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"The Basketball Game" is a graphic novel adaptation of the award-winning National Film Board of Canada animated short of the same name – intended for audiences aged 12 years and up. It's a poignant tale of the power of community as a means to rise above hatred and bigotry. In the end, as is recognized by the kids playing the basketball game, we're all in this together.

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Tag: drumming

Learning about First Nations

Learning about First Nations

Gerry Sheena shows students his method of carving. (photo from Vancouver Talmud Torah)

Vancouver Talmud Torah invited Interior Salish Nation carver Gerry Sheena and his son Matthew Sheena for a week-long program where each grade participated in a session to learn about the history of Indigenous carving, the tools used and the process of carving and design.

Gerry Sheena has been carving for more than 17 years and his work is shown in galleries throughout British Columbia. He describes his carving style as “traditionally Salish, informed by modern painting techniques and innovative use of colour and design.”

The Sheenas’ visit related to the applied design, science and technology curriculum, notably the woodworking aspect. However, VTT has been working on creating a more meaningful implementation of First Peoples’ education, which sparked the idea of integrating the two areas and having presenters from the First Nations community educate students on carving, drumming and storytelling. The timing for the presentation was matched with the month of June, which is National Indigenous History Month. Teacher-librarian Nicolle Wade created a display of Indigenous books and shared Learning to Carve Argillite by Sarah Florence Davidson and Robert Davidson, to give students an idea of what they would be seeing. She also installed a welcome display shining the light on Gerry Sheena’s art.

photo - Matthew Sheena at Vancouver Talmud Torah
Matthew Sheena at Vancouver Talmud Torah. (photo from VTT)

The program was unique in that the Sheenas were at the school for an entire week, not only presenting but also working in the playground, carving a welcome sign for the soon-to-come community garden. Students were able to come out every recess and lunchtime to watch Gerry Sheena carve and listen to Matthew Sheena drum, and additional Q&As took place organically. Teachers had the opportunity to bring their classes out to watch the carving take place firsthand.

“Having an Indigenous carver join our VTT community for one whole week has helped us to organically elevate Indigenous education and ensure that our students are engaging in meaningful learning about the Indigenous peoples and their traditions. We are honoured to have Gerry and Matthew Sheena join us from the Interior Salish Nation as we find ways to recognize National Indigenous History Month now and moving into the future,” said Emily Greenberg, VTT head of school.

Gerry Sheena shared how he got started in carving, his love for art and his happiness when creating totem poles, masks, paddles and many other ceremonial carvings. Matthew Sheena is a passionate drummer and graced the school with his drumming and singing of a Squamish Nation song, “Snowbird,” acknowledging the land and sending a powerful message to love and to lead “through your heart, spread love to others around you and to be kind.”

Among the many lessons learned from the week were:

• The power of passing on knowledge through storytelling.

• The connection to the land being the foundation of Indigenous ways of knowing and practices. The land, plants, animals and sky are all teachers, and taking care of the land and everything living is of utmost importance.

• Honouring language. The Sheenas taught students how to say thank you, and the importance of respecting elders and cherishing their roots.

• Older students had questions about residential schools that the Sheenas approached in a gentle and meaningful way.

• Matthew Sheena spoke to the students about always reaching for the stars, never giving up no matter what life throws at you, and being the best you can be every single day. Also, he encouraged them never to give up on art, drawing, singing and dancing – and to do things that bring them joy and will help them tell a story. He said his favourite tool when carving is a pencil and spoke about the power of the pencil to create.

photo - During their week at Vancouver Talmud Torah Gerry Sheena and his son Matthew Sheena taught students and teachers about carving, drumming and storytelling
During their week at Vancouver Talmud Torah Gerry Sheena and his son Matthew Sheena taught students and teachers about carving, drumming and storytelling. (photo from VTT)

VTT was so grateful to spend time with Gerry and Matthew Sheena, both of whom inspired students and faculty through their presentations. The themes of building community, recognizing that everyone can be a potential source of inspiration and knowledge, and fostering respect by encouraging students to speak honestly, listen to one another, be active in problem-solving, take care of the land and value their surroundings were a few of the key takeaways from the week.

VTT aims to grow in the area of Indigenous education and make links to Jewish history, cultures and traditions, as the Sheenas’ presentations revealed that there are many similarities. The week’s activites and interactions left students with more knowledge and understanding of First Nations peoples, and it is hoped that students will continue to reflect upon questions like, What do I know about Indigenous education and First Nations communities? How can I contribute to changing the world we live in by storytelling and passing on knowledge? How can I learn more about Canada’s relationship with Indigenous people? How can I build meaningful relationships? How can I protect the world we live in; the land,  animals and people? and What connections does First Nations education have to Jewish education?

Jessie Claudio is director of learning and innovation at Vancouver Talmud Torah.

Format ImagePosted on June 24, 2022June 22, 2022Author Jessie ClaudioCategories LocalTags carving, drumming, education, Gerry Sheena, Indigenous culture, Matthew Sheena, Vancouver Talmud Torah, VTT
Miriam’s legacy of drumming

Miriam’s legacy of drumming

Female hand drummers from the Iron Age II (eighth to seventh century BCE), found at the site of what was Achzib, on the Mediterranean coast of northern Israel. From the Israel Museum collection. (photo by Deborah Rubin Fields)

In February, an Israeli ultra-Orthodox bride got lots of media attention for playing drums before a mixed (male and female) crowd of wedding guests. Putting aside issues of religious modesty and political clout, does Jewish law restrict females from playing drums?

Significantly, there is a biblical precedent for female drum playing. It dates back to Miriam the Prophetess. Having just crossed a miraculously dry channel in the Red Sea, Miriam felt compelled to celebrate. She and the other Israelite women who had just experienced the Exodus play drums, referred to in Hebrew as tof miryam. (See Exodus 15:20.)

In a 2009 article in Jewish Women: A Comprehensive Historical Encyclopedia, Prof. Carol Meyers notes, “The Bible mentions … only one percussion instrument … the tof, or hand drum, even though other kinds of drums were known elsewhere in the biblical world. Whenever this word is found, it is quite likely that the presence of female instrumentalists is implied.”

Meyers explains that this hand drum consisted of an animal skin stretched over a hollow body of any shape or size. Moreover, although tof miryam is sometimes rendered in English as a tambourine, it is not, given that it has no rattle or bells. Meyers further reports that the tambourine was not authenticated before the 13th century CE.

Additionally, Meyers points out that female figures predominate in unearthed Iron Age terracotta statutes, holding what appear to be hand drums. These women are plainly dressed, hence they appear to be ordinary people, rather than gods or members of the elite.

Few terracotta statues have been discovered in Palestine or Israel. Yet, from the biblical references of Exodus, Judges 11:34, I Samuel 18:6 and Jeremiah 31:4, we are left to understand that there was a tradition of female hand drum players.

Moreover, citing I Samuel 18:6-7, S.D. Goitein states in a 1988 article in Prooftexts, that a woman’s duty was to welcome the returning fighters and to praise them.

Of what importance were these female drums? Meyers elaborates that female public performance would (1) assume a level of competence based upon practice, (2) indicate that, in ancient Israel, there were groups of women performers and (3) imply that leaders and other members of the community acknowledged and appreciated the expertise of these women performers.

Not only that, but, in the book Miriam’s Tambourine: Jewish Folktales from Around the World (1988), edited by Prof. Howard Schwartz, Miriam’s drum had magical abilities. Relying on a 19th-century Eastern European folktale, Schwartz writes that the music from Miriam’s drum drove off serpents and kept Miriam herself in eternal life.

According to Rabbi Allen Maller’s interpretation of the Mechilta and Pirkei d’Rabbi Eliezer, while in Egypt, Miriam taught all the Israelite women how to play the drum. Moreover, he writes on blogs.timesofisrael.com, once the plagues started, Miriam repeatedly reminded the women of all that she had taught them and that, as a sign of their faith in G-d, they should all take at least one drum per family with them when it was time to leave.

Still it is not clear from whom Miriam learned to play. Did Miriam’s mother, Yocheved, teach her to play the hand drum? Or did Miriam learn from Egyptian women?

Broadcaster and writer Eva Dadrian states in her 2010 article “Let there be music!” that ancient Egyptian musicians realized percussion was basic to their orchestras. Thus, they played drums of different sizes. Drums were particularly associated with sacred ceremonial events, but they were also used during battles to rally the troops or to spread panic among the enemy forces.

Dadrian adds that, in spite of the richness of the documentation, our knowledge of pharaonic music remains limited: without theoretical treaty or musical score, it is particularly difficult to do an archeology of music. The two main membranophones used by ancient Egyptians were the single membrane drum mounted on a frame and the barrel-shaped drum with two membranes.

In the University of California, Los Angeles Encyclopedia of Egyptology, Music and Musicians (2013), Egyptologist Sibylle Emerit claims the single membrane drum is documented in Egypt’s Old Kingdom (2575 BCE to 2150 BCE) in a scene carved in the solar temple of Niuserra in Abu Ghurab. She relates that the non-epigraphic material from the East Cemetery of Deir el-Medina, dating to the 18th dynasty, indicates that the owners of the musical instruments buried in this tomb belonged to a modest social class attached to the service of local noblemen. Thus, Emerit confirms Meyers’ assertion about the plain appearance of female Iron Age II drummer statues.

Music researcher, lecturer and performer Veronica Doubleday notes in a 1999 Ethnomusicology article that plentiful evidence shows women played the frame drum in the Egyptian New Kingdom (1570-947 BCE) dynasties. There were musical troupes in temple rituals, as well as solo drum players.

Over the centuries, Islam, Christianity and Judaism marginalized woman’s public drum playing. In a PhD dissertation (2006), Mauricio Molina writes that early leaders of the Christian religion, for example, condemned the frame drums because of their connection with the fertility cults, which the Church was struggling to banish.

Aside from Miriam, Jewish (and non-Jewish) females might have been told that it is not lady-like to play drums, as drummers need to sit with their legs spread apart and drummers sometimes “let loose” to play.

Nonetheless, today, the number of female drummers – including Jewish female drummers – is growing. As the recent bride story reveals, the numbers are increasing even within the Orthodox and ultra-Orthodox community. In Jerusalem, for example, the school Mayever LaMusica (Beyond Music) offers separate drum lessons for girls and women.

Among those who grew up Orthodox are Temim Fruchter, former drummer in the Shondes, and Dalia Shusterman, who drummed in an all-female Chassidic alternative rock group. Elaine Hoffman-Watts, who died two-and-a-half years ago at the age of 85, was a klezmer drummer – many klezmer bands refused her talents because she was a woman; it wasn’t until her father (also a klezmer musician) intervened that she got work as a drummer.

Other notable Jewish female drummers with Israeli backgrounds are Meytal Cohen, Mindy Abovitz (who is also founder and editor-in-chief of the drum magazine Tom Tom), Iris Portugali and Yael Cohen.

So, the beat goes on and, after a long respite, women are again helping to produce it.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Format ImagePosted on April 12, 2019April 12, 2019Author Deborah Rubin FieldsCategories Op-EdTags antiquity, archeology, drumming, history, Israel, music, women
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