Moreover, the discovery and documentation of survivors in their eighties or nineties, some of whom were the last speakers of
Yiddish in their towns or regions, represented an eleventh hour opportunity not only for
Yiddish dialectology, but a project of potentially wider methodological interest for determining recoverability of the geolinguistic makeup of vanished societies.
In Czernowitz at 100: The First
Yiddish Language Conference in Historical Perspective, ed.
(38.) See: http://www.milkenarchive.org/volumes/liner_notes/13/Great+Son gs+of+the+American+Yiddish+Stage for an enlightening history of the
Yiddish stage in New York, accessed 30 June 2013.
This is a unique opportunity to hear from a true artist, who gave a concert presentation on these lost songs at the Library of Congress in October 2014, at the International Association of
Yiddish Clubs meeting in November 2014, and at the American Jewish Libraries Jubilee conference in June 2015.
"Everybody wants to see continuity for this community," organizing committee member Josh Waletzky, an award-winning documentary filmmaker and
Yiddish singer, said in a statement.
The Taino characters sing in
Yiddish, which could have turned out as a joke from a Mel Brooks movie but instead eerily connects one persecuted "tribe" to another.
In addition to performing solo
Yiddish standards, Russell collaborates with keyboardist and accordionist Dmitri Gaskin under the name "Tsvey Brider" ("two brothers").
Most of the material that best captures the patients' mentality, though, is in English, not
Yiddish. If only more materials survived to offer a glimpse into the
Yiddish version of this story.
Both groups denounced as communist the world conference of 4000 Yiddishists, convened in Paris in 1937, which led to the founding of YKUF (
Yiddish Cultural League), an international organization committed to support
Yiddish culture.
(6) Shlomo Berger has argued that Yehoash "wish[ed] to be modern, secular, and progressive, and nevertheless [felt] that
Yiddish could not escape its religious Jewish past," describing the translator's approach as an "an act of poetic betrayal." (7) Ultimately, Yehoash not only preserved a significant number of Hebrew words within the
Yiddish translation, but he also "did not do away with religious writings or
Yiddish dialects.
Yiddish theater arrived in New York in 1882 while still in its infancy.