{"id":52247,"date":"2019-11-26T17:26:03","date_gmt":"2019-11-26T16:26:03","guid":{"rendered":"https:\/\/www.iemj.org\/les-danses-klezmer\/"},"modified":"2025-07-10T18:41:24","modified_gmt":"2025-07-10T16:41:24","slug":"les-danses-klezmer","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/de\/les-danses-klezmer\/","title":{"rendered":"Die T\u00e4nze der Klezmer"},"content":{"rendered":"<p><strong>Eine Auswahl an Klezmer-Musik zum Tanzen<\/strong><\/p>\n<p><!--more-->Klezmer ist eine festliche Instrumentalmusik, die einst in den j\u00fcdischen Gemeinschaften Osteuropas, zur Begleitung von Hochzeiten oder fr\u00f6hlichen religi\u00f6sen Festen gespielt wurde. Der Begriff \u201eKlezmer\u201c leitet sich vom hebr\u00e4ischen \u201ekli zemer\u201c ab, was so viel wie \u201eGesangsinstrumente\u201c bedeutet.<\/p>\n<p>Seit dem 16. Jahrhundert ist das Tanzen ein fester Bestandteil der j\u00fcdischen Feste Osteuropas. Dabei waren die aschkenasischen j\u00fcdischen T\u00e4nze keiner bestimmten Gemeinschaft zugeh\u00f6rig: Der Gro\u00dfteil des Repertoires \u2013 Reihen-, Kreis-, Paart\u00e4nze, usw. \u2013 war Region \u00fcbergreifend und enthielt dabei auch Bestandteile der nicht-j\u00fcdischen Umgebung.<\/p>\n<p>Dennoch bedienten sie die Juden einer K\u00f6rpersprache, welche sie von den Nicht-Juden, welche denselben Tanz wie sie tanzten, unterschied; etwa durch Arm- und Handbewegungen oder durch den Beineinsatz der jungen M\u00e4nner.<\/p>\n<p>Bei Hochzeiten bestand ein wichtiger Teil des Rituals in T\u00e4nzen, zu ehren der Braut (<em>mitzve tants<\/em>), der Ehreng\u00e4ste, der Schwiegerv\u00e4ter, der Ahnen, der anwesenden Rabbiner\u2026 oder auch zur Darstellung \u00a0\u201egew\u00f6hnlicher\u201c Gef\u00fchle wie die Wut: <em>broyges tants<\/em> und dann der Vers\u00f6hnung: <em>sholem tants<\/em>.<\/p>\n<p>Die Klezmer begleitet viele Tanzstile. Einige Beispiele sind:<\/p>\n<ul>\n<li>Der <strong><em>Sher<\/em><\/strong> war \u201eder\u201c aschkenasische Tanz schlechthin. Die Tanzenden teilen sich in vier gemischte Paar auf (bei den Orthodoxen auch nur weibliche Paare). Der Tanz beginnt mit einem \u201eSpaziergang\u201c im Kreis, dann in Paaren. Danach fordert jeder T\u00e4nzer die vier Partnerinnen auf, mit ihm in der Mitte des Kreises zu tanzen.<\/li>\n<li>Der <strong><em>Khosidl<\/em><\/strong> erinnert an die Chassidim, auch wenn sein Ursprung wahrscheinlich s\u00e4kular ist. Es handelt sich dabei um einen Solotanz zu einem Zemerl (religi\u00f6s inspirierte Melodie). Der Tanz beginnt in einem moderaten Tempo und beschleunigt sich allm\u00e4hlich, bis er schlie\u00dflich eine ekstatischen Begeisterung erreicht\u2026<\/li>\n<li>Die \u201elangsame\u201c oder auch \u201erum\u00e4nische\u201c <strong><em>Hora <\/em><\/strong>ist ein Kreis- (oder Reihen-) -Tanz zu dreitaktiger Musik, verbreitet unter Juden wie auch Nicht-Juden in Rum\u00e4nien (Moldawien, Bessarabien, Bukowina) und Teilen der Ukraine.<\/li>\n<li>Der (\u201efreudige\u201c) <strong><em>Freylekhs<\/em><\/strong> ist ein j\u00fcdischer Reihen- oder Kreistanz zu zweitaktiger Musik. Wegen seiner Einfachheit war er besonders in den j\u00fcdischen Gemeinschaften Osteuropas weit verbreitet. Er ist lebendig, fr\u00f6hlich, aber dennoch auch von Spiritualit\u00e4t gepr\u00e4gt. Die Tanzschritte k\u00f6nnen dabei je nach dem <em>Shtetl<\/em> variieren und lassen viel Raum f\u00fcr Improvisationen.<\/li>\n<li>Der <strong><em>Bulgar<\/em><\/strong> ist auch ein lebhafter Tanz im Kreis, in Reihen oder in Paaren, auf einen Rhythmus, welche dem des Freylekhs \u00e4hnelt. Er entstand Ende des 19. Jahrhunderts unter den Juden in Rum\u00e4nien und im S\u00fcden der Ukraine. Die T\u00e4nzer schreiten vor und zur\u00fcck und bewegen sich dabei nach rechts, sodass sich der Kreis dreht.<\/li>\n<li>Der <strong><em>Terkisher <\/em><\/strong>ist ein chassidischer Tanz auf einen \u201et\u00fcrkischen\u201c Rhythmus (\u00e4hnlich dem Tango oder Syrtos).<\/li>\n<li>Der <strong><em>Patsh tants<\/em><\/strong> ist ein Contra dance polnischer Juden im Kreis. Die Musik ist sehr typisch f\u00fcr die Klezmer und erfordert hier und dort ein Klatschen oder Stampfen der T\u00e4nzer.<\/li>\n<\/ul>\n<p><strong>Quelle<\/strong>: &#8222;Danses yiddish, klezmer, ashkenazes ou du shtetl&#8220; auf der\u00a0<a href=\"http:\/\/borzykowski.users.ch\/\" target=\"_blank\" rel=\"noopener\">Internetseite von Michel Borzykowski, welche sich der Klezmer widmet<\/a><\/p>\n<p>Lesen Sie den Artikel\u00a0<a href=\"https:\/\/www.iemj.org\/de\/le-klezmer-musique-dhier-et-daujourdhui\/\" target=\"_blank\" rel=\"noopener\">Die Klezmer: Musik von gestern und heute<\/a><br \/>Erfahren Sie hier mehr \u00fcber das Buch <a href=\"https:\/\/www.iemj.org\/de\/la-danse-traditionnelle-juive-ashkenaze\/\" target=\"_blank\" rel=\"noopener\">La danse traditionnelle juive ashk\u00e9naze von Danielle Bailly &amp; Michel Borzykowski<\/a><\/p>\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Zev Feldman. Khosidl (instructional video) || \u0417\u0435\u0432 \u0424\u0435\u043b\u0434\u043c\u0430\u043d. \u0425\u043e\u0441\u0438\u0434\u043b\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/OH9kCqrLPXI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong>Zev Feldman leads a &#8222;bulgar&#8220; Zev Feldman dirigiert einen \u201eBulgar\u201c-Tanz in einem Klezmer-Tanzkurs, Yiddish Summer Weimar, 2009<\/strong><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"133\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-1024x133.png\" alt=\"\" class=\"wp-image-110606\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-1024x133.png 1024w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-300x39.png 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-768x100.png 768w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-600x78.png 600w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER.png 1210w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_11_03.mp3\">Doina and Hora &#8211; Jacob Hoffman with Kandel&#8217;s Orchestra<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_1059_07.mp3\">Der Shtiler Bulgar &#8212; Shpil Es Nokh a Mol &#8211; Kapelye<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_1065_01.mp3\">Bulgar &#8211; Marty Levitt<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_9_02.mp3\">Frailachs &#8211; Sam Musiker<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_636_06.mp3\">The Bride\u2019s Waltz &#8211; Zev Feldman, Andy Statman<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_327_03.mp3\">Der Skyliner Khosid &#8211; The Andy Statman Klezmer Orchestra<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_11_06.mp3\">Terkisher Yale-ve-yove Tants &#8211; Naftule Brandwein<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/k7_565_01_bis.mp3\">Lebedik un freylech &#8211; The Klezmer Conservatory Band<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_1059_09-2.mp3\">Moldavian Hora &#8211; Kapelye<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_677_03.mp3\">Traditional Dances &#8211; Sam Musiker<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_327_06-2.mp3\">Scotchna &#8211; The Andy Statman Klezmer Orchestra<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/d33-30_29_05.mp3\">Litvak Square Dance &#8211; Mickey Katz<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/cd_12_11.mp3\">Honga Ciganesta &#8211; Naftule Brandwein&#8217;s Orchestra<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2019\/11\/cd_935_07.mp3\">Kolomeykes &#8211; Di Galitzyaner Klezmorim<\/a><\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Eine Auswahl an Klezmer-Musik zum Tanzen<\/p>\n","protected":false},"author":1048,"featured_media":52248,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1534],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1875],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-52247","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-playlists-de","genre-klezmer-de"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Die 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