women

Trying to fix broken wings

Not fitting in. Being misunderstood and miscategorized. These are recurring themes in Flying Camel: Essays on Identity by Women of North African and Middle Eastern Jewish Heritage, edited by Loolwa Khazzoom, a Seattle writer, musician, activist and occasional contributor to the Independent.

The book was first released in the 1990s and was recently re-released.

“I wish I could say that this book is no longer as revolutionary, cutting-edge, or as needed as it was when I began compiling it in 1992, but, unfortunately, that is not the case,” writes Khazzoom, the daughter of an Iraqi Jew, in the new introduction. “Even though there have been changes – shifts in consciousness, language, and even representation – Mizrahi and Sephardi women remain overall excluded, in theory and practice, from spaces for women, Jews, Middle Easterners, people of colour, LGBTQI folk, and even Mizrahim and Sephardim. In addition, so many of the presumably inclusive conversations about us seem basic and superficial, with an undertone of it being a really big deal that these conversations exist at all.”

Khazzoom’s struggle to fit in led her to Seattle, in large part because it is home to one of the largest Sephardi communities in the United States. But even in that milieu she found herself an outsider.

“In June 2014, however, on the first sh’bath [Sabbath] after driving my U-Haul up the coast from Northern California, I was appalled by a sermon so sexist – where women were equated with ‘meat’ – that I walked out of the Sephardi synagogue, just 15 minutes after arriving,” she writes.

“I have been a hybrid all my life, forever caught between two or more worlds,” writes Caroline Smadja in her contribution to the collection. It is a state of being that is shared by many of the writers.

Yael Arami, born in Petah Tikvah to parents from Yemen, speaks of others’ perceptions of her.

“In Germany, I have had to avoid certain areas, fearing local skinheads’ reaction to my skin colour. In France, I have been verbally ridiculed and insulted for being yet another ignorant North African who does not know French,” she writes. “In California, people’s best intentions have resulted in a number of social blunders: When I left a tip in a San Francisco café, I got a courteous ‘gracias’ from the politically correct Anglo waiter. After a predominantly African-American gospel group sang at a Marin County synagogue, several members of the congregation approached me, to express their admiration for our wonderful gospel performance! It seems that wherever I go in white-majority countries, I am, in accordance with local stereotypes, seen as the generic woman of colour – Algerian in France, African-American or Puerto Rican in California.”

Rachel Wahba, an Iraqi-Egyptian Jew, calls out politically correct hypocrisy.

“Sometimes, when I bring up the oppression of Jews in Arab countries, progressive Jews get strangely uncomfortable – as if recognizing the Jewish experience under Islam would make someone racist and anti-Arab,” she writes. “During my mother’s cancer support group intake, I listened as my mother told her story of living in Baghdad and surviving the Farhud. She ended with an ironic ‘I survived the Arabs to get cancer?’ The Jewish oncology nurse was shocked that my mother was so ‘blunt.’

“Should we revise our history? Leave out the details of our oppression under Islam? Pretend my mother never saw the Shiite merchants in Karballah wash their hands after doing business with her father, because he was a ‘dirty Jew?’”

The book’s title comes from an essay by Lital Levy, “How the Camel Found Its Wings” and an Israeli film of the same name.

The metaphor involves the repair of a broken statue of a flying camel, which actually stood at the entrance to the international fairgrounds in Tel Aviv in the 1930s. In the film, the two wings of the camel become stand-ins for a dichotomy that mostly excludes Mizrahi/Sephardi Jews and yet still casts them in a negative light.

“By the end of the screening, the camel had found two new wings, and I got to thinking,” writes Levy. “I started putting my own pieces together – making my own flying camel out of the remnants of the past, borrowing missing pieces from the present, and using my imagination and willpower to try to make it all stick together. The pieces of my own American childhood, the histories that preceded it in Israel and in Iraq, and the challenges I see before me in my work are the various fragments I have been remembering and re-membering into an integral whole. I do not yet know its shape – camel, dromedary, llama, yak – but I do not care, as long as it will fly.”

Different pharaoh, different story?

The head of Hatshepsut, in Pergamon Museum, Berlin, 2018. (photo by Richard Mortell, 2018)

As we all know from the Passover story, Pharaoh was one stubborn guy. On five occasions, Moses and Aaron tried to persuade Pharaoh to let the Hebrews go, but Pharaoh wouldn’t budge. In Exodus 7:13 and 7:22, Pharaoh hardens his heart in response to Moses’ pleading. Moreover, Pharaoh made his heart heavy in three other instances, as described in Exodus 8:11, 8:15 and 8:28. What would have happened if Moses and Aaron had come up against a female Pharaoh? Would the story have played out differently?

Let us begin by recalling that, if it hadn’t been for the curiosity and kindness of Pharaoh’s nameless daughter – though, in Judaism, she is later referred to as Thermuthis and even later as Bithiah – Moses would not have been rescued from his floating basket. The future leader of the Hebrew exodus from Egypt would not have lived, and the exodus would not have occurred as we know it.

There were at least six female rulers during the long period in which pharaohs ruled, and perhaps as many as 12. From what has been pieced together, these women sometimes had to disguise their female identity. Some adopted king titles, others exercised force to get their way.

Take Hatshepsut, for example, who was pharaoh of the New Kingdom, or Egyptian Empire, from circa 1479 BCE to 1458 BCE. She nominated herself and then filled the role of pharaoh by claiming her father (the earlier pharaoh) had wanted her to take over from him. Probably understanding that her position was tenuous – both by virtue of her sex and the unconventional way in which she had gained the throne – she reinvented herself. In visual art, she had herself portrayed as a male pharaoh, and ruled as such for more than 20 years. (See “The queen who would be king” at smithsonianmag.com.)

Initially depicted as a slim, graceful queen, within a few years, she changed her image to appear as a full-blown, flail-and-crook-wielding king, with the broad, bare chest of a man and the false beard typical of a male pharaoh. But Prof. Mary-Ann Pouls Wegner notes, however, in a 2015 article on toronto.com, that Hatshepsut’s statues have thin waists, “with nods to her female physique.”

Hatshepsut also took a new name, Maatkare, sometimes translated as truth (maat) is the soul (ka) of the sun god (Re). The key word here is maat, the ancient Egyptian expression for order and justice as established by the gods. Maintaining and perpetuating maat to ensure the prosperity and stability of the country required a legitimate pharaoh who could speak directly with the gods, which is something only pharaohs were said to have been able to do. By calling herself Maatkare, Hatshepsut was likely reassuring her people that they had a rightful ruler on the throne. She seemingly succeeded, as her 20-plus-year reign was a more or less peaceful time.

One important way pharaohs affirmed maat was by creating monuments, and Hatshepsut’s building projects were among the most ambitious of any pharaoh’s. She began with the erection of two 100-foot-tall obelisks at the great temple complex at Karnak. She likewise had important roads built. Still, her most ambitious project was her own memorial. At Deir el-Bahri, just across the Nile from Thebes, she erected an immense temple, used for special religious rites connected to the cult that would guarantee Hatsheput perpetual life after death. (See livescience.com/62614-hatshepsut.html.)

In life, Hatshepsut felt compelled to depict herself as a male ruler. In death, however, her true colours (pun intended) seem to surface. Exams conducted on her mummy reveal that, at the time of entombment, she was wearing black and red nail polish. Furthermore, according to sciencedaily.com, Michael Höveler-Müller, former curator of the Bonn University Egyptian Museum, reports that a filigree container bearing the queen’s name may have contained the remains of a special perfume, an incense mixture.

Nefertiti similarly hid her femininity, even though today she is the most visually reproduced ancient Egyptian female ruler. According to Prof. Kara Cooney, author of the book When Women Ruled the World: Six Queens of Egypt, Nefertiti cleaned up the mess that the men before her had made. She wasn’t interested in her own ambition, it seems, as she hid all evidence of having taken power, ruling alongside her husband. Yet, at the Karnak temples, there is twice as much Nefertiti artwork as there is of Akhenaten, her husband, who was king from about 1353 BCE to 1336 BCE. There are even scenes of her smiting enemies and decorating the throne with images of captives.

photo - The Nefertiti bust in Neues Museum, Berlin — The Nefertiti bust in Neues Museum, Berlin. *(photo by Philip Pikart, 2009)*

Despite her great power – she and her husband had pushed through a monotheistic form of pagan worship – Nefertiti disappears from all depictions after 12 years of rule. The reason for her disappearance is unknown. Some scholars believe she died, while others speculate she was elevated to the status of co-regent—equal in power to the pharaoh – and began to dress herself as a man. Other theories suggest she became known as Pharaoh Smenkhkare, ruling Egypt after her husband’s death, or that she was exiled when the worship of the deity Amen-Ra came back into vogue.

The Cleopatra clan sharply contrasts with the above two peacekeeping female pharaohs. In a December 2018 National Geographic interview about her book, Cooney explains that, when it comes to incest and violence, Cleopatra family members were no slouches. Cleopatra II (who ruled in the second century BCE) married her brother, but then they had a huge falling out and the brother/husband ended up dead. So, Cleopatra II married another brother. Her daughter, Cleopatra III, then ended up overthrowing and exiling her mother. Cleopatra III took up with her uncle, Cleopatra II’s brother, who sent Cleopatra II a package containing her own son, cut up into little bits, as a birthday present. Eventually, they all got back together for political reasons. (See nationalgeographic.com/culture/article/queens-egypt-pharaohs-nefertiti-cleopatra-book-talk.)

photo - Shown wearing a heavy wig, the queen also has a headband with a coiled uraeus serpent above her brow. Of the seven Ptolemaic queens named Cleopatra, this head may represent Cleopatra II or her daughter, Cleopatra III — Shown wearing a heavy wig, the queen also has a headband with a coiled uraeus serpent above her brow. Of the seven Ptolemaic queens named Cleopatra, this head may represent Cleopatra II or her daughter, Cleopatra III. *(photo from Walters Art Museum)*

It’s time to return to the question posed at the beginning of this article, about whether the exodus story would have turned out differently if there had been a female pharaoh in charge.

Rabbi Danya Ruttenberg, on myjewishlearning.com, analyzes the actions of the pharaoh Moses and Aaron encountered. She reminds us of what Rabbi Simon ben Lakish wrote about this pharaoh. In Exodus Rabbah, ben Lakish states, “Since G-d sent [the opportunity for repentance and doing the right thing] five times to him and he sent no notice, G-d then said, ‘You have stiffened your neck and hardened your heart on your own…. So it was that the heart of Pharaoh did not receive the words of G-d.’ In other words, Pharaoh sealed his own fate, for himself and his relationship with G-d.” Only at this point does G-d intervene by hardening Pharaoh’s heart, so that the plagues can end and the Hebrews can leave Egypt.

According to When Women Ruled the World author Cooney, the emotionality of female pharaohs is key. In that 2018 National Geographic interview, she says, “that ability to cry or feel someone else’s pain…. It is that emotionality that causes women to commit less violent acts, not want to wage war and be more nuanced in their decision-making. It is what pulls the hand away from the red button rather than slamming the fist down upon it. These women ruled in a way that kept the men around them safe and ensured their dynasties continued.”

There is the possibility then that, had Moses and Aaron encountered a female pharaoh, she might have concluded that all the pain and suffering from the plagues wasn’t worth it – neither for herself, personally, nor her Egyptian subjects. Perhaps without a big fuss, or at least with less of one, she would have let Moses lead the Jews out of Egypt.

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.

Positive Jewish leaders online

It’s hard not to doom scroll lately, but I’ve been heartened by watching Jewish leaders take centre stage via social media. These are bright spots in a difficult time. Here are a few to Google and follow. I’ve learned a lot online this way. Perhaps you might, too.

In the world of social media and Talmud study (yes, that’s a thing!), the short social media videos of Miriam Anzovin have gotten a lot of attention. She offers TikTok, YouTube and Instagram posts and links via Twitter. These are on the Daf Yomi, the 7.5-year cycle where one studies a page of Talmud a day. Anzovin’s amazing effort offers a brief summary and analysis of some of the big rabbinic issues. It’s also a breath of fresh air in a field historically dominated by men. Anzovin is a writer and visual artist. She describes her videos as “Daf Yomi reaction videos.” These takes often include slang, curse words, and perhaps difficult interpretations for the usual Jewish text study audience.

Some Orthodox men have voiced criticism to this approach to Talmud study. I would argue that this is a defensive, unhelpful reaction. More Talmud study is good. Talmud study of any kind, is, quite simply – more. It brings more attention to Jewish text and ideas, which is a good thing both for Judaism and for intellectual analysis. Sometimes, the reaction stems from being forced to admit that there are other perspectives and ways of reading religious text. Anzovin centres women’s voices, issues and opinions, critical thinking, liberal and modern views of very old texts. Social media offers her a perfect platform and her work has taken off. It’s long past due. I’m thrilled to see her show up in my feed.

Rabbi Sandra Lawson has been one to follow for awhile. She’s a leader – an activist, a musician and a teacher. Her social media presence allows me to learn a lot. I’ve learned Torah, said Kaddish, and more. Through her anecdotes, she’s encouraged hard examination of ways in which racism is a problem in Jewish life. She’s taken on a lot of firsts in both her former role as the associate chaplain for Jewish life at Elon University and is now the first director of racial diversity, equity and inclusion at Reconstructing Judaism. She was the first African American and first openly gay African American accepted by the Reconstructionist Rabbinical College. Her open, strong online presence embodies many things Judaism needs to see: her identity as a veteran, vegan, personal trainer, musician and wise educator pushes the boundaries of what some people think Jews or rabbis look like. For younger Jews on the web, seeing her laughing with her wife Susan, featuring her little dogs as she makes music – these are models of joyful, modern Jewish life that we need now more than ever.

What does informal Jewish education look like on Instagram? Well, many people source Jewish news specifically from A Wider Frame (@awiderframe).

Debbie, the jewelry designer behind @rootsmetals, posts deep dives into very specific historic, geographic and cultural Jewish topics. It comes complete with bibliographies. Prepare for her snarky responses to trolls (ever present online) who try to threaten her well-being.

Ashager Araro, @blackjewishmagic, is a liberal, feminist, Black Israeli. She does incredible work as an educator in person in Israel. She’s also on Instagram and Twitter, and travels to speak at Hillels and Jewish student centres in the United States. Her focus on Ethiopian Israeli history and modern Jewish life is illuminating, particularly for those who view race only through a parochial North American lens.

Some social media education targets a specific group. For example, Shoshanna Keats-Jaskoll speaks out for others who aren’t able to in the Orthodox world. She tackles the issue of agunot. Agunot are women who cannot obtain a Jewish divorce from their husbands and are unable to remarry according to Jewish law. Keats-Jaskoll also works to provide modest images of women through an internationally sourced photo bank. This works to combat the erasure of women’s faces and bodies and imagery in Orthodox photos, publications and Israeli billboards. Chochmat-Nashim (Women’s Wisdom), her organization, advocates for Orthodox women, including both modern Orthodox and Haredi groups in Israel and the diaspora.

This is just a taste of what’s out there. It’s a start to diversifying your feed. You may have noticed that I started by writing about leaders I admire and, guess what? They’re all women. It’s not that I don’t admire some male leaders. There are plenty of them and some of them are fine human beings – but too many “leader lists” leave women out entirely. March 8 is International Women’s Day. It’s one thing to say we advocate for equality, and to celebrate women’s achievements on a specific day. It’s another to raise up, embrace and educate on a daily basis.

Our tradition offers us moments to celebrate women’s roles, such as the recitation of Woman of Valour (Eishet Chayil) in some homes on Shabbat. However, that’s not a standard practice in every household. Plus, it’s only one moment of one day of a week, when Jewish women are contributing 24/7.

Many of our paid leaders, rabbis and cantors, and even volunteers, such as synagogue board members, are men. It’s been “traditional” to embrace a male leadership model in some communities. However, in an era when more of our lives are both online and more egalitarian, it’s OK to stop the doom scrolling and open up one’s mind – and feed – to some new leaders. In this case, they also just happen to identify as Jewish women.

Joanne Seiff has written regularly for CBC Manitoba and various Jewish publications. She is the author of three books, including From the Outside In: Jewish Post Columns 2015-2016, a collection of essays available for digital download or as a paperback from Amazon. Check her out on Instagram @yrnspinner or at joanneseiff.blogspot.com.

Four solos and a duet

Livona Ellis, left, and Rebecca Margolick, right, perform together Dec. 17 and 18 at Scotiabank Dance Centre. (photo by Faviola Perez)

Next weekend, choreographers and dancers Livona Ellis and Rebecca Margolick will première their first collaboration, a duet called Fortress. The Dec. 17 and 18 performances at the Scotiabank Dance Centre also feature four solo works.

Ellis performs Unmoved, “a response to the idea of overcoming the limitations we place on ourselves,” and Margolick’s solo Bunker draws “on themes of memory and the shared history of previous generations of women.” The other two solo pieces were revived last season specifically for them: Peter Bingham’s Woman Walking (away) (1997), danced by Ellis, and Allen Kaeja’s Trace Elements (2000), performed by Margolick. (See jewishindependent.ca/albert-solos-reimagined.)

Both dancers have had the chance to perform for live audiences recently and both have been touring – New York-based Margolick internationally with her own work and locally based Ellis with Ballet BC, for audiences in Ottawa and Montreal.

“From these past two years of experiencing how quickly it can be taken away and experiencing how deeply I miss it when it’s gone, performing has a renewed sense of urgency and importance for me,” Margolick told the Independent. “I’m so excited to perform for a live audience here in Vancouver, especially because last year, when we were about to do this show for a live audience, on the day of the show, we had to switch to livestream only. A lot of energy has been built in this show over the past three years, and I’m looking forward to being able to share it live.”

While Margolick and Ellis have known each other for a long time, Fortress is their first duet together.

“Livona has always been one of the best dancers and performers I know. We trained at Arts Umbrella together all through high school, but, since then, we hadn’t danced together, until now. So much of collaboration happens outside of the studio and so, in a way, I feel like through our friendship and conversations over the past number of years, the work and ideas were already starting to form and it felt natural to transition to a studio together.

“At the time we decided to work together, I had been creating a solo titled Harbour, which was about my grandmother and my relationship to her both in life and death. One day, Livona and I had a conversation about it and she began talking about her grandmother. I was moved by this, and this conversation naturally spiraled into how we’ve started to see our mothers and grandmothers differently; how we see their influence on us; our desires to become mothers one day, being in our 30s now; how dance has changed for us, etc. The conversation was vibrant and honest and there’s a lot of history and love between us and I just asked if she wanted to create together, and she said yes.”

Ellis added, “One of the silver linings about the pandemic is that we both found ourselves in Vancouver at the same time…. I have always admired Rebecca’s work from afar but we’ve never been in the same place long enough to even begin to think about a collaboration. She was working on Harbour and we started speaking about our family and our grandmothers. This sparked the inspiration for Fortress. We were both doing a lot of reflecting during our various lockdowns and quarantines and found we were thinking a lot about who we are as artists and as women. How does our matriarchal lineage affect who we are today?

“We both feel like we are in a moment of change or transformation,” Ellis continued. “We can feel our experience settling in and grounding us in a way that allows us to move forward into the next chapter of our careers. This felt like the perfect jumping off point to create a duet.”

The pair started creating that work this past August 2021, with a residency hosted by the B.C. Movement Arts Society, rehearsing at the Athletic Hall in Sointula. “We are now working with composer Ivan Shopov from Bulgaria to develop the music, and Mimi Abrahams to develop the lighting,” said Margolick.

For Margolick, while both Bunker and Trace Elements haven’t seen any changes choreographically, “as time goes on, and as I evolve, they naturally do as well.”

“Especially for Trace Elements,” she explained, “it’s been a journey since I began working on it with Allen Kaeja. I started to learn more about Jewish history and specifically Jewish leftist and Jewish resistance history, both in the U.S. and Europe. Specifically, in Trace Elements, there is a spirit of resistance and remembrance in the work, countering the text we hear out loud, text of German propaganda and generational indifference to the history of the Holocaust. In that, I think about resistance fighters, countering the narrative that Jews went quietly towards death – they didn’t. That is a history we’re not often told of, and it’s been a part of my Jewish education to learn that history. The work is really spiritual for me and every time I perform it, I feel the spirit of those who fought and those who keep fighting and inspire me to as well.

“More recently,” she said, “I’ve been learning about Jewish women activists and fighters, especially women like Hannah Senesh, Faye Schulman, Bella Abzug, Emma Goldman, Anna Sokolow and others. I can’t really explain into words how this knowledge affects my performance, but I feel it, and it gives me a sense of grounding and inspiration.”

Margolick highlighted the Jewish Women’s Archive and Judy Batalion’s book The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos as resources.

Bunker is also steeped in research. While she premièred the full-length version of the piece (titled Bunker + Vault, which runs 35 minutes) a few weeks ago in San José, Costa Rica, the December performances will include only the first 10 minutes of the work.

“A part of my research for this piece included looking through the archives of the Clara de Hirsch Home for Working Girls at the 92nd Street Y from the late-1800s to mid-1900s,” said Margolick. “The Clara de Hirsch Home was a place where young, poor, mostly Jewish immigrant women were housed and supported with educational resources as they found jobs and worked towards being able to support themselves. These archives were records kept by the staff, with observations and notes about the women who resided there. These observations gave me a window into the lives of the women who lived there, ranging from extreme hardship, repression, mental health issues, Jewish culture, camaraderie, acts of extreme kindness and on and on. Some of these women informed the movements, and spirit of resilience and care in the work.”

Fortress + Four Solos is presented by the Dance Centre and B.C. Movement Arts Dec. 17, 8 p.m., and Dec. 18, 1 p.m. and 8 p.m. For tickets, visit thedancecentre.ca.

Finding the goddess in the Torah

(photo by Yochi Rappeport)

Rabbi Gila Caine of Edmonton’s Temple Beth Ora was the lead-off speaker in November for Kolot Mayim’s six-part 2021/22 series Building Bridges: Celebrating Diversity in Jewish Life. Her talk, Toratah / Her Torah: Women Rabbis Revealing the Goddess in Torah, looked at the Tanakh (Hebrew Bible) from a less patriarchal perspective.

“It’s not new to have women involved in Jewish life. Women have always been involved in Jewish life in the home and in the family,” Caine began. “The new thing about recent generations is that women are publicly active. That’s a big difference.”

For the last few decades, she said, scholars have gone back into the text and started digging to find hints and remains of ancient goddesses. By goddess, Caine means the “sacred feminine.” The scholars search the texts to see if they can unveil clues, much like archeology, which will allow them to tell different stories than the ones that have already been told.

“It’s not that the researchers find the old stories useless; rather, they see it as just one part of the whole. To expand the story, the researchers pose questions, such as what did women believe in, how did they worship, and what were their lives like and what did God look like to them at that time?” Caine explained. The text is reinterpreted, and turned into commentaries and midrashim. As an example, she introduced the audience to two recent books: Dabri Torah: Israeli Women Interpret the Torah (published this year, in Hebrew) and Torah: A Women’s Commentary (WRJ Press, 2008).

Throughout her talk, Caine wove connections of Asherah, the mother goddess in ancient Semitic religions, to the heroines of the Torah, such as Sarah and Eve (Chava). Asherah is perceived as hiding within the texts. (Asherah, too, was connected to the Tree of Life, which, in images shown during Caine’s presentation, resembled a menorah.)

One midrash highlighted in the talk related to the Binding of Isaac. In it, Sarah goes and spends the night with King Abimelech. She does not sleep with him but still comes back pregnant, leaving Abraham furious. He hears voices telling him he must kill his son. As he raises his hand to slaughter Isaac, suddenly he sees a deer in the bushes.

This is interpreted as the moment of transition into patriarchy. The deer represents the mother goddess who wants to save her son. “As Sarah dies right after the Akedah, she perhaps does so to save her son,” Caine said.

On the subject of Eve, Caine quoted Rabbi Rachel Adler: “the world of patriarchy cries out for mending. A mending world would commit itself to equality and power sharing, to working collectively to fulfil needs and solve problems. Reunited again with the rest of Creation, men and women could learn again to be loving friends as the traditional rabbinic wedding blessing portrays them.”

Caine pointed out that Adler – through her rereading of the text and reinterpreting what a Jewish relationship is about – restructured the Jewish wedding ceremony. She took the Jewish language of covenant into the ceremony and not kinyan, which implies taking ownership, and created a brit avuhim, or lovers’ covenant. (See ritualwell.org/ritual/brit-ahuvim-lovers-covenant.)

Lastly, Caine spoke about a project, led by Israeli-American artist Yael Kanarek, to rewrite and regender the Torah, i.e., a male in the traditional text is now referred to as female and vice versa. Though the story remains the same, there would now be, for example, a female Jacob with 12 daughters and four husbands. “Suddenly, we have a mirror image of Torah,” said Caine. “It’s very interesting to read it and the immense midrash that it creates for Torah, as well as for our own understanding of who is telling the story and who is part of the story.”

When looked at this way, Caine said, new things come up and are discovered in Torah. By finding the sacred feminine in the texts, she said she is able to understand how she relates and could be part of the process of studying Torah.

“It’s part of a larger question of how do we heal our tradition and take a Judaism that seems at times very disconnected from the earth. By being able to access the language of goddess, it has enabled me to reimagine and to rethink how I do ritual and Judaism, and how I do everyday life – that aims not at the goddess at all – and create a Judaism that speaks to us now in our lives today.”

Born and raised in Jerusalem, Caine graduated the Hebrew University with a master’s in contemporary Judaism and received her rabbinic ordination at the Hebrew Union College-Jewish Institute of Religion’s Israeli program in 2011. Her rabbinic thesis explored liturgical, spiritual and ceremonial aspects of birth in Jewish tradition and contemporary practice. Stemming from that, as well as her years as volunteer at a rape crisis centre, she is one of the founders of the Israeli rabbinic women’s group B’not Dinah, creating a female and feminist rabbinic tradition of healing after sexual trauma.

For more information about Beit Toratah visit beittoratah.org. To register for the next Building Bridges lecture, go to kolotmayimreformtemple.com.

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

Legacy of the “Ghetto girls”

The Vancouver Holocaust Education Centre’s Dr. Abby Wener Herlin, left, interviews author and historian Dr. Judy Batalion at this year’s Kristallnacht commemorative event on Nov. 4. (screenshot)

Jewish girls and young women in Poland were uniquely positioned to play major roles in the resistance to Nazism – and the stories of countless young heroines have been too long overlooked.

This was a key message at the Kristallnacht commemorative event Nov. 4. Held virtually for the second year in a row, it featured Canadian historian Judy Batalion. Dr. Abby Wener Herlin, program and development manager of the Vancouver Holocaust Education Centre, introduced the author and posed questions.

Jewish girls and women were not subject to the irrefutable proof of Jewishness that Jewish men were, said Batalion.

“Women were not circumcised, so they didn’t risk being found out in a pants-drop test,” she said. “If a man on the outside [of the ghettos] was suspected of being Jewish, he would be told at gunpoint to drop his pants, and women didn’t have that physical marker of their Jewishness on their body.”

A secondary reason women could play such an important role in the resistance was that, at that time in Poland, education was mandatory to Grade 8. Many Jewish families sent their sons to Jewish schools or yeshivot. “But, to save on tuition, they sent girls to Polish public schools,” Batalion explained. “In these public schools, girls became more acculturated and … more assimilated women. They were girls and teenagers who had Catholic friends. They were aware of Christian rituals, habits, nuances, behaviour.”

Resistance fighters and underground operatives might have dyed their hair blonde or otherwise altered their outward appearance to pass as Christians. But there was more to it, the author said.

“Gesticulation was very Jewish,” she said. “So one woman had to wear a muff when she went undercover, to control her hands.”

Batalion’s book The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos is the culmination of 12 years of research, which had its beginnings in another project.

Batalion was in the British Library doing research for a performance piece she was working on about Hannah Senesh, a young female hero of the resistance whose story is perhaps among the more well known. Senesh was born in Hungary and had made aliyah to Mandate Palestine in the 1930s, but she returned from that comparatively safe haven to join the fight against the Nazis.

“She joined the Allied forces, became a paratrooper and volunteered to return to Nazi-occupied Europe,” Batalion said of Senesh, who the author first learned about in Grade 5 in Montreal. “She was caught quite early on but legend has it she looked her executioners in the eye when they shot her.

“I grew up with Hannah Senesh as a symbol of Jewish courage,” she said. There were not many books on Senesh at the renowned London library, however. “So, I simply ordered whatever they had. I picked up my stack of books and noticed that one of them was a bit unusual. It was an old book with yellowing pages bound in a worn blue fabric with gold letters and it was in Yiddish.”

Batalion speaks Yiddish, in addition to English, French and Hebrew.

“I flipped through these 200 pages looking for Hannah Senesh, but she was only in the last 10. In front of her [were] dozens of other young Jewish women who defied the Nazis, mainly from the ghettos in Poland.”

The stories featured guns, grenades, espionage. “This was a Yiddish thriller,” she said.

As Batalion soon discovered, it was young Jewish women who were disproportionately represented in some of the most daring acts of resistance of the time.

“These ghetto girls hid revolvers in teddy bears, built elaborate underground bunkers, flirted with Nazis, bought them off with wine and whiskey and shot them,” she said. “They planned uprisings, carried out intelligence missions and were bearers of the truth about what was happening to the Jews. They helped the sick and taught the children, they organized soup kitchens, underground schools and printing presses. They flung Molotov cocktails in ghetto uprisings and blew up Nazi supply trains.

“I had never read anything like this,” said Batalion. “I was astonished and equally baffled. Who were these women? What made them act as they did? Aside from the Warsaw Ghetto Uprising, which I’d heard of, what was the story of Jewish resistance in the Holocaust?… And why had I, who grew up in a survivor family and community, who was so involved in Jewish arts and culture – I even have a PhD in women’s history – how had I never heard this story?”

Thus began a dozen years of research in Poland, Israel, England and across North America, in archives and living rooms, memorial monuments and the streets of former ghettos, she said. “I trod through testimonies, letters, photographs, obscure documentaries and the towns where these heroines were born and raised,” she said.

“Reading through all this material, I was astonished to learn of the scope of the underground,” she said. “Over 90 European ghettos had armed Jewish resistance units … 30,000 Jews enlisted in the partisans. Rescue networks supported 12,000 Jews in hiding in Warsaw alone. Uprisings occurred in ghettos, in labour camps and death camps, all this alongside daily acts of resilience – smuggling food, making art, hiding, hugging a barrack-mate to keep her warm, even telling jokes during transports to relieve fear. Women were at the helm of so many of these personal and organized efforts, women aged 16 to 25. Hundreds of them, possibly even thousands of them.”

The ability to do such things, under unimaginably dangerous conditions, was aided by a social phenomenon that predated the Nazi occupation.

The early 20th century in Poland was a time of extraordinary Jewish intellectual ferment. Making up about 10% of the country’s population, Jews had a profound social infrastructure, including 180 Yiddish newspapers in Warsaw alone. Jewish political movements proliferated – left, right, religious, secular, Zionist and non-Zionist – creating a vibrant discourse and networks of interrelated groups across the country. By the 1930s, almost all Polish Jews were wondering if this was a country where they could continue to thrive, whether they belonged to the country where their ancestors had lived for 1,000 years.

“As part of this identity struggle, 100,000 young Jews were members of Jewish youth movements – that’s a huge proportion,” said Batalion. “These were values-driven groups that were affiliated with these varying political parties and stances.”

For example, when war broke out, Frumka Plotnicka was 24 years old. Her youth movement urged their members to flee east – “That’s also how my grandparents survived,” noted Batalion – but fleeing a crisis did not suit Plotnicka.

“Stunning her comrades in her movement, she was the first to smuggle herself back into Nazi-occupied Poland,” she said. “She went to Warsaw and became a leader in the Warsaw Ghetto. She ran soup kitchens for hundreds of Jews, she organized classes, discussions and performances. She negotiated with German, Polish and Jewish councils, she helped extract Jews from forced labour.

“She covered her Jewish features with a kerchief and makeup and left the ghetto, traveling across Poland, keeping communities connected. She brought with her information, inspiration and books,” Batalion said. “They had a secret printing press. She ran seminars across Nazi-occupied Poland.

“In late 1941, the youth movements acknowledged the truth of the Nazis’ genocidal plans and they transformed from education hubs into these underground militias. Frumka still traveled to disseminate information. Now, it was about mass executions. She was one of the first to smuggle weapons into the Warsaw Ghetto. She had two guns in a sack of potatoes.”

She was killed while firing at Nazis from a bunker in 1943.

While disguised as non-Jews, some of the woman warriors were able to exploit the prejudices of their tormentors.

“Nazi culture was classically sexist,” said Batalion. “They never suspected that a sweet-looking girl had a pocket full of ammunition. Jewish women played to this underestimation. One courier … was once carrying a valise full of contraband material and she was getting on a train and noticed they were checking bags. She was very beautiful and bashed her eyelashes and went up to the Gestapo man and said, ‘My bag is so heavy, can you carry it for me?’ He was being chivalrous, ‘Of course, I’ll carry it for you,’ and he took it on the train for her and, of course, they didn’t check the bag.”

These young Jewish fighters had lost everything and still soldiered on, the author said.

“They knew they wouldn’t topple the German army, yet risked their lives time and time again to fight for justice and liberty,” she said. “Small victories are achievable and necessary for great change. It is through these young women that I learned that not only is trauma passed through generations of Jewish women but so is courage and daring, strength and resilience, passion and compassion.”

Batalion’s book won the 2021 Canadian Jewish Literary Award in the Holocaust category and has been optioned for a Steven Spielberg film, for which Batalion is working on the screenplay.

The annual Kristallnacht commemorative lecture is presented by the Vancouver Holocaust Education Centre in partnership with Congregation Beth Israel, with support from the Robert and Marilyn Krell Endowment of the VHEC, and funded through the Jewish Federation of Greater Vancouver annual campaign.

Prior to the keynote address, Holocaust survivors lit candles in their homes. Kennedy Stewart, mayor of Vancouver, offered reflections and Nina Krieger, executive director of the VHEC, read a proclamation from the city. Beth Israel’s Rabbi Jonathan Infeld thanked the speaker.

Diverse learning series

Rabbi Gila Caine (photo from Kolot Mayim)

Kolot Mayim Reform Temple in Victoria welcomes back Rabbi Gila Caine, spiritual leader of Temple Beth Ora in Edmonton, to speak on the topic Toratah/Her Torah: Women Rabbis Revealing the Goddess in Torah.

The Nov. 7, 11 a.m., lecture on Zoom kicks off a six-part series of talks called Building Bridges: Celebrating Diversity in Jewish Life. The community is invited to listen and learn from Indigenous, Black, Asian, feminist and differently-gendered and differently-abled advocates who are working to make our world a better place.

As a people who have experienced the devastating impact of antisemitism and hatred, Judaism commits us to the responsibility of tikkun olam (repairing our world). In that spirit, Kolot Mayim’s series of speakers will lead attendees on a journey to deepen their understanding of these contemporary issues and how they can support those who do not feel included.

Kolot Mayim’s Rabbi Lynn Greenough describes the series as “an opportunity to build bridges – bridges that enable us to link to what is and what can be, to step beyond our own particular experiences.” The Hebrew word for bridge is gesher, she explained, pointing to the song, “Kol Ha’Olam Kulo,” “the whole world is a very narrow bridge; the important thing is not to be afraid.”

In the series opener, Caine will explore how, throughout the millennia, rabbinic tradition, and especially written tradition, was composed from within a man-focused and -experienced perspective. Now, after around half a century of ordaining women, there is a growing corpus of documented writing flowing from within woman’s experiences and interpretations of Torah and life. In her talk, Caine will read a few Torah commentaries written by (women) rabbis from North America and Israel, as examples of weaving together rabbinic and women’s experience into something new.

Born and raised in Jerusalem, Caine graduated Hebrew University with a master’s in contemporary Judaism and received her rabbinic ordination at the Hebrew Union College-Jewish Institute of Religion’s Israeli program in 2011. Her rabbinic thesis explored liturgical, spiritual and ceremonial aspects of birth in Jewish tradition and contemporary practice.

Stemming from that, as well as her years as a volunteer at a rape crisis centre, Caine is one of the founders of the Israeli rabbinic women’s group B’not Dinah, creating a female and feminist rabbinic tradition of healing after sexual trauma. She now serves as rabbi at Temple Beth Ora and her Building Bridges talk is co-sponsored with her shul.

Other speakers in the 2021/22 series are:

Carmel Tanaka, founder and executive director of JQT Vancouver (Jewish Queer and Trans Vancouver) on A Day in the Life of a Queer, Neurodivergent, Jewpanese Millennial (Dec. 5);
Rivka Campbell, executive director of Jews of Colour Canada, on Harmony in a Divided Identity: A Minority Within a Minority (Jan. 9);
Joy Ladin, poet, author and first openly transgender professor at a Jewish institution, on Jonah, God and Other Strangers: Reading the Torah from a Trans Perspective (Feb. 6);
Reverend Hazan Daniel Benlolo, director of the Shira Choir, Spanish & Portuguese Synagogue, Montreal, on The Power of Music: In Honour of Jewish Disability Awareness and Inclusion Month (Feb. 13); and
Patricia June Vickers, Indigenous artist and independent consultant, and Rabbi Adam Cutler, senior rabbi of Adath Israel Congregation in Toronto, on An Indigenous and Jewish Dialogue on Truth and Reconciliation (March 20).

Kolot Mayim has been active for 20 years and this is the fourth year that the synagogue is offering this speaker series. Talks are free and held on the scheduled Sundays from 11 a.m. to 12:15 p.m. PST. To register, visit kolotmayimreformtemple.com.

– Courtesy Kolot Mayim

Remembrance Day Revue

The Hot Mammas – left to right, Mary Ella Young, Julie Brown and Georgina Arntzen – with Tom Arntzen. (photo by Dee Lippingwell)

The Hot Mammas – Mary Ella Young, Julie Brown and Georgina Arntzen – with Tom Arntzen perform a Remembrance Day Revue on Nov. 10 and 11 at the Corner Stone Bistro in North Vancouver. With careers spanning decades, they have done it all, from folk to jazz, radio to musical theatre, Vancouver to New York; these women know how to work a room. Long-time friends Arntzen, Brown (who is a member of the Jewish community) and Young formed the Hot Mammas in 2004 and they entertain audiences with the kinds of stories and harmonies that can only come from such a friendship. For reservations, call 604-990-3602 or visit thehotmammas.com.

Choices’ women inspire

Jill Zarin is the keynote speaker at Choices on Nov. 7. (photo from Twitter)

Philanthropist and entrepreneur Jill Zarin – most recognized for having been on the reality TV show The Real Housewives of New York City – is the featured guest at this year’s Choices, which will be held virtually on Nov. 7.

Zarin is also the author – together with her mother, Gloria Kamen, and sister, Lisa Wexler – of Secrets of a Jewish Mother, a 2010 book full of recipes, advice and parenting tips. She will join Vancouver-area speakers to talk about how they were able to support community during the pandemic.

The Jewish Federation of Greater Vancouver’s Choices is the largest women’s event within the community. This is the 17th annual gathering and the Independent interviewed 2021 co-chairs Sherri Wise, Leanne Hazon and Courtney Cohen by email about what to expect.

“Jill Zarin is an amazing speaker!” they said. “Attendees will also hear from so many inspiring women in our own community who give of themselves to keep our community strong and connected.

“Although Jill Zarin is most well known for being a television personality, she is in fact an extremely philanthropic person,” they added. “After almost two years of COVID, the committee wanted to have a program filled with humour and uplifting stories and Jill was a perfect match.

“As co-chairs, we have always found we learn something from the women who speak, which inspires us to continue supporting our wonderful community.”

The pandemic has impacted everyone around the world in many ways, said the co-chairs, and so many people have stepped up to try to help their communities navigate this very challenging time. Zarin is but one of the many “who have pitched in their time and tzedakah and ideas to help our Jewish community stay strong,” said the Choices co-chairs.

Ideally, the organizers had wanted to be together in person for Choices 2021. Yet with the uncertainties and changing regulations around COVID, they have once again decided to hold the event virtually, while trying to provide the experience in a way that is still meaningful to people.

Given the ongoing reality of the pandemic, the women said they are “really happy and really lucky” that Choices can be offered online. One of the benefits of a virtual event, they pointed out, is making it more accessible to women province-wide.

Choices is a celebration of the impact of women’s philanthropy. Rather than fundraising, the goal is to get more women involved in the community through giving to the campaign and volunteering. The organizers stress that there are many ways of being involved in philanthropy and making a difference, such as connecting with Jewish Federation or one of its many partner agencies.

The 2021 Federation annual campaign is focusing on the theme of being strengthened by what we as a community have been through in the past year-and-a-half and inspired by where we can go together. This year, Choices is recognizing specifically how women in the community came through the pandemic and made the community stronger with their time and donations.

In a non-pandemic year, Choices would have 500 people in attendance. Past speakers have included musicologist Judy Feld Carr, the Canadian responsible for bringing thousands of Jews from Syria to freedom; Talia Leman, the founder of RandomKid, an organization that empowers youth to do good deeds; Talia Levanon, the director of the Israel Trauma Coalition; and Jeannie Smith, who shared the story of her mother, Irene Gut Opdyke, who rescued Jews during the Holocaust.

The Choices 2021 co-chairs lauded the efforts of Sue Hector and Shawna Merkur, the co-chairs of women’s philanthropy at Federation. They also noted the contributions of Ricki Thal (campaign manager), Kate Webster (campaign director) and the Jewish Federation staff for their invaluable support.

To attend Choices, a person must give to the Federation’s annual campaign or make a donation by purchasing a ticket of the suggested amount. There is a suggested minimum donation of $154 to support the campaign and a suggested minimum donation of $36 for first-time attendees.

To register for the Nov. 7, 5 p.m., event, visit jewishvancouver.com/ choices2021.

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

Being a Jewish woman

The Daughters of Zelophehad by artist Frederick Richard Pickersgill, engraver Dalziel Brothers, 1865-1881. (photo from metmuseum.org)

“A cobbler passed by the window of Rabbi Levi Yitzhak, calling out: “Have you nothing to mend?!” The rabbi began to cry: “Woe is me! Rosh Hashanah is almost here and I have not yet mended myself!” (Zichron Ha Rishonim)

According to Rabbi Kruspedai, in the name of Rabbi Yohanan, three books are opened on Rosh Hashanah: one for the wholly righteous, one for the wholly wicked and one for most of us, those in between. The wholly righteous are inscribed and sealed in the Book of Life; the wicked in the Book of Death; and the rest of us are held suspended until Yom Kippur, when we are judged worthy or unworthy. The zodiacal symbol for the Hebrew month of Tishri is, fittingly, a balance – the scales of justice.

When Creation was established, but still incomplete, humans had an important role – to fill the earth with life and to sustain life at the highest level (Genesis 1:28). We became a partner with the Creator in tikkun olam, perfecting the world.

Women are not relegated to a minor position in this task. As Rosh Hashanah approaches, Jewish women reflect on their role, knowing that they have more to do than merely bake honey cakes, send out Shana Tova cards and light candles.

Since coming to live in Israel five decades ago, I have felt the need for a deeper, more spiritual aspect. Every type of Jewish woman is represented in Jerusalem, from the ultra-Orthodox matron to the professional modern religious woman; from the Reform woman rabbi to the completely secular woman who sees any kind of ritual as nonsense. Each has her convictions and will act on them accordingly.

Having begun my life as a fairly assimilated Jewess, I fall somewhere in the middle. I consider myself a modern, observant woman, although I fall short of my daughters, who cover their hair and have studied Talmud, Mishnah and Jewish philosophy at a level of commitment to Judaism I probably will never attain. Yet, I am not totally ignorant, nor have I been left entirely unaffected by the feminist movement. I do believe that the Torah was given by G-d at Mount Sinai and one may not change it even one iota. But neither am I satisfied to fulfil the prayer of the pious father at his daughter’s birth in the Middle Ages: “May she sew, spin, weave and be brought up to a life of good deeds” – especially as the first three skills are completely beyond me!

I want to find a comfortable spiritual niche for myself within the framework of halachah (Jewish law). I have no desire to don tallit or tefillin to make a feminist statement, yet I know there are possibilities that exist for the Jewish woman that give her a place beyond catering to the family’s gastronomic needs when the Days of Awe come round. Many opponents of orthodoxy contend that women are not honoured in Judaism, despite the deep reverence for Sarah, Rebecca, Rachel and Leah. My namesake, Dvora, the judge and prophetess, is also greatly honoured for her political, moral and religious leadership.

There are contemporary Orthodox women who have widened the halachic barriers by challenging practices of separate synagogue seating, and questioning the right of women to be called to the Torah and to be counted in the minyan (traditionally, the minimum 10 men required for communal worship). These privileges do not unduly attract me – if they did, I would attend a Conservative or Reform synagogue. I am not even tempted to join a halachically permitted women’s “minyan” – I rather enjoy my silent communion with G-d and don’t feel it necessary to see everything that is going on. G-d hears Jewish women’s pleas, as He did in the case of the childless Sarah, Rachel and Hannah and the landless daughters of Zelophehad.

I don’t yearn for religious parity with men. Not everything in life can be equal or fulfilled at every given moment. Demands for personal gratification and unreal expectations can destroy relationships in the secular sphere also. Blu Greenberg, a pioneering Orthodox feminist and writer, has defined “time, energy, a measure of sacrifice and generosity of spirit” as the enemies of instant gratification and believes that one is only free within an ethical and moral structure.

With the approach of the High Holy Days, there are women who are searching for a role that will be neither insignificant nor undervalued. We are sifting through the perspectives of Jewish values, what we can welcome and what we can reject.

We will attend synagogue and listen to the shofar as men and women are obligated to do, and try to observe the period of penitence that ends with Yom Kippur. There are also tehinnot (petitional prayers; in Yiddish, tkhines) for women, written in Yiddish in Bohemia and published in Germany, Russia and Poland in the 18th century, which I would like to find and have translated. They emphasize G-d as a loving father rather than as a stern judge; the merit of the matriarchs; and define rewards in terms of pious and virtuous children. They represent a kind of folk literature, mirroring the daily life and concerns at that time in the ghetto. As it is known that many of the tehinnot were composed by women – a rare phenomenon – I think they are appropriate prayers to be added by women to the traditional ones at this time.

Mainly, I think, we should sustain our belief that women, as well as men, are made in G-d’s image. For me, being a Jewish woman largely defines who I am and what I am called to do. Our sages tell a story that, when the Torah was first given, G-d told Moses to teach it first to the women. I believe the reason – that is still valid today – was that women were the architects of the next generation, and their acceptance of it would determine whether or not future generations would continue the covenant. Surely, there is no more significant role as we approach the New Year and the Day of Judgment. May we all be inscribed for a good year.

Dvora Waysman, originally from Melbourne, Australia, has lived in Jerusalem for 50 years. She has written 14 books, and the film The Golden Pomegranate was based on her novel The Pomegranate Pendant. She can be contacted at [email protected].