{"id":52249,"date":"2019-11-26T17:26:03","date_gmt":"2019-11-26T16:26:03","guid":{"rendered":"https:\/\/www.iemj.org\/les-danses-klezmer\/"},"modified":"2025-07-10T18:42:21","modified_gmt":"2025-07-10T16:42:21","slug":"les-danses-klezmer","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/it\/les-danses-klezmer\/","title":{"rendered":"Le danze klezmer"},"content":{"rendered":"<p><strong>Una selezione di musica klezmer per ballare<\/strong><\/p>\n<p><!--more--><\/p>\n<p>Il <em>klezmer<\/em> \u00e8 una musica strumentale festosa un tempo suonata nelle comunit\u00e0 ebraiche dell&#8217;Europa orientale al momento dei matrimoni o di gioiose festivit\u00e0 religiose. Il termine &#8220;klezmer&#8221; deriva dall&#8217;ebraico &#8220;<em>kli zemer<\/em>&#8221; che significa &#8220;strumenti di canto&#8221;.<\/p>\n<p>Dal XVI secolo, la danza faceva parte integrante delle festivit\u00e0 ebraiche dell&#8217;Europa orientale. Ma nessuna danza ebraica ashkenazita era specifica di una comunit\u00e0: la maggior parte del repertorio &#8211; danze in linea, in cerchio, in coppia, ecc. &#8211; era cosmopolita od includeva elementi presi in prestito dall&#8217;ambiente non ebraico.<\/p>\n<p>Tuttavia, gli ebrei utilizzavano un linguaggio del corpo che li differenziava dai non ebrei, che eseguivano le stesse danze, specialmente per i movimenti delle braccia e delle mani, cos\u00ec come per il gioco di gambe dei giovani uomini.<\/p>\n<p>Durante i matrimoni, una parte importante del rituale consisteva in danze volte ad onorare la sposa (<em>mitzve tants<\/em>), gli ospiti illustri, gli suoceri, gli antenati, i rabbini presenti &#8230; od anche per mimare i sentimenti &#8221; convenuti &#8220;come la collera: <em>broyges tants<\/em> seguita dalla riconciliazione: <em>sholem tants<\/em>.<\/p>\n<p>La musica klezmer accompagnava molti stili di danza. Eccone alcuni esempi:<\/p>\n<ul>\n<li>Lo <strong><em>sher<\/em><\/strong> era considerato &#8220;la&#8221; danza ashkenazita per eccellenza. I partecipanti erano divisi in quattro coppie miste (o di solo donne dagli ortodossi). La danza iniziava con una &#8220;passeggiata&#8221; in cerchio, poi in coppia. Dopodich\u00e9, ogni ballerino invitava successivamente le quattro partner femminili del gruppo a ballare con lui al centro del cerchio.<\/li>\n<li>Il <strong><em>khosidl<\/em><\/strong> evoca i chassidim anche se la sua origine \u00e8 probabilmente profana. \u00c8 una danza solista su di uno <em>zemerl<\/em> (melodia di ispirazione religiosa). Normalmente inizia con un ritmo moderato e acquista gradualmente slancio fino a raggiungere di solito un entusiasmo estatico&#8230;<\/li>\n<li>La<strong><em> hora<\/em><\/strong> &#8220;lenta&#8221; o &#8220;rumena&#8221; \u00e8 una danza circolare (o in linea) su di una musica a 3 tempi, diffusa tra gli ebrei ed i non ebrei in Romania (Moldavia, Bessarabia, Bucovina) ed in alcune regioni dell&#8217;Ucraina.<\/li>\n<li>La <strong><em>Freylekhs<\/em><\/strong> (&#8220;felice&#8221;) \u00e8 una danza ebraica in linea od in cerchio su di una musica a 2 tempi. A causa della sua semplicit\u00e0, essa era molto diffusa nelle comunit\u00e0 ebraiche dell&#8217;Europa orientale. Vivace, gioiosa, vuole comunque essere impregnata di spiritualit\u00e0. \u00c8 caratterizzata da lunghe passeggiate con dei passi, a volte strascicati, a volte&#8221;chass\u00e9s&#8221; e talvolta accompagnati da colpi di tacco. Questi passi differiscono da uno <em>shtetl<\/em> all&#8217;altro, lasciando molto spazio all&#8217;improvvisazione.<\/li>\n<li>La<strong><em> bulgar<\/em><\/strong> \u00e8 anch&#8217;essa una danza vivace in cerchio, in linea od in coppia, ad un ritmo simile ai <em>freylekhs<\/em>, apparsa tra gli ebrei in Romania e nell&#8217;Ucraina meridionale alla fine del XIX secolo. Tenendosi per mano, i ballerini fanno dei passi avanti od indietro, ma pi\u00f9 marcati verso destra in modo che il cerchio possa girare.<\/li>\n<li>l <strong><em>terkisher<\/em><\/strong>, una danza chassidica su di un ritmo &#8220;alla turca&#8221; (simile al tango od allo syrtos)<\/li>\n<li>La <strong><em>patsh tants<\/em><\/strong> \u00e8 una contro-danza in cerchio degli ebrei polacchi. La musica \u00e8 molto particolare, poich\u00e9 richiede, in momenti precisi, di battere le mani o di battere i piedi.<\/li>\n<\/ul>\n<p><strong><em>Fonte: <\/em><\/strong><em>&#8220;Danze yiddish, klezmer, ashkenazite o dello shtetl&#8221; sul <\/em><em><a href=\"http:\/\/borzykowski.users.ch\/\"><u>sito dedicato alla musica klezmer di Michel Borzykowski<\/u><\/a><\/em><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/it\/le-klezmer-musique-dhier-et-daujourdhui\/\" target=\"_blank\" rel=\"noopener\">Leggere l&#8217;articolo Klezmer: Musica di ieri e di oggi<\/a><br \/><a href=\"https:\/\/www.iemj.org\/it\/la-danse-traditionnelle-juive-ashkenaze\/\" target=\"_blank\" rel=\"noopener\">Scoprire di pi\u00f9 sul libro La danza tradizionale ebraica ashkenazita di Danielle Bailly e 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 una danza &#8220;bulgar&#8221; in un seminario di danze 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-110609\" 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 selezione di musica klezmer per ballare<\/p>\n","protected":false},"author":1048,"featured_media":52250,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1536],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1874],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-52249","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-playlist-it","genre-klezmer-it"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le danze 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