{"id":52251,"date":"2019-11-26T17:26:03","date_gmt":"2019-11-26T16:26:03","guid":{"rendered":"https:\/\/www.iemj.org\/les-danses-klezmer\/"},"modified":"2025-07-10T18:43:19","modified_gmt":"2025-07-10T16:43:19","slug":"les-danses-klezmer","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/es\/les-danses-klezmer\/","title":{"rendered":"Los bailes klezmer"},"content":{"rendered":"<p><strong>Una selecci\u00f3n de m\u00fasica klezmer para bailar<\/strong><\/p>\n<p><!--more--><\/p>\n<p>El <em>klezmer<\/em> es una m\u00fasica instrumental de fiesta antes practicada en las comunidades jud\u00edas en Europa del Este durante el acompa\u00f1amiento de las bodas o de festividades religiosas alegres. El termino \u00abklezmer\u00bb se deriva del hebreo \u00ab<em>kli zemer<\/em>\u00bb que significa \u00abinstrumentos del canto\u00bb.<br \/>Desde el siglo XVI, el baile forma parte integrante de las festividades jud\u00edas de Europa del Este. Pero ning\u00fan baile jud\u00eda asquenaz\u00ed no es especifico a una comunidad: la parte m\u00e1s grande del cat\u00e1logo &#8211; baile en l\u00ednea, en c\u00edrculo, en pareja, etc. &#8211; es cosmopolita o inclu\u00eda elementos tomados del entorno no jud\u00edo.<\/p>\n<p>Sin embargo, los jud\u00edos utilizaban un lenguaje corporal que les diferenciaba de los no jud\u00edos practicando los mismos bailes, en particular por movimientos de los brazos y los manos, as\u00ed que el juego de piernas de los hombres j\u00f3venes.<\/p>\n<p>Durante las bodas, un parte importante del ritual consist\u00eda en bailes pretendo a honrar a la casada (<em>mitzve tants<\/em>), los invitados de honor, los suegros, los ancestros, los rab\u00eds presentes&#8230; o mimar sentimientos \u00abconvenidos\u00bb como la c\u00f3lera: <em>broyges tants<\/em> y despu\u00e9s la reconciliaci\u00f3n: <em>sholem tants<\/em>.<\/p>\n<p>La m\u00fasica klezmer acompa\u00f1aba a numerosos estilos de baile. Estos son algunos ejemplos:<\/p>\n<ul>\n<li>El <strong>sher<\/strong> era considerado como \u00abel\u00bb baile asquenaz\u00ed por excelencia. Los participantes estaban divididos en cuatro parejas mixtos (o entre los ortodoxos, s\u00f3lo de mujeres). El baile empezaba con un \u00abpaseo\u00bb en c\u00edrculos, y despu\u00e9s en parejas. Despu\u00e9s de lo cual, cada bailar\u00edn invitaba de manera sucesiva las cuatros compa\u00f1eras femeninas del grupo para bailar con el en el centro del circulo.<\/li>\n<li>El <em><strong>khosidl<\/strong> <\/em>evoca los<em> jasidim<\/em> aunque su origen es probablemente profano. Es un baile individual sobre un <em>zemerl<\/em> (melod\u00eda con una inspiraci\u00f3n religiosa). Empieza generalmente con un tempo moderado y se acelera poco a poco hasta alcanzar normalmente un entusiasmo est\u00e1tico&#8230;<\/li>\n<li>La <em><strong>hora<\/strong> <\/em>\u00ablente\u00bb o \u00abrumana\u00bb es un baile en c\u00edrculo (o en l\u00ednea) sobre una m\u00fasica de tres tiempos, corriente entre los jud\u00edos y los no jud\u00edos en Ruman\u00eda (Moldavia, Besarabia, Bucovina) y entre algunas regiones de Ucrania.<\/li>\n<li>El <em><strong>freylekhs<\/strong> <\/em>(\u00abcontento\u00bb) es un baile jud\u00edo en l\u00ednea o en c\u00edrculo sobre una m\u00fasica de 2 tiempos. Por su sencillez, estaba muy extendida en las comunidades jud\u00edas de Europa del Este. Viva, alegre, est\u00e1 sin embargo impregnada de espiritualidad. Se caracteriza por largos desplazamientos sobre pasos, a veces pasos lentos, a veces pasos hacia los lados y a veces pasos con acompa\u00f1ados con golpes de talones. Estos pasos difieren de un <em>shtetl<\/em>\u00a0a un otro, dejando un largo lugar para la improvisaci\u00f3n.<\/li>\n<li>El <em><strong>bulgar<\/strong> <\/em>es tambi\u00e9n un baile viva en c\u00edrculo, en l\u00ednea, o en parejas, sobre un ritmo parecido al <em>freylekhs<\/em>, aparecida entre los jud\u00edos en Ruman\u00eda y en el sur de Ucrania al fin del siglo XIX. Cogi\u00e9ndose por los manos, los bailarines hacen pasos hacia adelante o hacia atr\u00e1s, pero cada vez m\u00e1s hacia la derecha para que el c\u00edrculo gire.<\/li>\n<li>El terkisher, un baile jas\u00eddico sobre un ritmo \u00aba la manera turca\u00bb (parecido al tango o al sirtos)<\/li>\n<li>La <strong><em>patsh tants <\/em><\/strong>es un contra-baile en c\u00edrculo de los jud\u00edos polacos. La m\u00fasica es muy t\u00edpica de ella, ya que requiere, en momentos puntuales, aplaudir o dar golpes con los pies.<\/li>\n<\/ul>\n<p><strong>Fuente<\/strong>: \u00abBailes yiddish, klezmer, asquenaz\u00ed o de shtetl\u00bb en el <a href=\"http:\/\/borzykowski.users.ch\/\">sitio dedicado a la m\u00fasica klezmer de Michel Borzykowski<\/a><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/es\/le-klezmer-musique-dhier-et-daujourdhui\/\" target=\"_blank\" rel=\"noopener\">Leer el articulo \u00abEl klezmer: m\u00fasica de ayer y de hoy\u00bb<\/a><br \/><a href=\"https:\/\/www.iemj.org\/es\/la-danse-traditionnelle-juive-ashkenaze\/\" target=\"_blank\" rel=\"noopener\">M\u00e1s informaci\u00f3n sobre el libro El baile tradicional jud\u00eda Asquenaz\u00ed de 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 dirige un baile \u00abbulgar\u00bb durante un taller de bailes klezmer, 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-110610\" 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>Una selecci\u00f3n de m\u00fasica klezmer para bailar<\/p>\n","protected":false},"author":1048,"featured_media":52252,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1535],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1876],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-52251","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-listas-de-reproduccion-es","genre-klezmer-es"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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