Is there a link between it and the spread of the practice of public entertainment?
From his early days, Ventriloquism has been regarded with suspicion by early scholars, and many authors and poets (both Jewish and Christian) have rejected ventriloquism in favour of the more traditional medium of singing or dancing, despite the fact that the latter have their roots in the Jewish tradition.
Ventriloquism, like all forms of music, was originally an art form and not a religion. Therefore, the earliest references to music in ancient Hebrew culture are not to music itself, but to the entertainment value of singing. However, the earliest verses of the book of Joshua were devoted to the singing and dancing that were being performed under the direction of Joshua’s brother Solomon, and there is no evidence that ventriloquism was used as an arts-based entertainment.
In the Talmud, וְנַרְאוּנִי (Yevamot 10:2) writes that, for example, ventriloquists perform at music festivals with an ode to God and to music, a song and dance to the “flute of God” and “the song of the flute of David.” In the Sefer Yetzirah (Sefer Yetzirah, p. 521), it is declared: וְנַרְאוּנִי (Yevamot 10:4) is the poem written on a page of writing “for the flute of וְנַרְאוּנִי” — one of the most ancient poems in the ancient Hebrew literature, the oldest such poem in the world, and in the literature of all cultures.
In fact, the earliest references to ventriloquism as an entertainment are found under the direction of people of all different backgrounds, all of them belonging to various social and religious backgrounds.
These early references to music and ventriloquism have two main points: the fact that ventriloquism had a very special place in the Jewish culture, and it was being done by various people (i.e. professionals); and also the fact that it was a highly social activity, the performance for entertainment purposes.
Ventriloquism was performed by various people not only at Jewish festivals, but also on
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