Richard Kostelanetz
- › Preambles
- › All Along the Edge
- › Choice Bits
- › Las Vegas Performance
- › Book of Kostis
- › Contemporary American Literacy
- › Modern Polyartistry
- › End of Intelligent Writing, reprint
- › More On Innovative Music(ian)s
- › Autobiogaphies at 50 & 60
- › Book-Art & Alternative Publishing
- › A Literary Life in America
- › Animated Music
- › Artists in America
- › Arts & Artists in America
- › Master Minds, rev. ed.
- › The Maturity of American Thought
- › Great American Comedians
- › Continuing Tradition of the New
- › Charles Ives and the American Imagination
- › Special Sounds: The Art of Radio in North America
- › Great Jewish Cemetery of Berlin
- › Sports & Sportsmen
- › Elizabeth Streb
- › More Crimes of Culture
- › The Fall and Rise of the Rockaways
- › Home & Away: Travel Essays
- › American Composers in Their Own Words
- › The Art of Literary Demolition
- › Possibilities of Longer Poetry
- › Alternative American Autobiographies
- › The American Tradition in Poetry
- › John Cage's Poetry
- › Foster Damon's Uncollected Writings
- › Libertarian Tradition: American Anarchist Thought
- › E.E. Cummings ReConSidered
- › Conceptual Dance: Choreographic Comedies
- › An Emma Goldman Reader
- › American Composers as Writers
- › AnOther Ogden Nash
- › Classic Essays on Rock
- › New American Radio Plays
- › Second Anthology of Merce Criticism
Proposal for Ladino—an hour-long audio feature/composition
Ladino, also called Judeo-Spanish, is the language of Spanish Jews, much
as Yiddish is the language of Eastern European Jews. Sounding like an old
Spanish, Ladino is thus different from the Spanish spoken today by Jews in,
say, Argentina and Mexico. Indeed, Ladino is reportedly closer in sound to
the language of Christopher Columbus than any other Spanish heard today. What
I would like to do is an hour-long audio feature about this language in which
I would ask Ladino-speakers living in America to explain in their own (English)
words the differences between their language and the Spanish spoken here and,
by extension, the importance of Ladino. I may also record excerpts on these
issues. Since I have previously done compositions of and about the sound of
unique sources (the language of prayer, the Hebrew of the Diaspora, New York
City, baseball), it would seem appropriate to conclude the feature with a
multitrack composition that would for its acoustic material draw upon phrases
used earlier in the feature and other characteristically Ladino articulations.
I have been promised the assistance of Ladino-speaking relatives of mine,
in addition to the relatives of Sephardic colleagues. Once I begin the project,
I expect to contact the officials of synagogues with Ladino-speaking congregations
around the U.S.. For budget, I would estimate $18,000, which would include
$8,000 for me as the producer-interviewer-announcer (working quarter-time
for an entire year), $3,000 for assisting and expert personnel, $2,500 for
travel to recording sites within the U.S., $500 for audiotape (including multitrack),
$1,500 for rental of at least 50 hours in a multitrack studio, $1,000 for
at least 100 hours in a two-track editing studio, $500 for telephone and other
corrinunication. This tape will also be offered to stations around the world
that have previously broadcast my work: National Public Radio, American Public
Radio, British Broadcasting Corporation, Australian Broadcasting, Sender Freies
Berlin, RIAS, Westdeutscher Rundfunk, Sveriges Radio.