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Women to Gather for Celebration 2013–Women of Character Et Director Peretz Hirshbein and New Camp Mimi Weisberg, Special to the WJN Raanana Director Michael Sandweiss
Washtenaw Jewish News Presort Standard In this issue… c/o Jewish Federation of Greater Ann Arbor U.S. Postage PAID 2939 Birch Hollow Drive Ann Arbor, MI Ann Arbor, MI 48108 Permit No. 85 Celebrate Jewish President Passover Camping Obama to Visit Israel Page 12 Page 18 Page 2 March 2013 AdarI/Nissan 5773 Volume XXXVII: Number 6 FREE Anthropologist Jack Kugelmass to give Belin Lecture at U-M Family Passover to Go/Camp Kimberly Kunoff, special to the WJN Kick Off Program at the JCC n the preface to the Yivo Annual, Vol. correspondence was disseminated widely, of Polish Jewry Halye Aisner, special to the WJN 21—Going Home—Jack Kugelmass often re-published–even in English transla- (Indiana Uni- The Jewish Community Center of Greater I quotes Susan Sontag from On Photog- tion.” versity Press, Ann Arbor will host a Passover to Go/Camp raphy: “‘People robbed of their past seem “My talk examines a number of these vol- 1998). He was Kick Off program, Sunday, March 17, from to make the most fervent picture takers, at umes while focusing on the untranslated ma- the editor for 1–3 p.m., at the JCC. This is an interactive home and abroad.’ If Sontag is correct about terial,” he continues, “suggesting its unique two terms City program for all ages. The program will in- photography, then the same should be true quality as a genre that blends travelogue with & Society, the clude arts and crafts, games, and a concert for all the other ‘devices for experiencing,’ Holocaust testimony.” journal of the by Gemini for guests to enjoy. -
The Memory of the Yom Kippur War in Israeli Society
The Myth of Defeat: The Memory of the Yom Kippur War in Israeli Society CHARLES S. LIEBMAN The Yom Kippur War of October 1973 arouses an uncomfortable feeling among Israeli Jews. Many think of it as a disaster or a calamity. This is evident in references to the War in Israeli literature, or the way in which the War is recalled in the media, on the anniversary of its outbreak. 1 Whereas evidence ofthe gloom is easy to document, the reasons are more difficult to fathom. The Yom Kippur War can be described as failure or defeat by amassing one set of arguments but it can also be assessed as a great achievement by marshalling other sets of arguments. This article will first show why the arguments that have been offered in arriving at a negative assessment of the War are not conclusive and will demonstrate how the memory of the Yom Kippur War might have been transformed into an event to be recalled with satisfaction and pride. 2 This leads to the critical question: why has this not happened? The background to the Yom Kippur War, the battles and the outcome of the war, lend themselves to a variety of interpretations. 3 Since these are part of the problem which this article addresses, the author offers only the barest outline of events, avoiding insofar as it is possible, the adoption of one interpretive scheme or another. In 1973, Yom Kippur, the holiest day of the Jewish calendar, fell on Saturday, 6 October. On that day the Egyptians in the south and the Syrians in the north attacked Israel. -
825646078936.Pdf
ITZHAK PERLMAN LIVE IN THE FIDDLER’S HOUSE plays familiar Jewish melodies arranged by Dov Seltzer 25 Bukovina 212 (Trad. arr. Alpert/Bern) 4.30 1 A Yiddishe Mamme 6.48 26 Lekho Neraneno (Trad. arr. Brave Old World) 5.00 2 As der Rebbe Elimelech is gevoyrn asoi freylach * 5.51 27 Doina Naftule (Trad. arr. Bjorling) 2.43 3 Reyzele * 4.10 28 A Hora mit Branfn (Trad. arr. Bjorling) 3.24 4 Oif’n Pripetchik brennt a feier’l 4.05 29 Healthy Baby Girl (Suigals) 2.16 5 Doyna * 3.39 30 Golem Tants (London) 1.49 6 Rozhinkes mit Mandelen 5.37 31 Honga Encore (Trad. arr. London) 1.35 7 Oif’n Weyg steyt a Boim 5.25 32 Nign (Sklamberg) 5.31 8 A Dudele * 4.50 33 Bulgars/The Kiss (Trad. arr. The Klezmatics/London) 5.07 9 Viahin soll ich geyn? 4.54 34 Meton Nign/In the Sukke 6.02 35 Sholom Aleykhem 4.33 36 Khaiterma 2.55 ITZHAK PERLMAN violin 37 Andy’s Ride 2.55 ISRAEL ZOHAR clarinet* 38 A Heymischer Bulgar/Wedding Dance (Trad. arr. Ellstein) 3.14 Israel Philharmonic Orchestra/Dov Seltzer 39 Kale Bazetsn (Seating the Bride)/Khusidl (Hasidic Dance) 4.30 (Trad. arr. Tarras) 40 Fun Tashlikh 3.01 IN THE FIDDLER’S HOUSE 41 A Yingele fun Poyln (A Young Man from Poland)/ 4.59 Di Mame iz Gegangen in Mark Arayn (Mother Went to Market) 10 Reb Itzik’s Nign * 6.01 42 Processional — (Trad. arr. Netzky and ‘Klezcorps’) 12.16 ‡ 11 Simkhes Toyre Time 3.22 Klezmer Suite — (Trad. -
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. -
A Case Study of Yizkor Literature and the Israeli Commemorative Tradition, 1967-1973
He is No More: A Case Study of Yizkor Literature and the Israeli Commemorative Tradition, 1967-1973 Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Near Eastern and Judaic Studies Ilan Troen, Advisor Eugene Sheppard, Advisor ChaeRan Freeze, Advisor In Partial Fulfillment of the Requirements for Master’s Degree By Adam Eisler May 2013 Copyright by Adam Eisler © 2013 Acknowledgements This thesis would have never materialized without the help of my friends, family, and professors. It is truly a daunting task to thank everyone. I extend a sincere and loving thank you to Adina, Aron, Roni, and Alon Shorr for graciously hosting me and providing me with moral support during my two month research trip in Israel. The same gratitude goes to Martin and Tamar Shacham-Barr for helping me coordinate my visits to the Golani Brigade Archive and Museum and hosting me during my many weekend hafsakot in the Galil. In addition, thank you to Noam Lekach, my friend and roommate, for providing so much moral support and helping me translate ideas and emotions that were seemingly untranslatable. I am indebted to Professor Ilan Troen for drawing my attention to the existence of Yizkor literature. Without this suggestion I may never have stumbled onto this treasure trove. Thank you to Professors Maoz Azaryahu and Uri Bialer for meeting with me in Israel to organize my ideas, Professor Yael Zerubavel for pointing me in the direction of background material, and Professor Kanan Makiya for his continued support and friendship. -
Israel Prize
Year Winner Discipline 1953 Gedaliah Alon Jewish studies 1953 Haim Hazaz literature 1953 Ya'akov Cohen literature 1953 Dina Feitelson-Schur education 1953 Mark Dvorzhetski social science 1953 Lipman Heilprin medical science 1953 Zeev Ben-Zvi sculpture 1953 Shimshon Amitsur exact sciences 1953 Jacob Levitzki exact sciences 1954 Moshe Zvi Segal Jewish studies 1954 Schmuel Hugo Bergmann humanities 1954 David Shimoni literature 1954 Shmuel Yosef Agnon literature 1954 Arthur Biram education 1954 Gad Tedeschi jurisprudence 1954 Franz Ollendorff exact sciences 1954 Michael Zohary life sciences 1954 Shimon Fritz Bodenheimer agriculture 1955 Ödön Pártos music 1955 Ephraim Urbach Jewish studies 1955 Isaac Heinemann Jewish studies 1955 Zalman Shneur literature 1955 Yitzhak Lamdan literature 1955 Michael Fekete exact sciences 1955 Israel Reichart life sciences 1955 Yaakov Ben-Tor life sciences 1955 Akiva Vroman life sciences 1955 Benjamin Shapira medical science 1955 Sara Hestrin-Lerner medical science 1955 Netanel Hochberg agriculture 1956 Zahara Schatz painting and sculpture 1956 Naftali Herz Tur-Sinai Jewish studies 1956 Yigael Yadin Jewish studies 1956 Yehezkel Abramsky Rabbinical literature 1956 Gershon Shufman literature 1956 Miriam Yalan-Shteklis children's literature 1956 Nechama Leibowitz education 1956 Yaakov Talmon social sciences 1956 Avraham HaLevi Frankel exact sciences 1956 Manfred Aschner life sciences 1956 Haim Ernst Wertheimer medicine 1957 Hanna Rovina theatre 1957 Haim Shirman Jewish studies 1957 Yohanan Levi humanities 1957 Yaakov -
825646078967.Pdf
ANTONÍN DVO Rˇ ÁK 1841 –1904 Sonatina in G major, Op.100 1 I Allegro risoluto 5.57 2 II Larghetto 4.18 3 III Scherzo (Molto vivace) 2.57 4 IV Finale (Allegro) 5.38 BED RˇICH SMETANA 1824 –1884 Z domoviny (From My Homeland) 5 No.1 Moderato 3.19 6 No.2 Andantino — Moderato 5.09 ANTONÍN DVO Rˇ ÁK Four Romantic Pieces, Op.75 7 No.1 Allegro moderato 2.56 8 No.2 Allegro maestoso 2.46 9 No.3 Allegro appassionato 2.24 10 No.4 Larghetto 4.58 40.30 ITZHAK PERLMAN violin SAMUEL SANDERS piano 2 Itzhak Perlman Photo: Jillian Edelstein © Parlophone Records Limited 3 PERLMAN AS NARRATOR Itzhak Perlman has a considerable gift for acting, as only a few minutes with him will confirm. Just as he can adapt the style and tone of his playing to suit a range of different kinds of music, he also knows how to use his natural talent as an actor to imitate different dialects and foreign accents, and to do funny voices. He’s also a master storyteller, skilled at weaving tales full of surprise and imagination — hardly surprising, then, that he has been invited to lend his rich, deep tones to several recordings of children’s classics. Camille Saint-Saëns, who loved animals more than he did people, was inspired to write his “Grande Fantaisie zoologique” while on holiday in Austria in 1886. With a touch of mischief, he reserved it for the annual Shrove Tuesday concert he gave to his close friends, and forbade the public performance of this lighthearted “occasional” piece during his lifetime, in the interests of protecting his reputation as a distinguished composer of concertos, symphonies and opera. -
Professional Artistic Education and Culture Within Modern Global Transformations
Professional Artistic Education and Culture within Modern Global Transformations Professional Artistic Education and Culture within Modern Global Transformations Edited by Olga Oleksiuk Professional Artistic Education and Culture within Modern Global Transformations Edited by Olga Oleksiuk This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Olga Oleksiuk and contributors All rights for this book reserved. No part of this book 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 the copyright owner. ISBN (10): 1-5275-0663-0 ISBN (13): 978-1-5275-0663-3 TABLE OF CONTENTS Chapter I .................................................................................................... 1 The Philosophical Foundations and Historical Experience of Professional Artistic Education and Culture Jerusalem—The Heart of the Jewish People in Poetry and Song ................ 3 N. Davidovitch The Oleksandr Koshytsia Choral Conducting School as a Social Phenomenon ............................................................................ 15 H. Karas Arts Education: A Functional-Personal Model in the Dimension of Modernity.................................................................. 27 G. Padalka Typology of Early Jazz: -
De'u Ki Hashirim Ha'ele Kulam Chovkim Hem Olam Nov'im Me'ahava Lechol Hakayam Vechi Eyn Bahem Davar Nigle O Ne'elam Shelo Yuchal Be'oram"
"De'u ki hashirim ha'ele kulam Chovkim hem olam Nov'im me'ahava lechol hakayam Vechi eyn bahem davar Nigle o ne'elam Shelo yuchal be'oram" Know that all these songs Encircle the world They result from love to all that is And there is nothing in them Revealed or unseen That won't be contained in their light "Ko Amar" song book (63,39) Tips for reading Transliterated Hebrew (hebrish) There are only 5 vowels: A – as in the word father E – as in egg I – as in bee O – as in for U – as in flute Words that have an appostrophe (') are to be read as two separate words. For example: Ne'elam = ne + elam – both e's are pronanunced separately. SONG LIST 1. Tip Tipa 2. Bereshit 3. Ro’im Rachok Ro’im Shakuf 4. Brosh 5. Halevay 6. Ze Kore 7. Eych Ze Shekochav 8. Layla 9. Rikma Enoshit 10. Mila Tova 11. Biglal Haru’ach 12. Adam Betoch Atzmo 13. Shir Hayona 14. Mishe’hu 15. Chofim 16. Lama Li Lakachat Lalev 17. Achrey Esrim Shana 18. Galgal Anak 19. Erev Shel Shoshanim 20. Etzlenu Bikfar Tudra 21. Shir Lelo Shem 22. Lo Tov Heyot Ha’adam Levado 23. Ima Adama 24. Yamim Levanim 25. Dvarim Sheratziti Lomar 26. Shir Ahava Bedwi 27. Kama Na’im 28. Shir Shel Yom Chulin 29. Adama 30. Masa Le’Eretz Yisrael 31. Achrey Hakol At Shir 32. Mizmor yare'ach 33. Kach Bara Otcha Hateva 34. Od Chozer Hanigun 35. Sha’ar Harachamim 36. Lakachta Et Yadi Beyadcha 37. -
Classical Music and the Hebrew Song Repertoire YOSEF GOLDENBERG
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Classical Music and the Hebrew Song Repertoire YOSEF GOLDENBERG The repertoire of Hebrew folk and popular songs has various links to the tradition of classical music, some of which we will examine here. These links include: occasional textual references, musical quotations, stylistic imitations, biographical relationships of Israeli art music composers to the folk or popular repertoire and vice versa, classical performances of Israeli songs, stylistic features shared with classical music (much more prominent in Israeli songs than in Anglo-American pop-rock music), and occasionally even quasi-classical artistic devices (not necessarily in songs whose style resembles classical music). References to and Use of Classical Music in Hebrew Songs Textual references to classical music appear in many Hebrew songs, especially those that are humoristic in style. Classical music generally serves as a stereotypic symbol of high art, whether it is being praised for being exemplary, or blamed for being arrogant.1 Specific composers mentioned in song texts are usually interchangeable; specific works are hardly ever mentioned, and, when they are, the reference does not 1 For example, Beethoven’s name is mentioned as a symbol of genius in Ata Pele [You are a Miracle] (Chava Alberstein, 1989); a hostile approach appears in Be-Gova ha-‘Einayim [At Eye Level] (Uzi Chitman, 1995). I refer to the names of the composer or lyrics writer (according to context) and year of composition or release. I found many of these details in MOOMA’s listings at http://www.mooma.com, or at ACUM [the Israeli ASCAP] site at http://www.acum.org. -
Charting the Minefields
?1 Jewish Communal Affairs Department Institute on American Jewish-Israeli Relations CHARTING THE MINEFIELDS American Academics and Israelis in Dialogue A Critical Analysis by Janet Burstein CM© THE AMERICAN JEWISH COMMITTEE, Institute of Human Relations. 165 East 56 Street. New York. N.Y. 10022 CHARTING THE MINEFIELDS American Academics and Israelis in Dialogue A Critical Analysis by Janet Burstein o Contents Preface v Author's Foreword vi Jewish Identity: Psychological, Social Religious and Cultural Dimensions 1 Living as a Minority: The Relationship of Jews •to Non-Jews in Israel and America 4 ״ Religious Nationalism 9 Jewish Secularism and Jewish Continuity 16 Jewish Cultural Creativity 21 Issues in American and Israeli Jewries: Similarities and Differences 25 Ideas for Cooperative Efforts 30 List of Participants 35 Preface For the past fifteen years the Jewish Communal Affairs Department of the American Jewish Committee has conducted annual winter seminars in Israel for American Jewish academicians. The purpose of these seminars has been to help Jewish academicians confront their Jewishness, a confrontation which often leads them into involvement with Jewish communal concerns and activities both on and off the campus. Over 275 academicians, from all types of universities and from every part of the country, have participated. During the last two years the AJC has attempted to maximize the impact of these seminars by conducting follow-up activities with the alumni. One of these activities was a special two week program in Israel. Eight academicians, alumni of previous winter seminars, spent from June 12-June 26, 1984, in intensive dialogues with a variety of representative Israelis. -
The Museum Issue 15 West 16Th Street the Latest: New York, NY 10011 Ari Folman’S Waltz with Bashir a Travelogue from Jewish Moscow
Association for Jewish Studies SPRING 2010 Center for Jewish History The Museum Issue 15 West 16th Street The Latest: New York, NY 10011 Ari Folman’s Waltz with Bashir A travelogue from Jewish Moscow The Questionnaire: Scholars write in about books they love to teach Perspectives THE MAGAZINE OF THE ASSOCIATION FOR JEWISH STUDIES Table of Contents From the Editors 3 From the President 4 The Museum Issue Creating the Museum of the History of Polish Jews 5 Barbara Kirshenblatt-Gimblett The Palmach Museum in Tel Aviv: History between Fact and Fiction 9 Avner Ben-Amos Jewish Museums on the American Ethnic Museum Landscape 12 David Shneer Listening for Jews in the History of the Blues 14 Ari Y. Kelman Memory Going Global: The Jewish Museum and Holocaust Centre in Cape Town 20 Albert Lichtblau Revisiting and Remembering: Family Photographs and Holocaust Commemoration, Towers, Halls, and Cases 24 Laura Levitt The Illinois Holocaust Museum & Education Center 26 Brett Kaplan Teaching Jewish Studies with Museums 30 Jeffrey Shandler Curating Jews: Reflections on the Practice of Heritage 32 Erica Lehrer The Latest Waltz with Bashir 36 Todd Hasak-Lowy Jewish Moscow—A Guidebook 38 Olga Gershenson The Questionnaire What are three books you love to teach to undergraduates? 44 Remembering Our Colleagues Yosef Hayim Yerushalmi (1932-2009) 49 John Efron AJS Perspectives: The Magazine of the President Please direct correspondence to: Association for Jewish Studies Marsha Rozenblit Association for Jewish Studies University of Maryland Center for Jewish History Editors 15 West 16th Street Matti Bunzl Vice President/Publications New York, NY 10011 University of Illinois at Urbana-Champaign Jeffrey Shandler Rachel Havrelock Rutgers University Voice: (917) 606-8249 University of Illinois at Chicago Fax: (917) 606-8222 Vice President/Program E-Mail: [email protected] Derek Penslar Web Site: www.ajsnet.org Editorial Board Allan Arkush University of Toronto Binghamton University AJS Perspectives is published bi-annually Vice President/Membership by the Association for Jewish Studies.