The social is not the only modality of resistance: at times the solitary is even more effective, "dropping out " as we used to say. And mediated expression (like recorded music) freely shared online eliminates capitalist control and being coopted. . Our mentor Hakim Bey discounted these options. I'm not sure he was right.
Thanks for the reply Jacob! It's a provocative point and one I've been thinking about a lot. You're totally right, the solitary can be more effective, as we saw with the shepherd on his mountain, or the zomians who have "dropped out." But I think klezmer's legacy is particularly tied to this aspect of connection (to actual people, but also other less material things) which is why I'm sticking with it and not doing something like liturgical music. You're probably right, but I haven't given up.
You're right about Klezmer being tied to the social: the alienated solitary artist is a late arrival on the Jewish cultural scene, first appearing with the Di Yunge poets, in a radical break with the tradition of Yiddish press. And music needs an audience to fully unfold itself in ways writing does not.
The social is not the only modality of resistance: at times the solitary is even more effective, "dropping out " as we used to say. And mediated expression (like recorded music) freely shared online eliminates capitalist control and being coopted. . Our mentor Hakim Bey discounted these options. I'm not sure he was right.
Thanks for the reply Jacob! It's a provocative point and one I've been thinking about a lot. You're totally right, the solitary can be more effective, as we saw with the shepherd on his mountain, or the zomians who have "dropped out." But I think klezmer's legacy is particularly tied to this aspect of connection (to actual people, but also other less material things) which is why I'm sticking with it and not doing something like liturgical music. You're probably right, but I haven't given up.
You're right about Klezmer being tied to the social: the alienated solitary artist is a late arrival on the Jewish cultural scene, first appearing with the Di Yunge poets, in a radical break with the tradition of Yiddish press. And music needs an audience to fully unfold itself in ways writing does not.