Jewish Performance as a Means for Constructing the Society of “Living Together”

In: European Journal of Jewish Studies
Author: Jessica Roda
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In this article, I propose an ethnography of the Festival Internacional Murcia Tres Culturas, and more particularly of the performance of the Sandra Bessis Trio to reflect on the means, role and impact of the representation of Jewish identity in a Spanish World Art/World Music festival. On one hand, we discern that the festival organizers sacralize the time of Convivencia to create a cosmopolitan event; and on the other that the Trio plays between the desacralization and the sacralization of this past, by using various performance strategies that mobilize instruments, language, repertoire and musicians identity to proceed it.

  • 14

    Durkheim quoted by Albert Piette, “Play, reality and fiction. Toward a theoretical and pethodological approach to the festival framework,” Qualitative Sociology 15/1 (1992): 37–52, esp. 40.

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  • 15

    Sassatelli, “Public Culture, Cosmopolitanism and Festivals,” p. 19.

  • 17

    Richard Prentice, Vivien Andersen, “Festival as Creative Destination,” Annals of Tourism Research 30/1 (2003): 7–30

  • 18

    Bernadette Quinn, “Arts Festivals and the City,” Urban Studies 42/5 (2005): 927–943.

  • 30

    Kirstie Jamieson, “Edinburg. The Festival Gaze and its Boundaries,” Space and Culture 7/ l (2004): 64–75, esp. 73.

  • 37

    Sandra Bessis, April 4, 2010.

  • 46

    Waligorska, Klezmer’s Afterlife, 170.

  • 48

    See: Catherine Kaminsky and Simon Kurk, Le nationalisme arabe et le nationalisme juif (Paris: Presses Universitaires de France, 1983).

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