![]() Slepovitch taught Yiddish language and culture at The New School, worked as an educator and Artist-in-Residence at BIMA at Brandeis University, and as a guest artist and lecturer at many US and international academic and cultural institutions and festivals. ![]() He has served in multiple roles in numerous productions by the National Yiddish Theatre Folksbiene (New York), State Jewish Theatre (Bucharest), and is now Musician-in-Residence at the Fortunoff Video Archive at Yale University. He is a founding member of the critically acclaimed bands Litvakus, Zisl Slepovitch Trio, and Zisl Slepovitch Ensemble. He is a musicologist and ethnomusicologist (Ph.D., Belarusian State Academy of Music), with primary interest in the Eastern European Jewish music culture a multi-instrumentalist klezmer, classical, and improvised music performer a composer, conductor, and music and Yiddish educator. Zisl Slepovitch is a native of Minsk, Belarus, who has resided in the United States since 2008. Zisl Slepovitch Direct link for this paragraphĭr. Among her projects and bands are Forshpil, STRANGELOVESONGS with Daniel Kahn, Semer Ensemble, You Shouldn’t Know from It, and Litvakus. She has performed and taught Yiddish singing in Russia, Europe, and North America, and has been a longtime artist and faculty member at Yiddish Summer Weimar. Sasha has also been involved in several theater groups, where she focused on musical and improvisational theater. She has performed with a wide variety of groups in various styles, ranging from classical to folk, jazz, rock, and pop. Sasha Lurje, a native of Riga, Latvia, has been singing since the age of three. Sasha Lurje Direct link for this paragraph It is our hope that this recreation will form a link between those who are no longer with us and the living, all of us listening to these songs today. ![]() This effort to recall the songs-part anthropological, part ethnomusicological, part historical -also recreates them. The program is a reading of testimony as a source-perhaps an unconventional reading, but a reading nonetheless. ![]() They thus remind us that the survivor singing them represents all those who did not survive to sing again, and so remind us of the absence of the songs’ original audience. Originally, many were often sung collectively, but in survivors’ testimonies they are recounted or performed by individuals. They are songs from the interwar period, songs from the ghettos, songs from the camps. ![]() These pieces reflect the richness of these audiovisual documents. The songs in “Songs from Testimonies” project were performed in a number of testimonies in the Fortunoff Video Archive, researched, curated, arranged and produced in the form of a musical production by Dr. There are more than 4,400 testimonies in the Fortunoff Video Archive-12,000 hours of material in over a dozen languages, recorded over the last forty years in over a dozen different countries. Under Hartman’s watch as faculty advisor, it grew to become an internationally renowned collection that, over the years, has influenced the way the history of the Holocaust is written, studied, and taught. In 1981 the video collection came to Yale University, thanks to the work of Professor Geoffrey Hartman, who gave it a permanent home within the Manuscripts and Archives department at Sterling Memorial Library. They had the support of the New Haven survivor community, particularly of William Rosenberg, who would later become the president of the project, as well as many other members of the Jewish community. Dori Laub, a psychiatrist and analyst and himself a child survivor from Czernowitz, Romania (now Ukraine), and Laurel Vlock, a television journalist at Channel 8. In 1979, the Holocaust Survivors Film Project-the predecessor of the Fortunoff Video Archive for Holocaust Testimonies-began taping the testimonies of survivors and witnesses in New Haven, Connecticut. By Stephen Naron, Director, Fortunoff Video Archive for Holocaust Testimonies ![]()
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