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Relevant bibliographies by topics / Dance, poland

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Academic literature on the topic 'Dance, poland'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Dance, poland"

1

Nowak, Tomasz. "The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies." Musicology Today 11, no. 1 (December 1, 2014): 13–22. http://dx.doi.org/10.2478/muso-2014-0011.

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Abstract The mainstream fields of Polish dance research were defined in 1818–1847 by Józef Elsner, Kazimierz Brodziński, Łukasz Gołębiowski and Karol Czerniawski, who broadly characterized some elements of the dances considered as national (the polonaise, mazur, krakowiak and kozak). Oskar Kolberg knew very well the works of all these authors and referred to them many times. However, he was unique in his extensive documentation of dance melodies, information about their geographic origin, and local terminology. He also characterized the dances with regard to their sequence in the traditional context and described the dance technique in an instructive manner. Oskar Kolberg’s documentation for quite a long time remained outside the scope of mainstream research and publications about dance in Poland. In the 1930s Polish representatives of the newly defined field of ethnochoreology were the first to include examples from Kolberg in their works on the ritual dances, regional dances and characteristic dance behaviour types and forms. Kolberg’s works increased in popularity after the World War II. Today the materials left by Oskar Kolberg allow us to establish to a large extent the geographic range and perspective on the changes of dance repertoire, both with regard to choreographic technique and dance types, or a more detailed and critical perspective on the problems of folk terminology in dance phenomena. It may also serve as the point of departure for wider retrospective or comparative studies – which may not be very fashionable today, but which have never been adequately conducted in Poland.

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Nitza Davidovitch, Nitza, and Eyal Lewin. "The Polish-Jewish Lethal Polka Dance." Journal of Education Culture and Society 10, no. 2 (September 2, 2019): 15–31. http://dx.doi.org/10.15503/jecs20192.15.31.

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Aim. This paper analyses the inherent paradoxes of Jewish-Polish relations. It portrays the main beliefs that construct the contradicting narratives of the Holocaust, trying to weigh which of them is closer to the historic truth. It seeks for an answer to the question whether the Polish people were brothers-in-fate, victimized like the Jews by the Nazis, or if they were rather a hostile ethnic group. Concept. First, the notion of Poland as a haven for Jews throughout history is conveyed. This historical review shows that the Polish people as a nation have always been most tolerant towards the Jews and that anti-Semitism has existed only on the margins of society. Next, the opposite account is brought, relying on literature that shows that one thousand years of Jewish residence in Poland were also a thousand years of constant friction, with continuous hatred towards the Jews. Consequently, different accounts of World War II are presented – one shows how the Polish people were the victims, and the others deal with Poles as by-standers and as perpetrators. Results and conclusion. Inconsistency remains the strongest consistency of the relations between Jews and Poles. With the unresolved puzzle of whether the Polish people were victims, bystanders or perpetrators, this paper concludes with some comments on Israeli domestic political and educational attitudes towards Poland, that eventually influence collective concepts. Cognitive value. The fact that the issue of the Israeli-Polish relationship has not been deeply inquired, seems to attest to the reluctance of both sides to deal with what seems to form an open wound. At the same time, the revival of Jewish culture in Poland shows that, today more than ever, the Polish people are reaching out to Israelis, and are willing to deal with history at an unprecedented level. As Israelis who wish to promote universal values, a significant encounter with the Polish people may constitute a door to acceptance and understanding of others. Such acceptance can only stem from mutual discourse and physical proximity between the two peoples.

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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.

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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

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IWANSKA, ALICJA. "Straight into the Eyes – Jacek Łumiński and the Silesian Dance Theatre(1991-2011)." Journal of Education Culture and Society 3, no. 1 (January 13, 2020): 31–46. http://dx.doi.org/10.15503/jecs20121.31.46.

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The fi nal decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years.The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the recent twenty years. In the beginning the author presents a choreographic por-trait of J. Łumiński, the founder and choreographer of the Silesian Dance Theatre, and creator of the Polish contemporary dance technique. Then an analysis of J. Łumiński’s dance style is car-ried out, and the review of the Silesian Dance Theatre’s choreographic attainments is presented.The fi nal part of the article discusses the wide spectrum of educational activities under-taken in the fi eld of contemporary professional dance by theSilesian Dance Theatre, and the phenomenon of the theatre on the Polish stage.

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Black, Cathy. "The Dance of Exile: Jerzy Starzyński, Kyczera, and the Polish Lemkos." Dance Research Journal 40, no. 2 (2008): 41–55. http://dx.doi.org/10.1017/s0149767700000371.

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Since at least the fourteenth century the Slavic ethnic minority population known as Polish Lemkos has claimed the northern slopes of the Carpathian Mountains as its homeland. Lemkos are part of a larger east Slavic population of Carpathian Rus' collectively known as Rusyns, who reside in the Lemko region (in Poland), the Prešov region (in Slovakia), and western Subcarpathian Rus' (in Ukraine) (see Figure I). Beyond the Carpathian homeland Rusyns live in Serbia, Croatia, the Czech Republic, Hungary, Romania, and outside of Europe in the United States, Canada, and Australia (Magocsi 2005, 433; 2006, II). By the outset of the twentieth century in the Lemko Region, the term “Lemko” was gradually adopted as an ethnonym instead of “Rusyn.” Some Rusyns in lands other than Poland also choose to refer to themselves as Lemkos.

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Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.

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The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.

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Banio, Adrianna, and Jerzy Eider. "VERIFICATION OF SPECIAL AND TASK-ORIENTED MOTOR TEST AMONG COMPETITIVE BALLROOM DANCERS AT THE HIGHEST LEVEL OF ADVANCEMENT." Journal of Kinesiology and Exercise Sciences 28, no. 82 (June 30, 2018): 29–34. http://dx.doi.org/10.5604/01.3001.0013.5123.

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Aim: Verification of special and task-oriented fitness test of competitive ballroom dancers carried out among the most qualified contestants by Rokita (2006).Basic procedures: The research material consisted of 76 dancers (38 European couples) of the highest international dance class S, who train ballroom dance in European countries, i.e.: Poland, Italy, the United Kingdom, Germany, and Ukraine. The research methodology included carrying out a test constructed by Rokita (2006), consisting of a total of 16 “chaines” turns in 2/4 metre and at a rate of 40 bars per minute. Results: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dancers. It is obvious that the most qualified male and female dancers show a higher level of physical fitness due to, for example, training. This however does not mean that there are no significant differences between them. Nevertheless, it is impossible to measure them using this test. Therefore, the conducted research led to considerations on the principles of construction of a motor skills test. Conclusions: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dances. This test does not fully meet the criteria for the construction of a motor skills test.

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Banio, Adrianna. "The Influence of Latin Dance Classes on the Improvement of Life Quality of Elderly People in Europe." Sustainability 12, no. 6 (March 11, 2020): 2155. http://dx.doi.org/10.3390/su12062155.

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The aim of this paper addresses the problem of the quality of life of elderly people by presenting the energy of Latinos that arouses optimism in European citizens and provides them with joy through Latin dances on a regular basis. The research covered 163 people in the old, so-called third, age, from the European countries with the highest aging rate, namely: Italy, Germany, Greece and Poland. Results shows that physical activity in the form of Latin American dances has a beneficial effect on the functioning of the body. Not only does it allow for maintaining physical fitness and inhibiting the development of many ailments and diseases, but also stimulates the brain to constant activity, which results in improvement of the ability to make associations, concentration and, above all, memory. It is also a way to fill the gap that arises as a consequence of the completion of certain life stages. Through making new social contacts, it is possible to forget about loneliness, stagnation and the monotony of everyday life. However, above all, Latin dance is a source of satisfaction, joy and happiness, i.e., determinants of the quality of life.

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Goff, Moira. "The Celebrated Monsieur Desnoyer, Part 1: 1721–1733." Dance Research 31, no. 1 (May 2013): 67–77. http://dx.doi.org/10.3366/drs.2013.0059.

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George Desnoyer first danced in London in 1721 and 1722, and returned to pursue a successful performing career there between 1731 and 1742. He may have been born around 1700 in Hanover, for he was the son of the dancing master ‘Denoyé’ employed by Georg Ludwig Elector of Hanover (later King George I of England) from at least 1694. 1 Musicians named ‘Desnoyers’ can be found in Paris records from the 1650s. 2 The elder Desnoyer may have been related to Antoine Desnoyers, who was a member of the ‘violons de la Chambre’ at the court of Louis XIV from at least the late 1670s until about 1694. 3 He may also have been the Desnoyers who danced in the 1689 and 1690 revivals at the Paris Opéra of Lully's Atys and Cadmus et Hermione respectively. 4 Whatever his lineage, George Desnoyer was already a skilled exponent of French belle dance style and technique when he first appeared in London, at the Drury Lane Theatre, early in 1721. Desnoyer's father died on 18 April 1721, and he was presumably appointed to succeed him for he left England during the summer of 1722 to become dancing master to George I's grandson Prince Frederick, who had remained in Hanover. His appointment at the electoral court formally ended early in 1730, and the following year Desnoyer returned to London. He was billed as ‘first dancer to the King of Poland’ when he appeared at Drury Lane in late 1731, and for the next few years he divided his time between London, Dresden and Warsaw. Desnoyer's London career lasted until 1742. Over the years, he performed solos, duets and group dances as well as appearing in a variety of afterpieces, and he enjoyed notable partnerships with several leading female dancers. Although virtually all the choreographies he performed are lost, there is much other evidence to shed light on Desnoyer's dancing style and technique. I have documented the lives and careers, as dancing masters, of George Desnoyer and his son Philip elsewhere. 5 In this article I will explore and analyse George Desnoyer's repertoire during his first two periods in London, 1721–1722 and 1731–1733. In a second article, I will look at his repertoire and his dancing partnerships between 1734 and his retirement from the London stage in 1742. 6

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Domagała, Jarosław. "Statistics regarding music education in Poland in the interwar period." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 79–122. http://dx.doi.org/10.5604/01.3001.0014.6470.

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Statistical issues regarding music education in the 2nd Republic of Poland have not been discussed thoroughly so far. This article attempts to do so. The source material comprises statistical data from the Ministry of Art and Culture, the Ministry of Religious Affairs and Public Education, as well as articles published in music literature of the interwar period. Presented statistics cover music schools, solo singing schools, schools for organists, schools of eurhythmics and art dance, as well as drama schools. Music was taught in all the aforementioned institutions, therefore reports treated all these schools en bloc. Existing sources enumerate schools, their managerial staff and the establishments’ addresses. Preserved statistical data also enabled a more detailed analysis, such as, for instance, recognition of pupils’ preferences as regards their choice of instruments, as well as music education accessibility in various parts of the country. The preserved statistical source material is probably incomplete, does not show a full picture of the then music education. It presents, however, with great accuracy, the figures regarding this type of education. Statistical information was collected truly meticulously by the Ministry of Religious Affairs and Public Education, particularly in the late 1920s and in the 1930s. Along with primary and secondary education, music education became an important element of the overall education system in the interwar period.

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Dissertations / Theses on the topic "Dance, poland"

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Godula, Olga Dominika. "Echoes and Memories of Poland: Music and Dance in the Polish Community of Toledo, Ohio." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213008130.

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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.

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Mozingo, Karen A. "Crossing the Borders of German and American Modernism: Exile and Transnationalism in the Dance Works of Valeska Gert, Lotte Goslar, and Pola Nirenska." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214361531.

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North, Naomi. "Fall Like a Man." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460115929.

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Caldwell, Linda Almar. "Contemporary dance in Poland a play of paradox in seven acts /." 2002. http://www.oregonpdf.org.

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Books on the topic "Dance, poland"

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Benet, Sula. Song, dance, and customs of peasant Poland. New York: Polish Heritage Publications, 1996.

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European dance: Ireland, Poland, Spain, and Greece. 2nd ed. New York: Chelsea House, 2010.

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European dance: Ireland, Poland, Spain, and Greece. 2nd ed. New York: Chelsea House, 2010.

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Mark, Attrill, ed. The folk dance & costume atlas of Poland: History, geography, music, weddings, dances, songs, costumes. [Rainham, Essex?]: H. Matyka, 1991.

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The body revolving the stage: New dance in new Poland. Warsaw: Instytut Teatralny, 2011.

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Trochimczyk, Maja. Polish dance in Southern California. Boulder, [Colo.]: East European Monographs, 2007.

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Zamorska, Magdalena Anna. Intense Bodily Presence: Practices of Polish Butō Dancers. Bern: Peter Lang International Academic Publishers, 2018.

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Grazyna, Dabrowska, Bielawski Ludwik, and Polish Academy of Sciences. Institute of Art. Polish Society for Ethnochoreology., eds. Dance, ritual and music: Proceedings of the 18th Symposium of the Study Group on Ethnochoreology, the International Council for Traditional Music, August 9-18, 1994 in Skierniewice, Poland. Warsaw: [Polish Society for Ethnochoreology, Institute of Art - Polish Academy of Sciences], 1995.

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Poland. Senat. Kancelaria. Biuro Informacyjne. Wybrane dane o pracy Senatu Rzeczypospolitej Polskiej II kadencji. Warszawa: Kancelaria Senatu RP, Biuro Informacyjne, 1993.

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Poland. Senat. Kancelaria. Biuro Informacyjne. Wybrane dane o pracy Senatu Rzeczypospolitej Polskiej I kadencji. 2nd ed. Warszawa: Kancelaria Senatu RP, Biuro Informacyjne, 1991.

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Book chapters on the topic "Dance, poland"

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Mazierska, Ewa. "Music and Dance in the Service of Modern Poland: Interwar Musicals." In Polish Popular Music on Screen, 23–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_2.

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Kurzeja, Monika. "Children’s dance across borders during the Festival of the Children of Mountains in Nowy SĄcz, Poland." In Dancing Across Borders, 74–76. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781003008569-11.

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Mckee, Eric. "Dance and the Music of Chopin: The Polonaise." In Chopin and His World. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691177755.003.0009.

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This chapter discusses how the polonaise served as an emblem of Poland's ruling class or as a template for genteel behavior. It also represented the nation of Poland, its people, customs, and history. Well aware of their shared noble associations, Polish dance commentators often began their discussion of the polonaise by comparing it to the minuet. Their endgame was to show how native Polish elements made the polonaise far superior, in their view, to the more theatrical and artificial minuet. The chapter also explores several of the polonaise's expressive and cultural associations in currency during the last quarter of the eighteenth century and beyond: national identity, otherness, and the Polish nobleman.

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Mazierska, Ewa. "Transformation of dance culture in Poland as a battle over taste in music." In The Evolution of Electronic Dance Music. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781501366390.0020.

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Sztyma, Tamara. "On the Dance Floor, on the Screen, on the Stage." In Polin: Studies in Polish Jewry Volume 32, 165–76. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0010.

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This chapter examines the Polish Jewish cultural frontier as the cradle of Poland's first mass culture. It identifies Polish Jewish intellectuals and artists that was connected to the entertainment industry, such as in music, film, theatre, and cabaret. It also describes the developments in America during the main centre of popular culture and the entertainment industry, which was mostly shaped by immigrants and several Jews from eastern Europe. The chapter reviews the beginnings of the Polish record industry that dated back to the early twentieth century and mentions the Jewish entrepreneurs that saw both its potential. It discusses Syrena Record as the first record label in Poland that was founded in 1904 in Warsaw by Juliusz Feigenbaum, who drew upon his family's generation-spanning tradition in the music business.

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Phillips, Victoria. "The Aging of a Star in Camelot." In Martha Graham's Cold War, 125–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190610364.003.0006.

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“It takes me ten years to make a dancer,” Martha Graham declared, and by 1961, at age sixty-seven, she had created a generation of stars. Her technically powerful company trained with the matriarch of modern dance, its “Picasso,” as they readied to tour for a new, young president, John F. Kennedy, and his sophisticated wife, Jackie. He needed to show sophistication and gravitas; in 1962, Graham and her twenty glowing dancers toured Greece, Turkey, Yugoslavia, Poland, Sweden, West Germany, Finland, the Netherlands, and Norway, traversing a complex geographic puzzle of territories contested between East and West, engaging with “containment,” the “Iron Curtain,” old-fashioned wartime European neutrality, and Bandung’s issues of nonalignment, all refashioned by the changing Cold War. Yet the tour would start in Israel, again courtesy of private funding. Greece and Turkey had been named by Truman in his “containment” policy, led by George Kennan; Graham performed as Clytemnestra for the Greeks. Kennan sponsored Graham as she went “behind the Iron Curtain” to Yugoslavia and Poland, where religious works were foregrounded to fight the Soviet “atheists.” As in 1957, she would perform in West Germany, a Cold War hotspot. In Sweden, Finland, the Netherlands, and Norway, she engaged with European neutrality, nonalignment, and the Non-Aligned Movement that demanded softer power. As Graham aged, she presented increasingly sexually charged works with the cover of modernism and myth. Yet her alcoholism took hold and compromised her work. Many suggested this should be a “farewell tour.”

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Rubin, Joel E. "Szpilman, Bajgelman, Barsht." In Polin: Studies in Polish Jewry Volume 32, 193–218. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0012.

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This chapter focuses on the post-war fate of the Szpilmans, Bajgelmans, and Barshts, which are an extended family of professional Jewish instrumentalists that originated from Ostrowiec Swietokrzyski in Poland. It explores how the Szpilmans, Bajgelmans, and Barshts played important roles as performers and composers in genres as diverse as instrumental klezmer, jazz, chamber, symphonic music, Yiddish theatre, vaudeville, and Brazilian dance music. It also mentions Władysław Szpilman as the most famous family member, whose memoirs formed the basis of Roman Polanski's Oscar-winning film, The Pianist. The chapter provides an ethnography of elderly living musicians that became part of salvage ethno-musicology, cultural history, and genealogy. It looks into activities of professional Jewish musicians from klezmer families, whose work and experience expanded in a number of directions, especially during the second half of the nineteenth century.

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Shmeruk, Chone. "Mayufes: A Window on Polish–Jewish Relations." In Polin: Studies in Polish Jewry Volume 10, translated by Anna Barber, 273–86. Liverpool University Press, 1997. http://dx.doi.org/10.3828/liverpool/9781874774310.003.0011.

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This chapter studies mayufes, a custom the author terms ‘a window on Polish–Jewish relations’. For centuries, mayufes was part of the Polish–Jewish experience. In Polish dictionaries and other sources, mayufes is usually defined as ‘a song sung by Jews at the Sabbath midday meal’, or ‘a song sung by Jews at certain religious ceremonies’; a ‘dance’; or even a ‘ritual Jewish dance’. According to Polish dictionaries, mayufes derives from the opening words of the well-known Hebrew Sabbath zemer (song sung at the Sabbath table) Mah yofis (‘How fair you are’). None of these definitions takes note of a crucial feature of the concept of mayufes in Polish–Jewish culture, however. When a mayufes was sung or danced by a Jew, or someone imitating a Jew, it was not at the family Sabbath table. Rather, it was performed before a Polish audience, without any relation to the context or significance of the original Jewish zemer.

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SZTYMA, TAMARA. "On the Dance Floor, on the Screen, on the Stage:." In Polin: Studies in Polish Jewry Volume 32, 165–76. The Littman Library of Jewish Civilization, 2020. http://dx.doi.org/10.2307/j.ctv1198tg3.15.

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Werb, Bret. "Musical Afterthoughts on Shmeruk’s ‘Mayufes’." In Polin: Studies in Polish Jewry Volume 32, 63–82. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0005.

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This chapter focuses on the mayufes, the song at the centre of the “Mah yafit” that was originally sung during the sabbath meal. It examines how the mayufes came to typify Jewish music and details how wealthy landowners would often command the Jews living on their estates to perform it as part of an evening's entertainment. It also reviews how mayufes made its way into urban popular entertainment. The chapter talks about the late historian Chone Shmeruk, who identified the obscure song-and-dance genre “majufes” as a sociological phenomenon unique to the Polish Jewish experience. It draws on an array of literary sources in order to investigate how Shmeruk recounted the pedigree of majufes.

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