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Tag: chuppah

A chuppah for another 150

A chuppah for another 150

Congregation Emanu-El’s chuppah is on display throughout the summer. (photo by Janna Ginsberg Bleviss)

Congregation Emanu-El in Victoria is celebrating its 155th year. It is marking the occasion, in part, with the art exhibit Encounters, as well as by displaying a quilted chuppah that was created by a group of women in the community for the congregation’s 150th birthday.

The creation of the quilt was spearheaded by Janna Ginsberg Bleviss, who talked with the Independent about this unusual project.

“Five years ago, when Congregation Emanu-El was celebrating its 150th anniversary, I was active with a couple of projects,” she said, “and I was looking for a specific art project. Rabbi Harry Brechner suggested a new chuppah.”

The original chuppah of Emanu-El has a long history. According to Ginsberg Bleviss, it dated from 1864. Made in England from Chinese silk with gold embroidery, it was donated to the synagogue by the Hebrew Ladies of Victoria. Throughout the intervening century and a half, it had been used repeatedly. Of course, by 2013, it was showing its age. “It was frayed and tired looking,” said Ginsberg Bleviss.

The congregation needed a new chuppah, but was unsure how to approach the making of a new one. “Rabbi Harry directed me to Colleen Golumbia, a gifted quilter and fabric artist,” recalled Ginsberg Bleviss. “I had seen her work at the shul’s Calling All Artists displays and I thought that a fabric project would be suitable for the chuppah, as I already knew many textile artists. Colleen agreed to work with me, to coordinate putting the pieces together and make it look like a chuppah. She was absolutely the right person to be involved.”

Golumbia decided the chuppah would feature a central panel surrounded by 12 squares. “Colleen designed the gorgeous centre piece, resembling the stained glass window in the sanctuary ceiling, with colours of gold, red, white and blue,” said Ginsberg Bleviss.

Meanwhile, Ginsberg Bleviss put out a call and found 12 women interested in creating the surrounding panels. In the end, 14 women worked on the project.

“These women ranged in ages, the oldest [then] being 86. They came from Victoria, [elsewhere on] Vancouver Island and even as far away as Washington, D.C. Some were professional artists, some were experienced sewers or quilters or knitters, some worked in fabric from time to time and some took it on as a challenge. They were all pleased to participate in this project. Although not all were synagogue members, all were connected in some way to Congregation Emanu-El.”

Golumbia gave snatches of fabric to everyone in the colours of her portrayal of the stained glass window, thus linking the whole composition by colour; other than that, every participating woman had full creative freedom. Ginsberg Bleviss recalled: “I was frustrated at first because I kept asking Colleen: ‘Don’t you want to give them some directions?’ She didn’t.”

The artists got together a few times anyway, to share and learn from one another. Since they didn’t all live in Victoria, they mostly communicated through emails circulated by Ginsberg Bleviss.

photo - Each panel was created by a different artist. Annette Wigod sewed Shabbat candles, using an antique doily as the tablecloth and Phyllis Serota painted fish coming toward a Magen David (acrylic on canvas)
Each panel was created by a different artist. Annette Wigod sewed Shabbat candles, using an antique doily as the tablecloth and Phyllis Serota painted fish coming toward a Magen David (acrylic on canvas). (photos by Janna Ginsberg Bleviss)

“When the squares came in, the diversity and similarities were quite amazing. Many used the Magen David in various forms. There were images of Judaism, nature, light and colour. Some of the squares were abstract. Only one had words on it – the last piece that came in was from Washington, D.C. It said, ‘I am my beloved and my beloved is mine,’ which is often said at weddings. Done by Nancy Micklewright, it was a stunning gold stencil on a white background…. Phyllis Serota, known for her early fish paintings, painted fish coming into a Magen David centre. Annette Wigod, our oldest contributor, sewed Shabbat candles and used an antique doily as the tablecloth. Enid Elliot created a West Coast theme of oceans, mountains and sky. Arlene Ackerman, another experienced quilter, created pomegranates.”

The other participants included Narcis Kellow, Isa Milman, Jackie Saunders Ritchie, Natalie Beher, Charlotte Sutker, Gail Steinberg, Janis Diner Brinley and Barbara Horowitz.

“It was truly a communal effort, vibrant and colourful, meticulously sewn together,” Ginsberg Bleviss said. “Some squares were hand-stitched, some machine-stitched, some reflected quilting traditions, and some used appliqué. It was extremely varied. Colleen put all the pieces together and did the quilting lines. Several months later, in March 2013, we handed it to the synagogue as a donation from all the women…. It was too beautiful not to let others see it. We decided to place it in the sanctuary, where it has been ever since. Its first proper use came that same summer for the wedding of one of the artists and her partner.”

The old chuppah now resides at Royal B.C. Museum, although it was brought out for the 150th historical exhibit at Emanu-El.

Five years have passed since the new chuppah’s creation, and Ginsberg Bleviss thought it was time to display it to a wider audience.

“It was hanging in the sanctuary, with no explanation,” she said. “It kind of looked like a wall-hanging. I wanted to acknowledge the shul’s 155th anniversary this year and felt that there was still something to be learned about the chuppah and the process that went on in 2013. I wanted to move the chuppah to a more visible spot and give it some attention.”

Besides, everyone was getting older, she added. The oldest participant, Annette Wigod, is now 91. Ginsberg Bleviss wanted to give each woman a chance to talk about their pieces and what inspired them.

The new exhibit consists of the chuppah, the creators’ photographs and a story of each square.

“It is modern and beautiful, something that we could all be proud of,” said Ginsberg Bleviss. “I hope it might last as long as the original chuppah.”

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Format ImagePosted on June 29, 2018June 28, 2018Author Olga LivshinCategories Visual ArtsTags art, chuppah, Emanu-El, Janna Ginsberg Bleviss, Judaism, quilting, Victoria
Abrahamic faiths’ traditions

Abrahamic faiths’ traditions

A chuppah in Jerusalem. (photo by Nikki Fenton)

Mazal tov. Mabrouk. Congratulations. No matter one’s religion or language, a wedding is generally a joyous occasion.

While there is no apparent consensus, varying reports say that between 60% and 80% of all marriages in the United States are performed in a religious ceremony. Where do the religious wedding traditions come from? What are the similarities and differences between the marriage traditions of the three Abrahamic religions – Judaism, Christianity and Islam?

The most obvious similarity between Jewish, Christian and Islamic marriages is that, in each case, the tradition requires that the union be between a bride and a groom of the same religion. In other words, according to the letter of the religious law, intermarriage is forbidden.

The Torah, New Testament and Quran indulge in many stories designed to warn men against marrying women who worship foreign gods or are nonbelievers.

Deuteronomy 7:3-4 states, “Do not intermarry with them. Do not give your daughters to their sons or take their daughters for your sons, for they will turn your children away from following me to serve other gods, and the Lord’s anger will burn against you and will quickly destroy you.” For Christians, 2 Corinthians 6:14-17 explains that one should not be “yoked together with unbelievers,” and should “touch not the unclean thing” if one wants to be received by the Lord. In Sura 60:10, Muslims learn, “Do not maintain your marriages with unbelieving women.”

In Israel, where couples can wed only through religious ceremonies administered by the Chief Rabbinate, the intermarriage rate is relatively low. The 2015 Israeli Democracy Index survey found more than one-third of both Jewish (36%) and Arab (38.8%) Israelis support organizations that work to prevent Jewish women from marrying Arab men, even if their activities are radical and/or violent.

In the United States, however, intermarriage is almost the norm. The 2013 Pew Research Centre survey of American Jews found an intermarriage rate of 58%, up from 43% in 1990 and 17% in 1970. Among non-Orthodox Jews, the intermarriage rate is 71%.

How do these intermarried couples plan their weddings? Are the traditions similar enough to make it work?

The modern idea of a secular marriage based on love is rooted in Christianity. But, according to Karen Armstrong’s The Gospel According to Woman, the first detailed account of a Christian wedding in the West dates back to the ninth century and was identical to the old nuptial service of ancient Rome. This is likely because, at its core, Christianity looks down upon marriage.

In the New Testament (Matthew 22:23-30), Christians are taught that in heaven there are no marriages. St. Paul describes marriage as a last resort for those who cannot restrain themselves, saying that being chaste is the ideal.

In contrast, there are deep Jewish and Islamic marriage traditions that begin even before engagement. Arranged marriages – or the use of a shadchan (matchmaker), in Jewish terms – is something that’s not only condoned, but encouraged by both faiths.

Rabbi Etan Mintz, leader of B’nai Israel Synagogue in Baltimore, said matchmaking is experiencing a resurgence. There are now any number of religious- and secular-rooted websites helping couples meet and match. Likewise, there’s a growing phenomenon of executive matchmakers.

In the time of the Talmud, Jewish engagement (erusin) looked very different than it does today, Mintz explained, as engagement and marriage nuptials (nissu’in) were different ceremonies that took place about one year apart. When a man wanted to marry a woman, he would ask her father for permission, and documents of commitment would be signed. During that time, the couple was able to plan their lives, but no direct or immodest contact was allowed.

Today, the erusin and the nissu’in ceremonies generally happen at the same time – under the chuppah (wedding canopy). The ceremonies are divided by the reading of the ketubah (marriage contract).

photo - An Islamic bride’s hand is decorated as part of the henna pre-wedding ritual
An Islamic bride’s hand is decorated as part of the henna pre-wedding ritual. (photo by Ibtisam Mahameed)

This is not too different from how Muslim engagement practices look today, in some circles. Ibtisam Mahameed, a Muslim woman from the village of Faradis in Israel, told JNS.org that, in order for a couple in her town to get engaged, the man and his family must meet with the woman’s family.

“The boy has to come and sit in the parents’ house and say he wants to marry the daughter. The parents have to agree. If they don’t agree, the couple cannot be married,” she explained.

If the parents agree, then the village sheikh will come to the house of the woman’s parents and go over Muslim marriage law – what is owed to the bride and groom, the obligations of the man to the woman, and the ramifications of divorce.

“The rights are fully explained before the wedding,” Mahameed said.

Both Muslims and Jews enjoy rich pre-wedding rituals.

The Jewish bedeken (veiling ceremony) is “so powerful,” said Mintz. Often marking the first time a bride and groom are seeing each other after a week of separation before the wedding, the bedeken is wrought with emotion.

While one understanding of the bedeken is that it relates to the fact that the biblical patriarch Jacob was forced to marry Leah instead of Rachel when the brides were switched by their father Laban – and, by extension, today, the groom symbolically makes sure he is marrying the right bride by checking and then veiling her – Mintz said there are other more spiritual interpretations of ritual.

“Rabbi Shlomo Carlebach asks, ‘If the purpose is to make sure she is the right one, why does he veil the bride at the bedeken? Shouldn’t he be taking the veil off?’ Carlebach says the radiance of the bride is so powerful under the chuppah, so beautiful, that the chatan (groom) veils her. That intensity, that beauty, is just for the two of them in their own personal space,” Mintz said.

Mahameed described Islam’s “henna” ceremony as powerful and intimate, too. She said the groom’s best friends and relatives gather in his home to mix and paint the henna dye. Then, they mix more of the dye to deliver to the bride. Carrying a uniquely woven basket with a golden plate of henna, the groom and his mother walk hand-in-hand to make the henna delivery to the bride.

Read more at jns.org.

Format ImagePosted on February 26, 2016February 25, 2016Author Maayan Jaffe-Hoffman JNS.ORGCategories WorldTags Abrahamic faith, chuppah, henna, weddings
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