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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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tag: socialism Sorted Chronologically (old to new). Sort most recent first? A revolutionary socialist, Yiddish adaptation of Ḥad Gadya. . . . Categories: Tags: 19th century C.E., 57th century A.M., Aramaic translation, חד גדיא Ḥad Gadya, labor exploitation, parody, Revolutions of 1917–1923, socialism, Yiddish songs Contributor(s): The Chanson Internationale (‘International Song’) was originally written in 1871 by Eugène Pottier, a French public transportation worker, member of the International Workingmen’s Association (The First International), and activist of the Paris Commune. He wrote it to pay tribute to the commune violently destroyed that year. The song became the official anthem of The Second International, of the Comintem, and between 1921 and 1944 also of the Soviet Union. Most socialist and communist parties adopted it as their anthem during the last decades of the 19th century and throughout the 20th century, adapting it in local languages (Russian, Yiddish, etc.) to their particular ideological framework. The anthem was first translated into Hebrew by Avraham Shlonsky in 1921. . . . Categories: Tags: 19th century C.E., 57th century A.M., anti-fascist, Humanist, Humanist Judaism, internationalism, Labor Zionism, national anthems, Paris Commune, Siege of Paris (1870–1871), socialism, זמירות zemirot Contributor(s): This is a full transcription of the 1919 edition of a Bundist haggadah in Yiddish, first written as a pedagogical and parodic text in 1886. . . . Categories: Tags: 19th century C.E., 57th century A.M., labor exploitation, parody, Revolutions of 1917–1923, socialism, Yiddish songs, Yiddish vernacular prayer Contributor(s): A revolutionary socialist, Yiddish adaptation of Hallel. . . . Categories: Tags: 20th century C.E., 57th century A.M., labor exploitation, parody, Revolutions of 1917–1923, socialism, Yiddish songs, Yiddish vernacular prayer Contributor(s): My struggle to realize this project is personal, but I never ever wanted my own dissatisfaction to overshadow what anyone else could bring to this project. We each have a unique creative light, and wow, does it ever grow bright when our light shines together. I knew this project was important because it came as an epiphany — an intersection of multiple passions each calling with their own creative, intellectual, and political genius. I just had to finally listen and take note. In the shadow of the Holocaust, a revitalized Jewish culture must be sought that does not rely entirely on ethnic nationalist movements to advance and preserve Jewish identity. Renaissance in all cultures, including Jewish culture, depends on the freedom of its participants, its cultural constituents, to be creative and expressive individuals, engaging with the meaning that culture broadcasts through its traditions. I said it in the interview but it bears repeating, the lingering dialectic that defines religion as somehow separate from culture relies on a notion that religion is no longer creative — a mere replication of viral memes, in Dawkin’s language. We liberate religion when we return it to culture, as a creative and relevant force for helping to shape our individual and collective consciousness. Religion in this way provides exercises, practices and other social technologies to help us evolve. If its creativity isn’t maintained, its relevance is ceded to other systems to function in its place — or it is ceded to social elements and authorities who might use it to sustain self-serving agendas. . . . Categories: Tags: Contributor(s): | ||
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