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2005 KlezKamp Zhurnal - Untitled

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					                                                                                                               KlezKamp 2
                                21st Annual KlezKamp
December 25-30, 2005/5766 – Hudson Valley Resort & Spa, Kerhonkson, NY

          Tayere KlezKamp patriotn,
          When KlezKamp was founded two decades ago, the population of the event was a little
          like looking in a mirror: we were mostly in our thirties, played music professionally and
          were attracting other hothouse incubators who were jumpstarting the klezmer revival.
          Since then, something extraordinary has occurred.
          As KlezKamp matured so did its participants: musicians married and had families and,
          together with other newly arrived families, expanded our need for KlezKids offerings.
          Older participants joined us and stimulated our extra-musical programs while college
          students who discovered klezmer in their teens brought an insouciant and easy-going
          ownership of the culture as the well-deserved legatees of the music.
          Soon we had, what one long-time participants called, “a Jewish sociologist’s dream.”
          Suddenly, KlezKamp had a demographic texture, which replicated the Jewish population
          in the real world: a multi-generational, geographically diverse community, which
          mimicked the brick and mortar communities from which we drew our attendees.
          Even more amazing is that, since 1993, KlezKamp has consistently drawn some 60% new
          participants each year, a living testament to the reinvigoration of the program.
          KlezKamp astounds even us sometimes. Somehow, this heymish event has turned into a
          solid bedrock on which to build our hopes and dreams for the future of our culture. And
          from where we stand, the coming decade looks as promising as those which preceded it.
                                                                                               Mit varmste grisn
Table of Contents
A Letter from Henry Sapoznik ....................................................1
Map of the Hotel .......................................................................2
Program Schedule ......................................................................3
                                                                                               Henry Sapoznik
Paul Pincus Remembered ...........................................................4
                                                                                               Founder/Executive Director
Yiddish and Yontoyvim, by Michael Wex ......................................6
                                                                                               Henry “Hank” Sapoznik founded KlezKamp
Meet the Scholarship Students ....................................................7            in 1985 and plays Yiddish music with his
Minikes and His Yontef Bleter, by Faith Jones ..............................8                                            ”
                                                                                               trio “The Youngers of Zion. This year,
                                                                                               he produced the 3-CD box set on country
Address List ............................................................................ 24   music pioneer Charlie Poole for Sony
                                                                                               Columbia Legacy which was nominated
Staff                                                                                          for three Grammy awards.
Editor: Faith Jones
Copyediting: Sabina Brukner
Postcards courtesy of Henry Sapoznik
Newspapers courtesy of the Jewish Division,
The New York Public Library
Pictures of Paul Pincus courtesy of Gary Gould and Ellen Baker
Cover art: Susan Leviton
Graphic Design: Jim Garber, PaperClip Design
Printed by: Westprint, Inc., Timothy Bissel, President
                                                                                                                                www.klezkamp.org   
2   KlezKamp 2005: The Yiddish Folk Arts Program
                                    Program Schedule

          Sunday           Monday           Tuesday            Wednesday         Thursday        Friday
          12/25/05         12/26/05         12/27/05           12/28/05          12/29/05        12/30/05

7:30-                      Breakfast        Breakfast          Breakfast         Breakfast       Breakfast
9:00 am

9:15-                      AM1 classes      AM1 classes        AM1 classes       AM1 classes
10:45

11:00-                     AM2 classes      AM2 classes        AM2 classes       AM2 classes     Check out
12:30

12:45-                     Lunch            Lunch              Lunch             Lunch           Lunch
1:45 pm

2:00-   Check in and       PM1 classes      PM1 classes        PM1 classes       PM1 classes
3:30 pm registration


3:45-   Meetings: staff,   PM2 classes      PM2 classes        PM2 classes       PM2 classes
5:15 pm work study

5:30-   Meeting for        Forshpayzn       Forshpayzn         Forshpayzn        KlezKids
6:30 pm parents with                                                             performance
        kids in the
        KlezKids
        program

6:30-     Dinner           Dinner           Dinner             Dinner            Dinner

7:30-   Inter-             Inter-           Inter-             Inter-            Teen
8:15 pm generational       generational     generational       generational      performance
        dancing            dancing          dancing            dancing

8:15pm- Holiday Sing-      Staff Concert,   Guerilla Megile,   30th              Student
??      Along,             followed by a    musical staging    Anniversary       Concert,
        followed by a      Dance party      of Manger’s        Screening of      followed by a
        Dance party                         Megile Lider,      Hester Street     Dance party
                                            followed by a      and discussion
                                            Dance party        with its
                                                               director Joan
                                                               Micklin-Silver
                                                               and producer
                                                               Raphael Silver,
                                                               followed by a
                                                               Dance party




                                                                                                 www.klezkamp.org   
                                      Paul Pincus Remembered
    O
          ur dear friend, clarinetist/sax player Paul Pincus died October 22 in the wake of a stroke. He
          was 87. We had expected him to be with us this year at Kamp. Below are some excerpts from
          the many heartfelt tributes we received after his death, as well as the thoughts of two of Paul’s
    close collaborators, Peter Sokolow and Henry Sapoznik.



      Just received your notice of Paul’s death.
    Wow, God’s timing is everything is this world,
    huh? James and I just uploaded and printed
    over 100 photos taken over the last year. One
    of them was of Paul and me at KlezKamp last
    year. I was just looking at it last night. When
    we went to the staff concert, I thought his
    number was the most beautiful I heard that
    night. Wherever he is, he will continue to
    make music in our hearts and memories.
                                                    ellen Baker
     Sorry to hear about Paul. He’ll surely be
                                                                            Ellen Baker and Paul Pincus
    missed at Kamp! Who is going to fill his chair?
    And tell his stories?       Dave licht                          Paul was an inspiration to us “younger” clari-
                                                                  net players. To hear his sound at the age of 87
                                                                  was incredible. I still practice the long tones
                                                                  every day and feel guilty whenever I forget to
                                                                  put the protective cap over the mouthpiece. I
                                                                  will definitely miss him this year at KlezKamp.
                                                                                                          marc adler

       “Hiya, sweetheart!”
       And with that, his perennial greeting, would Paul Pincus pull you into his world.
       It was a world which morphed from classical music to Broadway, from a Guinness Book of World’s
     Records number of weddings and bar mitzvahs to his arrival as an eminence grise on the contem-
     porary klezmer scene. Paul Pincus didn’t have a single second act. He had five of them. Paul was a
     dynamic and thrilling musician because he played everything with a robust, youthful enthusiasm.
     Ever the textbook professional, Paul elevated every bandstand he was on with his steely-fingered
     technique and heat-seeking sound. It made no difference if he was effortlessly sightreading a
     complicated arrangement or reaching deep inside himself for a jaw-dropping improvised solo, Paul
     was also funny. Really, really funny. Jovial and warm, he was magnetically avuncular, a kind of
     klezmer S. Z. “Cuddles” Sakall whose chubby cheeked ebullience lit up MGM movie musicals. Being
     on a bandstand with Paul Pincus meant that the musicians were having just as good a time as the
     audience. Maybe even better.
       Paul Pincus: a virtuoso mentsh who went out on a high note.
       Goodbye, sweetheart.                                                             Henry Sapoznik



    KlezKamp 2005: The Yiddish Folk Arts Program
   In a business as fraught with egomania as almost anyone can think of, Paul Pincus was a dis-
 tinct anomaly. The son of an immigrant who drove a horse-drawn milk wagon for Sheffield Farms
 in Brooklyn, Paul came up “the hard way.” His mother was a trumpet player in a klezmer band
 in Europe; he never heard her play, but something obviously rubbed off. Through sheer hard
 work and discipline, he graduated Juilliard, became a “first-call” Broadway show musician and
 orchestral player, yet helped his father in a candy store they bought and became a “club-date”
 player, and a leader, with partners to handle the booking. After a time, Paul Pincus became one
 of the busiest “sidemen” in Jewish music, playing both klezmer and Hassidic music.
   What a charge he got from being at KlezKamp for the last few years – he made new friends,
 loved teaching his students, loved “hanging out” in the lobby. I watched him utterly charm a
 group of non-musicians when I invited him to participate in my lecture series in 2004 about
 American Klezmer.
   As I write this, I also mourn the loss of one of Paul’s social buddies and bass player on most of
 my recordings, Tom Abruzzo, who added so much to every band he played with; he died sudden-
 ly on November 13, exactly three weeks after Paul. The malach ha-moves has been too busy for
 my taste. These guys were my “mishpoche,” my teachers, and dear, dear friends. They knew so
 much about music – repertoire, harmony, performance practice, style, sound. They were giants,
 and their like will hardly be seen again.                                            peter Sokolow


  I had many great memories with Paul, but
the first was a KlezKamp in Cherry Hill when
I was working at the CD table selling every-
body’s music. Paul had dropped off a stack of
CDs made from his amazing vinyl recording,
but the CDs were unmarked in clear cases.
From behind the table I watched students
shopping for CDs, but nobody ever asked
about the one in the clear case. So I talked to
Paul about it and told him I was a graphic art-
ist and with his permission I’d like to create
a cover for his CD. He was open to the idea.
I took a picture with my digital camera and
used the KK laptop (thanks to Dan Peck), and                    Gary Gould and Paul Pincus
in just a few minutes the cover came out of the
printer. At first Paul was skeptical but when I
photocopied them, cut them out, and placed them in the CD trays, he was thrilled at the new look of
his CDs. Here is the best part. At dinner that night Paul rushed over with a big grin on his face and
announced to me that his CDs had completely sold out!
  That’s how I met Paul and thanks to that incident we grew closer every year. He even told that
story to my Suzanne when they met at the Skirball Center in Los Angeles during the Yiddish Radio
tour. His eyes got so bright and he told the story very generously. He made me feel so proud.
  He was a great musician and a great man.                                                 Gary Gould


KlezKamp, together with the Pincus family, is establishing a music scholarship fund in honor and
memory of Paul. Please speak to the office to be part of this great legacy.

                                                                                        www.klezkamp.org   
                                         Yiddish and Yontoyvim
                                                                         from Born to Kvetch, by michael Wex



    T
          he best example of how far Yiddish can go with a single religious activity is found in a pre-Yom
          Kippur ritual in which a live chicken is waved in the air while the following incantation is recit-
          ed: “This is my stand-in, this is my substitute, this is my atonement. May this hen/rooster go to
    its death while I go off and continue on a good, long, and peaceful life.”

      Christians embrace Jesus, Jews buy poultry.         Inverting the pockets on Rosh Hashana is called
    The ceremony, currently undergoing a bit of a         tashlikh, from a verse in Micah (7:19): “Tashlikh,
    revival after a century of contempt and neglect,      You will cast all their sins into the depths of the
    is known as shlogn kapores, and even the people       sea.” It is still widely practiced, but hasn’t pro-
    who practice it know that it looks a little weird.    duced any idioms in Yiddish. Shlogn kapores, on
    In its heyday, shlogn kapores was so widespread       the other hand, extends far beyond Yom Kippur.
    as to arouse sporadic oppo-                                                  The word itself, kapores, is
    sition from the rabbis, so                                                the plural of the loshn-koydesh
    unlike anything else that the                                             term kapore, which comes from
    translator of the Epistolae                                               the same root as the Kippur in
    Obscurorum Virorum, the                                                   Yom Kippur and means “forgive-
    Letters of Obscure Men, a                                                 ness, atonement, absolution.”
    sixteenth-century monument                                                Shlogn kapores, literally to beat
    of European satire, uses it                                               or strike kapores (where kapore
    to defend the Children of                                                 is used to represent the chick-
    Israel from their detractors.                                             en), is the only term for per-
    The Epistolae are concerned                                               forming the ritual. The bird is
    with the controversy that                                                 lifted up by the feet and waved
    sprang up around Johannes                                                 around your head in a circle.
    Reuchlin, a Christian scholar,                                            After the third revolution, it is
    and his defense of Talmudic                                               taken off to be slaughtered. The
    study (Talmudic study for                                                 birds used to be given to the
    Christians, that is). The                                                 poor, who were understandably
    bad guys, against whom                                                    upset at a largesse which would
    the Epistolae were directed,                                              leave them to consume the sins
    were fronted by a meshu-                                                  of their more prosperous breth-
    mad, an apostate Jew, called                                              ren; these days, the financial
    Pfefferkorn. The translator, a non-Jewish scholar     value of the fowl is donated to charity.
    named Francis Griffin Stokes who wrote in 1909,         Why chickens? Because cows are too heavy.
    has no patience with Pfefferkorn’s Jew-baiting,       Asking “Why the chickens?” is like asking “Why
    and mocks him for saying that Jews invert their       the Jews?”
    pockets beside a river on their New Year and
    wave live chickens around their heads on the
    eve of their Day of Atonement.                        KlezKamp is thrilled to host a bukh-simkhe in
      And there you have the tragedy of Jewish life       honor of Michael Wex and Born to Kvetch, at
    in exile, the ground from which Yiddish had no        5:30 Monday in the bar (all ages welcome).
    choice but to grow: accurate descriptions of your     Bring your copy of the book (available at the
    religious activities are taken as racist slander.     Epes Center) for the author to sign.



    KlezKamp 2005: The Yiddish Folk Arts Program
                   Meet the Scholarship Students
F
     or the first year, full, merit-based scholarships to KlezKamp have been made available, allow-
     ing worthy students with limited means to be able to attend. Your generosity in providing these
     scholarships is appreciated both by the KlezKamp staff and the recipients. For more information
on contributing to the scholarship fund, see the Epes Center staff, or contact the KlezKamp office
during the year.



                                              Born in St. Petersburg, Russia, Alyona (Elena)
                                              Arenkova knew little about her Jewish heritage
                                              until she was already an adult. Trained since
                                              age four in piano, she has now been playing
                                              klezmer music for five years and is a serious
                                              student of Yiddish. She also works with Jewish
                                              children throughout Russia teaching traditional
                                              songs and dance, and in the Yiddish cultural
                                              program at the Jewish Community Center in St.
                                              Petersburg. A multi-instrumentalist, composer,
                                              and enthusiast of cantorial as well as dance
                                              music, we are thrilled to welcome Alyona to her
                                              first KlezKamp, where we know she will both
                                              learn a lot and make a huge contribution.


       Guy Schalom was born in Israel and moved to
       England as a child. Both Hebrew and Sephardic
       music figured in his family’s religious practice. He
       studied popular music and university and was there
       introduced to the klezmer revival. As a drummer
       his style is influenced by these various styles and
       traditions, but klezmer music has become his main
       focus and passion. A returning KlezKamper known
       to many here, look for Guy on the dance floor late
       at night.




                                                                                      www.klezkamp.org   
                               Minikes and His Yontef Bleter
    I
        t takes a particular genius to make money out of a day when no-one is allowed to handle cash.
        Khonen Yankev Minikes, a ticket sales agent for Yiddish theaters, figured out how when he start-
        ed publishing his occasional holiday magazines in New York in 1895. His brilliance was two-fold.
    By publishing a meaty, long magazine right in time for the holidays, he assured those observing the
    injunction to stop work of plenty of reading material to get them through the interminable holiday

    hours. At a time when the purchase of books         sors to the later 2nd Avenue establishments).
    was, for most Yiddish-speaking New Yorkers,         He wrote occasional plays for production, but
    an unconscionable luxury, a magazine that was       soon gave up that unprofitable line of work for
    affordable and interesting must have seemed         his true calling: publishing. His 1897 book Di
    heaven sent. Circulation eventually reached an      Yidishe Bine [The Yiddish Stage] was the first
    astonishing 35,000. Meanwhile, advertisers eager    American work on the subject. Minikes’ business
    to reach this market both paid handsomely and       savvy is evident in the care taken with the cov-
    helped bulk up the magazine, and ushered in         ers of the Yontef Bleter (see the annotated one,
    the modern era of holiday advertising.              opposite) and the constant re-organization of his
      Minikes had a much-prized Lithuanian yeshiva      publications, which included Minikes Ilustrierte
    education, and on first arriving in America         Monat Blat [Minikes’ Illustrated Monthly] and
    in 1888 he found work as a teacher of vari-         Minikes Ilustrierte Zamlbleter [Minikes’ Illustrated
    ous Yiddish actors. Through them he become a        Anthology] as well as the Yontef Bleter. He some-
    ticket agent for the Bowery theaters (predeces-     times announced a forthcoming volume by boast-
                                                        ing, “Fifty Yiddish Writers at One Seder” (or “in
                                                        One Sukkah”); he failed to mention they were
                                                        almost all re-prints of earlier work. In one form
                                                        or another, the Yontef Bleter were published until
                                                        1930. Minikes died in New York in 1932.
                                                          Later magazines attempted and failed to repro-
                                                        duce Minikes’ success. From 1933 until 1945
                                                        there was Indritts Yontef Shriftn in Chicago, a
                                                        dreary affair lacking the visual and promotional
                                                        pizzaz of its predecessor. The Ilustrierte Yontef
                                                        Bleter ran in New York from 1948 to only 1951,
                                                        and was in truth just barely ilustriert. Sincerity
                                                        had replaced Minikes’ grandiosity, and Yiddish
                                                        culture was the poorer for it.



                                                        We know what you’re wondering. Why is there a
                                                        picture of someone eating peas on the premier issue
                                                        of the Ilustrierte Yontef Bleter, which appeared in
                                                        the fall of 1948? It’s probably the only picture the
                                                        magazine had of Golda Meir (then Golda Meyerson,
                                                        but already a member of the Israeli provisional gov-
                                                        ernment). And better yet, she’s with the chairman
                                                        of the United Jewish Appeal, former Secretary of the
                                                        U.S. Treasury Henry Morgenthau, at a UJA banquet.


    KlezKamp 2005: The Yiddish Folk Arts Program
         Minikes Yontef Bleter: an Annotated Guide
                                                                                              After experimenting
   Year and month always                                                                      with a variety of
appear both in traditional                                                                    publications, Minikes
        and secular forms.                                                                    hit on a winning formula.
  Minikes’ readership was                                                                     Rather than printing up
   a mixed bag, grine and                                                                     two magazines in months
  established immigrants,                                                                     with a holiday, he stuck
   Orthodox to apikorsim,                                                                     two of his publications
      and a great majority                                                                    together into one mega-
   with middling religious                                                                    mag, in this case the
       practices for whom                                                                     Monat Blat [Monthly
having the date appear as                                                                     Journal] and the super-
  “Kislev 5663” was more                                                                      popular Yontef Bleter.
    geared to showing an
 appropriate deference to
  tradition than it was to
actual reading preference.                                                                    Old-fashioned engravings
                                                                                              jockey for position
                                                                                              with modern studio
                                                                                              photography. Ironically,
With cherubs, corinthian
                                                                                              it is the photograph
   columns and stage-like
                                                                                              which attempts to
    drapery, the recurring
                                                                                              project a “traditional”
features of Minikes’ front
                                                                                              iconography—bearded
 page seem anything but
                                                                                              men, modest women,
  Jewish, but in fact they
                                                                                              solemn children—while
     had a long tradition.
                                                                                              the older engravings are
Minikes adapted his front
                                                                                              unsentimental and even
 page from the title page
                                                                                              a little boisterous: men
      design of traditional
                                                                                              gossiping in a corner of
 sforim [religious books],
                                                                                              a shul, and who knows
       which likewise had
                                                                                              what the guys on the
    adapted their imagery
                                                                                              upper left are up to.
   from the title pages of
 the surrounding culture.
    These visual elements
                              Locating himself at 604 and 606 Broadway, just south of Houston, Minikes put his
    were meant to convey
                              operation in the heart of the Yiddish world. While many newspapers were much further
    a classic timelessness,
                              east and south, along East Broadway, Minikes needed to be near Bowery (later 2nd
 not a bad idea since the
                              Avenue) theaters, and Orthodox synagogues and shtiblekh in the central part of the Lower
    template was used for
                              East Side—prime selling locations in the days leading up to a holiday. For most of its run,
        years, unchanged.
                              the Yontef Bleter competed successfully with the dailies, who soon started producing their
                              own seasonal double-issues. Following the immigration restrictions of 1924, all Yiddish
                              periodicals faced dwindling sales as virtually no new Yiddish-speakers arrived to fill the
                              places left by assimilated immigrants who now preferred English. Many publications failed:
                              the Yontef Bleter hung on for a few more years before calling it a day.




                                                                                                       www.klezkamp.org     
0   KlezKamp 2005: The Yiddish Folk Arts Program
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2   KlezKamp 2005: The Yiddish Folk Arts Program
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20   KlezKamp 2005: The Yiddish Folk Arts Program
   Congratulations
Henry “Hank” Sapoznik
       on your
  3 Grammy Award
    nominations!




                        www.klezkamp.org   2
                                                    Vareme grusn tsu unzere
                                                     fraynt af KlezKamp 21!
                                                                v
                                                        Come visit us at
                                                         KlezCalifornia
                                                                v
                                                     www.KlezCalifornia.org




22   KlezKamp 2005: The Yiddish Folk Arts Program
Khaveyrim              Fraynd
 Joe (Yosl) Schwartz    Larry Lesh
 Ida Roth               Sheila Spalter
                        Temple Beth David, Rochester, NY
                        David & Rosalyn Schreiber
                        Miryem-Khaye Seigel




                                                    www.klezkamp.org   2
Photo courtesy of the Forward
                 KlezKamp 2005:
        The Yiddish Folk Arts Program
                      Sponsored by Living Traditions
                       45 E. 33rd Street, Suite B-2A
                          New York City, NY 10016
              (212) 532-8202 (phone) • (212) 532-8238 (fax)
                         info@livingtraditions.org
                 www.klezkamp.org or www.klezkamp.com

                 Henry “Hank” Sapoznik, Founder/Executive Director
                    Sherry Mayrent, Associate Director, KlezKamp
                 Sabina Brukner, Associate Director, Living Traditions
                                Dan Peck, Operations
                            Laura Wernick, Technical Director
                            Faith Jones, Archivist and Editor




                 Living Traditions is supported by a development grant from
                           the Corners Fund for Traditional Cultures


Living Traditions, founded in 1994, is dedicated to the celebration and continuity of commu-
nity-based traditional Yiddish culture. Living Traditions brings the lush bounty of Yiddish culture
to new generations in ways both inspiring and relevant to contemporary Jewish life. Not as a
symbol of a lost world, or as a “duty to perpetuate” but as a meaningful part of one’s active
personal identity in a multi-cultural world. Living Traditions places a high value on cultural
literacy by presenting Yiddish music, dance, history, folklore, crafts and visual arts through
its classes, publications, recordings and documentaries as well as through KlezKamp. Living
Traditions thus encourages the development of a worldwide Jewish community knowledgably
steeped in its language, culture and traditions, too often forgotten in modern Jewish life.
Living Traditions is a non-profit organization under section 501 c (3) of the Internal Revenue
Code. Gifts to Living Traditions are tax-deductible to the extent provided by law.

				
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