Migrants and Cultural Memory
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CHERES Hailed to Be “The Best Purveyor of Authentic Ukrainian Folk
CHERES Hailed to be “the best purveyor of authentic Ukrainian folk music in the United States” by the former head of the Archive of Folk Culture at the Library of Congress, Cheres brings to life melodies from the Carpathian mountains in Western Ukraine and neighboring Eastern European countries. Since its founding in 1990 by students of the Kyiv State Conservatory in the Ukraine, the ensemble has enthralled North American audiences with their rousing renditions of folk music performed on the cymbalum, violin, woodwinds, accordion, bass, and percussion. Virtuoso musicians join spirited dancers, all donned in traditional Western Ukrainian hand-embroidered garments, to paint a vivid picture of Ukrainian folk art. The musicians, most of whom are from Halychyna in western Ukraine, are united by an artistic vision to preserve their traditions. “Cheres” is actually a little known Ukrainian term for a metal- studded leather belt formerly used as a bulletproof vest during the Middle Ages. Today, the group Cheres has adopted this Medieval protective shield as their name to symbolize the safeguarding of vanishing folk art traditions from the Carpathian mountains. This seasoned ensemble has performed in nightclubs and concerts in New York City; music festivals in the Tri-State area, including Lincoln Center’s Out of Doors Festival in 2006 and Folk Parks in 2000, as well as colleges and universities on the east coast. Cheres has appeared on television on NBC’s Weekend Today show, as well as the Food Network’s Surprise! show. Tracks from their latest CD, Cheres: From the Mountains to the Steppe” have been played on WNYC’s New Sounds program, as well as other stations in the region. -
Comparison Between Persian and English Lullabies' Themes: Songs
19895 Maryam Sedaghat et al./ Elixir Literature 65 (2013) 19895-19899 Available online at www.elixirpublishers.com (Elixir International Journal) Literature Elixir Literature 65 (2013) 19895-19899 Comparison between Persian and English Lullabies’ themes: Songs which Originate From Heart of the Culture Maryam Sedaghat 1,* and Ahmad Moinzadeh 2 1Translation Studies, University of Isfahan, Iran. 2Department of English, University of Isfahan, Iran. ARTICLE INFO ABSTRACT Article history: The present research aimed to investigate the thematic concepts of lullabies as folk songs Received: 3 November 2013; which have passed orally through generations. The themes are hidden ideologies of lullabies Received in revised form: that carry cultural attitudes; in this regard, lullabies’ themes can reveal narrators viewpoints 2 December 2013; which originate from cultures and surrounding areas. Regarding the mentioned elements, the Accepted: 9 December 2013; themes suggested by Homayuni (2000) considered as the appropriate model for data extraction using the comparative and descriptive method. The findings showed the same Keywords themes in lullabies of both Persian and British cultures; but, in spite of similarities between Lullaby, themes, they had different ways of expression. This is to say, similarities were found in the Folklore, themes as the basic ideas and hidden layers of lullabies and differences were in their Theme, expressing ways as people attitudes. Oral tradition. © 2013 Elixir All rights reserved Introduction lullabies , are more properly song by woman, others by men” Children’s literature or juvenile literature deals with the (1972, p.1034). stories and poems for children and tries to investigate various Theme areas of this genre. Folklore is a main issue which has been Considering lullabies feminine aspect, it seems reasonable considered by researchers in children’s literature field; mother to take their thoughts into these lyrics, so, themes of lullabies sings lullabies to her child during his/her infancy and, come from their thoughts and attitudes. -
Irish Travellers, the Cinema and (Anti-)Traveller Racism
GRUNERT FILM JOURNAL 1 (2010) Between discrimination and glorification: Irish Travellers, the cinema and (anti-)Traveller racism Andrea GRUNERT University of Applied Sciences, Bochum, Germany “There’s a bit of a Traveller in everybody of us,” says John Riley, the male protagonist in Mike Newell’s Into the West (UK/IRL, 1992), to his twelve-year-old son Tito, who has asked him whether the Travellers are Cowboys or Indians. This evasive answer is matched by the film’s happy ending, which masks the fact that the film presents the Travellers as Ireland’s Indians: an excluded and forgotten minority living on the social margins. Today an estimated 23,000 Travellers live in the Republic of Ireland, 15,000 in Great Britain and 7,000 in the United States of America. Their Irish origins have been the object of speculation. Some writers trace them back to landowners made homeless during Cromwell’s campaign in Ireland or during the Great Famine of the mid-nineteenth century; others argue that Travellers have dwelt in Ireland since the Middle Ages. These nomads have their roots in Ireland and must be distinguished from Gypsies, even if they share many similar customs. In the past, they played an important role as messengers in isolated rural areas. The term “tinker,” which today has negative connotations, refers to one of their main occupations, tinkering. Industrialisation and modern technology have destroyed this economic basis of their life. Having been forced to adapt to new social Page 1 GRUNERT FILM JOURNAL 1 (2010) and economic conditions, Irish Travellers or Pavee1, as they now call themselves, have found new occupations such as collecting scrap. -
Irish Travellers' Quest for Ethnic Identity
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Saint Louis University School of Law Research: Scholarship Commons Saint Louis University Public Law Review Volume 30 Number 2 General Issue (Volume XXX, No. 2) Article 5 2011 On the Road to Recognition: Irish Travellers’ Quest for Ethnic Identity Kami Kruckenberg [email protected] Follow this and additional works at: https://scholarship.law.slu.edu/plr Part of the Law Commons Recommended Citation Kruckenberg, Kami (2011) "On the Road to Recognition: Irish Travellers’ Quest for Ethnic Identity," Saint Louis University Public Law Review: Vol. 30 : No. 2 , Article 5. Available at: https://scholarship.law.slu.edu/plr/vol30/iss2/5 This Article is brought to you for free and open access by Scholarship Commons. It has been accepted for inclusion in Saint Louis University Public Law Review by an authorized editor of Scholarship Commons. For more information, please contact Susie Lee. SAINT LOUIS UNIVERSITY SCHOOL OF LAW ON THE ROAD TO RECOGNITION: IRISH TRAVELLERS’ QUEST FOR ETHNIC IDENTITY KAMI KRUCKENBERG* This paper explores and defends Irish Travellers’ efforts to push the Republic of Ireland to recognize them as an ethnic minority group under law. Irish Travellers are a small indigenous minority group who have lived primarily in Ireland for centuries. They rank at the bottom of Irish society in rates of poverty, unemployment, life expectancy, infant mortality, health, education levels, political representation and access, and living conditions. Much like the Roma, with whom they share a nomadic tradition, Irish Travellers are in the midst of a movement to improve living conditions, fight widespread discrimination, and gain recognition as an ethnic minority group. -
Lullaby”: the Story of a Niggun1
“Lullaby”: The Story of a Niggun1 MICHAEL BECKERMAN AND NAOMI TADMOR Introduction In the winter of 1943, a song was performed in the Terezín Ghetto. It was an art song with a Hebrew text, yet its melody had also featured as a folk song, a pop tune, and a wordless vocalization; later, it would become a religious hymn. This article seeks to uncover the story of this tune: how it emerged, how it acquired a text, how it got to Terezín, how it was treated there, and what meanings can be drawn from its manifestations. The piece in question is Gideon Klein’s “Lullaby.” Our inquiry started as we noted an anomaly, a disagreement between recordings. At a key point in the composition, we realized that two performers sing different pitches, which is not unusual in many song traditions, but is entirely atypical of a notated art song. Example 1a: Excerpt from Isabelle Ganz’s recording of Gideon Klein’s “Lullaby”2 Example 1b: Excerpt from Wolfgang Holzmair’s recording of Gideon Klein’s “Lullaby.”3 Listen at: http://dx.doi.org/10.3998/mp.9460447.0010.101 We wondered, how could this difference be explained? Was one version mistaken? If so, which one, and why did the mistake occur? Does it have any significance? While attempting to answer these questions, we found ourselves embarking on a scholarly pilgrimage, which took us from a shtetl-like community within a Russian imperial city, where the tune originated as a Hasidic niggun, to Anglo-Palestine in the 1930s and 40s, where it was transformed, and from there further to the European diaspora in the 1940s, to countries such as England and Poland, and then to Nazi Germany, where the version on which Klein’s song was based, was created; from there we crossed the Atlantic to New York, where a version of the original niggun was first notated, and then back to Terezín. -
Copyright by Colleen Anne Hynes 2007
Copyright by Colleen Anne Hynes 2007 The Dissertation Committee for Colleen Anne Hynes certifies that this is the approved version of the following dissertation: “Strangers in the House”: Twentieth Century Revisions of Irish Literary and Cultural Identity Committee: Elizabeth Butler Cullingford, Supervisor Barbara Harlow, Co-Supervisor Kamran Ali Ann Cvetkovich Ian Hancock “Strangers in the House”: Twentieth Century Revisions of Irish Literary and Cultural Identity by Colleen Anne Hynes, B.S.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2007 Acknowledgements This dissertation project would not have been possible with the support, wisdom and intellectual generosity of my dissertation committee. My two supervisors, Elizabeth Butler Cullingford and Barbara Harlow, introduced me to much of the literature and many of the ideas that make up this project. Their direction throughout the process was invaluable: they have been, and continue to be, inspirational teachers, scholars and individuals. Kamran Ali brought both academic rigor and a sense of humor to the defense as he pushed the manuscript beyond its boundaries. Ann Cvetkovich translated her fresh perspective into comments on new directions for the project and Ian Hancock was constantly generous with his resources and unique knowledge of the Irish Traveller community. Thanks too to my graduate school colleagues, who provided constructive feedback and moral support at every step, and who introduced me to academic areas outside of my own, especially Miriam Murtuza, Miriam Schacht, Veronica House, George Waddington, Neelum Wadhwani, Lynn Makau, Jeanette Herman, Ellen Crowell and Lee Rumbarger. -
Of Paul Robeson 53
J. Karp: The “Hassidic Chant” of Paul Robeson 53 Performing Black-Jewish Symbiosis: The “Hassidic Chant” of Paul Robeson JONATHAN KARP* On May 9, 1958, the African American singer and political activist Paul Robeson (1898–1976) performed “The Hassidic [sic] Chant of Levi Isaac,” along with a host of spirituals and folk songs, before a devoted assembly of his fans at Carnegie Hall. The “Hassidic Chant,” as Robeson entitled it, is a version of the Kaddish (Memorial Prayer) attributed to the Hasidic rebbe (master), Levi Yitzhak of Berditchev (1740–1810), a piece also known as the “Din Toyre mit Got” (“The Lawsuit with God”). According to tradition, Levi Yizhak had composed the song spontaneously on a Rosh Hashanah as he contemplated the steadfast faith of his people in the face of their ceaseless suffering. He is said to have stood in the synagogue before the open ark where the Torah scrolls reside and issued his complaint directly to God: a gut morgn dir, riboynoy shel oylem; ikh, levi yitzhak ben sarah mi-barditchev, bin gekumen tzu dir mit a din toyre fun dayn folk yisroel. vos host-tu tzu dayn folk yisroel; un vos hos-tu zich ongezetst oyf dayn folk yisroel? A good day to Thee, Lord of the Universe! I, Levi Yitzhak, son of Sarah, from Berditchev, Bring against you a lawsuit on behalf of your People, Israel. What do you have against your People, Israel? Why have your so oppressed your People, Israel?1 After this questioning of divine justice, Levi Yitzhak proceeded to chant the Kaddish in attestation to God’s sovereignty and supremacy. -
The Study of Psychological Aspects of Iranian Mothers' Lullabies
Asian Social Science; Vol. 12, No. 4; 2016 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education The Study of Psychological Aspects of Iranian Mothers’ Lullabies Vahid Khodaie Majd1 & Arastu Bakhshaliyev2 1 Ph.D. in Psychology, Department of Psychology, Baku State University, Baku, Azerbaijan 2 Professor, Department of Psychology, Baku State University, Baku, Azerbaijan Correspondence: Vahid Khodaie Majd, Department of Psychology, Baku State University, Baku, Azerbaijan. E-mail: [email protected] Received: January 7, 2015 Accepted: February 2, 2016 Online Published: March 18, 2016 doi:10.5539/ass.v12n4p93 URL: http://dx.doi.org/10.5539/ass.v12n4p93 Abstract Lullabies are one of the best and most appealing national-spiritual songs of the Iranian nation reflecting their high creativity in treating their children. The purpose of the present qualitative study is to examine the psychological aspects of the lullabies used by Iranian mothers through content analysis. Almost two thousand and five hundred lullabies of Farsi and Azeri speaking regions of Iran were selected based on purposive sampling. Having ensured the validity of the sources and documents of the lullabies in the regions, interpretive approach was adopted for studying and analyzing the contents of the lullabies. The content analysis of the lullabies under study indicated their far reaching psychological role in psychic health of the children, especially in creating positive self-concept, feeling of peace and security, reduced stress, and reinforcement of cognitive abilities as well as other psychological aspects, all of which have been discussed in this study. Keywords: lullaby, folklore, psychological aspects, psychological health, Iranian mothers 1. -
TUNE BOOK Kingston Irish Slow Session
Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected]. -
ICTM Ireland Annual Conference 25-26 February 2017, Maynooth University Keynote Speaker: Jeff Todd Titon Sponsored by the Anthro
ICTM Ireland Annual Conference 25-26 February 2017, Maynooth University Keynote speaker: Jeff Todd Titon Sponsored by the Anthropological Association of Ireland Conference Programme Saturday, 25 February 9.00am Registration 9.30am Welcome address 9.45am 1A. Music Revival Michalis Poupazis 1B. Collections from 19th Century (chair) Ireland Seán McElwain (chair) “Revival or Reclamation” “In Search of ‘Patrick Quin – The John Millar, University College Dublin Armagh Harper’ (1745-1812?)” Sylvia Crawford, Dundalk Institute of Technology “Singing Þjóðtrú: Nordic Folklore in “The Déise Music Archive: An Viking and Folk Metal” exploration of one Irish region’s musical George Nummelin, SOAS, University of legacy” London Christopher Mac Auliffe, Waterford Institute of Technology “Let’s put up a stage: Experiencing “Reimagining Bunting: Belfast’s Lost Speyfest and a Scottish Music Revival” Sounds” Daithí Kearney and Adèle Commins, Conor Caldwell, Queen’s University Dundalk Institute of Technology Belfast 11.15am Tea/coffee 11.30am 2A. Cultural Sustainability (a) Daithí 2B. Music and Memory Steve Coleman Kearney (chair) (chair) “Cultural and Environmental “Antonis’ Wedding: The Moment, The Sustainability in Florianopolis, Brazil” Music and Rites Between Tradition and Jamie Corbett, Brown University Modernity in Cyprus” Michalis Poupazis, University College Cork “The UNESCO resilience-based “Can I walk Beside You? Life Before approach to safeguarding of intangible and After the Woodstock Music and cultural heritage (ICH) in Jordan: a case Arts Fair, 1969” study on audiovisual archiving in the Cormac Sheehan, University College Hashemite Kingdom of Jordan” Cork Sabrina Maria Salis, UNESCO 12.30pm 3A. Film. Singing Hari Bolo in a north east Indian village: A Praise music tradition revived by Jyosna La Trobe, Independent Scholar 1.00pm Lunch 2 2.00pm 4A. -
Irish Travellers and the Transformative Nature of Media Representation Aisling Kearns Union College - Schenectady, NY
Union College Union | Digital Works Honors Theses Student Work 6-2013 Irish Travellers and the Transformative Nature of Media Representation Aisling Kearns Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Anthropology Commons, and the European History Commons Recommended Citation Kearns, Aisling, "Irish Travellers and the Transformative Nature of Media Representation" (2013). Honors Theses. 687. https://digitalworks.union.edu/theses/687 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. Irish Travellers and the Transformative Nature of Media Representation By Aisling Kearns ******** Submitted in partial fulfillment of the requirements for Honors in the Department of Anthropology UNION COLLEGE March, 2013 ABSTRACT Aisling Kearns. Irish Travellers and the Transformative Nature of Media Representation. Department of Anthropology, March, 2013. The Travellers, a nomadic group of people indigenous to Ireland, have long been marginalized in Irish society as a result of discrimination. The Travellers themselves have had a history of working to keep themselves separate from the settled Irish, essentially maintaining their own ethnic identity. Traveller culture has undergone a number of changes since the 1960s, a period of increasing urbanization and economic transformation in Ireland. With the changes in both Traveller culture and Irish society as a whole, there has been a corresponding shift to a more positive relationship between the media (newspapers, documentaries, and commercial films and television) and this marginalized group of people. -
Irish Travellers: an Exploration in Criticism and Fiction
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Irish Travellers: An Exploration in Criticism and Fiction Author(s) Holmes, Mary Patricia Publication Date 2012-09-28 Item record http://hdl.handle.net/10379/3557 Downloaded 2021-09-28T03:13:30Z Some rights reserved. For more information, please see the item record link above. Irish Travellers: An Exploration in Criticism and Fiction Mary Patricia Holmes This dissertation is submitted in fulfillment of the requirements for the award of the degree of Doctor of Philosophy Supervisor: Dr John Kenny School of Humanities Department of English National University of Ireland, Galway September 2012 TABLE OF CONTENTS Acknowledgements. ............................................................................................ i Abstract……………………………………………………………………… .. ii Introduction ......................................................................................................... 1 SECTION I Chapter 1 Socio-Cultural History ................................................................. 7 Chapter 2 Ideologies of Representation ..................................................... 22 A. Photography ........................................................................... 23 B. Television and Film ................................................................ 28 C. Literature and Drama .............................................................. 43 Chapter 3 Shelta, Orality and the Representation of