Cantores De Israel
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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 -
Carmiel 2006
Your Itinerary Day 1 – Thursday 13 July 2006 (Dinner) Shalom and welcome to Israel Arrival at Ben Gurion Airport and meet your Tour Guide.Transfer to Tel Aviv hotel Evening activity: Extra Special Karmiel Dance Festival Session with Gadi Bitton Overnight: Tel Aviv Day 2 - Friday 14 July 2006 (Breakfast, Dinner) Enjoy a guided tour of Tel Aviv neighbourhoods – Neveh Tzedek and Old Jaffa Enjoy a festive Shabbat dinner at the hotel Evening activity – Enjoy a live summer concert with the stars of the Israeli music scene – Possible performers can include Shlomo Arzi, Sarit Hadad, and Rita (subject to availability). Overnight: Tel Aviv Day 3 - Saturday 15 July 2006 (Breakfast, Dinner) Day of swimming and relaxation in Tel Aviv. Enjoy dancing on Gordon beach with Sarah Aviv Afternoon touring in Jerusalem. Dinner and show at an authentic Moroccan restaurant Evening activity: Dance session with Avner Naim Overnight: Tel Aviv Day 4 - Sunday 16 July 2006 (Breakfast, Dinner) Explore Caesaria, and see the new audio visual show. Enjoy a guided walking tour of the Roman Theatre, archaeological ruins and excavations. Evening activity: Extra Special pre-Karmiel Festival Dance Session with Mishael Barzilay. Overnight: Tel Aviv Day 5 - Monday 17 July 2006 (Breakfast, Lunch, Dinner) Head to Haifa to view the beautiful Gardens of the Bahai. Onward to Ossafia village for an authentic Druze lunch with the locals. Visit Rosh Hanikra to explore the magnificent Grottos carved by the sea. Evening activity: Dance session with Yaron Carmel at Chof Hacarmel Overnight: Karmiel Homestay Day 6 - Tuesday 18 July 2006 (Breakfast, Dinner) Depart for Tzfat – City of Mystical Judaism (Kabbalah). -
Introduction
Notes Introduction 1. The exact Hebrew name for this affair is the “Yemenite children Affair.” I use the word babies instead of children since at least two thirds of the kidnapped were in fact infants. 2. 1,053 complaints were submitted to all three commissions combined (1033 complaints of disappearances from camps and hospitals in Israel, and 20 from camp Hashed in Yemen). Rabbi Meshulam’s organization claimed to have information about 1,700 babies kidnapped prior to 1952 (450 of them from other Mizrahi ethnic groups) and about 4,500 babies kidnapped prior to 1956. These figures were neither discredited nor vali- dated by the last commission (Shoshi Zaid, The Child is Gone [Jerusalem: Geffen Books, 2001], 19–22). 3. During the immigrants’ stay in transit and absorption camps, the babies were taken to stone structures called baby houses. Mothers were allowed entry only a few times each day to nurse their babies. 4. See, for instance, the testimony of Naomi Gavra in Tzipi Talmor’s film Down a One Way Road (1997) and the testimony of Shoshana Farhi on the show Uvda (1996). 5. The transit camp Hashed in Yemen housed most of the immigrants before the flight to Israel. 6. This story is based on my interview with the Ovadiya family for a story I wrote for the newspaper Shishi in 1994 and a subsequent interview for the show Uvda in 1996. I should also note that this story as well as my aunt’s story does not represent the typical kidnapping scenario. 7. The Hebrew term “Sephardic” means “from Spain.” 8. -
The Contestants the Contestants
The Contestants The Contestants CYPRUS GREECE Song: Gimme Song: S.A.G.A.P.O (I Love You) Performer: One Performer: Michalis Rakintzis Music: George Theofanous Music: Michalis Rakintzis Lyrics: George Theofanous Lyrics: Michalis Rakintzis One formed in 1999 with songwriter George Michalis Rakintzis is one of the most famous Theofanous, Constantinos Christoforou, male singers in Greece with 16 gold and Dimitris Koutsavlakis, Filippos Constantinos, platinum records to his name. This is his second Argyris Nastopoulos and Panos Tserpes. attempt to represent his country at the Eurovision Song Contest. The group’s first CD, One, went gold in Greece and platinum in Cyprus and their maxi-single, 2001-ONE went platinum. Their second album, SPAIN Moro Mou was also a big hit. Song: Europe’s Living A Celebration Performer: Rosa AUSTRIA Music: Xasqui Ten Lyrics:Toni Ten Song: Say A Word Performer: Manuel Ortega Spain’s song, performed by Rosa López, is a Music:Alexander Kahr celebration of the European Union and single Lyrics: Robert Pfluger currency. Rosa won the hearts of her nation after taking part in the reality TV show Twenty-two-year-old Manuel Ortega is popular Operacion Triunfo. She used to sing at in Austria and his picture adorns the cover of weddings and baptisms in the villages of the many teenage magazines. He was born in Linz Alpujarro region and is now set to become one and, at the age of 10, he became a member of of Spain’s most popular stars. the Florianer Sängerknaben, one of the oldest boys’ choirs in Austria. CROATIA His love for pop music brought him back to Linz where he joined a group named Sbaff and, Song: Everything I Want by the age of 15, he had performed at over 200 Performer:Vesna Pisarovic concerts. -
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. -
Children As Architects of Web Directories: an Exploratory Study
Children as Architects of Web Directories: An Exploratory Study Judit Bar-Ilan and Yifat Belous Department of Information Science, Bar-Ilan University, Ramat-Gan, 52900, Israel. E-mail: [email protected], [email protected] Children are increasingly using the Web. Cognitive the- a wide range of difficulties while searching for information ory tells us that directory structures are especially on the Web. Existing Web search tools for children such suited for information retrieval by children; however, em- as Yahooligans! (http://www.yahooligans.com), KidsClick pirical results show that they prefer keyword searching. One of the reasons for these findings could be that the (http://kidsclick.org), and Ask Jeeves for Kids (http://www. directory structures and terminology are created by ajkids.com) do not contribute to children’s success in their grown-ups. Using a card-sorting method and an en- information tasks. In fact, it has been found that these tools veloping system, we simulated the structure of a direc- often cause a search failure due to their lack of special fea- tory. Our goal was to try to understand what browsable, tures essential for their young audience (Bilal, 1999, 2000, hierarchical subject categories children create when suggested terms are supplied and they are free to add or 2001, 2002a, Bilal & Watson, 1998; Large, Beheshti, & delete terms. Twelve groups of four children each (fourth Rahman, 2002). One possible explanation for this lack of and fifth graders) participated in our exploratory study. suitability to children’s needs can be the fact that search The initial terminology presented to the children was tools for children are mostly designed by adults, who do not based on names of categories used in popular directo- actively include the target audience in the design process ries, in the sections on Arts, Television, Music, Cinema, and Celebrities. -
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. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
2020 Raphael Patai Series in Jewish Folklore and Anthropology
Raphael Patai Series in Jewish Folklore and Anthropology Stories of Jewish Life Casale Monferra- to-Rome-Jerusalem, 1876–1985 Augusto Segre Translated and with an Introduction by Steve Siporin Stories of Jewish Life: Casale Monferrato-Rome-Jeru- salem, 1876–1985 is an unconventional mem- oir—an integrated collection of short stories and personal essays. Author Augusto Segre was a well-known public fi gure in post–WWII Italy who worked as a journalist, educator, scholar, editor, activist, and rabbi. He begins his book with stories shaped from the oral narratives of his home community as it emerged from the ghet- to era, continues with his own experiences under fascism and as a partisan in WWII, and ends with his emigration to Israel.Spanning the years 1876 (one generation after emancipa- tion from the ghetto) to 1985 (one generation after the Shoah), Segre presents this period as an era in which Italian Jewry underwent a long-term internal crisis that challenged its core values and identity. He embeds the major cultural and political trends of the era in small yet telling episodes from the lives of ordinary people. The fi rst half of the book takes place in Casale Monferrato—a small provincial capital in the Piedmont region in northwest Italy. The second half, continuing in Casale in the late 1920s but eventually shifting to Rome then Jerusalem, follows the experiences of a boy named Moshè (Segre’s Jewish name and his stand-in). Moshè relates episodes of Italian Jewry from the 1920s to the 1980s that portray the insidiousness of fascism as well as the contradictions within the Jewish community, especially in its post-ghetto relationship to Italian society. -
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 -
CD Project – October 2010
CD Project – October 2010 2.1675 – La Calisto – Cavalli No Score 2.1676 – Magnificat and Christmas Oratorio – J.S. Bach Magnificat M 2020 B16 S.243 1959B; Barenreiter Magnificat M 2020 B16 S.243 1959; Lea Pocket Scores Christmas Oratorio M 2000 B15 W27 1992; Dover Christmas Oratorio M 2003 B33 W432 1800; Peters 2.1677 – Grieg Sonata for Piano and Cello in A minor; Schumann Adagio and Allegro; Chopin Sonata for Piano and Cello in G minor Grieg M 238 G75 OP.36 1994; International; arr. bass and piano Schumann M 230 S38 K66 1950; Peters Chopin M 269 C52 OP.65 1969; MMB Music; Movement 3 ONLY 2.1678 – Renaissance Love Songs Compilation 2.1679 – Quartet in D minor, D810 & Quartet in A minor, D804 – Schubert BOTH; M 452 S36 D.703- 1976; International 2.1681 – Alfred – Thomas Arne M 2.3 G7 M8 V.47; Published for the Musica Britannica Trust [by] Stainer and Bell 2.1682 – Symphony No. 5 and Symphony No. 7 – Beethoven No. 5 M 1001 B4 OP.67 1971; Norton No. 5 M 1001 B4 OP.67 1946; Pro Art No. 5 M 1001 B4 OP.67 192-; Eulenberg No. 7 M 1001 B4 OP.92 1987; Eulenberg BOTH M 1001 B4 S95 1935; Bonanza Books 2.1683 – Slavonic Dance in B, The Water Goblin & Symphony No. 7 – Dvorak Slavonic Dance – NO SCORE The Water Goblin M 1002 D97 OP.107 198-; Kalmus Symphony No. 7 M 1001 D97 OP.70 1988; Kalmus Symphony No. 7 M 1001 D97 OP.70 1951; Eulenberg 2.1684 – Violin Concerto in D, Op. -
Abba, Why Was Professor Higgins Trying to Teach Eliza to Speak Like
Zuckermann, Ghil‘ad 2005. ‘“Abba, why was Professor Higgins trying to teach Eliza to speak like our cleaning lady?”: Mizrahim, Ashkenazim, Prescriptivism and the Real Sounds of the Israeli Language’. Australian Journal of Jewish Studies 19: 210-31. Abba, Why Was Professor Higgins Trying to Teach Eliza to Speak Like Our Cleaning Lady?: Mizrahim, Ashkenazim, Prescriptivism and the Real Sounds of the Israeli Language Ghil‘ad Zuckermann http://www.zuckermann.org/ 1. Introduction Language is such a sensitive issue in Israel that even politicians are involved. In a session at the Israeli Parliament on 4 January 2005, Prime Minister Ariel Sharon rebuked Israelis for using the etymologically Arabo-English expression yàla báy , lit. “let’s bye”, i.e. “goodbye”, instead of “the most beautiful word” shalóm “peace, hello, goodbye”. In an article in the daily newspaper Ha’aretz (21 June 2004), the left-wing politician Yossi Sarid attacked the common language of éser shékel as inarticulate and monstrous, and urged civilians to fight it and protect “Hebrew”. Israeli educators, as well as laymen, often argue that Israelis “slaughter” or “rape” their language by “lazily” speaking slovenly, “bad Hebrew”, full of “mistakes” (see, for example http://www.lashon.exe.co.il). Most Israelis say be kitá bet rather than the puristic be kh itá bet “in the second grade” (note the spirantization of the /k/ in the latter); éser shékel rather than asar-á shkal-ím “ten shekels” (the latter having a polarity-of- gender agreement — with a feminine numeral and a masculine plural noun), baréy mazál instead of bney mazál , lit.