By Abigail Wood
The sunrise of the twenty-first century marked a turning interval for American Yiddish tradition. The 'Old international' of Yiddish-speaking japanese Europe used to be fading from dwelling reminiscence - but while, Yiddish track loved a renaissance of inventive curiosity, either between a more youthful iteration looking reengagement with the Yiddish language, and, so much prominently through the transnational revival of klezmer song. The final area of the 20th century and the early years of the twenty-first observed a gentle flow of latest songbook courses and recordings in Yiddish - newly composed songs, recognized singers acting nostalgic favourites, American well known songs translated into Yiddish, theatre songs, or even a few 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 new release of yankee Jewish identities. This ebook explores how Yiddish music grew to become this kind of effective medium for musical and ideological creativity on the twilight of the 20 th century, proposing an episode within the flowing timeline of a musical repertory - ny on the sunrise of the twenty-first century - and outlining the various trajectories that Yiddish tune and its singers have taken to, and past, this element.
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Additional info for And We're All Brothers: Singing in Yiddish in Contemporary North America
In doing so, the impact of the Holocaust is not relegated to past events, but rather recognised in its continuing consequences for survivors, their families and the community itself. While the reverential atmosphere and the memorial candles burning on the stage at the 2001 event did not allow attention to stray from the victims of the Nazis, the programme did not simply re-tell or historicise the story of the Holocaust. Rather, this story was embedded within the wider framework of the history of Yiddishspeaking Jewry in New York.
The first was ‘Shlof, shlof, shlof’ (Sleep, sleep, sleep), a folk lullaby, in which a list of objects are rhymed with parts of the body: Shlof, shlof, shlof Der tate vet kumen fun dorf Vet er brengen an epele Vet zayn gezunt dos kepele Sleep, sleep, sleep Daddy’s coming back from the village If he brings a little apple Your little head will be healthy. In later verses the rhyming pair epele (little apple) / kepele (little head) becomes nisele (little nut) / fisele (little feet), yoykhele (little soup) / boykhele (little tummy) and so on.
Elders can also be the children of a new, free age) (Katsherginski 1948, 325). Finally, all present stood to sing ‘Zog nit keynmol’ (Never say), also known as the Partisans’ Hymn, the Yiddish text of which was printed in the programme. This song, again proclaiming optimism in the face of adversity, was written by Hirsh Glik, a member of the literary group ‘Yung vilne’ (Young Vilna), and in 1943 became the anthem of the United Partisan Organisation. It was not just this 36 And We’re All Brothers: Singing in Yiddish in Contemporary North America adoption of the song, but also its subsequent wide use, which have contributed to its status today.