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Rokdim-Nirkoda” #99 Is Before You in the Customary Printed Format
Dear Readers, “Rokdim-Nirkoda” #99 is before you in the customary printed format. We are making great strides in our efforts to transition to digital media while simultaneously working to obtain the funding מגזין לריקודי עם ומחול .to continue publishing printed issues With all due respect to the internet age – there is still a cultural and historical value to publishing a printed edition and having the presence of a printed publication in libraries and on your shelves. עמותת ארגון המדריכים Yaron Meishar We are grateful to those individuals who have donated funds to enable והיוצרים לריקודי עם financial the encourage We editions. printed recent of publication the support of our readers to help ensure the printing of future issues. This summer there will be two major dance festivals taking place Magazine No. 99 | July 2018 | 30 NIS in Israel: the Karmiel Festival and the Ashdod Festival. For both, we wish and hope for their great success, cooperation and mutual YOAV ASHRIEL: Rebellious, Innovative, enrichment. Breaks New Ground Thank you Avi Levy and the Ashdod Festival for your cooperation 44 David Ben-Asher and your use of “Rokdim-Nirkoda” as a platform to reach you – the Translation: readers. Thank you very much! Ruth Schoenberg and Shani Karni Aduculesi Ruth Goodman Israeli folk dances are danced all over the world; it is important for us to know and read about what is happening in this field in every The Light Within DanCE place and country and we are inviting you, the readers and instructors, 39 The “Hora Or” Group to submit articles about the background, past and present, of Israeli folk Eti Arieli dance as it is reflected in the city and country in which you are active. -
Shadows in the Field Second Edition This Page Intentionally Left Blank Shadows in the Field
Shadows in the Field Second Edition This page intentionally left blank Shadows in the Field New Perspectives for Fieldwork in Ethnomusicology Second Edition Edited by Gregory Barz & Timothy J. Cooley 1 2008 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright # 2008 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Shadows in the field : new perspectives for fieldwork in ethnomusicology / edited by Gregory Barz & Timothy J. Cooley. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532495-2; 978-0-19-532496-9 (pbk.) 1. Ethnomusicology—Fieldwork. I. Barz, Gregory F., 1960– II. Cooley, Timothy J., 1962– ML3799.S5 2008 780.89—dc22 2008023530 135798642 Printed in the United States of America on acid-free paper bruno nettl Foreword Fieldworker’s Progress Shadows in the Field, in its first edition a varied collection of interesting, insightful essays about fieldwork, has now been significantly expanded and revised, becoming the first comprehensive book about fieldwork in ethnomusicology. -
Dina Roginsky
DINA ROGINSKY [email protected] FIELDS OF INTEREST Israel and Jewish Studies Modern Hebrew Language Sociology of Culture Historical Ethnography Nationalism and Ethnicity Immigration and Diaspora Arts and Folklore Performance, Body and Dance EDUCATION Postdoctoratoral research 2005 Department of Performance Studies, New York University Subject: Performing Jewishness and Israeliness in New York Supervisor: Prof. Barbara Kirshenblatt-Gimblett PhD, 2006 Sociology and Anthropology (Magna Cum Laude) Department of Sociology and Anthropology, Tel Aviv University PhD thesis: Performing Israeliness: Nationalism, Ethnicity and Israeli ‘Folk and Ethnic’ Dance Supervisors: Prof. Haim Hazan, Prof. Hanna Herzog, Prof. Yehuda Shenhav MA, 1998 Psychology (Magna Cum Laude) Department of Psychology, Tel Aviv University MA thesis: The Nature and Measurement of the Dilemma State: Development and Validation of a Dilemma Scale Supervisors: Prof. Haim Omer, Prof. Ruvi Dar MA, 1998 Sociology and Anthropology (monitoring studies) Department of Sociology and Anthropology, Tel Aviv University BA, 1994 Sociology, Anthropology, Psychology (Magna Cum Laude) Departments of Sociology, Anthropology and Psychology, Tel Aviv University TEACHING EXPERIENCE - COURSES 2010-present (2010-2013 Lector, 2013-present, Senior Lector I) Modern Hebrew Language (beginners, intermediate, advanced) Academic Texts in Modern Hebrew Hebrew in a Changing World Israeli Popular Music State and Society in Israel Israel in Ideology and Practice Yale University, Department of Near Eastern Languages & Civilizations and the Program in Judaic Studies. 2009-10 Society and Cultural Politics in Israel University of Toronto, Department of Near and Middle Eastern Civilizations and the Centre for Jewish Studies. 2 Self and Society University of Toronto, School of Continuing Studies. Modern Hebrew Language (all levels) CHAT- Community Hebrew Academy of Toronto. -
To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Marissa Gogan Thesis Submitted to the Faculty Of
To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Marissa Gogan Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In History David P. Cline, Co-Chair Brett L. Shadle, Co-Chair Rachel B. Gross 4 May 2016 Blacksburg, Virginia Keywords: Identity, Klezmer, Jewish, 20th Century, Folk Revival Copyright 2016 by Claire M. Gogan To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Gogan ABSTRACT Klezmer, a type of Eastern European Jewish secular music brought to the United States in the late 19th and early 20th century, originally functioned as accompaniment to Jewish wedding ritual celebrations. In the late 1970s, a group of primarily Jewish musicians sought inspiration for a renewal of this early 20th century American klezmer by mining 78 rpm records for influence, and also by seeking out living klezmer musicians as mentors. Why did a group of Jewish musicians in the 1970s through 1990s want to connect with artists and recordings from the early 20th century in order to “revive” this music? What did the music “do” for them and how did it contribute to their senses of both individual and collective identity? How did these musicians perceive the relationship between klezmer, Jewish culture, and Jewish religion? Finally, how was the genesis for the klezmer revival related to the social and cultural climate of its time? I argue that Jewish folk musicians revived klezmer music in the 1970s as a manifestation of both an existential search for authenticity, carrying over from the 1960s counterculture, and a manifestation of a 1970s trend toward ethnic cultural revival. -
Klezmer Music, History, and Memory 1St Edition Ebook Free Download
KLEZMER MUSIC, HISTORY, AND MEMORY 1ST EDITION PDF, EPUB, EBOOK Zev Feldman | 9780190244514 | | | | | Klezmer Music, History, and Memory 1st edition PDF Book Its primary venue was the multi-day Jewish wedding, with its many ritual and processional melodies, its table music for listening, and its varied forms of Jewish dance. The second part of the collection examines the klezmer "revival" that began in the s. Krakow is not far from Auschwitz and each year, a March of the Living, which takes visitors on a walk from Auschwitz to the nearby Birkenau death camp, draws tens of thousands of participants. Its organizers did not shy from the topic. But, I continued, we don't celebrate the military victory. Some aspects of these Klezmer- feeling Cohen compositions, as rendered, were surely modern in some of the instruments used, but the distinctive Jewish Klezmer feel shines through, and arguably, these numbers by Cohen are the most widely-heard examples of Klezmer music in the modern era due to Cohen's prolific multi-generational appeal and status as a popular poet-songwriter-singer who was very popular on several continents in the Western World from the s until his death in Ornstein, the director of the Jewish Community Center, said that while the festival celebrates the past, he wants to help restore Jewish life to the city today. All About Jazz needs your support Donate. Until this can be accessed, Feldman's detailed study will remain the go-to work for anyone wishing to understand or explore this endlessly suggestive subject. With Chanukah now past, and the solstice just slipped, I am running out of time to post some thoughts about the holiday. -
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, -
Happy Feet Don’T You Just Love to Dance? I’Ve of the Founders of the School of Danced Since I Was a Young Girl, American Ballet)
Education jly icEdid xywd YourYour Jewish Jewish (Internet) Connection Connection! Brought to you by the Lifelong Learning Committee – Written by Linda S Trapasso Happy Feet Don’t you just love to dance? I’ve of the founders of The School of danced since I was a young girl, American Ballet). Moreover, King taking ballet and tap lessons. As Juan Carlos I of Spain honored a young adult, I would dance at an Israeli flamenco dancer for concerts and always at weddings. training generations of flamenco I eventually moved to country dancers in a Tel Aviv studio. line dancing. A few years ago I (Wikipedia) national identity. One of these discovered ballroom dancing. I The Romanian Jewish dancer dances is Mayim Mayim, created don’t dance much now, but I’m Baruch Agadati introduced the in the late 1930s when water was very happy when I am dancing. hora, a circle dance, in Israel. In discovered at Kibbutz Na’an. I’m Many Eastern European folk thinking dances were given a Zionist twist about to become Israeli folk dances. The trying Yivo Encyclopedia of Jews in contra Eastern Europe has an interesting dancing. article on dance divided between The other traditional dance and theatrical type of 1924, he worked together with dance. Unfortunately, folk dance dance I a composer and songwriter to is not as popular now in Israel love? Jewish dance! choreograph a show performed by as it was, and Israelis are turning How many kinds of Jewish dance the Ohel Theater Company, which to more contemporary forms of are there? Well, there is Israeli folk toured the pioneer settlements of dance. -
The Yemenite Dance Materials of Saralevi-Tanai
Jewish Folklore and Ethnology ReviewJ Vol. 20J Dance isl THE YEMENITE DANCE MATERIALS OF SARALEVI-TANAI ish on Thy to Giora Manor go : of y ••• Nobody, even she herself, can be sure what age folkloric traditional patterns in many variations in lath shereallyis. This is not because of the usual vanity her choreography. of grand ladies of the dance, who think they can Only when Sara became a student at the cheattime but succeed only in making the life of LevinskyTeachers Seminar in Tel Aviv in her late be dance historians difficult. The true date of birth teens, did she go to visit the Yemenite quarter, an for perhaps the most important Israeli Kerem Hatrymanim. There she heard and saw my Ir it. choreographer of the last fifty years is unknown. Yemenite song and dancing and encountered the SaraLevi-Tanai was born in Jerusalem sometime ion, rich artistic heritage of her ancestors. As she has before the First World War to parents who had often said, " I knew Dostoyevski and Shakespeare come from Yemen in the 1880s. They moved to long before reading the poems of the great Jerusalemduring the era of the Ottoman reign and Yemenite poet Shalom Shabazi ... " under the Turks there were no official birth In order to fully understand her work and its certificates.When Sara was about four years old, relation to ancient Yemenite folk traditions, it is her mother and siblings died in an epidemic, necessary to deal with several important points, probably of cholera. Her father, who had severe including the contrast in her own background alcoholproblems, abandoned his daughter to her between her Western and her Yemenite ancestry; own fate. -
Hersh Gross and His Boiberiker Kapelye (1927-1932)1
JEFFREY WOLLOCK Historic Records as Historical Records: Hersh Gross and His Boiberiker Kapelye (1927-1932)1 The Boiberiker Kapelye was a Jewish ensemble – what would today be called a “klezmer” band – active in the late 1920s and early 1930s. Although now mainly cited as an early vehicle for the great clarinetist Dave Tarras, the Boiberiker was much more. Tarras plays no major role on the three 1927 Boiberiker discs, but they are classics of klezmer artistry in their own right. Indeed, the Boiberiker, with its huge repertoire, consummate musicali- ty, creativity, and idealistic musical and cultural goals, was one of the best and most interesting klezmer ensembles ever to record. With deep roots in the conservative Hasidic traditions of Galicia and Ukraine, also at home in more modern styles, the Boiberiker was the first “klezmer band” that owed its fame to the new medium of radio. This article gives a detailed account of the ensemble’s recordings, broadcasting career, and personnel, with special emphasis on long-forgotten founder and leader Hersh Gross. It presents evi- dence indicating that the Boiberiker made additional recordings under other names. __________________________________________________________________________________ esearch on the history of klezmer music, at least in the English language, was virtually nonexistent until about 25 years ago, and only in the past decade has it R really taken off. Although it is now possible to get a basic overview of the subject, vast fields remain to be explored. Given the paucity of written documentation and even of oral history, the backbone of this new research effort has been discography and recording history. -
Israeli Song and Dance for Middle Or High School Ensembles a Smithsonian Folkways Lesson Designed By: Brennan Carter University of Washington
Israeli Song and Dance for Middle or High School Ensembles A Smithsonian Folkways Lesson Designed by: Brennan Carter University of Washington Summary: Students will be introduced to Jewish folk music through singing, playing, and dancing a traditional arrangement of “Al Tiruni” and participating in guided discussions of Jewish history and cultural heritage. Suggested Grade Levels: 6-8, 9-12 Country: Israel Region: Middle East Culture Group: Jewish Genre: Jewish Instruments: Voice, Piano, Guitar, Trumpet, Flute, Violin, Tambourine, Xylophone, Glockenspiel, Recorder, Hand Drum, Marimba Language: Hebrew Co-Curricular Activities: Social Studies, Dance National Standards: 1, 2, 4, 5, 6, 8, 9 Prerequisites: None Objectives: Understanding a brief history of Jewish people and Israel Understanding music as a part of daily life Simple understanding of modes used in Jewish music Arranging a piece of music in a unique way Materials: “Al Tiruni” http://www.folkways.si.edu/tzabar-group/al- tiruni/judaica/music/track/smithsonian “Jewish Life: The Old Country” http://www.folkways.si.edu/jewish-life-the-old- country/judaica/music/album/smithsonian “Memories of Poland” http://www.folkways.si.edu/bolek-zawadzki/memories-of- poland/world/music/album/smithsonian “Cantorials” http://www.folkways.si.edu/david-kusevitsky/cantorials/judaica- sacred/music/album/smithsonian “Hebrew Folk Songs” http://www.folkways.si.edu/mark-olf/hebrew-folk- songs/judaica/music/album/smithsonian Friedland, L. E. ‘Tantsn Is Lebn’: Dancing in eastern European Jewish Culture.Dance Research Journal (Vol. 17, No. 2, pp. 76-80). Holmes, M.S. Israeli folk dance: a resource for music educators. Music educators journal (Vol. 67, No. 2 p. -
The Influence of Klezmer on Twentieth-Century Solo And
THE INFLUENCE OF KLEZMER ON TWENTIETH-CENTURY SOLO AND CHAMBER CONCERT MUSIC FOR CLARINET: WITH THREE RECITALS OF SELECTED WORKS OF MANEVICH, DEBUSSY, HOROVITZ, MILHAUD, MARTINO, MOZART AND OTHERS Patricia Pierce Card B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2002 APPROVED: John Scott, Major Professor and Chair James Gillespie, Minor Professor Paul Dworak, Committee Member James C. Scott, Dean of the College of Music C Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Card, Patricia Pierce, The influence of klezmer on twentieth-century solo and chamber concert music for clarinet: with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others. Doctor of Musical Arts (Performance), December 2002, 60 pp., 35 titles. The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. -
About Israeli Folk Dance
About Israeli Folk Dance Dr. Phillip M. Feldman Notes for 31 May, 2015 Presentation to the Congregation B’nai B’rith Israeli Folk Dance Special Interest Group 0. Scope and Outline I'd like to discuss how Israeli folk dance came into being, how it developed, and what makes it special. And, I really do mean “discuss”, in the sense that I’d like this to be interactive as long as we don’t get too far afield. I have a total of four topics: 1. What is Folk Dance? 2. The Origins and Development of Israeli Folk Dance 3. What Makes Jewish Folk Dance Special 4. What Are Israeli Folk Dances About? 1. What is Folk Dance? Before we can discuss the title topic in a meaningful way, we need to settle at least one question—What is a folk dance? I keeping with Jewish tradition, I will try to answer this question by asking more questions, and you will have to help answer these. Firstly, what does it mean to choreograph a dance? (Wait for answers). A. To choreograph a dance means to create or work out the movements of the dance; choreography can be communicated via written instructions, by pictures, by verbal instructions, or simply by showing someone the dance. Despite the etymology, choreography does not have to be written. Is any dance done to folk music accompaniment a folk dance? How many people say yes? Suppose that I choreographed a dance for the song “This land is my land, this land is your land”. Would my dance be an American folk dance? Not right away, although it might conceivably become one over time.