Black OX Orkestar

Black Ox Orkestar是2000年在加拿大，由4個猶太人組成的猶太民謠團，以猶太族的典故及精神為導(dǎo)向，并摻雜了indie rock和free jazz，他們把這些要素通過編曲與傳統(tǒng)結(jié)合起來，從土耳其，巴爾乾和希臘的民謠典故那里自由借鑒，從不同的樂器比如低音大提琴、曼陀林、單簧管等等交織成一個民族氣息濃郁的空間。
Black Ox Orkestar is a European Jewish folk quartet of musicians from Montreal, Canada that formed in the summer of 2000 to explore their common Jewish heritage for sounds that could speak to them in the present.
Music
Black Ox Orkestar's music is entirely acoustic. Texts are sung in Yiddish. The group's four musicians distill Balkan, Central Asian, Arabic, Iranian and Slavic sources; while this range may seem eclectic, it should be noted that music forms falling under these regional rubrics were themselves influenced by one another. The result is a coherent, impassioned sound that gives teeth to old Ashkenazi Jewish songs. Member Scott Levine Gilmore has said, "We certainly didn’t have any grand ambitions when we started. But we did share an idea of playing social music, music that was very danceable and approachable. And also to be doing it in a sort of indie rock milieu."
Politics
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Black Ox Orkestar are linked with so-called "New Jewish music", resetting European Jewish folk ballads traditionally sung a cappella, by writing and performing new, political texts in Yiddish.
In so doing, the group celebrates Yiddish diasporic art as a living alternative to state culture in every form and as an alternative to holding Israel as the cultural and ideological Jewish center. They use Yiddish as a code meant for deciphering, a message from the recent past that, in their view, cautions against the separation of peoples. As a hybrid tongue, the group feels that Yiddish has never stood for disengagement and enclosure, but always thrived on contact and exchange. Indeed, much of the group's music revolves around political statements. Singing in Yiddish becomes a celebration of their heritage and a rejection of the assimilation undergone by the Ashkenazi Jewish immigrants who spoke Yiddish, resulting in the language's virtual extinction as a spoken or daily language outside Hassidic Jewish communities.
Critics of this position take issue with the idealization of Yiddish, particularly at a time when it has virtually ceased to exist as a secular living language. Some critics charge Eurocentrism since, as a European Jewish creole, erecting Yiddish to a pan-Jewish status excludes Jews whose family histories do not include Europe. Critics more focussed on the political spin given to the Yiddish language, meanwhile, note that the only living communities in which the Yiddish language thrives as a living language are Hassidic communities whose ideologies are rooted precisely in disengagement and enclosure, not contact or exchange.