Abstract
ABSTRACT Klezmer has become an established genre in world music, but its performance is dominated by non-Jewish musicians. Against the backdrop of the ‘Jewface’ scandal in London’s West End, I explore the issue of Jewish representation in klezmer in the British world music industry, examining recurrent trends of cultural appropriation that result in the exclusion and exploitation of Jewish musicians and the exoticisation and erasure of Yiddish culture. I highlight how this systemic marginalisation illustrates a double standard in the industry, providing another example of how Jews are being left out of the progressive drive towards diversity in the performing arts.
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