Deterioration and Recovery

2021 ◽  
pp. 375-388
Author(s):  
Tina Frühauf
Keyword(s):  
Cultural Heritage ◽  
Jewish Community ◽  
Community Center ◽  
Yiddish Literature ◽  
Literary Works ◽  
East Berlin ◽  
Cultural Life ◽  
West Berlin

In the 1970s and early 1980s the Jewish community in East Berlin was able to restore its declining cultural life, in spite of a shrinking membership. Events at the new culture hall at Oranienburger Straße ensued with programs featuring discussions of Judaism, Yiddish literature, and other literary works, as well as recitals. Unlike the community center at Fasanenstraße in West Berlin, the East Berlin community closely adhered to Jewish cultural heritage and especially embraced Yiddish culture. In parallel, Yiddish music as a perceived expression of Jewish secularity and antifascism began to attain a new position in mainstream events, a development mainly driven by Lin Jaldati. Aside from this, the Jewish community maintained their Kultus at Rykestraße Synagogue, continued the series of synagogue concerts, and the annual Kristallnacht commemorations. In parallel to the community, alternative Jewish groups began to form.

The Establishment of the Jüdische Gemeinde von Groß-Berlin

2021 ◽  
pp. 321-340
Author(s):  
Tina Frühauf
Keyword(s):  
Jewish Community ◽  
Communal Life ◽  
East Berlin ◽  
Special Events ◽  
West Berlin ◽  
Musical Practices ◽  
East And West

In the aftermath of the purges of 1952/1953, the Jewish community in Berlin was divided into East and West constituencies. This chapter traces the trajectory of the East Berlin community from this division until 1971. Against all odds and in the midst of turmoil, communal life in East Berlin continued, centered around its only synagogue, which was rededicated in 1953 as Friedenstempel. Rykestraße Synagogue became a cultural hub. It instigated a series of synagogue concerts and opened its doors for the annual commemorations of the November pogroms. Given the dearth of cantors, the community also maintained contacts with West Berlin, which regularly freed its cantors from their duties so that they could assist, especially for funerals at the Weißensee cemetery and for special events. The continual presence of cantors from West Berlin was most significant. It gave way to a mobility of musical practices both in Kultus and concerts.

Popularitas Tari Piring sebagai Identitas Budaya Minangkabau

Panggung ◽  
2013 ◽  
Vol 23 (3) ◽  
Author(s):  
Indrayuda
Keyword(s):  
Cultural Heritage ◽  
Life Style ◽  
Social Life ◽  
Attitudes And Behaviors ◽  
Cultural Life ◽  
The People ◽  
The Social ◽  
West Sumatra ◽  
And Behaviors ◽  
Origin Area

ABSTRACT This article aims to explain the existence of Tari Piring dance as a culture identity of Minang- kabau people, both the people who live in the origin area and outside the area. Tari Piring dance is a traditional cultural heritage of Minangkabau people which is used and preserved by Minangkabau people in their life so that it becomes culture identity of Minangkabau people. As the identity of Minangkabau people, Piring dance is able to express attitudes and behaviors as well as the charac- teristics of Minangkabau people. The dance can serve as a reflection of social and cultural life style of Minangkabau society. Through Tari Piring performance, the outsider can understand Minangkabau people and their culture. Tari Piring, therefore, is getting more adhere to the social life of Minang- kabau people in West Sumatra and in the regions overseas. In the spirit of togetherness, Minang- kabau society preserves the existence of Piring dance as the identity and cultural heritage up to the present time. Keywords: Piring Dance, Minangkabau culture  ABSTRAK Artikel ini bertujuan untuk menjelaskan keberadaan Tari Piring sebagai identitas bu- daya masyarakat Minangkabau, baik yang berada di daerah asal maupun di daerah peran- tauan. Tari Piring merupakan warisan budaya tradisional masyarakat Minangkabau yang digunakan dan dilestarikan oleh masyarakat Minangkabau dalam kehidupannya sehingga menjadi identitas budaya Minangkabau. Sebagai jati diri masyarakat Minangkabau, Tari Piring mampu mengungkapkan sikap dan prilaku serta karakteristik orang Minangkabau. Tari Piring dapat berperan sebagai cerminan dari corak kehidupan sosial budaya masyara- kat Minangkabau. Melalui pertunjukan Tari Piring, masyarakat luar dapat memahami orang Minangkabau dan budayanya. Oleh karena itu, sampai saat ini Tari Piring semakin melekat dengan kehidupan sosial masyarakat Minangkabau di Sumatera Barat maupun di daerah perantauan. Dengan semangat kebersamaan, masyarakat Minangkabau mampu mempertahankan keberadaan Tari Piring sebagai identitas dan warisan budayanya hingga masa kini. Kata kunci : Tari Piring, budaya Minangkabau

“She Has Them Coming to Judaism”: Tradition and Jewish Affinity in Jewish Wills of Seventeenthcentury Livorno

2018 ◽  
Vol 12 (2) ◽  
pp. 168-202
Author(s):  
Nourit Melcer-Padon
Keyword(s):  
Cultural Heritage ◽  
Jewish Community ◽  
Linguistic Analysis ◽  
Unique Status

Abstract From its inception, the Jewish community in Livorno enjoyed a unique status, encouraging former conversos to settle there. In Livorno they could live openly as Jews. Thus, it is most interesting to study their attitude to their cultural heritage, according to the wills left by several of the Sephardi community’s prominent members. A linguistic analysis of phrases used by three testators is particularly revealing in assessing their positions regarding Judaism. Their words reflect anxiety and determination: a realization of hardships encountered by New Christians on their way to Judaism, and a further realization that only few will adhere to it.

scholarly journals The role of cultural industries in modern cultural life of the region (on the example of N. D. Neustroev's comedy “Tieteybit”)

2021 ◽  
pp. 47-52
Author(s):  
Nurgun Vyacheslavovich Afanasev ◽  
Ul'yana Valer'evna Titova
Keyword(s):  
Cultural Heritage ◽  
Social Life ◽  
Creative Industries ◽  
Creative Industry ◽  
Young Generation ◽  
Regional Culture ◽  
Classical Literature ◽  
Cultural Life ◽  
The Impact

The object of this research is the role of the comedy “Tieteybit” by N. D. Neustroev in cultural life of the Sakha Republic (Yakutia). The subject is the impact of modern creative industries upon cultural life of the region. On the example of Nikolay Denisovich Neustroev's comedy play “Tieteybit”, the authors examine the use of creative approaches towards preservation and popularization of cultural heritage of the Sakha people. It is noted that over the recent years, a major event in the development of spiritual culture and cultural life of the region overall has become the innovations introduced by the contemporaries in staging the Yakut comedies. Motifs of the comedy “Tieteybit” served as the prototype for staging the the first Yakut musical comedy, and even a film. A survey was conducted touching upon the following questions: are the innovations introduced in culture in form of a screen version of classical literature with the elements of innovation encourage the young generation to studying the Yakut cultural heritage?; what is the relevance of the work by N. D. Neustroev “Tieteybit”? The conclusions is made that in the XXI century, N. D. Neustroev's comedy “Tieteybit” has become one of the basics for the development of creative industry of the region. As an instrument for the development of regional culture, creative industry may play the strongest and highly effective role in the development of social life of the region.

A JEWISH COMMUNITY CENTER RESPONSE

1991 ◽  
Vol 59 (2) ◽  
pp. 32-34
Author(s):  
Jerry Wische
Keyword(s):  
Jewish Community ◽  
Community Center

After the Wall: Pride before the Fall, 1961–89

2002 ◽  
Author(s):  
John G. Rodden
Keyword(s):  
Early Morning ◽  
The Other ◽  
Sunday Morning ◽  
The West ◽  
East Berlin ◽  
West Berlin ◽  
Service Jobs ◽  
Subway Stations ◽  
Identity Cards ◽  
The City

East Berlin. August 13, 1961. As the sun peeks over the horizon on this beautiful Sunday morning, most East Berliners sleep on, but some rise for work; a few thousand of them are Grenzgänger, who cross town—quite legally—to work in the “other” Berlin, mostly as hotel and restaurant employees and in other service jobs made lucrative by the uneven exchange rate. Each day they make the trip to West Berlin—by foot, by bicycle, by S-Bahn and U-Bahn, showing their DDR identity cards and special work permits to the bored Grepos (Grenzpolizei, border police) stationed at the gates. But this morning the Grepos are not bored; today, as the would-be commuters discover as they reach streets and subway stations along the East Berlin border, no Grenzgänger will cross. “Die Grenze ist geschlossen!” people scream to each other in the early-morning stillness. “The border is closed!” No subway cars are running westward; Grepos guard the U-Bahn tunnels to prevent subway commuters from fleeing to the West on foot; Vopos turn back Grenzgänger at every checkpoint. The SED has apparently found a way to secure its future and halt the flight of DDR and skilled labor—by walling them in. WHO HAS THE YOUTH, HAS THE FUTURE! As the Grenzgänger stumble home and the DDR capital—“die Hauptstadt der DDR”—awakens to the nightmare, it is as if a tremendous howl—the anguished wail of cornered, trapped, desperate animals—has gone up throughout East Berlin— as it soon will over the DDR. For almost a decade, East Germany’s 600-mile border has been sealed by barbed wire and 12-foot electrified fencing; just inside the fence is a strip of land about 50 yards wide that is cleared of brush, dotted with mines, and covered by machine guns in high watchtowers. And so, most aspiring refugees make their way to East Berlin, where many of the streets and subway stations along the city border are guarded casually, if at all.

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