Check out our #Unfinal class presentation (Thursday, December 18, 5 PM, at The Magnes) on Facebook!
Full video of the concert by Ensemble Tafilalt (Jerusalem) with Yair Harel at The Magnes, UC Berkeley, on November 13, 2014.
On the occasion of the final response exercise for Jewish Nightlife this Fall Semester, all students are asked to reflect on and practice FIELD WORK, by completing the following:
- Work in chavruta (pairs) by re-composing the same pairs of students already created on the occasion of our Mid-term exam
- Access this document via bDrive (you already know the drill…) at this shortened URL: http://bit.ly/JNLResponse4
- Formulate the three extremely focused questions:
- Jewish music and art: one question for Yair Harel (investigate his personal/artistic background, his knowledge and skills)
- Jewish music and research: one question for Francesco Spagnolo (investigate his personal/academic background, his knowledge and skills)
- Fieldwork of the Self: one question addressing your personal relationship with the specific piyyut that is assigned to your chavruta on the basis of the following parameters
- text of piyyut
- music of piyyut
- culture of origin of piyyut
- own culture(s) of chavruta partners
- Post your three questions (preceded by the names of each chavruta partners) on this document no later than Tuesday, December 2nd, at Noon
Select questions will be discussed and answered by the instructors on the last day of class, on Wednesday, December 3rd.
As we have discussed in class, both during lectures and during the music section, piyyutim (Hebrew liturgical poems) have many dimensions.
Moreover, each piyyut has a distinctive biography, which at the very list includes:
- a literary history and a publication history
- an intellectual agenda (involving the interpretation of the Bible, theology, and more)
- a political dimension (how its performance may bring certain segments of a community together, or not)
- a spiritual dimension (how its text and performance concur to create a defined link among those who perform it)
- a musical dimension (how the many musical settings of each piyyut may reflect all of the above)
For today’s assignment, select one piyyut from the ones we have explored in class (also listed below), and write a three short paragraphs (max 1 page) describing the following:
- Biography and character of the piyyut in as many dimensions possible
- How you believe these dimensions come together to create a spiritual impact on those who perform it and on those who participate in its ritual performance
- How you would describe the “essence” of the piyyut you choose? (I.e., what is the specific piyyut, text, music, and all, really about?)
As usual, create a document on bDrive and share it with your instructors (spagnoloacht[at]berkeley and yairharel[at]berkeley). Please, include your name in the title of the document. If you do not have a way to post this during class time, do so by midnight tonight.
For your convenience, here is a list of the incipits of the piyyutim that have been performed by the class during the music sections thus far:
- Kol beruei
- Shema’ qoli
- Adon ‘olam
- Ben adam
- Rachamana de’anei
- El eliyahu
- Amar adonai leya’aqov
- Qarev yom
- Simu lev ‘al haneshamah