Auerbach Ponders the World Wide Popularity of Klezmer Written November 2009 for JMI Newsletter No 17
What Makes Klezmer so Special? Geraldine Auerbach ponders the world wide popularity of klezmer Written November 2009 for JMI Newsletter no 17 Picture this: Camden Town’s Jazz Café on 12 August 2009 with queues round the block including Lords of the realm, hippies, skull-capped portly gents, and trendy young men and women. What brought them all together? They were all coming to a concert of music called Klezmer! So what exactly is klezmer, and how, in the twenty-first century, does it still manage to resonate with and thrill the young and the old, the hip and the nostalgic, alike? In the 18th and 19th centuries, in the Jewish towns and villages of Eastern Europe the Yiddish term 'klezmer' referred to Jewish musicians themselves. They belonged to professional guilds and competed for work at weddings and parties for the Jewish community – as well as the local gentry. Their repertory included specific Jewish tunes as well as local hit songs played on the instruments popular in the locality. Performance was influenced by the ornamented vocal style of the synagogue cantor. When life became intolerable for Jews in Eastern Europe in the late nineteenth century, and opportunity came for moving to newer worlds – musicians brought this music to the west, adapting all the while to immigrant tastes and the new recording scene. During the mid-twentieth century, this type of music fell from favour as the sons and daughters of Jewish immigrants turned to American and British popular styles. But just a few decades later, klezmer was back! A new generation of American musicians reclaimed the music of their predecessors. -
Savage Winter #Bamnextwave No Intermission LOCATION: RUN TIME: DATES: Pittsburgh Opera Approx 1Hr15mins BAM Fisher (Fishman Space) NOV 7—10At7:30Pm
Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Savage Winter Executive Producer American Opera Projects and Pittsburgh Opera Music by Douglas J. Cuomo Directed by Jonathan Moore DATES: NOV 7—10 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for music programs at BAM RUN TIME: Approx 1hr 15mins provided by the Baisley Powell Elebash Fund. no intermission #BAMNextWave BAM Fisher Savage Winter Written and Composed by Music Director This project is supported in part by an Douglas J. Cuomo Alan Johnson award from the National Endowment for the Arts, and funding from The Andrew Text based on the poem Winterreise by Production Manager W. Mellon Foundation. Significant project Wilhelm Müller Robert Signom III support was provided by the following: Ms. Michele Fabrizi, Dr. Freddie and Directed by Production Coordinator Hilda Fu, The James E. and Sharon C. Jonathan Moore Scott H. Schneider Rohr Foundation, Steve & Gail Mosites, David & Gabriela Porges, Fund for New Performers Technical Director and Innovative Programming and The Protagonist: Tony Boutté (tenor) Sean E. West Productions, Dr. Lisa Cibik and Bernie Guitar/Electronics: Douglas J. Cuomo Kobosky, Michele & Pat Atkins, James Conductor/Piano: Alan Johnson Stage Manager & Judith Matheny, Diana Reid & Marc Trumpet: Sir Frank London Melissa Robilotta Chazaud, Francois Bitz, Mr. & Mrs. John E. Traina, Mr. & Mrs. Demetrios Patrinos, Scenery and properties design Assistant Director Heinz Endowments, R.K. Mellon Brandon McNeel Liz Power Foundation, Mr. & Mrs. William F. Benter, Amy & David Michaliszyn, The Estate of Video design Assistant Stage Manager Jane E. -
Group Distinctiveness and Ethnic Identity Among 1.5 and Second- Generation Russian-Speaking Jewish Immigrants in Germany and the U.S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Group Distinctiveness and Ethnic Identity Among 1.5 and Second- generation Russian-speaking Jewish Immigrants in Germany and the U.S. Jay (Koby) Oppenheim The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3256 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] GROUP DISTINCTIVENESS AND ETHNIC IDENTITY AMONG 1.5 AND SECOND-GENERATION RUSSIAN-SPEAKING JEWISH IMMIGRANTS IN GERMANY AND THE U.S. by JAY JOSHUA OPPENHEIM A dissertation submitted to the Graduate Faculty in Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 1 © 2019 JAY JOSHUA OPPENHEIM All Rights Reserved ii Group Distinctiveness and Ethnic Identity among 1.5 and Second-generation Russian- speaking Jewish Immigrants in Germany and the U.S. by Jay Joshua Oppenheim This manuscript has been read and accepted for the Graduate Faculty in Sociology in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Richard Alba Chair of Examining Committee Date Lynn Chancer Executive Officer Supervisory Committee: Richard Alba Nancy Foner Philip Kasinitz THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Group Distinctiveness and Ethnic Identity among 1.5 and Second-generation Russian- speaking Jewish Immigrants in Germany and the U.S. -
A Writer's Calendar
A WRITER’S CALENDAR Compiled by J. L. Herrera for my mother and with special thanks to Rose Brown, Peter Jones, Eve Masterman, Yvonne Stadler, Marie-France Sagot, Jo Cauffman, Tom Errey and Gianni Ferrara INTRODUCTION I began the original calendar simply as a present for my mother, thinking it would be an easy matter to fill up 365 spaces. Instead it turned into an ongoing habit. Every time I did some tidying up out would flutter more grubby little notes to myself, written on the backs of envelopes, bank withdrawal forms, anything, and containing yet more names and dates. It seemed, then, a small step from filling in blank squares to letting myself run wild with the myriad little interesting snippets picked up in my hunting and adding the occasional opinion or memory. The beginning and the end were obvious enough. The trouble was the middle; the book was like a concertina — infinitely expandable. And I found, so much fun had the exercise become, that I was reluctant to say to myself, no more. Understandably, I’ve been dependent on other people’s memories and record- keeping and have learnt that even the weightiest of tomes do not always agree on such basic ‘facts’ as people’s birthdays. So my apologies for the discrepancies which may have crept in. In the meantime — Many Happy Returns! Jennie Herrera 1995 2 A Writer’s Calendar January 1st: Ouida J. D. Salinger Maria Edgeworth E. M. Forster Camara Laye Iain Crichton Smith Larry King Sembene Ousmane Jean Ure John Fuller January 2nd: Isaac Asimov Henry Kingsley Jean Little Peter Redgrove Gerhard Amanshauser * * * * * Is prolific writing good writing? Carter Brown? Barbara Cartland? Ursula Bloom? Enid Blyton? Not necessarily, but it does tend to be clear, simple, lucid, overlapping, and sometimes repetitive. -
Survey of US Jews 2013, Background and Codebook
PEW RESEARCH CENTER’S RELIGION & PUBLIC LIFE PROJECT 2013 SURVEY OF U.S. JEWS BACKGROUND AND CODEBOOK VERSION 1.1 OCTOBER 1, 2014 This document provides important information for those wishing to analyze the datasets from the Pew Research Center’s 2013 survey of U.S. Jews. The survey was the most comprehensive national survey of the Jewish population since the 2000-2001 National Jewish Population Survey. It was designed to explore the identity, experiences, religious beliefs and practices, social and political values, and demographic characteristics of Jews living in the United States. Interviews were conducted by telephone (landlines and cellphones) between Feb. 20 and June 13, 2013, by the research firm Abt SRBI. Interviews were conducted in English and Russian. The survey results were published in the Pew Research Center report, “A Portrait of Jewish Americans.” There are two datasets analysts may use, a respondent dataset (where there is one row per respondent) and a household dataset (where there is one row per person in the sampled households). The former dataset includes all of the information collected as part of the survey. The latter is a re-shaped version of the respondent dataset that includes a limited number of variables describing the demographic characteristics and Jewish status of all of the people in the surveyed households. The respondent dataset was used to estimate the prevalence of attitudes, beliefs, practices, and experiences of Jews in the United States. The respondent dataset consists of 35,929 cases, reflecting the 35,929 unique respondents who were interviewed as part of the survey and who were either eligible for the long survey administered to self-identified Jews and people who were raised Jewish or had a Jewish parent, or who were deemed ineligible for the long interview but received a short series of demographic questions to facilitate weighting the data. -
Instrumental
Instrumental Intermediate Winds (Christian Dawid) Intermediate| Tuesday-Friday |AM1 - 9:30-10:45 In this class, we’ll work on klezmer ornamentation: how to apply it, phrasing, feel, variation, and more. One topic a day. Tips and tricks generously delivered. Open to all melody wind instrumentalists who want to work at a moderate pace, or are new to klezmer. Depending on group size, we might have time for individual coaching as well. PDFs of workshop material (according to your instrument's tuning: Bb, Concert Eb) will be provided to download before the class. Looking forward to meeting you! Christian Dawid is presented thanks to the generous support of the Consulate General of the Federal Republic of Germany, Montreal. Register for Intermediate Winds Advanced Winds (Zilien Biret) Advanced| Tuesday-Friday |AM1 - 9:30-10:45 Dave Tarras himself once said that he never played the same melodic phrase twice, always ornamenting or articulating in a different way. Working with the repertoire of Naftule Brandwein and Titunschneider, we will repeat phrases by ear and learn how to give a strong klezmer character to a repetitive melody. This is a master-class, so please prepare a tune you would like to share with us. I will help you with little tips to piece together the magic of klezmer. Register for Advanced Winds Intermediate Strings (Amy Zakar) Intermediate| Tuesday-Friday |AM1 - 9:30-10:45 For bowed strings: violin, viola, cello, bass, et. al. Play repertoire and learn string-specific klezmer style to start out your morning with good cheer! This class will be a good fit for you if you are past the beginning technical stage of learning your instrument, but are not yet performing on a regular basis or playing at an orchestral level. -
Jamiesmithsmabon-20130131-18753
electronica coloured with the hip bass too prominent) but unlike Oi Va Voi, who Kathleen Maclnnes is inspired by the Velvet Underground, iill :f Mario Carib6 and a vintage Casio dropped almost all Lheir klezmer I i I r,lr fii Fr r i *l il q ,d.i i n tr l" i +li +r li while the opener, 'Mariloul owes a debt to :eyboard (borrowed from Teenage repertoire upon being signed to Virgin, Kathleen Maclnnes Recordings (50 mins) 90s garage rock. ranclub's singer Norman Blake) Klezmofobia keep ldezmer up front. *** The inspired cacophony uses distorted .'raditional tunes are given a fresh, lively Nussbaum has a pleasantly affecting voice, It's oll obout the voice vocals in a linguistic amalgam, grungy ,rakeover;'Lord Duneagle' is delivered although she tends to overdo the moans squeezebor, fuzzy guitars and banjo, 'ith a pounding dark funk whilst Asturias when staying silent and letting the echoey drums and disconcerting sound )art Two)'sees some bagpipe tunes from instrumentalists play would better suit a balances. A punk sensibility underlies orthern Spain flirt outrageously with song. But Kolerus plays some superb the delivery; considerable velocity and re mandolin of ex-Shooglenifty man Iain clarinet throughout and Sestii has laudable brevity - they pack 13 tracks into iacl-eod. recorded the ensemble beautifully, less than 36 mins. Musically, then,.the . Whilst the majority of the tracks allowing for plenty ofspace and whilst the album doesnt fully reach the Swiss trio is definitely heading for the city. e reinterpreLed trad tunes, Kennedy atmosphere. 1(arfzslzzlfr is a solid addition heights of her debut - there isnt a track Still, the mud of the Louisiana swamps herself to be a gifted writer and to the ongoing klezmer revival. -
The Internationally Acclaimed Festival of Yiddish/Jewish Culture and the Arts KLEZKANADA
The Internationally Acclaimed Festival of Yiddish/Jewish Culture and the Arts KLEZKANADA August 22- 28, 2011 Founders From the KlezKanada Board of Directors Hy and Sandy Goldman Again we are so privileged to welcome you (and welcome you back) to KlezKanada on behalf of the Board, our faculty and artistic staff. As we arrive at Camp B’nai Brith, we marvel when our Artistic Coordinator, Summer Festival gem of Jewish culture comes alive, in its sounds, songs, language, dance and performance. It Frank London binds us as a community committed to connect, not to a lost past, but to a living present. We are grounded in our contact with our treasured giants, such as Flory Jagoda and Theodore Bikel, and Artistic Coordinator, Local Programming and Montreal Jewish Music Festival nourished and realized in the work of our faculty who created the renaissance and the generation Jason Rosenblatt of younger leaders who carry it to new places. Our pride, our nakhes, knows no limit when we see artists who came of age in our scholarship and fellowship programs, now take the world Founding Artistic Director and Senior Artistic Advisor stage. Jeff Warschauer We are also extremely gratified that KlezKanada has now linked up with the McGill University Board of Directors Schulich School of Music through the Department of Jewish Studies and will be hosting a group of McGill students for the week. This sets a precedent and augers well for future academic Bob Blacksberg, Stan Cytrynbaum (legal consultant), Tzipie Freedman (secretary), Hy associations. Goldman (chair), Sandra Goldman (registrar), Adriana Kotler, Robin Mader, Sandra Mintz, Bernard Rosenblatt, Roslyn Rosenblatt, Herschel Segal, David Sela, Robert Smolkin, Eric Now 16 years strong, we feel we have just begun. -
Naftule Brandwein, Dave Tarras and the Shifting Aesthetics in the Contemporary Klezmer Landscape
WHAT A JEW MEANS IN THIS TIME: Naftule Brandwein, Dave Tarras and the shifting aesthetics in the contemporary klezmer landscape Joel E. Rubin University of Virginia Clarinetists Naftule Brandwein (1884-1963) and Dave Tarras (1895-1989) were the two leading performers of Jewish instrumental klezmer music in New York during the first half of the 20th century. Due to their virtuosity, colorful personalities and substantial recorded legacy, it was the repertoire and style of these two musicians that served as the major influence on the American (and transnational) klezmer revival movement from its emergence in the mid-1970s at least until the mid-1990s.1 Naftule Brandwein playing a solo in a New York catering hall, ca. late 1930s. Photo courtesy of Dorothea Goldys-Bass 1 Dave Tarras playing a solo in a New York catering hall, ca. early 1940s. Photo courtesy of the Center for Traditional Music and Dance, New York. Since that time, the influence of Brandwein and Tarras on contemporary klezmer has waned to some extent as a younger generation of klezmer musicians, many born in the 1970s and 1980s, has adopted new role models and the hegemony of the Brandwein-Tarras canon has been challenged.2 In particular, beginning in the early 1990s and continuing to the present, a parallel interest has developed among many contemporary klezmer musicians in the eastern European roots of the tradition. At the same time, a tendency towards innovation and a fusing of traditional klezmer music of various historical periods and regions with a variety of styles has emerged. These include jazz, rhythm and blues, funk, Hip-Hop and Balkan music. -
The Klezmer Conservatory Band
Old Dominion University 2019 – 2020 F. Ludwig Diehn Concert Series The Klezmer Conservatory Band Hankus Netsky, Artistic Director Robin Miller, Flute and Piccolo Jim Guttmann, Yaeko Miranda-Elmaleh, Violin String Bass and Managing Director Grant Smith, Drums and Mark Berney, Cornet Percussion Mark Hamilton, Trombone Matt Darriau, Clarinet Eden MacAdam-Somer, John Servies, Vocals and Violin Sound Design and Audio Engineer Concert: September 23, 7:30 p.m., University Theatre Workshop: “Instant Klezmer,” September 24, 12:30 p.m. Wilson G. Chandler Recital Hall F. Ludwig Diehn Center for the Performing Arts arts@odu Musical selections will be announced from the stage. leading voice in the world of klezmer music and Yiddish song Afor over thirty years, the Klezmer Conservatory Band (KCB) continues to thrill audiences all over the world. With a repertoire ranging from Yiddish standards to rousing dance medleys and little known gems, the KCB’s musicians have served as important ambassadors in promoting the universal appeal of Jewish music. Over the years, the band has appeared at dozens of international music festivals in major venues across the U.S., Europe and Australia and on ten international broadcasts of “A Prairie Home Companion.” The KCB provided the musical accompaniment for “The Fool and the Flying Ship,” a 1991 video featuring Robin Williams, played an integral role in Joel Grey’s “Borschtcapades ‘94, and performed the music for the much acclaimed American Repertory Theatre production, “Shlemiel the First.” Since the late 1990s, Itzhak Perlman has featured the KCB in his CD, video, and touring project, “In the Fiddler’s House,” including performances at Wolftrap, Great Woods, Radio City Music Hall, the Ravinia Festival, the Saratoga Music Festival, Moscow’s Barvikha Concert Hall, the Mizner Park Amphitheatre in Boca Raton, and the Mann Music Center (Philadelphia).