This chapter details how Jewish folk music was presented as high art to concert audiences in early twentieth-century Germany and how that strategy was criticized. In January of 1901, the first issue of the journal Ost und West (East and West) appeared in Berlin. It served as the most important organ of cultural Zionism for the next two decades, and, as its title suggests, it attempted to bridge the cultural divide between east and west European Jews with the aim of creating an ethnic nationalist goal. The first issue contained, among other things, an article by the renowned Jewish philosopher Martin Buber entitled ‘Jewish Renaissance’ — a term that was to characterize this movement. Critical to this renaissance was the establishment of a common spirit binding a modern nation. Although based in Germany, the leaders of the movement envisioned that this spirit would be found in the ‘authentic folk’ of eastern Europe and the ethno-poetry of the folk song. The chapter then uncovers the often overlooked story of these leaders, particularly Leo Winz and Fritz Mordechai Kaufmann, and the significance of their renaissance movement for modern Jewish thought and culture.
Finds of parts of hand firearms of the second half of the 15th–16th century from Staraya Ladoga and the fortress of Oreshek in the view of East- and West-European parallels
