Letteratura scientifica selezionata sul tema "The Jewish folk school of Newark"

Both for the quality of the repertoire and the influence of the composers, the ‘New Jewish School in Music’, the subject of a two-day conference on 10–11 May 2004 at the University of Potsdam, Germany, represents a significant aesthetic movement in the history of 20th-century music. To apply the term ‘school’ to a varied group which lasted from 1908 till 1938, and spread from St. Petersburg, through Russia, to Berlin and Vienna, as in the conference title (it is also that of a new book by Dr Jascha Nemtsov, conference organizer), begs the question of the extent to which there was a unanimity of aesthetic purpose and style. Yet while this is still open to debate, what emerged from the conference was a common agenda and a sense that it was certainly ‘new’ and young, since all the composers were keenly interested in contemporary, avant-garde music. Though diverse in idioms, they all shared a profound involvement with the revival of a folk culture and its assimilation into art music.

Small liberal arts and folk schools attempted desegregation decades before other southern colleges and universities. Historians have long argued that Jews were active and influential in the fight for civil rights in the South in the 1950s and 1960s, but were Jews involved in these early attempts to enroll black students in historically white schools? If they were, were they successful and how did their Jewishness affect the efficacy of their attempts? In order to answer these questions, this article compares and contrasts two such schools, Black Mountain College in North Carolina and Highlander Folk School in Tennessee, which established “integration programs” in the 1940s. This research reveals that when Jews saturated a school, and were visibly involved in desegregation, their attempts to desegregate the institution were ultimately unsuccessful. When Jews supported a school through donations behind the scenes and occasional visits, however, the institution successfully desegregated.

This case study combines the disciplines of art history, community history, and ethnographic fieldwork to identify a group of museum objects within their cultural context. It shows how ethnography can be used to supplement the tool box available to the art historian in a positive way. Thus, private collections are used to identify the group of Hanukkah lamps of sheet metal in museums. Images of the lamps in folk and fine art, and mention of them in newspaper advertisements and community satirical publications—all contemporary to the period of their use—were consulted. Over 80 interviewees from southern Germany, Alsace, and the Netherlands were interviewed; the majority former teachers from a Jewish school in Wurzburg, others residing in Jerusalem and on the Moshav Shavei Tzion. As a result, the Hanukkah lamps were identified by country, ethnic group, religious affiliation, and object name in the local idiom. Tracing the development and geographic spread of the form also enabled us to identify the same lamp used in different social contexts, among itinerate members of society and the bourgeoisie.

В статье предпринят анализ последнего произведения выдающегося петербургского композитора Исаака Шварца (1923–2009) — мемориального опуса памяти жертв Холокоста. Аргументированно доказывается, что ашкеназская культура, в том числе и музыкальная, была органичной частью всей жизни композитора. Об этом свидетельствуют сформировавшийся в детские годы этнослух И. Шварца, огромное количество песен на идиш, которые он мог играть наизусть часами и, безусловно, тематизм инструментального концерта «Желтые звезды», в котором наряду с цитатным материалом выявляются и многочисленные авторские темы, отмеченные знаком еврейской идентичности. В них прослеживаются традиции синагогальной молитвы, клезмерского музицирования, идишской народной песни. Вместе с тем в работе с тематическим материалом, с формой, с оркестровкой обнаруживается прочная связь И. Шварца с ленинградской-петербургской композиторской школой. The article analyzes the last work of the well-known Petersburg composer Isaac Schwartz (1923–2009) which is a memorial opus in memory of the victims of the Holocaust. It is argued that the Ashkenazi musical culture was a natural part of the composer’s entire life. This is evidenced by the ethnic rumor of Schwartz formed in his childhood, a huge number of songs in Yiddish that he could play by heart for hours and, of course, the themes of the instrumental concerto “The Yellow Stars”, which demonstrates, along with quotation material, numerous author’s themes, marked by Jewish identity. They trace the traditions of synagogue prayer, klezmer music, Yiddish folk song. At the same time, the work with thematic material, with form, and with orchestration, reveals Schwartz’s tight relationship with the Leningrad-Petersburg school of composition.

<p>This work presents the results of research into the life and work of Dr. Stanko Sielski, related to his professional, scientific and humanitarian work. He was born in Gračanica, Bosnia and Herzegovina<br />(BH) in1891, to a family of Polish origins. He attended high school in Travnik and completed his studies of medicine in Vienna in 1919. During the First World War he served on the frontlines with the Austro-Hungarian army. He began his service as a doctor in Konjic, Prozor and Glamoč, and then worked in Varcar Vakuf, Zenica, Travnik, Bihać, Banja Luka, Sarajevo and Tuzla. At that time in BH living conditions were very bad, the level of education of the people insufficient, there were many epidemics of infectious diseases, and the mortality of the population was high. Dr. Stanko Sielski made a significant contribution to treating the sick, preventing various diseases and the health education of the people. In the realm of the history of medicine in BA, he researched the life and work of doctors from previous generations, the work of medical institutions, old medical manuscripts written in Arabic, Persian and Turkish, folk beliefs about the origins and treatment of a variety of illnesses, and the role of herbal medicine and amulets in treating the sick. In addition, he undertook research in the fields of archaeology, ethnology and sociology. He published the results of his research in scholarly journals. In the Second World War he saved the lives of many Jewish doctors and their families from persecution in concentration camps, and as a result in 2014 he was posthumously declared “Righteous Among the Nations”. <strong>Conclusion</strong>. Dr. Stanko Sielski, alongside his work as a doctor, was also involved in a variety of scientific research and publication work, which contributed to the preservation and a better understanding of the material and spiritual heritage of BH.</p>

Religious education as part of the modern society in Serbia is a subject of numerous interdisciplinary scientific studies. Modern education systems in countries where major socio-economic and political changes take place are undergoing major transformations and reforms. Their goal is to make changes to the education process and integrate it into the developmental trends of society, as well as to succeed in the affirmation of cultural and national values. Therefore, the relationship between religion and education, as a form of human consciousness and the need for a successful and fulfilled life in a given society, is very important. Transition processes in Europe have actualized the issue of religion and religious education as an integral part of the teaching process, and have contributed to a more intensive study of these topics. Christianity is the predominant religion in Serbia, or Orthodoxy, to be more accurate. However, there are other religious communities as well, such as: Islamic, Roman Catholic, Jewish, Protestant, etc. In primary and secondary schools in Serbia, religious education is being taught as an optional subject (students are given a choice between civic education and religious education), which is assessed descriptively and not included in the final grade. During the first cycle of primary education, subjects that teach about a particular religion are the following: Orthodox catechism (religious education), Islamic religious education, Catholic religious education, Evangelical Lutheran religious education of the Slovak Evangelical Church, Religious Education of the Christian Reformed Church, Jewish religious education. In addition to religious education, subjects containing religious topics are also: Serbian language, Nature and Society, Music Education, Visual Arts, Folk Tradition. The correlation and the link among the above-mentioned objects will make religious education more meaningful and more interesting for children. The main goal of teaching religion as an integral part of school subjects during the first cycle of primary education in Serbia is the preservation of religion. Religion is a very old social phenomenon which has not lost its significance and topicality to this day; on the contrary, it is becoming more and more present in people’s lives, and it represents a system of ideas, beliefs and practices, a specific type of behavior towards the world, society, man, nature. As such, it is equally significant as art, science, philosophy, etc. Besides the preservation of religion, another goal of religious education is to familiarize children with a certain religion, to teach them the basic characteristics of that religion, to teach them prayers, the significance of liturgy, and the customs of the religion children are learning about. It is important to emphasize that religious teaching should be in a form of an open and tolerant dialogue, while respecting other people’s religious beliefs, in order for it to be meaningful and worthwhile.

This article examines the genesis of the relations of artists of the School of Paris to the problem of Jewish national art. The Paris art scene opened to Jewish artists an opportunity of free creative activity, and, at the same time, it raised a question about the content of the concept of “Jewish art.” In the community of exiles in Paris there was formed the different views on Jewish theme in art, on the problem of national stylistic identity. The author specifies some contradictions in the content of these definitions, which legitimacy of use in modern art criticism isn’t in question any more. The term “School of Paris” doesn’t receive the accurate scientific development until today. This name contains a geographical reference, which, however, doesn’t give any criterion in defining the circle of the names of participants. Most often, the School is associated with an international range of artists established in Paris in the 1910-ies – 20-ies. In the circle of artists of the School of Paris, there predominate numerically the names from the overpopulated by Jews Ukrainian, Lithuanian, Belarusian provinces of the Russian Empire. It was not just those who simply lived in Paris. They were the ones who tried to take root into the local art environment. They were attracted not only by the particular situation of Paris, the cultural and artistic capital, but also by the civil liberties to which they could have access in France, in contrast to the countries of the Central and Eastern Europe. Their attempts to adapt in Paris were not always successful. The question of the meaning of the terms “Jewish art”, “Jewish artist” is relevant today as it was a hundred years ago. Attitude towards the Jewry and the national perspective in art was ambiguous among the Parisian Jewish artists. A number of Jews, members of the School of Paris, distanced himself from the Jewry. Among them could be called O. Zadkine and Ch. Soutine. They often invented and created for themselves new versions instead of their real autobiographies. For them the creative freedom was the freedom from the Jewry. They deliberately refused from Jewish themes in their art. Artists such as Chagall, recognized and accentuated their relation to the Jewry, including their artistic expression. However, they were far from the interest to the theoretical interpretation of the idea of National art. Finally, the third way of a Jewish artist assumed to search for meaning inside the concept of “Jewish art” and of “Jewish” art form. This is typical, for example, for the artists of the Parisian group called “Mahmadim.” The group was united around the magazine of the same name. Paris opened to Jewish artists a freedom of the art expression. The “Jewish” theme was the first step to this freedom. But now it was not already a Biblical theme which at the initial stage of the formation of Jewish Art substituted a Jewish theme and was treated as “Jewish”. From these new positions the Jewish artists turned to modernity, to genre, to everyday, recognizable life of the shtetl, the town the Pale. This was a step in the direction to a truly Jewish art. It created a necessity of the formulation of the problem of National art, the content of which was discussed actively. The search of a National style turned Jewish artists to European innovations in the plastic language. The freedom of styling, innovation, enriched the traditional, folk forms of Jewish art. But the expected National art could be mature only in conjunction with the National ideology, could be formed in a community, and this situation at the same time threatened the creative identity of an artist.

Abstract In 1969, My present, sister, and I moved from our row house apartment in the Jackson Heights section of Queens, New York, to a first-floor rental in a two-family house on Long Island. The reason was the racial desegregation of our neighborhood public schools. The civil rights movement, whose first stirrings had focused on southern school systems in the 1950s, had spread the country and was increasingly coming closer to home. This was apparent in the racial violence that now engulfed cities like Newark no less than Birmingham. Perhaps even more frightening than spectacular eruptions like the riots that followed the assassination of Martin Luther King were more lasting structural changes in everyday life. The previous year, a political struggle over school integration erupted in the Brooklyn neighborhoods of Ocean Hill–Brownsville, and in the ensuing arguments, which resulted in a state takeover of the schools, even former allies—the teachers’ union, black activists, Jewish residents—found themselves bitterly divided.

Abstract The first coach of the Dixie Flyer is divided into three parts: a long Jim Crow section; a cubbyhole which is the Jim Crow smoker, consisting of two seats that face each other on each side of the aisle; and a long section for whites. The Dixie Flyer was hurtling through central Georgia. It was late at night, and alone in the smoker, I had snatched a doze when their voices woke me. They were in the khaki of naval cadets. I could tell from their accent that they were from the North. They were criticizing the famed hospitality of the South. They had wanted to sit together, but nobody in the coach behind would move to another seat. A couple of fellows had refused a direct request even though they would have to sit beside a stranger in any case. Maybe the passengers detected that Yankee twang. So the cadets had come up to the Jim Crow smoker. One was dark-haired and short, looking a bit Jewish. The other was a tall blonde. As they scoffed at the local folk-ways, I ventured my question, “Where are you fellows from?” New York and Newark, they told me. I was just through an irritating experience at the Atlanta bus station and was hot and dog-tired. “God’s country,” I said.

Abstract Every Day During My Fourteen Years in New Haven-six in graduate school, eight on the faculty-I trudged across a large thoroughfare on my way from breakfast at Naples Pizza to Linsly-Chittenden Hall, home of Yale’s famous English department. On Fridays, the corner was occupied-there is no other word-by a group of Lubavitcher Hasidim who sought out Jewish-looking folk like myself, walked up to us, and shouted in our ears, “Excuse me, sir, are you Jewish?” Needless to say, they presented me with so ething of a dilemma. Had I answered yes-I never did-they would have escorted me into the back of their mitzvah-mobile, taught me a prayer or two, and helped me on the path toward Jewish enlightenment. I had no interest in this, since my own Jewishness consists of a passionate belief in voting the straight Democratic ticket, fasting on Yorn Kippur, eating bagels and lox-and doing no more. Had I answered no, however, I would have been disavowing not only my own Jewishness but also that of my family who after all, certain Europeans had tried to stick in ovens a generation earlier and who had only escaped their fates by a series of flukes too fortuitous to be believable.