- published: 11 Dec 2011
- views: 9023
- author: Gottfried Leibniz
42:15
Maimonides
Melvyn Bragg and guests discuss the life, times and legacy of the great Jewish medieval ph...
published: 11 Dec 2011
author: Gottfried Leibniz
Maimonides
Melvyn Bragg and guests discuss the life, times and legacy of the great Jewish medieval philsopher, Maimonides. Also known as Rambam, Maimonides was a philos...
- published: 11 Dec 2011
- views: 9023
- author: Gottfried Leibniz
3:47
The Controversy Over Maimonides - #34
http://JewishHistory.org The works of Maimonides did not receive universal approbation. Th...
published: 16 Nov 2009
author: JewishHistoryDotOrg
The Controversy Over Maimonides - #34
http://JewishHistory.org The works of Maimonides did not receive universal approbation. There were many that disagreed with his philosophy and they disagreed...
- published: 16 Nov 2009
- views: 4857
- author: JewishHistoryDotOrg
3:39
Maimonides, Rabbi Moshe ben Maimon - #33
http://JewishHistory.org If Rashi is one of the pillars of the Jewish world, the other is ...
published: 16 Nov 2009
author: JewishHistoryDotOrg
Maimonides, Rabbi Moshe ben Maimon - #33
http://JewishHistory.org If Rashi is one of the pillars of the Jewish world, the other is Maimonides, Rabbi Moshe ben Maimon, the great sage and person of th...
- published: 16 Nov 2009
- views: 8240
- author: JewishHistoryDotOrg
42:00
Jewish 101: Ep. 38 - Maimonides
Excerpts from Maimonides' "Guide Of The Perplexed," on how the Torah is to be read as "par...
published: 14 Oct 2011
author: ShalomTVcom
Jewish 101: Ep. 38 - Maimonides
Excerpts from Maimonides' "Guide Of The Perplexed," on how the Torah is to be read as "parable" and on the Rambam's metaphor for religious experience. Also M...
- published: 14 Oct 2011
- author: ShalomTVcom
76:11
Josef Stern on Maimonides and the Unbinding of Isaac
Josef Stern, William H. Colvin Professor in the Department of Philosophy at the University...
published: 08 Aug 2012
author: UChicago
Josef Stern on Maimonides and the Unbinding of Isaac
Josef Stern, William H. Colvin Professor in the Department of Philosophy at the University of Chicago, presents a lecture titled "The Unbinding of Isaac," at...
- published: 08 Aug 2012
- views: 339
- author: UChicago
4:20
MAIMONIDES
...
published: 02 Feb 2011
author: PTVcordoba
MAIMONIDES
- published: 02 Feb 2011
- views: 4724
- author: PTVcordoba
26:06
LA FE JUDIA 13 PRINCIPIOS DE MAIMONIDES
Como expresa su fe un judio? Son las obras decisivas para mostrar su fe?...
published: 11 Oct 2010
author: eliyahu bayonah
LA FE JUDIA 13 PRINCIPIOS DE MAIMONIDES
Como expresa su fe un judio? Son las obras decisivas para mostrar su fe?
- published: 11 Oct 2010
- views: 2804
- author: eliyahu bayonah
10:45
Moses "RAMBAM" Maimonides
Maimonides notes for Jewish RTDS (personality area). Want more? www.metatemporal.com....
published: 21 Jul 2008
author: tristanforsyth
Moses "RAMBAM" Maimonides
Maimonides notes for Jewish RTDS (personality area). Want more? www.metatemporal.com.
- published: 21 Jul 2008
- views: 6331
- author: tristanforsyth
3:55
Dont Close the Mart - A Purim Story by Maimonides Academy 2013
Dont Close the Mart - A Purim Story by Maimonides Academy 2013 The rabbis and teachers spe...
published: 22 Feb 2013
author: Ouriel Hazan
Dont Close the Mart - A Purim Story by Maimonides Academy 2013
Dont Close the Mart - A Purim Story by Maimonides Academy 2013 The rabbis and teachers spent so much time worrying about teaching Purim, they forgot to prepa...
- published: 22 Feb 2013
- views: 130840
- author: Ouriel Hazan
7:19
Rambam Maimonides Meditation
Explanation by Rabbi Dr. Natan Ophir, director of JMIJ Jewish Meditation Institute Jerusal...
published: 04 May 2010
author: JewishMeditation21
Rambam Maimonides Meditation
Explanation by Rabbi Dr. Natan Ophir, director of JMIJ Jewish Meditation Institute Jerusalem. Did you know that Maimonides describes a meditative method? Mai...
- published: 04 May 2010
- author: JewishMeditation21
3:08
Great Jews series Maimonides Rambam JewU 118
Great Jews series Maimonides Rambam 1135-1204 His amazing contributions to the world Award...
published: 17 Jun 2007
author: rjhgins
Great Jews series Maimonides Rambam JewU 118
Great Jews series Maimonides Rambam 1135-1204 His amazing contributions to the world Award winning ONLINE CONVERSION TO JUDAISM PROGRAM-Gold Medal in Adult J...
- published: 17 Jun 2007
- views: 2701
- author: rjhgins
5:23
Residency & Fellowship Programs at Maimonides
Maimonides Medical Center is one of the largest independent teaching hospitals in the Unit...
published: 19 Nov 2012
author: MaimonidesMC
Residency & Fellowship Programs at Maimonides
Maimonides Medical Center is one of the largest independent teaching hospitals in the United States. With more than 70 primary care and sub-specialty program...
- published: 19 Nov 2012
- author: MaimonidesMC
9:59
Leo Strauss lecture on Maimonides
Leo Strauss lectures on Maimonides' Guide of the Perplexed. See more here: http://www.arch...
published: 22 Mar 2009
author: galga612
Leo Strauss lecture on Maimonides
Leo Strauss lectures on Maimonides' Guide of the Perplexed. See more here: http://www.archive.org/details/LeoStraussLectureOnMaimonides13.
- published: 22 Mar 2009
- views: 2281
- author: galga612
10:33
Leo Strauss' Maimonides Lecture, Segment 1
This this a recording of the historic first lecture in which the esoteric teaching of Maim...
published: 22 Apr 2009
author: Allan Bloom
Leo Strauss' Maimonides Lecture, Segment 1
This this a recording of the historic first lecture in which the esoteric teaching of Maimonides concerning philosophy and faith, or philosophy politically v...
- published: 22 Apr 2009
- views: 7572
- author: Allan Bloom
Vimeo results:
16:19
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER ...
published: 13 Aug 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others doing improvs and scenework, there is an important transitional stage in the work in which I help him get comfortable using his very personal Gestalt material freely as creative material. He needs to shift from seeing himself as a patient to enjoying the role of an artist of the
29:21
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is...
published: 01 Jan 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating between contact with the environment and withdrawal into the void of "not knowing" to discover what fantasies and new ideas are waiting to emerge into awareness there.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Per
25:52
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
g...
published: 24 Aug 2011
author: franklyn wepner
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
gestalt therapy work on awareness with actress bel baca.
second part of "unguided awareness work", in which i
give bel feedback for the work she did in the first part.
part 3 begins the work on "guided awareness", where i closely supervise her work on awareness, and give instantaneous feedback as she goes along.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: fwep@earthlink.net. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using
37:11
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
second part of a two hour session on awarenesss with actress bel baca. this is the "guided...
published: 26 Dec 2010
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)
second part of a two hour session on awarenesss with actress bel baca. this is the "guided awareness" part of the exercise, since here i am giving lots of feedback immediately as things happen. in the "unguided" part i waited about 15 minutes before giving feedback. i continue this "guided" process in the 3rd and last part, the next video.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others
Youtube results:
5:08
Maimonides Nurses Share their Stories
The nursing team at Maimonides Medical Center is committed to patient advocacy, profession...
published: 11 Nov 2010
author: MaimonidesMC
Maimonides Nurses Share their Stories
The nursing team at Maimonides Medical Center is committed to patient advocacy, professionalism, prudent activism and continuous improvement. Our nurses are ...
- published: 11 Nov 2010
- views: 9831
- author: MaimonidesMC
3:33
UGA and GATech Maimonides Fellowship Highlights
Maimonides Leaders Fellowship at University of Georgia and Georgia Tech
Learning Experienc...
published: 12 Dec 2012
UGA and GATech Maimonides Fellowship Highlights
Maimonides Leaders Fellowship at University of Georgia and Georgia Tech
Learning Experience, Trips to Israel, Shabbos Experiences, Social Events, and a wide variety of meaningful Jewish experiences
Putting the "Why" into Judaism.
- published: 12 Dec 2012
- views: 123
5:54
Maimonides Celebrates 100 Years
In 2011, Maimonides celebrated 100 years of serving Brooklyn. From a small dispensary to a...
published: 03 Feb 2011
author: MaimonidesMC
Maimonides Celebrates 100 Years
In 2011, Maimonides celebrated 100 years of serving Brooklyn. From a small dispensary to a state of the art medical center, this video highlights Maimonides ...
- published: 03 Feb 2011
- views: 3606
- author: MaimonidesMC
4:02
Maimonides Academy Presents: Maimobeats 2 Purim 2012
This is how WE do Purim!...
published: 08 Mar 2012
author: Ouriel Hazan
Maimonides Academy Presents: Maimobeats 2 Purim 2012
This is how WE do Purim!
- published: 08 Mar 2012
- views: 39799
- author: Ouriel Hazan