Relevant bibliographies by topics / Jewish wedding dances

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Academic literature on the topic 'Jewish wedding dances'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Jewish wedding dances"

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Staub, Shalom. "Repertoire, Values, and Social Meaning in the Wedding Dances of a Yemenite Jewish Village in Israel." Dance Research Journal 17, no. 2 (1985): 59. http://dx.doi.org/10.2307/1478082.

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Solomon, Alisa. "Balancing Act: Fiddler's Bottle Dance and the Transformation of “Tradition”." TDR/The Drama Review 55, no. 3 (2011): 21–30. http://dx.doi.org/10.1162/dram_a_00091.

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The Bottle Dance in Fiddler on the Roof was inspired by what the director/choreographer Jerome Robbins called “field research” at Orthodox Jewish weddings. Reshaped and expanded by Robbins's masterful showbiz sensibility, it became a show-stopping number—and, thus transformed, filtered back out of the musical into Jewish celebrations to confer “tradition.”
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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.

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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying professi
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Feldman, Jan. "Dancing at Both Weddings." Journal of Law, Religion and State 6, no. 1 (2018): 68–113. http://dx.doi.org/10.1163/22124810-00601004.

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A new feminist movement is on the rise in Israel. It is led by haredi (ultra-Orthodox) women, usually known for their silent acquiescence to the rabbinate. They are not looking to create a revolution, but their activism may have implications not only for women, but for Israel in general. Based on interviews with haredi activists, Knesset (Parliament) members, secular and religious women heads of ngos, and academics, we contend that political activism, especially for haredi women with little education, experience, and resources, is not ironic, but rather, an appropriate vehicle for advancing th
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Belser, Julia Watts. "Drawing Torah from Troubling Texts: Gender, Disability, and Jewish Feminist Ethics." Hiperboreea 6, no. 2 (2021): 140–52. http://dx.doi.org/10.5325/jjewiethi.6.2.140.

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Abstract This article argues for the importance of developing queer feminist disability ethics in ways that push beyond the conventional canon, acknowledging the violence present in many traditional texts and their failures to do justice to lived disability experience. Critiquing a famous debate in the Babylonian Talmud, Ketubot 17a, in which Hillel and Shammai debate the permissibility of telling a lie in order to praise the beauty of a disabled bride at her wedding, the author argues for a Jewish disability ethics that engages secular disability arts. Examining the artistry of queer disabled
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Pressitch, Olga. "Civil War as Musical Comedy: The Representation of the Ukrainian Revolution in the Soviet Film Wedding in Malinovka (1967)." Australian and New Zealand Journal of European Studies 5, no. 2 (2021). http://dx.doi.org/10.30722/anzjes.vol5.iss2.15142.

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This article explains the continued popularity in Russia of the 1967 Soviet film Wedding in Malinovka by analyzing its reliance on the traditional Russian cultural stereotype of Ukraine embedded in the burlesque style of kotliarevshchyna. The threat that the Ukrainian Revolution historically represented to Soviet Russian identity is normalised in the film, as well as in the 1936 eponymous operetta on which it is based, by framing it as an ethnic musical sitcom with dances. Although the two main yokels of the musical hail from a long line of Ukrainian and Jewish characters of popular theatre, b
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Заиченко, Д. А. "Ренессансный двор Мантуи: привилегии в обмен на искусство". Istoricheskii vestnik, № 52(2025) (1 червня 2025). https://doi.org/10.35549/hr.2025.2025.52.004.

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Эпоха Возрождения создала новый образ правителя и предоставила ему ранее непопулярные инструменты для прославления себя и государства. Маркизы и герцоги Гонзага успешно применили эти новшества и создали в Мантуе XV–XVI вв. блестящий двор, собравший музыкальные, литературные, художественные и артистические таланты. При дворе устраивались шумные праздники с музыкой, маскарадами, танцами и театральными постановками, которые подчеркивали успех правящей династии и одновременно были частью общегородской культуры и быта. Пока правители итальянских городов возрождали придворный театр руками художников
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Miller, Lonnie. "Bagels and Bongos: Locating American Klezmer in the 1950s." Iggrot Ha'Ari 4 (April 23, 2025). https://doi.org/10.52214/iha.v4i1.13738.

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Klezmer, traditional Jewish music, is widely imagined in two periods: pre-World War II and post-1970. Very little attention has been given to the space in between these two periods. This article sheds light on klezmer during this dormant period, problematizing the idea of a klezmer “revival” and reframing the timeline of Jewish music. It looks at data from the recording industry in the United States to survey the musicians, instruments, and musical styles present in klezmer records produced in the 1950s and form a picture of how the style was transmitted from the previous generation of musicia
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Glenn, Phillip. "On Sexism in Conversational Joking." M/C Journal 6, no. 5 (2003). http://dx.doi.org/10.5204/mcj.2248.

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Sometimes people engage in joking talk that might be characterized as blatantly sexist.1 A judgmental label such as "sexist" does not mean the same thing to different people. I've picked instances of joking that I think most readers would judge as sexist. That is not a claim that the participants themselves orient to the talk as sexist; or if they did, that they would agree that such joking is problematic. Indeed, one purpose of undertaking such analysis is to attempt to characterize what the talk is and what it is doing for its producers in the first place. What do people accomplish in and th
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Books on the topic "Jewish wedding dances"

1

Paul, Kantor, Shalhevet (Dance group) та Jewish Community Center of Cleveland, ред. The voice of joy and the voice of gladness: American Jewish wedding dances = Kol sasson v'kol simcha = Ḳol śaśon ṿe-ḳol śimḥah. Jewish Community Center of Cleveland, 1985.

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2

Pasternak, Shira, and Sol Zim. The joy of the Jewish wedding: A guide to its music and customs. Zimray Enterprises, 1986.

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3

Gollance, Sonia. It Could Lead to Dancing. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.001.0001.

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Dances and balls appear throughout literature as a place for young people to meet, flirt, and form relationships: as any reader of Pride and Prejudice, War and Peace, or Romeo and Juliet can attest, dance scenes provide an opportunity for writers to criticize societal expectations about courtship and partner choice, while simultaneously entertaining their readers. In this book, Sonia Gollance examines Jewish mixed-gender dancing in German and Yiddish literature, arguing that dance provides a powerful lens for understanding Jewish acculturation, secularization, and modernization. Gollance exami
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Book chapters on the topic "Jewish wedding dances"

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Gollance, Sonia. "The Wedding." In It Could Lead to Dancing. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.003.0006.

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Weddings were a prime location for dancing in traditional Jewish culture, especially since Jews were religiously obligated to rejoice with a bride and dance before her. As a result, dancing was a frequent occasion for literary dance scenes and a common place for young people from different backgrounds to meet one another. Urban and rural guests intermingled, and even beggars were invited to wealthy weddings. At the same time, the ritual framework of a wedding and the presence of community elders meant that traditional Jewish community norms were more quickly enforced at weddings than in other
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Gollance, Sonia. "How Jews Learned to Dance." In It Could Lead to Dancing. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.003.0003.

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Dance classes were a key site for negotiating Jewish gender roles. Beyond simply training young people in proper physical deportment, dance lessons also guided them through gender, social, and class expectations, including those related to more tender emotions. Traditionally pious Jews learned to dance so that they could participate properly in weddings and other festive community celebrations. Acculturated and upwardly mobile Jews took advantage of the opportunity dance lessons offered to mingle with socially advantageous contacts. In this sense, dance lessons rehearsed the importance of ball
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