Get And We're All Brothers: Singing in Yiddish in Contemporary PDF

By Abigail Wood

ISBN-10: 140944533X

ISBN-13: 9781409445333

The sunrise of the twenty-first century marked a turning interval for American Yiddish tradition. The 'Old global' of Yiddish-speaking jap Europe used to be fading from dwelling reminiscence - but even as, Yiddish track loved a renaissance of inventive curiosity, either between a more youthful new release looking reengagement with the Yiddish language, and, so much prominently through the transnational revival of klezmer track. The final region of the 20th century and the early years of the twenty-first observed a gradual circulate of recent songbook courses and recordings in Yiddish - newly composed songs, recognized singers acting nostalgic favourites, American renowned songs translated into Yiddish, theatre songs, or even a number of forays into Yiddish hip hop; musicians in the meantime engaged with discourses of musical revival, post-Holocaust cultural politics, the transformation of language use, radical alterity and a brand new iteration of yank Jewish identities. This ebook explores how Yiddish tune grew to become this kind of powerful medium for musical and ideological creativity on the twilight of the 20th century, proposing an episode within the flowing timeline of a musical repertory - manhattan on the sunrise of the twenty-first century - and outlining a number of the trajectories that Yiddish track and its singers have taken to, and past, this aspect.

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Additional info for And We're All Brothers: Singing in Yiddish in Contemporary North America

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Seeking to expand the contexts in which young people could meet and speak Yiddish in an informal environment, Yugntruf had recently inaugurated a programme of ‘svives’ (lit. ‘surroundings’), small groups of young Yiddish-speakers, who met weekly in different New York City locations in order to create a Yiddish-speaking environment. This particular evening was a special event: the Upper West Side svive invited the students of the YIVOColumbia University Yiddish summer programme to join them for the evening.

Placards in Yiddish exhorted us to remember the six million. The audience was buzzing, and an elderly lady was shouting in a thick Yiddish accent. It took the chairman a few minutes to quieten the audience and to persuade everyone to take their seats. The proceedings opened in Yiddish: though two speakers later spoke in English, a good deal of material was in Yiddish and was not translated. A candle-lighting ceremony marked a formal start to the proceedings. Six candles on a table at the front of the stage were lit by Holocaust survivors – some of whom were so shaky they could barely climb the steps or hold the candle – and by children of survivors.

The group sang a crosssection of well-known Yiddish favourites. ‘Ale brider’ (All brothers), based on a poem written by Morris Winchevsky, illustrates the ideals of brotherhood and equality central to turn-of-the-century Jewish socialism. 1 On an upbeat note, the singing session ended with two RussianYiddish numbers: ‘A glezele lekhayim’ (A little toast), a Soviet Yiddish song whose melody derives from an early twentieth-century Yiddish theatre song, and ‘Geven a tzayt’ (Once there was a time) a 1970 translation by Yiddish singer Teddi Schwartz of Gene Raskin’s lyrics ‘Those were the days’, itself a contrafactum to another popular Russian song.

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And We're All Brothers: Singing in Yiddish in Contemporary North America by Abigail Wood

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