This beautiful booklet tells the historical roots of Tu Bishvat and Judaism's long-standing sacred connection to trees. You will also find suggestions for activities for young children and ideas for hosting a Tu Bishvat seder.
InterfaithFamily and the Workmen's Circle are celebrating Tu B'Shevat, the Jewish New Year for the trees, and you're invited!
Join us for a FREE afternoon filled with food, music, art projects and social justice.
A great way for Jewish professionals and volunteers who work with and provide programming for people in interfaith relationships to locate resources and trainings to build more welcome into their Jewish communities; connect with and learn from each other; and publicize and enhance their programs and services.
In partnership with the Center for New Music, The Museum offers this site-specific performance in conjunction with the exhibition Work In Progress: Considering Utopia. The performance takes place within the gallery to “activate” Ohad Meromi’s sculpture 1967 and features musician Larry Ochs in an improvisational work with dancer Dohee Lee.
Since 1978, Larry Ochs’s professional activities have been primarily centered around the Rova Saxophone Quartet, which has made over thirty European tours and numerous concerts throughout the U.S. and Canada, as well as recording over thirty CDs as a quartet and/or in collaboration with other artists. In 1986, Ochs formed one of the first bands to combine acoustic instruments and computer electronics in formal compositions that involved improvisation. In 1998, he toured and recorded with guitarist Fred Frith and koto player Miya Masaoka in a trio called Maybe Monday. He composed the music for the film Letters Not About Love, which won best documentary film award at the 1998 South by Southwest Film Festival. His monograph on “Strategies for Structured Improvisation” was published in 1999 as part of the book Arcana, a collection of composers’ writings edited by John Zorn (Granary Press, New York).
Born on Jeju Island in South Korea, Dohee Lee studied Korean dance, music, percussion, and vocals at the master level. Since her arrival in the U.S. she has been a vital contributor to both the traditional and contemporary arts landscape. Lee’s distinctive and profound performance style evokes the full spectrum of human emotion, the primordial, futuristic, visible and invisible realms.