<i>Jewish spaces</i>and<i>Gypsy spaces</i>in the cultural topographies of a New Europe: heritage re-enactment as political folklore

Ruethers, Monica

doi:10.1080/13507486.2013.809567

Cited by 2 publications

(5 citation statements)

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“…as is argued by Ruethers for this trend, not the least prevalent in the german-speaking countries, Central europe became a "nostalgically glorified place of yearning" where "Jews became a symbol of the civilized multiculturalism of east-Central european urban topography around 1900." 30 This interest among non-Jews in Jewish culture and history is what Ruethers calls a Jewish revival. 31 It is part of the larger cultural, commercial, and intellectual context in which the Bukowina-Mythos emerged, and which the festival draws on.…”

Section: Uses Of Historical Locations During the Festivalsmentioning

confidence: 99%

Returning Chernivtsi to the Cultural Map of Europe: The Meridian Czernowitz International Poetry Festival

Bernsand

2018

East European Politics and Societies: and Cultures

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This article is part of the special cluster titled Bukovina and Bukovinians after the Second World War: (Re)shaping and (re)thinking a region after genocide and ‘ethnic unmixing’, guest edited by Gaëlle Fisher and Maren Röger. Drawing on tropes, stories, and symbols emanating from lost layers of urban cultural diversity has been an important resource in post-socialist city branding in many cities in Eastern and Central Europe that saw significant ethno-demographic changes in connection with World War II. In Chernivtsi, this is usually framed by narratives emphasizing tolerance, cultural diversity, and Europeanness, notions that are prominent in myths about the city in German-speaking Central Europe. A common strategy here, found in municipal city branding and in commercial efforts to draw on the multiethnic past in restaurants and cafés, is to deemphasize difficult questions about what actually happened to the celebrated cultural diversity and soften or ignore the temporal break. The article analyses how the International Poetry Festival Meridian Czernowitz, that has taken place in Chernivtsi since 2010, works with the city’s culturally diverse past and its literary dimensions, drawing on tropes from both local multiculturalist narratives and on the Bukowina-Mythos popularised by intellectuals from German-speaking countries. Although the festival is not a venue for working through traumas, locating events in symbolically charged places such as the Jewish cemetery and highlighting Holocaust themes in poetry readings opens up for difficult questions where the lost cultural diversity might become something more than only a resource.

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Section: Uses Of Historical Locations During the Festivalsmentioning

confidence: 99%

Returning Chernivtsi to the Cultural Map of Europe: The Meridian Czernowitz International Poetry Festival

Bernsand

2018

East European Politics and Societies: and Cultures

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“…In fact, it is the only Jewish festival that propelled an urban regeneration (Ray 2010;Saxonberg and Waligórska 2006) in a mutually beneficial relationship which "helped to promote this development and drew strength from it" (Gruber 2003: 364). 8 The JCF more specifically draws on the "magical aura" of Kazimierz (Ruethers 2013), within which Jewish culture has evolved for more than a millennium.…”

Section: Discussionmentioning

confidence: 99%

“…3 This literature has focused on the outcomes, both positive and negative, of the klezmer revival in post-Holocaust Germany, highlighting how klezmer reflects the complex relationship between Jewish and non-Jewish Germans. In Poland, klezmer has mostly been studied in the context of the revival of the Jewish quarter of Kazimierz and of the Jewish Culture Festival in Krakow (Waligórska 2005(Waligórska , 2006(Waligórska , 2008(Waligórska , 2013Wróbel 2008; Ruethers 2013Ruethers , 2015. From the conceptual viewpoint, this literature on klezmer in Poland and Germany emphasizes the Jewish/non-Jewish dichotomy and related notions of musical authenticity, the legitimacy of non-Jewish actors of Yiddish culture and music, and cultural appropriation.…”

Section: Klezmer Music In Contemporary Europementioning

confidence: 99%

“…Festivals attract different audiences according to their nature, purpose, and programs (Thedens 2001;Leenders, et al 2005), as well as to their economic capacities and geographic location. As it is highlighted in the festival literature, there are also many variables to evaluate the homogeneity or the heterogeneity and the diversity of festivalgoers − from geographical, social, ethnic, religious, and economic standpoints (Adelt 2010;Djakouane 2012Djakouane , 2014Regis 2013;Ruethers 2013). Here, I restricted my analysis to two parameters, making the distinction between local and international public on the one hand, and between Jewish and non-Jewish festivalgoers on the other.…”

Section: D) Publicmentioning

confidence: 99%

“…The European klezmer boom had reached its full peak at the turn of the twenty-first century, and it is now possible, and necessary, to take a step back and examine its relationship with Jewish festivals. 1 Other semantic variants refer to this phenomenon as the "klezmer craze" (Gruber 1997(Gruber , 2002Leveson and Lustig 2008; Ruethers 2013Ruethers , 2015 or "klezmania" (Spagnolo 2002). These terms have also been adopted in non-academic discourses within Jewish and non-Jewish media.…”

Section: Introductionmentioning

confidence: 99%

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Klezmer Music and Jewish Festivals in Urban Europe

Kiman

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for their guidance, support, and contribution in bringing this research to fruition. I would also like to thank Professors Roger Matthew Grant, as well as Professors Charry and Zheng, for nurturing my intellectual curiosity and challenging my knowledge about music throughout and beyond the two years of my coursework. I thank Professors Kate Galloway and Kim Diver for nurturing my topophilia through their seminars on ArcGIS and mapping music. I thank all the graduate students in the Department of music -Suhail Yusuf, Marvin McNeil, Judith Berkson, Simba Kamuriwo, and Bianca Iannitti, among others -with whom I shared many agreeable musical moments and stimulating conversations, within and beyond the classrooms, and who helped me to grow as a student and as an ethnomusicologist. I also would like to thank music librarians Alec MacLane, Aaron Bittel, Jody Cormack Viswanathan, and Jennifer Thom Hadley for their guidance while I was working on the precious sound archive collections at Wesleyan. Since I entered today's klezmerland, and throughout my fieldwork, I had the privilege to meet with dedicated actors of Yiddish culture in France, Europe, and the United Statesmusicians, scholars, makers of Jewish festivals, record producers, and journalists. I thank all my respondents for taking the time to answer my questions and for sharing their unique perspectives, insights, and stories. I am particularly thankful to Laurence Haziza, director of the Jazz'n Klezmer festival, as well as to pianist Denis Cuniot and Yiddish professor Lise Gutman for their friendship since I got involved in klezmer music. I would like to mention Claude Hampel, who is unfortunately no longer with us.Between 2013 and 2016, as the director in chief of the Cahiers Bernard Lazare, he had the 2 kindness to publish my articles on Yiddish and klezmer music, giving me the strength and the confidence to move forward with my academic achievements. I am heavily indebted to my partner Anya Weinstock, who supported me during the challenging times of a doctoral student, and who consistently lifted my spirit and illuminated many days that were obscured with doubts and worries.My eternal gratitude goes to my parents, Daniel Kiman and Catherine Kuchman, as well as to my brother Scott, for their unconditional encouragement and love. I would have never been able to complete this dissertation, and everything that preceded it, without them.To my grandparents, Marcel, Maurice, Aline, and Claudine, I dedicate this work as a homage to their lives, struggles, accomplishments, and heritage. Since their passing, klezmer music has been a way to connect with them. I hope that this work, as modest as it is, will make them as proud as I am to be their grandchild.

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Jewish spacesandGypsy spacesin the cultural topographies of a New Europe: heritage re-enactment as political folklore

Cited by 2 publications

References 29 publications

Returning Chernivtsi to the Cultural Map of Europe: The Meridian Czernowitz International Poetry Festival

Returning Chernivtsi to the Cultural Map of Europe: The Meridian Czernowitz International Poetry Festival

Klezmer Music and Jewish Festivals in Urban Europe

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