Kolot Mayim

Songs in war of peace

Naomi Cohn Zentner shared how music in the time of war can offer resilience and hope. (photo from Naomi Cohn Zentner)

Earlier this month, ethnomusicologist Naomi Cohn Zentner gave the lecture Music and War: An Optimistic View. Her talk was the fourth in Kolot Mayim Reform Temple’s 2025/26 Many Voices of Jewish Music Zoom series.

Speaking from Israel, Cohn Zentner, a lecturer at Bar-Ilan University, examined how music in the time of war can offer resilience and hope, and is not solely about tragedy and mourning. She started with a photograph of Leonard Cohen and Israeli musician Matti Caspi, who passed away on Feb. 8, the day of her talk. The pair were performing for soldiers during the 1973 Yom Kippur War, Ariel Sharon at their side.

Cohn Zentner then played two songs, composed more than a century apart: “The Battle Hymn of the Republic,” written during the American Civil War, and a 1967 performance by the Nachal Entertainment Troupe called “Hallelujah.”

Contrasting the two, Cohn Zentner argued that the former is a sacralizing, providential song in the war hymn tradition, seeing war very much within a religious way of life and values, while the Israeli song – with lines such as, “If there were no need for rifles anymore, then we would sing ‘Hallelujah’” and “If children could play by the border, then you’d hear their mothers sigh in relief, ‘Hallelujah’” – offers a hope for peace, or a prayer for peace.

“It’s an Israeli war song tradition, which shows just how important peace was in these fighting units,” Cohn Zentner said. “We can see this as two opposing examples of what war songs are about.

“The religious hymn of the Civil War is ‘Glory, Hallelujah.’ The conflict itself is very religious and violence, while terrifying, is also cleansing and purifying, and death and martyrdom make men free,” she said. In the Israeli song, war is de-romanticized, death is not glorified but used as a reason to end wars, life itself is considered holy, peace is the desired goal, and the music is more national and secular in outlook.

Last year, on the Israeli reality show, Hakokhav Haba (Rising Star), during which a contestant is chosen to represent the country at Eurovision, Daniel Weiss, from Kibbutz Be’eri, selected Cohen’s “Hallelujah” as one of his songs. Weiss, who lost both of his parents during the Oct. 7, 2023, Hamas attacks, performed a duet with Arab singer Valerie Hamaty in both Hebrew and Arabic.

“Of course, this image was so powerful and iconic – of them singing this song together in Hebrew and Arabic after everything that had happened. It was a very emotional moment,” Cohn Zentner said.

Another song Weiss performed, in honour of his parents, was “Ani Guitar” (“I Am a Guitar”) by Naomi Shemer, which contains the lyric “I remember all those who played on me before, and I say thank you.”

“This symbolic issue of a guitar, which used to be a tree, but still has in it the ability to thank all those who [have] played on him … is very, very emotional,” she said.

Weiss lost out to Yuval Raphael in the contest to represent Israel. Raphael, a survivor of the Nova music festival, performed ABBA’s “Dancing Queen” as her final song in the show. She dedicated it to those who died at Nova.

“I sing about the angels who weren’t fortunate enough to be here now. It hurts because I had this chance not only to come back [from the festival] and to live, but to fulfil my dream. There are those who stayed there, and the shadow behind me is the only thing left of them,” said Raphael, who went on to place second in the 2025 Eurovision with the song “New Day Will Rise.”

At the end of her talk, Cohn Zentner played “Not Alone,” a song penned by Doror Talmon of the band Jane Bordeaux in the weeks following Oct. 7. The song speaks to the feelings of being in the close-knit community of a kibbutz in which everyone has a role and nobody is dispensable; if one person is lost, it affects the entire community.

“The song starts by telling us about all the sad and tragic things that happened, and asks who is going to bring the kibbutz back to what it was,” Cohn Zentner said.

Then, she pointed out, there is a shift in the song to where it answers, “We’ll all extend a hand, we are not alone, and we are partners in fate, in pain and in love, as one people. We will cry and we will overcome, we’re not going to break, we’re going to come together, we have each other, the roots of the trees will go into the earth, and we’re going to be rebuilding.”

The next speaker in Kolot Mayim’s series is Joshua Jacobson, an author, composer and choral director. Jacobson, professor emeritus of music at Northeastern University in Boston, will delve into the history and ongoing evolution of Jewish music in his April 5 talk, Jewish Music: What’s That? For more information, go to kolotmayimreformtemple.com.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Broadway’s Jewish storylines

David Benkof, the Broadway Maven, spoke on Jan. 11 as part of Kolot Mayim Reform Temple’s 2025-26 Voices of Jewish Music series. (photo from David Benkof)

David Benkof, the Broadway Maven, visited Victoria recently, to give a talk titled Spotlight on Jewish Broadway, on Jan. 11. He began with a clip from the musical Spamalot, which, in a tongue-in-cheek manner, asserts that a potential show may have the finest sets, the loveliest costumes and the best shoes, yet it “won’t succeed on Broadway if you don’t have any Jews.”

“The joke is that Jews wrote Broadway, Jews perform Broadway, Jews produce Broadway – and that’s true. It’s historically true, it’s statistically true, and it’s been said so many times that it barely counts as an insight anymore,” Benkof said.

Although seemingly innumerable Jews – Irving Berlin, Jerome Kern, Barbra Streisand, to name a mere few – may be associated with Broadway, Benkof encouraged the audience to consider the meaning of “Jewish Broadway” as something beyond the names of those who created and performed in well-known shows. Rather, he asked those attending in person and on Zoom to think in terms of Jewish-related themes: assimilation, reinvention, insecurity, exile, visibility and ambivalence.

“I want to go a step further,” he said, “and argue that Broadway isn’t primarily Jewish because of the people involved, but because of the very sensibility of the art form. Broadway is Jewish because its plots, themes and character arcs reflect the Jewish experience in North America.”

With clips from Hairspray, Hello, Dolly, A Chorus Line and Chicago, Benkof demonstrated that, while characters and plots were not overtly Jewish, or Jewish at all, there are invariably elements – such as restlessness, striving and defensiveness – that make them feel deeply Jewish.

“It grows out of histories of conditional welcome, where excellence becomes a survival strategy and visibility is both opportunity and danger,” said Benkof. “Broadway characters don’t assume that the room loves them. They hustle to make the room need them. That’s why Broadway feels Jewish even when Jews are nowhere in sight.”

Hairspray, for example, makes no claim that the characters are Jewish. It is method, not identity, according to Benkof, that makes it Jewish. The lead character does not want to tear down the system; she seeks to join it, he pointed out.

“The belief that assimilation is both a strategy and an ethical good is deeply Jewish in a North American context,” Benkof said.

“The combination of idealism, anxiety, and faith that the system can be nudged towards justice if you appeal to its conscience is not universal,” he argued. “It’s a Jewish sensibility operating inside a story that never needs to say the word Jewish out loud, which makes Hairspray slightly subversive, like quite a bit of postwar Jewish art.”

By the end of his Victoria lecture, audience members were able to find Jewish themes in musicals that, on the surface, seem far removed from the Jewish experience: The Lion King, The Phantom of the Opera, The Sound of Music, even The Book of Mormon (think reinvention).

In the example of The Sound of Music, audience members found that its themes of escape, persecution and fear were elements that could be perceived as related to the Jewish experience.

Congratulating the audience, Benkof said, “We could have said, Richard Rodgers was Jewish and, therefore, The Sound of Music is Jewish. That is true and boring. What we have been able to do here today is think about how you won’t succeed on Broadway if you don’t have any Jewishness, as opposed to just Jews.”

Benkof also discussed a Canadian connection to Jewish Broadway, Come from Away, a musical about the care of thousands of travelers, who, after Sept. 11, 2001, had their flights diverted to Gander, Nfld.

In 2024, Benkof made a trip to Gander to see a performance of the show, written by Canadians David Hein and Irene Sankoff.

“I got to go and meet some of the people who had done it,” he said. “They welcomed people into their home and their community, and that, I think, is a very Jewish theme.”

Benkof’s website, broadwaymaven.com, offers five to 15 classes every month. In January, for example, the online educational community had classes on the musicals of Howard Ashman and Alan Menken, on Pal Joey, and a 50th anniversary roundtable on Pacific Overtures by Stephen Sondheim and John Weidman. Upcoming events include classes on Sweeney Todd, Evita, Kiss Me, Kate and Cats, among others. Benkof also posts weekly about Broadway on Substack: substack.com/@thebroadwaymaven.

Benkof’s talk was the third lecture in Kolot Mayim Reform Temple’s 2025-26 Voices of Jewish Music series, part of the Vancouver Island shul’s annual Building Bridges program. The next in the series will be from Naomi Cohn Zentner, an ethno-musicologist at Israel’s Bar-Ilan University, on Feb. 8. Her talk – Music and War: An Optimistic View – will examine how Israeli musicians have responded to recent historic events and explore music’s role in processing grief, inspiring resilience and connecting community in times of crisis. Visit kolotmayimreformtemple.com.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Music can comfort us

On Dec. 3, in the second webinar of Kolot Mayim Reform Temple’s 2025/26 Building Bridges Lecture Series, Rabbi Deborah Sacks Mintz guided an interactive examination of the potential to harness the power of music, especially that which provides solace, be it secular or liturgical.

Rabbi Deborah Sacks Mintz, director of prayer and music at the Hadar Institute in New York. (photo from Hadar Institute)

The director of tefillah (prayer) and music at the Hadar Institute, an educational organization in New York City, Sacks Mintz showed how, through text study, deep listening and participation, comfort (or anchor) songs can ignite creativity and provide strength, resilience and hope in an individual – and also serve communities in times of disruption.

“Tumultuous times are unfortunately nothing new. Times have been tumultuous since the dawn of humanity. And, also since the dawn of humanity, folks have drawn comfort from a variety of modalities,” she said, emphasizing that one of those modalities is communal song.

The talk began with a listening and reflection exercise around the question of comfort. Before playing a version of Hashiveinu, performed by Sacks Mintz and members of the Nigun Circle at Hadar, she asked participants to write down something that gives them comfort. The answers were varied and dynamic, ranging from prayer, food and song to family, friends and nature.

The role of comfort music in Jewish text was explored, starting with 1 Samuel: “So, it came about whenever the [evil] spirit from God came to Saul, David would take the harp and play it with his hand, and Saul would be refreshed/re-expanded, and be well, and the evil spirit would depart from him.”

Some in the Zoom audience described what happened in this passage as a possible early form of music therapy, bringing Saul healing and comfort.

Moving ahead several centuries, Sacks Mintz quoted Rabbi Nachman of Breslov’s encouragement for all to sing a niggun (wordless melody, often used in prayer): “It is good for a person to accustom oneself to reviving oneself with a niggun, because niggun is a powerful and mighty tool, and it has the great strength to awaken a person and point their heart towards the Blessed Name.”

Nachman called everyone to music, even those who could not play an instrument or were able to sing, said Sacks Mintz, for music has the power to revive the self, “for the lift of a niggun cannot be measured.”

She explained, “[He’s] not saying, wow, you should become a pro jazz musician and an amazing singer, and then you too can be sustained by song. You just have to be willing to engage in it on your own, and that can revive the self. It’s about being in a relationship with your internal world.”

Sacks Mintz shared two different pieces from the Jewish canon that comfort her, while asking the audience to reflect and unpack what might be core elements in the language of comfort they offer. She also asked the audience to consider what constitutes a comfort song for them.

One piece was by Rabbi Menachem Goldberger, a prolific composer of niggunim. It was an example of the various feelings one can experience in a piece of music. Reactions ran the gamut from feeling rejuvenated and uplifted to grounded and anchored. Similar feelings were expressed after “Mi Yiten Li Ever,” a song based on Psalm 55:7 by Rabbi Miriam Margles and the Hadar Ensemble, was played. The translation on its Bandcamp page reads: “Who will give me the wings of a dove, that I might fly away and find rest? I would flee to the wilderness; finding refuge from the tempest, from the sweeping wind.”

As well as being a facilitator of Jewish communal music, Sacks Mintz is a vocalist and multi-instrumentalist. As a performer and composer, she has collaborated on more than two dozen albums across the Jewish soundscape, including her original spiritual works The Narrow and the Expanse (2020) and Yetzira (2023), with Rising Song Records. A third album is expected in early 2026.

Sacks Mintz received rabbinic ordination from the Jewish Theological Seminary, holds a master’s degree in women’s and gender studies, and earned degrees in music and religious anthropology from the University of Michigan.

Founded in 2006, the Hadar Institute strives to build communities in North America and Israel, offering various programs to support the development of Judaism that is both traditional and egalitarian.

The next lecture in the Kolot Mayim series will feature Broadway historian and lecturer David Benkof on Jan. 11 at 11 a.m. Benkof will deliver his talk – Spotlight on Jewish Broadway with the Broadway Maven – in Victoria in person and on Zoom. For information, visit kolotmayimreformtemple.com.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

An oral song tradition

Shenandoah University Prof. Lori Şen spoke about Sephardic music on Nov. 2, as part of Kolot Mayim Reform Temple’s 2025/26 lecture series. (PR photo)

Kolot Mayim Reform Temple started its 2025/26 Building Bridges Zoom lecture series – six music-themed talks running through April – on Nov. 2, with Lori Şen, a professor of vocal pedagogy at Shenandoah University in Winchester, Va.

The title of Şen’s lecture was Classical Echoes in Ladino: Sephardic Songs Reimagined.

“This talk is especially meaningful to me, as it reflects a journey that began about eight or nine years ago with my doctoral dissertation in voice performance,” she said.

“What started as an academic project has since grown into a broader exploration and celebration of a rich and underrepresented genre within the Western classical tradition – Sephardic art song.”

Şen spoke about the Sephardim, their history, language and culture, before discussing the elements of traditional Sephardic music. Later, she introduced Western classical arrangements of Sephardic folk songs for voice and various instruments, and spoke about the development of this genre, playing excerpts from a variety of songs.

Within the expanse of what constitutes Sephardic culture, there is a language, most commonly called Ladino or Judeo-Spanish, a mix of 14th- and 15th-century Castilian, with contributions from Galego-Portuguese, Catalan, Valencian, Aragonese, Hebrew, Turkish, Arabic and others, such as Greek, French, Italian and Balkan languages.

“A certain linguistic creativity is inherent to Judeo-Spanish, which has even been used as a vehicle for expressing verbal revenge through humour in an oppressive society,” Şen said, citing examples of plays on words that can be found in Ladino.

Şen quoted from linguist Marie-Christine Varol, author of Manual of Judeo-Spanish: “Irony, distance, puns and endless plays on meanings and stylistic nuances bouncing back and forth make this language of quotations, double entendres, discrete jokes that seem undecipherable of implied and overly clear meanings into an original and eternally renewed linguistic system steeped in a devastating sense of humour that can only be achieved through a knowledge of several languages, a knowledge that gives it its strength, its richness and its freedom.”

Şen said the types of Sephardic song are defined based on musical parameters such as structure, melody and rhythm, as well as the text and the relationship between the music and text. Many songs were passed down orally, making their origins difficult to trace. Others are Ladino translations or adaptations of Turkish, French and Balkan songs, incorporating dance rhythms like tango and foxtrot, and sometimes referencing familiar operettas.

“Since this repertoire represents such a wide range of cultural exchange, the musical analyses of them require vast musical knowledge,” Şen said. “Sephardic music possesses elements of Western classical music of all periods, starting from medieval, Spanish, Moroccan, Balkan and Greek musical traditions, and Turkish folk and classical forms, including makam.”

Makam is the Middle Eastern modal practice with more pitches than we’re used to in our Western 12-tone notation system.

According to Şen, although instruments were employed on occasion, the Sephardic song repertoire is essentially vocal. When instruments were involved, they were mainly percussive, a tambourine, for instance, though mandolin and oud were also employed.

Traditional Sephardic folk songs, since they were transmitted orally, incorporate a large amount of improvisation. Thus, the melodies of the same songs can differ significantly between communities and across generations.

On her website, lorisen.com, Şen has a catalogue she compiled that includes lists of Sephardic works and composers, works categorized by instrumentation, and songs. Based on archival research and interviews she has conducted with Jewish musicians and music scholars, Şen has identified more than 45 composers who have arranged more than 190 different traditional Sephardic folk songs in the art song form for voice and various instruments. Also on her website is a Ladino diction guide designed to assist singers interested in performing Sephardic songs.

A mezzo-soprano and Fulbright alumna, Şen’s range spans opera, art song, musical theatre and jazz, and she has performed throughout Europe and the United States. Her teaching and research specialize in vocal literature, pedagogy and voice science. Further, through her background in physics, she explores the art and science of the singing voice.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Explore Jewish music

On Dec. 3, Rabbi Deborah Sacks Mintz will speak on Harnessing the Potential of Our Comfort Songs, as part of Kolot Mayim Reform Temple’s Building Bridges Speakers Series. (photo from Hadar Institute)

Kolot Mayim Reform Temple’s annual six-part series of free lectures – the Building Bridges Speaker Series – returned earlier this month with the Nov. 2 talk by Dr. Lori Şen of Shenandoah University on Classical Echoes in Ladino: Sephardic Songs Reimagined. It continues Dec. 3, with Rabbi Deborah Sacks Mintz of the Hadar Institute speaking on the topic Harnessing the Potential of Our Comfort Songs.

The Building Bridges Speaker Series’ theme for 2025/26 is Kolot Zemirot: The Many Voices of Jewish Music. In the wake of the dramatic rise in antisemitism following the events of Oct. 7, 2023, it is more important than ever to celebrate and amplify the rich tapestry of Jewish culture, history and heritage. This series of lectures will explore the role of music in shaping and sustaining Jewish identity across generations and around the world, delving into the diverse expressions of Jewish music – its history, traditions, and its cultural, religious and secular aspects. Music has always been a source of strength, resilience and hope for the Jewish people, and this series will highlight its power to unite communities and inspire pride in our shared heritage.

An educator, practitioner, composer, vocalist, multi-instrumentalist and facilitator of Jewish communal music, Sacks Mintz will explore, on Dec. 3, how Jews use the internal strength we source from singing our own anchor songs to serve our communities in times of disruption. For Sacks Mintz, the power of communal music ignites spiritual creativity, fosters participation and deepens connections within Jewish life.

Historian and lecturer David Benkof, “the Broadway Maven,” will speak in person in Victoria on Jan. 11, with hybrid access for a wider audience. His presentation will dig into Jewish creators, characters and themes that have shaped – and continue to shape – the world of Broadway, revealing how musical theatre reflects and influences Jewish identity.

A leading voice in the study of contemporary Israeli music, ethnomusicologist, Dr. Naomi Cohn-Zentner of Bar-Ilan University observes that Israeli songs about the war and the army have always been about a hope for peace, and this was even more the case after Oct. 7. Her Feb. 8 talk – called Music and War: An Optimistic View – will examine how Israeli musicians have responded to the tragedy, offering an exploration of music’s role in processing grief, inspiring resilience and connecting community in times of crisis.

On March 8, Dr. Joshua Jacobson, author, composer, scholar and founder and director of the Zamir Chorale of Boston, will speak on Jewish Music: What’s That? One of the world’s leading authorities on Jewish music, Jacobson will share his expertise in the history and ongoing evolution of Jewish music. His presentation will invite listeners to consider what we mean by Jewish music and how musical expression is a rich part of our identity.

Toronto author and biographer Michael Posner wraps up the 2025/26 series on April 12 with the lecture Hallelujah and Beyond: Leonard Cohen’s Torah of Song. Posner will explore Cohen’s Jewish heritage, philosophy and musical legacy and how Judaism influenced the singer-songwriter’s lyrics, philosophy and life.

The Jewish Independent will feature coverage of the lectures in future issues, including Şen’s Nov. 2 lecture, which can be viewed on Kolot Mayim’s website.

Kolot Mayim, from the Hebrew “Voices of the Water,” is Victoria’s Reform Jewish Congregation. The Building Bridges lecture series is partially supported by the Jewish Federation of Victoria and Vancouver Island and donations are gratefully accepted, with tax receipts available for contributions over $25.

The webinars are free and mostly occur monthly mostly on select Sundays (with the exception of Sacks Mintz’s), at 11 a.m., on Zoom. Pre-registration is required via kolotmayimreformtemple.com.

– Courtesy Kolot Mayim Reform Temple

Writing & fixing holy scrolls

Scribe Marc Michaels concluded Kolot Mayim Reform Temple’s 2024/25 Kvell at the Well series with the talk Torah Tales: Adventures in Scribal Art. (photo from Marc Michaels)

On April 6, Marc Michaels spoke about his experiences as a Jewish scribe (sofer, in Hebrew) in the final webinar of the 2024/25 Kvell at the Well series. Titled Torah Tales: Adventures in Scribal Art, the event was organized by Victoria’s Kolot Mayim Reform Temple.

Based in London, Michaels has been writing Torah scrolls, Megillat Esther, ketubot and the scrolls inside mezuzot and tefillin for more 30 years. He is a Cambridge scholar, earning a PhD in Jewish manuscripts from University of Cambridge’s faculty of Asian and Middle Eastern studies.

A Jewish scribe writes and restores holy works using quills, parchment and special inks, all the while following a strict set of rules, explained Michaels. Indeed, there are many, many rules, which Michaels came back to through the course of the talk.

The scribal art, he said, goes far beyond calligraphy and requires a detailed knowledge of Jewish law and a relatively high level of religious observance.

Michaels provided a recipe for the special ink a scribe might use, which includes gum arabic, gallnuts (from oak trees), iron sulfate and water. The gallnuts are crushed to form tannic acid, mixed with the other ingredients and cooked on an open flame until a residue is left. The larger lumps of gallnuts are strained out and the mixture is left for six months to turn black and be used as ink.

For quills, Michaels believes that a swan’s quill is too soft and a goose quill too hard and prefers a turkey quill. “As Goldilocks would say, it is just right,” he said.

Quills, Michaels warned, must be adjusted in such a way to limit the risk of a scribe sneezing because, if that happens on parchment, it is impossible to remove. Scribes shifted to quills on the move to Europe, he said. Beforehand, they used reeds – which were used to write the Dead Sea Scrolls.

“We switched to quills because that’s what the Christians were using and they were getting a much finer, nicer point on their calligraphy,” he said.

A large part of a scribe’s job is repairing scrolls. Returning again to the rules, he said, “It only takes one letter to be wrong, and that means maybe the ink has come off or it’s broken or whatever, for the whole scroll to be pasul (invalid).”

If a scroll is deemed pasul, Michaels told the audience, then it must be placed in the ark with an indicator to show it’s invalid, such as arranging its belt outside of its mantel. Jewish law states that it must be repaired within 30 days, but, he said, it may take much longer.

Among the Torah scroll repair horrors presented by Michaels were gauze that joined seams together, stains from tape that had to be scraped out, and a patch that was sewn onto the scroll.

Typical repairs, he said, are not so extreme and mostly involve fading and broken letters, which require much overwriting. On occasion, whole columns no longer exist, having been completely rubbed away by time. Sometimes, members of a congregation might mark the scrolls with a pencil or ballpoint pen. In one slide Michaels displayed, someone had drawn a flower onto the scroll.

In his career, Michaels has also encountered incorrect spellings, deletions and Hebrew characters that were mistakenly joined together. Missing words, mixed-up letters and omitted characters from various Torah scrolls were shown to the Zoom crowd as well.

“And then you get wear and tear, dirt, holes, rips and things like that. You have to be very careful. You can patch a Torah, but you’re not allowed to do half patches,” he said.

What’s more, accidents can happen, especially when lifting the Torah during times when one side is much heavier than the other, ie., at the start and at the end of the yearly reading cycle. In one example, a Torah was torn through columns, thus the columns had to be removed and rewritten in the style of the original scribe.

Perhaps topping the list of Torah misadventures is the case Michaels came across of a young person studying for her bat mitzvah and the family dog chewed through a section of the Torah.

“It was literally the best excuse for not learning a bat mitzvah portion – the dog ate my portion,” Michaels joked.

“I had to do an emergency fix because there wasn’t enough time. I repaired it in the style of the original scroll, but only part of it, which you’re not normally supposed to do except in the case of an emergency – and this was a massive emergency. Because the parchment was much older than the shiny new parchment, I coated it with Yorkshire Tea. And it worked.”

A prolific author, designer and presenter, Michaels designed the prayer book for the Movement for Reform Judaism and has written numerous books and articles on scrolls, the Bible and art; he wrote the children’s book The Dot on the Ot. Michaels is currently working with Kolot Mayim to restore a Torah scroll.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Jews who’ve left their mark

In a March 2 lecture called Jewish Innovators Who Changed the World, Jonathan Bergwerk spoke about the lives and psychology of prominent historical figures.

“I’m especially interested in what makes these people tick,” said Bergwerk, the author of the Audacious Jewish Lives series, which covers a diverse selection of individuals who have left their mark on the world.

photo - Jonathan Bergwerk, author of the Audacious Jewish Lives series, spoke March 2 as part of Kolot Mayim Reform Temple’s 2024/25 Zoom series Kvell at the Well — Jonathan Bergwerk, author of the Audacious Jewish Lives series, spoke March 2 as part of Kolot Mayim Reform Temple’s 2024/25 Zoom series Kvell at the Well. (PR photo)

Bergwerk was the latest speaker in Kolot Mayim Reform Temple’s 2024/25 Kvell at the Well Zoom webinar series. He began his talk by referencing the number of Nobel Prize winners who have been Jewish – at least 214 of 976 individuals (and 28 organizations), with Albert Einstein, Richard Feynman and Jonas Salk among them.

“They have received over 100 times the number of Nobel Prizes than might be expected. That’s astonishing,” Bergwerk said, noting that Jews comprise just 0.2% of the world’s population.

Across fields, one finds seemingly inexhaustible lists of influential Jewish contributors: literature (Franz Kafka, Arthur Miller, IB Singer), cinema (Louis Mayer, Steven Spielberg, Stanley Kubrick) and music (George Gershwin, Barbra Streisand, Leonard Cohen).

Bergwerk argued that, to understand the Jewish drive for innovation, one might have to go as far back as the Hebrew Bible and the story of Jacob encountering a “man” (angel, perhaps) who tries to stop him from returning home.

“The act of wrestling enabled Jacob to confront his stealing and lying, and to accept responsibility for who he had been,” Bergwerk said. “He learned that it was through struggle, and not by running away from conflict, that he could become the person he was meant to be. So, our life’s purpose – our Jewish challenge – is to discover who we truly are.”

In Bergwerk’s view, the Torah is replete with innovators who had a clear vision and swam against the tide of society’s expectations. Moses, though unable initially to speak clearly, became an inspired and decisive visionary, developing the fundamentals of monotheism and condemning idolatry.

Other “audacious innovators” include Judah, Jacob’s fourth son, the first person not to blame others when things went wrong; Ruth, the Moabite, who went against the norms of a patriarchal society by leaving her people and supporting Naomi; and Elijah, who discovered “that God’s presence and guidance came through quiet, intimate moments of reflection and humility.”

Bergwerk included Jesus of Nazareth in his talk.

“Jesus was an observant, but unconventional, Jew, who was driven by profound beliefs in God, ethics and social justice. He was independent, courageous, an inspirational and charismatic revolutionary, who attracted committed followers,” Bergwerk said. “His teachings challenged religious and societal norms. He tried to be a radical reformer, but always operated within the boundaries of Judaism.”

As Bergwerk moved from the Hebrew Bible through history to present times, a lengthy catalogue of Jewish innovators was provided. Baruch Spinoza, the Rothschilds, Karl Marx and Theodor Herzl were but a few, though scores of others could have been chosen.

Having researched more than 100 such people, Bergwerk suggested possible reasons for the seemingly disproportionate level of Jewish success.

First, Jews are perfectionists, he argued. Though perfectionists are often disappointed, by setting unrealistic goals and expectations, they carry the drive to improve the world in the face of setbacks.

Next, he said, finding themselves as outsiders and not fully accepted has, at times, served as an advantage.

“Oppression, migration and desperate poverty were often creative forces,” said Bergwerk. “They also led to a focus on study. Jews have often been successful in the secular world because Judaism so strongly values learning.”

His third argument was the encouragement in Judaism to challenge tradition and to think independently. Here, he shared the anecdote of Nobel Prize-winning physicist Isidor Isaac Rabi, whose mother, instead of wondering if he received good grades in school, wanted to know, “Did you ask a good question today?”

“Judaism, at its best, is a challenge to the world on how it can be improved. Many Jews dared to ask difficult questions, challenged the status quo and strove to leave the world better than they found it,” Bergwerk said. “Their story is truly inspirational. The message I take from these audacious Jews, is that we are being properly Jewish when we, like Jacob, are wrestling with our own challenges, and so contributing in ways we never thought possible.”

Bergwerk emphasized that this wrestling should not only be with ourselves, however, as that does not build community. Rather, one needs to take personal responsibility, as well as act as part of a community and take collective responsibility.

“We should live the Jewish values of learning, justice and tikkun olam – to strive to shape society for the better,” he said. “That’s what we have done for the last 3,000 years, and the world definitely needs us to carry on providing that hope today.”

The final speaker in this year’s Kvell at the Well series is Mordechai Pinchas, a scholar and scribe who serves communities in the United Kingdom and elsewhere. Pinchas will share stories from his career on April 6, 11 a.m., in a talk called Torah Tales: Adventures in Scribal Art. To register for this free Zoom webinar, visit kolotmayimreformtemple.com.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Adaptability important

Canada’s westernmost Reform rabbis, Dan Moskovitz of Vancouver’s Temple Sholom, and Lynn Greenhough of Victoria’s Kolot Mayim, sat down for a discussion (and celebration) of the resilience of the Jewish people during a Zoom webinar on Feb. 2.

Greenhough, who posed questions to Moskovitz for an event that was part of Kolot Mayim Reform Temple’s 2024/25 Kvell at the Well series, described him in her introduction as a “one-man advertisement for Jewish resilience.”

photo - Rabbi Dan Moskovitz of Temple Sholom was the most recent speaker in Kolot Mayim Reform Temple’s Kvell at the Well Zoom series — Rabbi Dan Moskovitz of Temple Sholom was the most recent speaker in Kolot Mayim Reform Temple’s Kvell at the Well Zoom series. *(photo from rabbidanmoskovitz.com)*

Moskovitz began by bringing historical context to the topic, noting that the sages would often say that new questions and problems are the reframing of events that have happened in the past.

“Sadly, we have a history that can take us back to times of trial and challenge just as easily as it could to triumph,” said Moskovitz. “So, part of it is that we’ve seen this before and we’re still here. That is, I think, a key to our resilience.”

Another element to resiliency is adaptability, he said. Here, the senior rabbi at Temple Sholom cited a section of the Talmud that debates whether it is better to be a cedar tree or a reed.

“The rabbis conclude it’s better to be a reed than a cedar. While we can stand firm at some point, a strong enough wind from just the right angle will topple us over [if we are a cedar],” Moskovitz said. “But the reed can adjust. And that’s how we dealt with the destruction of the First and the Second Temple.”

Judaism, he continued, has maintained a fluidity that allows it to be open to new ways to grapple with present-day issues like identity, the role of women and modern concepts of morality, discarding past practices that might be distasteful today.

“I think that important to our resilience has been our ability to change,” he said. “When groups or religions don’t change, their survival becomes precarious.”

Judaism’s resilience, too, can be attributed to its portability; namely, texts were printed and studied. Further, discussions, such as those occurring in the Talmud – which Moskovitz described as the “original Wikipedia” – could be had not just in one place in time but across time, to create an “ongoing dialogue.”

“I think about Pesach and the printed Haggadah, but also the technology, if we can call it that, of the socialization of the story, that coming together every year to retell our story, as opposed to telling it and forgetting it,” he said. “What Pesach does is remind us of the story of redemption, remind us of our role, Moses’s role, God’s role, the role of miracles, and to reinterpret that through the lens of our modern experience, to see the pharaohs of our time.”

A recent illustration of Judaism’s ability to adapt, he said, occurred during the pandemic, as events and services shifted to Zoom. Most of Temple Sholom’s minyan services are still held online, as they have proved a valuable means for congregants to connect in a meaningful way.

Change and innovation, Moskovitz argued, are always going to happen, and it has been to Judaism’s advantage to move forward, to progress, and not shelter itself from the outside world. One such step practised by Reform Judaism, for example, is to use transliteration and English translations of the Hebrew text in prayer books, making the prayers and other material accessible to a wider range of people.

Later in his talk, Moskovitz referenced how times of crises and discrimination have empowered Jews to create their own institutions.

“I think that we have to have a deep appreciation for the resourcefulness of the generations that came before us,” he said. “Most of the institutions that we have been raised in were built by a generation of Jews who were excluded from general society.”

To the question of the post-Oct. 7 world in which university campuses and other spaces have become hotbeds of vitriol against Jews, Moskovitz stressed that flexibility and adaptability do not mean capitulation.

“If there are places that we have been and rightfully should still be and want to be, then we do have to stand our ground there,” he said. “We do have to insist and we do have to call out the hypocrisy of certain things or the blatant discrimination.”

Crucial in this pursuit, said Moskovitz, is to find allies. He told the Zoom audience that Jews will not defeat antisemitism, but non-Jews will.

“We can’t separate ourselves from the community,” he said. “While we could use our money to pull out of places like Harvard, we should absolutely stay at the boardroom table as long as they will have us. If not, then go to whatever audience will receive our message of why we were kicked out of that place, and stay in for the argument and the fight.

“I think that we shouldn’t abandon these institutions and say, I’m not going to send my kid there anymore because it’s antisemitic. It will only become more antisemitic if we stop sending our kids.”

Jonathan Bergwerk, author of the Audacious Jewish Lives books, is the next speaker in the Kolot Mayim Kvell at the Well series. On March 2, at 11 a.m., he will discuss Jewish innovators who have changed the world. Visit kolotmayimreformtemple.com to register.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

How Jews are indigenous

Last month, Ben M. Freeman spoke about his latest book, The Jews: An Indigenous People, as part of Kolot Mayim Reform Temple’s 2024/25 speaker series. (PR photo)

Ben M. Freeman, founder of the modern Jewish Pride movement, spoke from his home in London, England, about his work and ideas in a Zoom webinar on Jan. 12. Titled Building Jewish Pride and Recognizing Jewish Indigeneity, the virtual event was hosted by Victoria’s Kolot Mayim Reform Temple.

The author of Jewish Pride: Rebuilding a People and Reclaiming our Story: The Pursuit of Jewish Pride, Freeman’s latest, The Jews: An Indigenous People, will be released this month.

Freeman began by calling into question the perception that indigeneity implies people who have lived on the land and are primitive or oppressed.

“I have great issue with that because the idea of those things being inherent is to destroy the great diversity of the indigenous experience,” he said.

The United Nations, he explained, set up seven criteria used to determine the indigeneity of a people to a particular land. Freeman, in his writings and talks, argues that Jews are indigenous to the land of Israel even by the UN’s criteria.

“[The UN] also created rights for indigenous people: the ability to have self-determination, the ability to practise your own religion, have your own language, all of these different things. But, again, many of them are still rooted in this idea that indigenous people are inherently oppressed,” he said.

“We’re not here to say that indigenous people have not experienced oppression. That would be ludicrous. Many indigenous groups do experience that, but we can’t necessarily say these things are inherent….”

To view certain groups as only victims, he contended, strips them of agency. Freeman would define an indigenous people, rather, as a group whose collective identity begins in one specific land, and it is in that land they remain rooted either physically, spiritually or culturally.

“This is their home and is where they originated, developed and continue to be fixed through a connection to the environment and natural resources, living systems, culture and practice as a people, irrespective of their sovereignty in the land,” he said.

This definition, Freeman believes, not only applies to Jews in Israel but also refers to the experiences of the Maori in New Zealand and First Nations in Canada, and other peoples in other countries.

From his perspective, Jews were a small group of tribes that developed into a civilization over time. The Torah played a large part as it codified Jewish civilization by taking practices that already existed, reshaped some of them and retold some of the stories, creating a culture that contains religion.

“Almost all the practices were rooted in the land. Pesach was two different festivals: one was a matzah festival and one was a sacrifice festival. Rosh Hashanah, our new year, was the beginning of the agrarian year. Shavuot is an agricultural holiday,” Freeman said.

“One of the odd experiences of being Jewish is that we exist in this cognitive dissonance almost because we will describe ourselves officially in many ways as a religion, but then we have so much of our practice rooted in land.”

Freeman also put forward that a distinguishing characteristic of Judaism is that, unlike Christianity, it can be a religion but not exclusively a faith or creed.

“Christianity has creed. My partner is a Christian and I sometimes ask him, ‘Could you be a Christian without believing in Jesus?’ And he’s like, ‘no.’ We don’t have that,” said Freeman. “That’s why you can have atheist, secular or agnostic Jews who are part of Am Yisrael. There is nothing we have to believe to be Jews.”

Freeman went on to discuss Jewish pride, which, for him, bears three central tenets. The first is to encourage and empower Jews to reject the shame of antisemitism – to wear one’s Jewishness as a badge of honour.

The second point is to repudiate non-Jewish definitions of Jewish identity.

“I just feel it’s so egregious to me that non-Jews think they have a right to tell us what it means to be Jewish or any aspect of that experience. This is my identity. I will tell you what it means to be a Jew,” he said.

The third tenet is for Jews to go on a journey to explore their identity through a Jewish perspective. “We have to be able to say this is who we are,” he said, “but we have to humbly accept that takes time. We need to be doing real work to investigate our Jewishness and then, most importantly, [do it] through a Jewish lens.”

Freeman is scheduled to travel to Canada in March to discuss The Jews: An Indigenous People, with appearances in Toronto, Windsor and Edmonton. His schedule may include stops in Ottawa and Vancouver, as well.

Next up in the Kolot Mayim 2024/25 lecture series, on March 2, 11 a.m., is Jonathan Bergwerk, author of the Audacious Jewish Lives books, who will speak about Jewish innovators who changed the world. Go to kolotmayimreformtemple.com to register.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Women enrich Judaism

Rabbi Elyse Goldstein delved into the impact of women’s evolving roles in Judaism during a webinar hosted by Kolot Mayim Reform Temple on Dec. 8. Her talk – Open Doors, Open Hearts: How Women Have Enriched Judaism – was part of the Victoria synagogue’s 2024-25 lecture series.

Using her own journey, the rabbi emerita of City Shul in Toronto explored how women’s leadership and scholarship have not only enriched the Jewish community but also transformed it for the better.

From her vantage point as a (recently) retired rabbi, Goldstein asserted that Jewish feminism has been a lifeline to Judaism over the past several decades. She referred to the profound changes within Judaism regarding the involvement of women as “disruptions” in the positive sense of the word: namely, “a societal thought pattern that profoundly changes everything around it.”

photo - Rabbi Elyse Goldstein — Rabbi Elyse Goldstein *(photo from cityshul.com)*

For Goldstein personally, a disruptive point arrived during her bat mitzvah. When it was time for her speech, she announced to the congregation – to the widespread gasps of those assembled and the dismay of her rabbi – that she, too, wanted to become a rabbi.

“I never really thought when I was 13 that women becoming rabbis would shake the very foundations of Judaism,” she said. That women “would question every assumption of Jewish life, which was based on patriarchal power, that they would challenge what it means to be a Jew altogether. I didn’t realize that I was in the middle of a quiet revolution that would not remain quiet.

“One of the biggest disruptions of Jewish feminism to Jewish life is that people who identify as female are going to lead not in spite of being female but because of it. In other words, that’s a big part of who they are. That is part of their self-identity and they’re going to lead from within that identity – not push it aside.”

The changes brought about by women becoming leaders appear, Goldstein said, in the pages of prayer books, in seminaries, in the boardrooms of Jewish organizations, yeshivot and the Israeli government.

“Our liturgy would change to not only include the matriarchs,” Goldstein said. “We would use neutered language for God and start singing songs of Miriam in summer camp. We would learn Talmud from Orthodox women. We would feel empowered to create midrashim (interpretations of the Bible).”

She referred to the first stage of Jewish feminism as “equal access Judaism,” or the idea that women should be given the same religious opportunities and responsibilities as men.

The second stage, Goldstein said, went further by questioning notions, not simply behaviours.

“It challenged the way we think and our theological language in describing God,” she said. “It began to shake the foundational assumptions about women and men, Jewish tradition and Jewish law. We didn’t just have women rabbis – those rabbis made us rethink not so much about what a rabbi looks like but what a rabbi is.”

We are in the third stage of Jewish feminism, one that considers if there is more that can be done, she said. “We have to ask about violence against women in the Jewish community and if that’s ended. We have to examine the court system in Israel, where women are still routinely denied Jewish divorces. We have to talk about the ordination of Orthodox women and how that is happening … and we’re not paying attention to it.”

Goldstein went on to talk about what are, in her view, four disruptions to Jewish life brought on by Jewish feminism: the ordination of female rabbis, starting in 1972; Jewish rituals that speak more directly to the experiences of women; changes in religious garb, with, for example, women in a congregation wearing tallitot (prayer shawls); and the reshaping of the gender-related language pertaining to God.

In addition to being the founding rabbi of City Shul, Goldstein started Kolel: The Adult Centre for Liberal Jewish Learning. An award-winning educator, a writer and a community activist, she has lectured across North America, Israel and the United Kingdom. Her works include ReVisions: Seeing Torah through a Feminist Lens and, as editor, The Women’s Torah Commentary.

Ben M. Freeman will present the next lecture in the Kolot Mayim series, on Jan 12. The author of the Jewish Pride trilogy, Freeman will discuss his latest book, The Jews: An Indigenous People, which will be released in February. Visit kolotmayimreformtemple.com to register for upcoming talks.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.