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Dorot: the Mcgill Undergraduate Journal of Jewish Studies Volume 15
Dorot: The McGill Undergraduate Journal of Jewish Studies Volume 15 – 2016 D O R O T: The McGill Undergraduate Journal of Jewish Studies D O R O T: The McGill Undergraduate Journal of Jewish Studies Published by The Jewish Studies Students’ Association of McGill University Volume 15 2016 Copyright © 2016 by the Jewish Studies Students’ Association of McGill University. All rights reserved. Printed in Canada. No part of this book may be used or reproduced in any manner whatsoever without permission except in the case of brief quotations embodied in critical articles or reviews. The opinions expressed herein are solely those of the authors included. They do not necessarily reflect those of the Department of Jewish Studies or the Jewish Studies Students’ Association. ISSN 1913-2409 This is an annual publication of the Jewish Studies Students’ Association of McGill University. All correspondence should be sent to: 855 Sherbrooke Street West Montreal, Quebec, Canada H3A 2T7 Editor in Chief Caroline Bedard Assistant Editors Akiva Blander Rayna Lew Copy Editors Lindsay MacInnis Patricia Neijens Cover Page Art Jennifer Guan 12 Table of Contents Preface i Introduction v To Emerge From the Ghetto Twice: Anti-Semitism and 1 the Search for Jewish Identity in Post-War Montreal Literature Madeleine Gomery The Origins of Mizrahi Socio-Political Consciousness 21 Alon Faitelis The “Israelization” of Rock Music and Political Dissent 38 Through Song Mason Brenhouse Grace Paley’s Exploration of Identity 54 Madeleine Gottesman The Failure of Liberal Politics in Vienna: 71 Alienation and Jewish Responses at the Fin-de-Siècle Jesse Kaminski Author Profiles 105 Preface Editor-in-chief, Caroline Bedard, and five contributors put together a terrific new issue of Dorot, the undergraduate journal of McGill’s Department of Jewish Studies. -
Why Stockton Folk Dance Camp Still Produces a Syllabus
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please -
Yoni Rechter
Yoni Rechter Teev Events Inc. 16501 Ventura Blvd, Encino, CA 91436 Tel (818) 483-8818, Fax (818) 482-2708 www.teev.com Biography Composer, pianist, singer and arranger, Yoni Rechter has made a major contribution to Israeli music in a career spanning more than 40 years, and is considered among Israel’s most important musicians. In the dozens of songs that Yoni composed, he created a wide variety of styles, incorporating numerous influences, from Sixties pop (mostly Beatles) to Jazz, Israeli to classical, east and west, into a fascinating personal statement. Rechter always composes with originality, great sensitivity to text, and for the best performers. He is considered the mark of quality and integrity in Israeli music. Yoni’s music is sophisticated and ever unexpected, constantly shifts tones and beats, and his classical piano training is evident. Many of his compositions have become staples of Israeli music, and one has on several occasions been voted the most popular Israeli song of all times. Yoni has worked closely with many of Israel’s top artists, including Arik Einstein, Gidi Gov, and Yehudit Ravitz. Perhaps his two most well-known collaborations are the legendary Kaveret group (a.k.a. Poogy), and Hakeves Ha-16 (The 16th Sheep), released in 1978 and still Israel’s most-popular album of children’s songs. A sought-after musical director, producer and arranger, Yoni has worked on numerous musicals, films, dance and albums. Rechter has also written classical music, and the Israeli Philharmonic Orchestra performed a concert dedicated to his songs and compositions. Hebrew University, Honoris causa Born in Tel Aviv, Yoni started playing piano at the age of 7, and decided to be a musician at age 12 when he discovered the Beatles. -
Max Aaron: Quest for Olympic Berth Inspires Arizona Skaters and Fans
FEBRUARY 2014 THE JEWISH LIFESTYLE MAGAZINE FOR ARIZONA Special Section: Love, marriage and where to say “I do” Max Aaron: Quest for Olympic Berth Inspires Arizona Skaters and Fans ARIZONA JEWISH LIFE | FEBRUARY 2014 3 Inside February 2014/ Adar I 5774 | Volume 2/Issue 6 Special Section 16-31 Weddings Modern Jewish Wedding, Where to say “I do,” Every marriage has a special story, Second chance at love, Couples Soundbites, Historic wedding gowns, Are you my beshert? Enhance the real you on your special day Features COVER STORY…………………………………………………………………38 Max Aaron’s Inspirational Olympic Quest Inspired sisters skate to own highs Hockey Schtick Night UPFRONT 28 A Life in Balance……………………………………………………………………..10 BUSINESS Ins & Outs of Business …………………………………………………………….12 Buffalo Collection: Beautiful labor of love……………………………………13 Considerations for commercial real estate…………………………………..14 HISTORY Museum exhibit showcases gowns and ketubot…………………………….28 FOOD Menus fit for a king and queen…………………………………………………..32 WDJPE? Ingo’s Tasty Food…………………………………………………………34 HEALTH Journey through grief……………………………………………………………….44 SENIORS Trusty typewriter keeps retired lawyer busy…………………………………..46 Italian adventure hones senior’s writing skills……………………………….48 ARTS & ENTERTAINMENT Nokuthula Ngwenyama finds musical, Jewish passion……………………50 Take a Detour to magical performance ……………………………………….52 Pastime Players give special needs actors a stage ……………………….53 Allan Naplan, the Arizona Musicfest and Temple Chai……………………54 ISRAEL A farewell to two Ariks……………………………………………………………...56 32 Columns 26 Soundbites 29 To Life by Amy Hirshberg Lederman 30 Fashionista by Kira Brown 32 Chef’s Corner by Lucia Schnitzer 34 Where Do Jewish People Eat? By A. Noshman 36 Family Time by Debra Rich Gettleman 56 An American in Israel by Mylan Tanzer Connect 58 Happenings: Faces 60 Happenings: Previews 61 Happenings: Calendar COVER PHOTO: Max Aaron photo courtesy of U.S. -
1 Lahiton [email protected]
Lahiton [email protected] 1 Lahiton magazine was founded in 1969 by two partners, Uri Aloni and David Paz, and was funded by an investment from Avraham Alon, a Ramlah nightclub owner and promoter. Uri Aloni was a pop culture writer and rabid music fan while David Paz, another popular music enthusiast, was an editor who knew his way around the technical side of print production. The name “Lahiton,” reportedly invented by entertainers Rivka Michaeli and Ehud Manor, combines the Hebrew words for hit, “lahit” and newspaper, “iton.” Lahiton [email protected] 2 Uri Aloni cites the British fan magazines Melody Maker and New Music Express as influences; (Eshed 2008) while living in London and writing for the pop music columns of Yediot Ahronot and La-Isha, he would lift editorial content and photos from the latest British pop magazines, write articles, then find an Israel-bound traveler at the London airport to transport the articles into the hands of his editors. In Lahiton’s early days, Aloni and Paz continued this practice (Edut 2014). Eventually, however Lahiton’s flavor became uniquely secular Israeli. Although in 1965 the Beatles were famously denied permission to perform in Israel (Singer 2015), by the time Lahiton got started in 1969 there was no stemming the tide; the international pop music scene had permeated Israel’s insular and conservative culture. At the time there were no other Hebrew publications that covered what was going on both at home and in America and Europe. Lahiton began as a bimonthly publication, but within the first year, when press runs of 5000 copies sold out on a regular basis, Paz and Aloni turned it into a weekly. -
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. -
Transdenominational MA in Jewish Music Program, Preparing
THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, Anita Schubert, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to theh azzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Word docu- ment, with a brief biography of the author appended. Musical and/or graphic material should be formatted and inserted within the Word document. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc., Cover design and Printing by Replica. © Copyright 2009 by the Cantors Assembly. ISSN 0449-5128 ii FROM THE EDITOR: The Issue of Niggunim in Worship: Too Much of a Good Thing? ..................................................4 THE NEO-HASIDIC REVIVAL AT 50 Music as a Spiritual Process in the Teachings of Rav Nahman of Bratslav Chani Haran Smith. 8 The Hasidic Niggun: Ethos and Melos of a Folk Liturgy Hanoch Avenary . 48 Carlebach, Neo-Hasidic Music and Liturgical Practice Sam Weiss. -
Habonim Dror Shnat UK 2016-17 Information Booklet
Habonim Dror Shnat UK 2016-17 Information Booklet Shnat 14/15 Shnat 15/16 2 Habonim Dror Shnat UK 2016-17 Information Booklet TABLE OF CONTENTS WHAT IS SHNAT & WHY GO ON IT? .................................................................................................................... 5 Program Component: Boneh............................................................................................................................... 7 Central Educational Contents and Components ............................................................................................ 8 Special programming ..................................................................................................................................... 10 Community, Group AND RESPONSIBILITY .................................................................................................... 11 Program Component: Kaveret .......................................................................................................................... 13 Messima ......................................................................................................................................................... 14 KvutZah ........................................................................................................................................................... 15 Program Component: Poland ............................................................................................................................ 17 Yearly Events and Program Innovations .......................................................................................................... -
Full Schedule ILANIT 20Th-23Rd of February 2017
Full Schedule ILANIT 20th-23rd of February 2017 ILANIT / FISEB Federation of all the Israel Societies for Experimental Biology (FISEB) איגוד האגודות הישראליות לביולוגיה ניסויית )אילנית( ILANIT/FISEB is a federation of 31 Israeli societies of experimental biology. ILANIT’s conference is held every three years in Eilat, with attendance by researchers and students. This conference, held in February 2017, is the culmination of the most exciting research performed in Israel in many disciplines. Board President Treasurer Secretary Prof. Karen B. Avraham Prof. Yaron Shav-Tal Prof. Eitan Yefenof (TEL AVIV UNIVERSITY) (BIU) (HUJI) Scientific Organizing Committee Conference President Conference Vice Conference Deputy Conference Vice Orna Amster-Choder President President President (HUJI) Maya Schuldiner (WIS) Angel Porgador (BGU) Eli Pikarsky (HUJI) 2 Last updated 15.02.2017 Scientific Advisory Committee Molecular and Structural Biology and Biochemistry Orna Elroy-Stein, Tel Aviv University (Chair) Ora Furman, Hebrew University of Jerusalem Shula Michaeli, Bar Ilan University Neurobiology and Endocrinology Yuval Dor, Hebrew University of Jerusalem (Chair) Yadin Dudai, Weizmann Institute of Science Assaf Rudich, Ben Gurion University of the Negev Genetics, Genomics, Epigenetics, Bioinformatics and Systems Biology Tzachi Pilpel, Weizmann Institute of Science (Chair) Ohad Birk, Ben Gurion University of the Negev Howard Cedar, Hebrew University of Jerusalem Yael Mandel, Technion – Israel Institute of Technology Medicine, Immunology and Cancer -
President's Report 2018
VISION COUNTING UP TO 50 President's Report 2018 Chairman’s Message 4 President’s Message 5 Senior Administration 6 BGU by the Numbers 8 Building BGU 14 Innovation for the Startup Nation 16 New & Noteworthy 20 From BGU to the World 40 President's Report Alumni Community 42 2018 Campus Life 46 Community Outreach 52 Recognizing Our Friends 57 Honorary Degrees 88 Board of Governors 93 Associates Organizations 96 BGU Nation Celebrate BGU’s role in the Israeli miracle Nurturing the Negev 12 Forging the Hi-Tech Nation 18 A Passion for Research 24 Harnessing the Desert 30 Defending the Nation 36 The Beer-Sheva Spirit 44 Cultivating Israeli Society 50 Produced by the Department of Publications and Media Relations Osnat Eitan, Director In coordination with the Department of Donor and Associates Affairs Jill Ben-Dor, Director Editor Elana Chipman Editorial Staff Ehud Zion Waldoks, Jacqueline Watson-Alloun, Angie Zamir Production Noa Fisherman Photos Dani Machlis Concept and Design www.Image2u.co.il 4 President's Report 2018 Ben-Gurion University of the Negev - BGU Nation 5 From the From the Chairman President Israel’s first Prime Minister, David Ben–Gurion, said:“Only Apartments Program, it is worth noting that there are 73 This year we are celebrating Israel’s 70th anniversary and Program has been studied and reproduced around through a united effort by the State … by a people ready “Open Apartments” in Beer-Sheva’s neighborhoods, where acknowledging our contributions to the State of Israel, the the world and our students are an inspiration to their for a great voluntary effort, by a youth bold in spirit and students live and actively engage with the local community Negev, and the world, even as we count up to our own neighbors, encouraging them and helping them strive for a inspired by creative heroism, by scientists liberated from the through various cultural and educational activities. -
Noam Lemish Dissertation Final Submission Truly
Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition by Noam Lemish A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts in Performance Faculty of Music University of Toronto © 2018 Copyright by Noam Lemish ii Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition Noam Lemish Doctor of Musical Arts in Performance Faculty of Music University of Toronto 2018 ABSTRACT This dissertation is a case study of musical transculturation in jazz performance and composition through the examination of the practices of Israeli jazz musicians who began to operate on the international jazz scene starting in the 1990s. An impressive number of Israeli jazz performers have received widespread exposure and acclaim over the last twenty years. Artists such as Omer Avital (bass), Anat Cohen (woodwinds), Avishai Cohen (bass) among many others have successfully established themselves on a global scale, creating music that melds various aspects of American jazz with an array of Israeli, Jewish and Middle-Eastern influences and those from numerous other non- Western musical traditions. While each musician is developing his or her own approach to musical transculturation, common threads connect them all. Unraveling these entangled sounds and related discourses lies at the center of my study. While this is the first comprehensive study of the contributions -
Izraelská Populární Hudba Od Konce 40. Let 20. Století Do Současnosti Michaela Wittwarová
Západočeská univerzita v Plzni Fakulta filozofická Diplomová práce Izraelská populární hudba od konce 40. let 20. století do současnosti Michaela Wittwarová Plzeň 2016 Západočeská univerzita v Plzni Fakulta filozofická Katedra blízkovýchodních studií Studijní program Mezinárodní teritoriální studia Studijní obor Blízkovýchodní studia Diplomová práce Izraelská populární hudba od konce 40. let 20. století do současnosti Michaela Wittwarová Vedoucí práce: Mgr. Zbyněk Tarant, Ph.D. Katedra blízkovýchodních studií Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2016 Prohlašuji, že jsem práci zpracoval(a) samostatně a použil(a) jen uvedených pramenů a literatury. Plzeň, duben 2016 ……………………… Poděkování: Děkuji svému vedoucímu práce Mgr. Zbyňku Tarantovi, Ph.D. za přínosné konzultace. Děkuji také všem svým bližním, kteří mě během psaní práce podporovali. Obsah 1 ÚVOD ......................................................................................... 1 1.1 Cíle................................................................................................. 1 1.2 Představení tématu ...................................................................... 1 1.3 Metoda práce ................................................................................ 1 1.4 Terminologie................................................................................. 2 1.5 Technické poznámky ................................................................... 3 1.6 Důvody k výběru tématu, přínos ................................................. 3 2 PRVNÍ