Melbourne’s new ‘inclusive’ klezmer school

It was a trip to New York in December last year that lay the foundation for the Melbourne Klezmer School.

Adam Starr – a professional musician, composer and educator – had already been performing klezmer music throughout Australia and abroad for over 30 years, but attending the Yiddish New York festival brought new inspiration.

“Being immersed in an environment where there were hundreds of people gleefully celebrating Yiddish culture and music was wonderful,” Starr told The Jewish Independent.

"That experience of being in the majority and being surrounded by enthusiastic, supportive people was something I wanted to bring back here."

Starr joined forces with long-time collaborator, musician Amy Zakar, and together they founded Melbourne Klezmer School, based in the Yiddish heartland at the Kadimah Jewish Cultural Centre.

“Amy has a very strong and deep klezmer pedigree and knowledge. I'd played with Amy a number of times and just thought that she would be the perfect person to do this with,” Starr added.

Zakar – who moved to Melbourne in 2022 from America, where she served on the faculty of the KlezKanada, KlezKamp and Yiddish New York festivals – says Melbourne Klezmer School is designed for musicians and vocalists “aged 12 to 112”.

“We're looking to bring that warm sense of community. It's inclusive... it’s like any folk music, you don’t have to be from that culture to love it and try it out. We want all walks of life to be able to attend,” said Zakar, who currently sits on the King David School's instrumental music faculty.

Zakar and Starr will lead students through a hands-on exploration of the techniques, genre and repertoire of klezmer music.

So far 10 students representing Jewish and non-Jewish backgrounds have registered, with classes running weekly on Thursday nights at Kadimah throughout the school term, and concluding with a public concert.

But Zakar adds a slight catch: students should be “proficient” at their instrument. The school isn’t teaching them how to play a musical instrument or how to sing, but rather how to play klezmer style.

“We're exploring klezmer as a form of folk music. Some students might have classical training or a jazz background. They might bring experience in folk, Jewish, Israeli or Yiddish music. Everyone who can play music is welcome.”

There are, however, no restrictions on which instruments are accepted – and when it comes to klezmer music, the sky really is the limit.

“Klezmer harp does exist. Klezmer hurdy-gurdy does exist. Klezmer electronic and hip hop exists. We’ve even got an electronic wind instrument player signed up,” said Zakar, who specialises in klezmer violin.

The traditional music of Eastern European Yiddish-speaking Jews, klezmer has adapted over the years to remain relevant.

A secular music, the original form took inspiration from Jewish cantors as well as Balkan, Romany, Arabic and Greek music, with string-based bands most prominent in the 19^th century.

Woodwind, brass and percussion were introduced at the start of the 20^th century, adding a marching band quality, and as Jews migrated to America, influences from swing, vaudeville, Dixieland, Latin jazz and dance forms were incorporated.

A third-generation revival in the late 20^th century now means the style is present across the world, with diverse festivals, events and courses held about klezmer music.

“Klezmer has become a worldwide type of music played by all continents,” Zakar said.

“There's klezmer in Canada, in South America, all around Europe, and there’s actually a Japanese klezmer group as well. All of the continents, except maybe Antarctica, but that could be the next frontier.”

The demand for a local klezmer scene is evident in Melbourne Klezmer School selling out its launch party, and in the rise and embrace of klezmer fusion bands such as Chutney. Starr says it goes beyond a simple desire for Yiddish music – post October 7, it’s about advocating for Jewish culture.

“The arts scene here has been pretty toxic… Many musicians have been personally told to choose on the side of good or evil: good meaning to publicly disavow Israel, and evil meaning to not do that,” Starr explained.

“They're given these polar alternatives, and they're then either fired publicly, or these people they've played with for years and thought were friends disparage them, leave bands or cancel gigs. It's been really, really hard for Jewish musicians.

“Due to its Holocaust survivor history, Melbourne punches above its weight in terms of Yiddish speakers. For that, there's been an increase in popularity with klezmer music. We’re interested in growing or helping push along this upward trend."

Both Starr and Zakar agree that they want Melbourne Klezmer School to be more than just a school, but a community. A small day festival, guest lecturers, performances from established klezmer musicians and community jams are all on the cards for the future.

“The beautiful thing is that if people are signing up, they're klez-curious – and if they’re klez-curious, then it's an opportunity to learn and grow with us,” Starr concluded.

“It’s going to be a warm and fun community that might become bigger over time. Come and join us.”