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Books High Holy Days Mishkan haNefesh

Artist Joel Shapiro Discusses the Art in Mishkan HaNefesh

A few weeks ago I had the chance to sit down and talk with Joel Shapiro, the artist behind the images in Mishkan HaNefesh. We met in his bright, airy studio in Long Island City to talk about his work.

Hara: Joel, can you tell me a little bit about why you were interested in being part of Mishkan HaNefesh? From the outset of the project you expressed excitement at the prospect of your involvement.

Joel: How could I say no? I loved the challenge of coming up with meaningful imagery to match such deep content. Visual art can be tricky – the goal is not simply to illustrate, but, in this case, to create images which correspond to profound and historically significant prayers and material. My role here is that of mediator – attempting to capture the meaning I see in the material, and translate it into form.

Hara: Could you talk about your process? How did you prepare yourself to craft a visual response to the content of Mishkan HaNefesh?

IMG_0995Joel: I tried to read the prayers carefully in order to understand the meaning and value of each word and image throughout the text. I wanted to connect the prayers’ implications to abstract form through woodcut — the medium we decided on together when you first approached me.

Hara: And why woodcuts? Why did you choose that format?

Joel: Woodcut is a very unusual process, one that involves creating a kind of visual typeface from scratch. I felt that I needed a kind of looseness to do this. So I began to draw on paper and then cut the paper out. Sometimes I wasn’t even drawing; I would just use the scissors and find a form that connected to the content or feeling of the prayer. Basically, I was cutting paper to find the form, a technique I have used in the past. (I don’t think I was influenced too much by the Matisse exhibition that was happening at the Museum of Modern Art at the same time, but you can’t cut paper and not talk about Matisse!) Then I would take the paper, scan it, and try to transfer the image to the wood block. In the beginning, I didn’t know exactly how I would transfer the paper image to the block, but ended up taking a low-tech Xerox of the image and then using acetone to transfer the image from the Xerox to the wood. From there, I would cut the form into the wood to be printed. Once I had an initial print, I would then reduce and eliminate any excess. The challenge here is to decide how much wood you want to remove – do you want the image to function independently of any kind of frame or background?

I’m really excited by how the woodcuts came out. Even though in some cases it feels antithetical to the feel of the metal type used in the rest of the book [to set the text throughout the book], the materials are comfortable together.

IMG_1001Hara: One of the things we, the editors, love about the use of wood as part of the materials, and part of the reason we were excited about your choice to create the art as wood block prints, is that wood has so much rich metaphoric weight in our Jewish traditions – Eitz Chayim, the Torah is the tree of life, the tree in the Garden of Eden, and so on.

Joel: I thought of that too. I was also moved by the connection between wood and the natural world. The typeface, however, does not share that same connection to nature, creating a kind of balance or conversation within the text.

Woodcut also allows you to use the grain in interesting ways.

Hara: Could you talk more about the choice of wood?

Joel: I mostly used cherry, walnut and mahogany. Cherry is very precise and prints softly, while walnut has a more pronounced and often wavy grain. Sometimes I wanted one sort of wood that gave the cut a complexity and texture. I would pick a piece of wood based on what the grain would mean in relation to the print.

Precision was critical to this project. The dimensions of the page made for a very narrow space in which to work. I was afraid because woodcarving is very dangerous; if you make a mistake it is relatively fatal to the image and you may have to start from scratch.

IMG_0992Hara: Could you talk about the choice of the blue color, in part because at the beginning of the planning process, we were talking about different colors, and we hadn’t settled on blue ourselves yet in terms of the overall design and typesetting of the book.

Joel: Were you talking about red at one point?

Hara: Yes, we were talking about red, maroon, or a purple.

Joel: Blue is so lively and it so prevalent in nature. It is the color of water and the sky, and functions as a contrast to black. I really like red, but red always has some negative connotations for me. And red and black, in a Jewish book, is problematic historically.

Hara: And that particular shade of blue is such a unique shade.

Joel: Blue has a sort of life reference. I did a prior print where we used multiple colors and I did not like it as much, I really like the use of one color – the blue – along with the black and white. The blue that I used is full of energy. It’s basically ultramarine.

Hara: Yes. It’s very close to the color Klein blue, right?

Joel: Oh yes, everyone says it’s Klein blue, which is ultramarine with a reddish tint. Yves Klein was an important, radical artist who used a lot of pure pigment. And he seems to have co-opted blue as a color, so I hear it all the time; I’m used to it. I think you’d find that specific blue in lots of paintings. Ultramarine is a synthetic pigment that was developed as a replacement for lapis lazuli, which is a real pigment from the natural world.

Hara: We had given you phrases for each of the services upon which to base or anchor the art. Was there one piece that was particularly challenging for you in terms of how to respond artistically?

Joel: All of the phrases presented challenges. In order to properly understand these conceptual themes, you really have to be a Talmudic scholar (which I’m far from). Consequently, though I tried to broadly understand the intent of the phrases, it was not easy.

Art for Rosh HaShanah morning, by Joel Shapiro.
Art for Rosh HaShanah morning, by Joel Shapiro.

I did the first image for Rosh HaShanah based on a connection to the shofar, and you thought it was too scary. And then not only was it scary, but I’d also have to spend a year carving it… There were just so many lines, it was an intimidating task! And so then I came up with another image that we all liked better, but it seemed to be maybe too anatomical.

Hara: With the human heart in it?

Joel: Yes, the heart was a little too sacred.

Hara: I loved the heart imagery. It’s still in there, but now it’s much more subtle.

Joel: Then the second version wasn’t robust enough, and I thought that the blowing of the shofar was such a unique aspect of the holiday – I wanted to convey that. Having listened and listened to it over and over, I initially tried to do something with the actual sequence of blasts – to incorporate that idea in some way with the image. But I wanted to have the sense of its far reach. I thought the sacred heart was just too tender and fragile. So I thought the revised version was much more robust. It still has the subtle heart image in it but better conveys the sense of the shofar blasts.

However, they were all tough to do; there wasn’t one that wasn’t tougher than the others.

Hara: Another image that you redid a few times was the piece for Eilah Ezkarah, the one that’s like a tear or a cry of pain.

Joel: That was a relatively easy piece to conceive of, and then I changed and altered it.

Approaching these prints, I didn’t have a visual preconception of what to do, and I didn’t have an agenda. I would read the prayer and then fall into a more suspended place, and draw it, cut it, and refine it. Cutting, which is a very good way to work, has an immediacy to it – there was not a lot of downtime during the process.

That specific image was hard to create, and then I switched it around. It was like a tear of sorrow and misery, and not just misery but also a kind of brutality. I think that the way you cut the wood is significant in terms of each form. It affects what you actually do. I kept this in mind when I created the other one image, which depicts the little gate: the black and blue one [the frontispiece in the Rosh HaShanah volume].

Rosh HaShanah frontispiece by Joel Shapiro.
Rosh HaShanah frontispiece by Joel Shapiro.

Hara: That’s the opening image for Rosh HaShanah.

Joel: Yes, I think that’s really good. And that was about trying to find a gate or an expanse and flipping the wood around. The change in the wood grain reflects this, it’s what it would be like to literally open the window or door. I tried not to be too fussy about it and to stay away from illustration.

Hara: Do you have a favorite?

Joel: I really don’t, I like them all. I was also surprised by how refreshing they were to me. I like the two frontispieces. I love the one for Rosh HaShanah. But I couldn’t redo that again; once you find out what you’re doing, it’s impossible to replicate.

Hara: So I’m going to ask you to help explain one thing because I’m getting a lot of questions about the edging, people are asking: why does the artist do that? What is that there in the margins? I understand the power of it visually, I love it, and I understand how it’s done. But I think that the question is more about what is the visual meaning of keeping it there as opposed to having a clean edge or no edge. Why make that choice?

Image for Yizkor by Joel Shapiro.
Image for Yizkor by Joel Shapiro.

Joel: I think the edge functions as a window and as a frame. With a frame, you could have a clean edge, but here I was able to establish the edge. I chose a block of wood, and then I decided what size I wanted the image to be. I then proceeded to maintain the size of the image while adding some edges that I wanted to keep rough. The frontispiece for Rosh HaShanah purposefully has no edge, I wanted to differentiate it from the page. I wasn’t interested in making an icon or a single iconic image; I wanted the piece to give some sense of where the image came from. To accomplish this, I let some residual wood into the white area, because I felt that that this added meaning to it by making the image less grand and giving it a certain humility. This is not the icon of Rosh HaShanah by any means. Perhaps humility is not even the correct word to describe this.

Hara: I like the idea of humility, but isn’t it also about anti-perfectionism?

Joel: Yes. The process and the whole project were really important and meaningful to me. It wasn’t about coming up with an absolute image; there’s nothing absolute. The image leaves you with the sense that it could have been different. It could have been something else; it’s made by hand. Somebody’s thought about the whole thing. And I think the edge helps — it amplifies the meaning. This is a relatively small page, and I had a certain boundary established in the beginning of the project that I rebelled against. I’m not sure if that had much to do with the printer, and it took me some time to work beyond that. Does that help?

Hara: Yes, that helps a lot.

Joel: The edge really frames the image, allowing for greater concentration in its viewing.. Seeing just the image in the center of the page is too much. You really need the edges on these images in order to emphasize their content. As a result of seeing its source in the edging, you know that it comes from a block of wood, and this reinforces a certain type of reading. Did you have this response?

Hara: Yes, that’s good. Do you have any overall reflections now that the process is behind you?

IMG_0997Joel: I was anxious because I hadn’t seen the prints in the finished book until now. It’s one thing to do a print and then another to see the print. And, by then, it’s in someone else’s hands. I did see the layout, and I was impressed. But I still didn’t know about the overall quality and what they looked like in the book. A book is an object; it’s really thrilling to see it. I think it’s exciting though…I feel that I barely tapped the subject; there’s so much more to do. My work on this project has expanded my own understanding of these concepts.

Hara: You talked earlier about your grandchildren seeing it.

Joel: Yes, I can’t wait for them to see it.

Hara: There’s a sense of legacy.

Joel: Yes, it’s deeply meaningful. I was raised in a very secular family. We had Passover and Passover Seders, but it was not a religious family to say the least.

Hara: Did you grow up in Manhattan?

Joel: No, I grew up in Queens, Sunnyside, a mile and a half from here. And my family moved further out.

Hara: We’re very grateful to Jo Carole Lauder for connecting us with you.

Joel: I’m grateful that she did. She’s smart and certainly knows what’s challenging. She has a big vision; I thought it was great; I’m happy to have done it.

Joel Shapiro (born 1941, New York City) is an artist of international prominence. He has executed more than thirty commissions and publicly sited sculptures in major Asian, European and North American cities and has been the subject of more than 160 solo exhibitions and retrospectives internationally. He is represented by the Pace Gallery. His CV is available here.

Rabbi Hara Person is the Publisher of CCAR Press, and served as Executive Editor of Mishkan HaNefesh. 

Categories
High Holy Days Machzor Mishkan haNefesh

The Book With No Music

In September of 2014 a children’s book was published called “The Book with No Pictures.” At first glance, the book probably should have been a flop, but it certainly wasn’t. From the time that publishers could mass produce books with artwork, there probably hasn’t been a book for young children on the market that hasn’t had some kind of pictures. Walk into a children’s bookstore today and it is hard to find anything that in addition to colorful artwork, does not feature some accompanying CD, sound effect buttons, pop-ups, textures, toys, celebrity characters, or other gimmicks to help entice children to engage with books and their families to purchase them. But this book, in addition to having no pictures or characters whatsoever, has no story line and is simply a bunch of hilarious nonsense words and phrases for the reader to say: words like “Blork,” “Bluuurf,” and “Glibbity Globbity.” So how could it have been possible for a silly children’s book of this kind to become a New York Times #1 bestseller?

A video was circulated on the internet featuring the author of the book, B.J. Novak, an actor and stand-up comedian, reading his book to a group of children. The video featured their hilarious reactions to his reading, thereby proving that a children’s book does not need any pictures at all to be successful. The video went viral, garnering millions of views and the book became an instant bestseller. So what was the key to B.J. Novak’s remarkable success? Was it a clever viral marketing campaign? That surely didn’t hurt. Was it B.J. Novak’s celebrity status? I don’t think so. Was it the content? Probably not. Or could it have been because the book was developed to highlight the relationship between the reader of the book and the audience, and the storytelling, rather than placing too much emphasis upon the contents of the book? Now we could be on to something.

The CCAR’s new High Holy Day machzor, Mishkan HaNefesh, took countless hours of time, thought, and resources to develop. The process involved many of our leading rabbinical minds, cantorial voices, and lay leaders collaborating over the course of many years. Because of this, many of us believe that these books have the capacity to shape an entire era of worship and religious thought, so it is particularly important what content is ultimately included in the book. And yet for the large percentage of Jews that only attends a Reform worship service once or twice upon the High Holidays, regardless of what language is used, what commentary is offered, or how the fonts or paginations appear, the prayers on the page may often seem nearly as foreign and nonsensical to the average Jew as the words in B.J. Novak’s book. This is similar to the idea in Dr. Ron Wolfson’s premise of Relational Judaism, where he argues that instead of investing in programming, congregations should strive to invest in building lasting relationships with congregants. We now have an opportunity to highlight the relationship between the readers of the machzor and their congregations. Now that Mishkan HaNefesh is published, we can focus more upon the relationships that are forged between congregants, clergy, and liturgy through the telling of the story.

Just as we publish new prayer books with new language to relate to each generation of worshippers, so too is music for worship continually evolving. This is why the making of new music for Mishkan HaNefesh is so important and why Shirei Mishkan HaNefesh, the musical companion to Mishkan HaNefesh, is such a timely publication. Shirei Mishkan HaNefesh is a compilation of High Holy Day music assembled by the American Conference of Cantors from a wide variety of styles and sources that allows for contemporary Jewish composers to give voice to liturgy from our new machzor in innovative, rich, and meaningful ways. The book includes twenty-five exciting new musical settings of liturgy for Mishkan HaNefesh from the Reform movement’s greatest musical artists, including many accomplished cantors and singer-songwriters.

Even Avinu Malkeinu by Max Janowski was met with skepticism and resistance by discerning musical directors of congregations during Janowski’s generation who preferred a more sophisticated musical approach. Yet hardly anyone today could imagine his beautiful and timeless melody being controversial at all. Some of today’s musical innovators have the potential to become standard repertoire for congregations across all movements, but the music needs to be published, shared, and experienced at congregations in order to stand the test of time. Shirei Mishkan HaNefesh offers congregations the opportunity to give new voices a chance to make their way into the lexicon of High Holiday worship. We have read many of the same prayers again and again for generations. Today we have the opportunity to try to retell the same story, only with new voices.

The Torah provides thirteen chapters of vivid detail on the physical description and construction of the Mishkan, and yet there is no account of the kind of music that might have accompanied its sacred rites – not until the Mishnah was published many generations later. We can only imagine what the worship might have sounded like. The Torah, like all ancient oral traditions, was passed down musically, and yet we did not bother to write down the musical patterns until centuries afterwards when cantillation systems were eventually codified and notated. The Torah is our most sacred book, but like Mishkan HaNefesh, it is a book with no music.

This image reminds me of when I met the head of the cantorial school at Hebrew Union College for the first time. On his ornate music stand in his office I found a very distinguished-looking book titled, “All I Know About Cantoring – By Cantor Israel Goldstein.” I opened the book and laughed out loud when I discovered that every single page of it was blank – a gag gift given to him by a friend. It was hilarious and memorable gift, but upon reflection, music can function a bit like that – it can be the sounds that can fill the pages of a blank book, the midrashic stories that can fill in the gaps between the story lines of Torah, or the images that can be evoked in the minds of children who hear a book read to them that has no pictures.

With the publication of Shirei Mishkan HaNefesh, the American Conference of Cantors tries to help us hear how we can retell our same age-old story in new and engaging ways. Not all books need to have pictures or music in them, but many congregations may wish to use this beautiful book as another useful tool for forging relationships between congregants, clergy, and liturgy for this generation and generations to come.

———

Cantor Dan Singer is the Senior Cantor at Stephen Wise Free Synagogue in Manhattan. 

Categories
General CCAR High Holy Days Machzor Mishkan haNefesh Rabbis

Opening the Sacred Envelope: The Joy of Seeing Mishkan HaNefesh Being Used

Some weeks ago I was sitting in a synagogue in the Upper East Side of New York on a beautiful May morning, listening to the beautiful words of Rosh HaShanah liturgy set to music during the Hava T’filah seminar for rabbis and cantors. Even the sound of the shofar pierced the air as a clergy team shared their model service with the group. In the very capable hands of the clergy and musicians of Temple Israel, eighty rabbis and cantors had gathered to pray the Rosh Hashanah Evening Service from the new CCAR Machzor, Mishkan HaNefesh. Yes, it was artificial by design. But it was real worship and so it was gratifying to see the book come to life.

Temple IsraelAs has been stated many times, Mishkan HaNefesh calls upon worship leaders to omit much of the service (there is enough material for many years) so that every choice you  make is important. I call this the Trader Joe’s method. If you walk into Whole Foods in Lincoln Park, Chicago, you can get lost – there are way too many choices. Trader Joe’s, on the other hand, has just a few items in every category. By design, Mishkan HaNefesh is Whole Foods, offering you many options, but the worship service itself has to be Trader Joe’s. (Do not use this analogy on Yom Kippur).

The experience of the Rosh HaShanah service at Hava T’filah reminded me that the worship experience is very different than just the machzor itself. By all means embrace the machzor when preparing for the Days of Awe. But focus on the experience of the Days of Awe, allowing the machzor to be a sacred implement in your creation of the experience.

The great Bible scholar Uriel Simon once taught, in connection with Joseph, that a dream not interpreted is like an envelope not opened and a letter unread. I would argue that a machzor not employed in worship is the same.

What a pleasure it was to witness this sacred envelope being opened!

 

Categories
High Holy Days Machzor Mishkan haNefesh

Introducing Shirei Mishkan HaNefesh: New Music for the High Holy Days

I remember the first moments that I sat in the sanctuary at Temple Beth El of Great Neck and heard my cantor, Barbara Ostfeld, sing the majestic Avinu Malkeinu of Max Janowski for the first time.  With the organ and the choir joining her, I felt the emotion well up inside of me as I realized the impact that this incredible music had on me. I had those same feelings the first time I sang Kol Nidre as a Student Cantor, and of course Max Helfman’s Shema Koleinu at my first full time pulpit.

I still feel the emotion of the music of the High Holy Days each and every time I put on my white robe and stand before the Kahal to intone the majestic and powerful music of the Days of Awe.  It is why I am so proud to have been part of a project to bring new powerful and emotional music to the Reform movement helping to bring to life the beautiful poetry in our new machzor.

After nearly two years of work, the American Conference of Cantors, in partnership with CCAR Press, is proud to present to our movement this book of new compositions for High Holy Day worship.   This book brings musical life to many of the magical new texts found in Mishkan HaNefesh while also bringing musical voice to other traditional texts found in the machzor.  All of us have our favorite melodies for Avinu Malkeynu, or Shema Koleinu….I know that I do.  However, the music contained in Shirei Mishkan HaNefesh provides beautiful alternatives and an opportunity to introduce new musical memories to our communities.  Like the new machzor, Mishkan HaNefesh, the music contained in this volume underscores the central value of Teshuvah, accompanying our journey during the Days of Awe, as together we seek repentance, new direction, and a sense of return to God and the Jewish people.

While I would never try to replace the melodies that are part of my life and my inner soul, I am so excited to join these new and exciting melodies to them thus enriching the musical life of the Jewish people for decades to come.

I look forward to sharing these new melodies with my community this coming High Holy Days and hope you will as well.

———

Cantor Steven Weiss is the project director for Shirei Mishkan HaNefesh and the Vice-President of the American Conference of Cantors.  He also serves Congregation Sha’aray Shalom in Hingham, MA. 

Categories
Machzor Mishkan haNefesh

The Hebrew Types of Mishkan HaNefesh

Ismar David in his New York studio, 1980s.
Ismar David in his New York studio, 1980s.

We are pleased to share a post from guest-blogger Scott-Martin Kosofsky, who was the designer of Mishkan HaNefesh.

Type design in the 20th century has often been a tug-of-war between two graphic impulses: the typographic style, based upon letterforms that grew out of the metal-casting tradition, and the more freewheeling calligraphic style, based in the ways of the pen. In no script is this more evident than in Hebrew, especially during the years following the founding of the State of Israel.

The original Hadassah type by Henri Friedlaender.
The original Hadassah type by Henri Friedlaender.

The two greatest exemplars of this dichotomy, Henri Friedlaender (1904–1996) and Ismar David (1910–1996), each contributed landmark designs for types, each modern but in different ways, that have been part of our daily Hebraic lives ever since their creation. These are the types “Hadassah” (1959, .named for the Hadassah-Brandeis School of Printing, in Jerusalem, where Friedlaender taught) and the eponymous “David” (1954). Both men were Europeans, David born in Breslau and Friedlaender in Lyon, both were trained calligraphers, and both worked as book designers. Friedlaender’s work experience was, however, more in the direction of typefounding than was David’s, working for a time for the Haag-Drugulin foundry (whose offerings included some very popular Hebrew designs of the 19th century), in Leipzig, and at the Klingspor foundry, in Offenbach, where he came under the influence of the renowned craftsman type designer Rudolf Koch, whose Jewish disciples included the renowned designer Berthold Wolpe.

The David type appeared first in a 12 pt. metal version for the Intertype Corporation, American makers of a linecasting machine that was the rival of Linotype. Several years later it became available on the Photon, the earliest commercially viable phototypesetting system. The design did not include diacritics (the vowels and trope), but it did have a very special feature: a left-slanting “italic” of a singularly gracious design. The idea of a companion italic had ever existed before in Hebrew, though many medieval Ashkenazic scripts were left-leaning. (David also drew a monoline “sans serif” version, though it was not issued commercially in his lifeteime.) For a version of the David types released by Stempel in 1984, for one of its early digital typesetting machines, Ismar David created a limited set of diacritics.

Title page by Ismar David.
Title page by Ismar David.
The original Intertype version of Ismar David’s font “David.” Note the “italic” in the running head.
The original Intertype version of Ismar David’s font “David.” Note the “italic” in the running head.

David, the type, marked a radical break from any Hebrew font that had ever been made before. It is highly calligraphic, light in weight, with finely nuanced strokes. Israeli designers took to it slowly, but one event gave it a hechsher that propelled it into extraordinary popularity: its use by Dr. Moshe Spitzer for the 1960 Tarshish edition of S.Y. Agnon’s Kelev Chutzot (“A Stray Dog”), one of the most beautiful books ever made in the State of Israel. Overnight it became the choice for belletristic works and, especially, poetry. By the late 1980s and early 1990s, David would become available in a variety of digital forms, of varying degrees of fidelity to the design. What made it truly universal was its inclusion, for free, with Microsoft’s Windows software, making it a default choice for many uses. Sadly, the italic was not included with these versions; Israelis have preferred, instead (and oddly), to use the automatic “italic” button on various applications to create an artificially inclined letter—to the right, the default setting for the Latin alphabet. The Microsoft version (which is licensed from Monotype) includes all the nikkudot and taamim, though their positioning does not function properly. Moreover, the design of David, which was conceived for Modern Hebrew, has some particularly narrow letters (typical of Modern Hebrew), such as gimel and nun, which make the fitting of biblical diacritics very difficult. The design isn’t well-suited to setting very small type. Where the electronic versions of the David types often fail is in overly tight, poorly balanced spacing, with word spaces that are far larger than they need to be.

David was the type used by the CCAR for its Mishkan T’filah siddur. When I was approached by the CCAR to design the new machzor, Mishkan HaNefesh, one of the first discussions was about the Hebrew type. The CCAR wanted something distinctive, something its own, but a type that would relate somehow to the David type, so that the new machzor would retain a familial similarity with the siddur. Two other facets of the Mishkan T’filah design were to be retained, as well: the navigation bars on the outside margins and the fundamental layout of Hebrew texts and translations in mirror columns. The narrow gimel and nun aside, the David font is too wide for this kind of setting—it needs space to work well A narrower type, one with fewer idiosyncrasies, would be preferable, though it would have to be wide enough to accommodate the full battery of diacritics, as there would be Tanakh segments in the book.

David, as it appears in CCAR's Mishkan T'filah
David, as it appears in CCAR’s Mishkan T’filah
The six weights of Shlomo
The six weights of Shlomo

No such type existed, so I would have to make a new one, as I had done for the Conservative Mahzor Lev Shalem, which I also designed and produced. (It was published in 2010.) Beginning with some of the letter shapes of David, it occurred to me right away that the new type should be called “Shlomo,” the Hebrew name of Solomon, son of King David. As often happens with such inspirations, the new work quickly took a form of its own. The majority of Hebrew letters are square and it is for that reason that its print form (i.e., non-cursive) is called m’ruba (“square”).

How much narrower could it be made and still have space for the diacritics? About 85% is what I determined after a series of experiments, though the nikkud and taamim would have to be on the small side if decent proportions were to kept. That seemed to be a reasonable compromise, as most people who read liturgical and biblical Hebrew use the diacritics as mnemonics. The key to making any typeface easy to read is its internal spacing, and in the case of Shlomo great attention was given to this important aspect of its reader-friendliness. I made Shlomo in several weights and in versions suited to specific sizes. This allows it to be read clearly in the small versions used in the notes at the bottom of the page and in the navigation bars at the right margin of right-hand pages.

The Hillel type by Scott-Martin Kosofsky, as used in Mishkan HaNefesh.
The Hillel type by Scott-Martin Kosofsky, as used in Mishkan HaNefesh.
Ashkenazic letterforms.
Ashkenazic letterforms.

Shlomo, like David, should be classified as a Sephardic design, the general typology that dominates the majority of Hebrew types, and has dominated it since the earliest Hebrew types were made in the 15th century. The Ashkenazic style, with its greater differentiation of thick and thin strokes (the result of its origin as a letter drawn with a quill pen as opposed to the Sephardic predilection for reed pens) came to the fore only in the 19th century, as exemplified by the types made for the Vilna publishing house of Romm, publishers of the editions of Talmud that are still regarded as the standard. But these were as much a product of the prevailing European fashion for Latin types with exaggerated thick and thin strokes (the so-called “Classical” style, as exemplified by the types of Giambattista Bodoni) as they were a reference to the Ashkenazic letters of old. It was during the late Middle Ages that Ashkenazic letterforms reached their apogee, when they were a Hebrew counterpart to the Gothic Latin letters of Europe. The Hadassah type and its offspring Milon, the type I made for the Rabbinical Assembly, are Ashkenazic designs, even though the lack the thick-thin characteristic. This lessening of contrast while keeping the basic Ashkenazic shapes was the essence of Henri Friedlaender’s contribution.

The Milon type by Scott-Martin Kosofsky, as in Siddur Lev Shalem.
The Milon type by Scott-Martin Kosofsky, as in Siddur Lev Shalem.

I have a great fondness for Ashkenazic letterforms, so when the CCAR was looking for a contrasting type for special headlines in the machzor, such as the recurrent Sh’ma and the shofar blasts and the section titles, I suggested that we use a type I made some years ago, a classic Ashkenazic letter based on 14th-century manuscripts. I called the type Hillel, in honor of Harvard Hillel, for whom I first made a version of it for use as titles in The Harvard Hillel Sabbath Songbook (1992). For Mishkan HaNefesh, I reworked the design considerably and made for it a full set of diacritics, including the cantillation trope. Not only is Hillel used for these

back cover of the Harvard Hillel Sabbath Songbook, which shows the earlier version of the Hillel type. (Note the odd form of bet.)
back cover of the Harvard Hillel Sabbath Songbook, which shows the earlier version of the Hillel type. (Note the odd form of bet.)special purposes within the machzor, it is also used on the cover. I hope to one day have the opportunity to make a text version of these noble letters.

special purposes within the machzor, it is also used on the cover. I hope to one day have the opportunity to make a text version of these noble letters.

Scott-Martin Kosofky designs, produces, edits, composes, writes, and makes types for books in Lexington, Massachusetts, where he is a partner in The Philidor Company. His specialties are complex typographic books, advanced typography for liturgical and biblical Hebrew, and interesting image-based books, with occasional forays into music, art, and graphic design.

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omer Rabbis Organizing Rabbis Social Justice Torah

We All Count: Shavuot

This blog is the eighth in a series from Rabbis Organizing Rabbis connecting the period of the Omer to the issue of race and class structural inequality.  Rabbis Organizing Rabbis is a joint project of the CCAR’s Peace & Justice Committee, the URJ’s Just Congregations, and the Religious Action Center. 

Each day of intentional counting through the period of the Omer, as the attributes of mercy, spiritual strength, beauty, truth, compassion and justice shape us, we are brought to the night of Shavuot when, through our learning together as community, we glimpse the way the world can be.  From Passover to Shavuot the bread with no ego of Matzah and the simple barley of the Omer prepare us for the Challah; the symbol of being able to taste the sweetness of freedom without having our freedom and our privilege dependent on the oppression of others.  We pray that we will be able to enjoy the puffed up Challah without becoming so full of ourselves that we forget the lessons of our journey and that we will always remember never to do to others what was done to us.

Shavuot  is the climax of our story as Jews, to accept a Torah, a guide for living, that creates a world where all can flourish.  The Talmud dares us to fiercely defend the rights of all humanity to have infinite worth, to have a level playing field, and to be able to be creative and unique.  This is a radical vision in a world of have and have-nots, of the rich getting richer on the backs of the poor and by destroying the environment, of state sponsored laws and cultures that dehumanize and even brutalize other human beings.  Today there would be signs on the mountaintop that proclaim that black and brown lives matter, that Palestinian lives matter, that Jewish lives matter.  Signs that lift up the voices of those who are marginalized, who cannot find a place to be free from prejudice, who suffer the oppression of being judged by the hue of skin color instead of who they are.  Signs that affirm that these lives matter as much as all other lives.

Based on the models of truth and reconciliation sessions that have been used in South Africa, Rwanda, and in Greensboro we launched our first of ten sessions in St Louis this week.  As I listened to the black and brown truth tellers speak across lines of age, gender and class to the panel that practiced radical listening without defense and with open hearts, I heard a common agonizing thread.  Each person spoke from a strong place of self.  I could hear them saying, “I may be different from you but I am a whole human being of infinite worth, why don’t you see me and treat me as such?” They also said, “I do not want your pity or your sympathy but you must reach within to find a place of empathy.”

I thought about an article by the feminist lesbian woman of color Audre Lorde, in which she says that the master’s tools will never dismantle the master’s house.   Lorde wisely teaches us that “those who have been forged in the crucibles of difference,” must learn to take difference and make it a strength outside the structures of oppression and build a new world where we can all be valued.  I also heard the truth tellers (and Lorde) say that it is not their job to educate the oppressors.  It is an old tool of oppressors to keep the oppressed occupied with the master’s concerns.  “Tell us what you want?”  is a diversion from the source of the problem that lives within the souls of those who do not see themselves as a part of the suffering of people of color in this culture that has been shaped by the legacy of slavery and Jim Crow laws, old and new.  We are all a part of the problem and the Torah teaches us how to be a part of the solution.

The blacklivesmatter movement is challenging us to change the systems of policing and mass incarceration that threaten those lives daily.  Our demands are for basic the human dignities that come with access to health care, a living wage and a government that serves all the people.  The Torah teaches us that when we are more upset about the destruction of property than we are about the loss of these lives we are committing the sin of idolatry.  Make the counting we have done each day to arrive at this holy time of learning on Shavuot open the heart of the world to the healing necessary to count each and every life and make sure that every life counts.

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Rabbis Organizing Rabbis is project of the Reform Movement’s social justice initiatives: the CCAR’s Committee on Peace, Justice and Civil Liberties, the Religious Action Center, and Just Congregations.

Rabbi Susan Talve is the founding rabbi of Central Reform Congregation of St. Louis, MO. Central Reform Congregation recently was the recipient of the Fain Award for their work on Ferguson Activism. 

 

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chaplains Rabbis

Memorial Day: Reflections of a Military Chaplain

“It’s almost like being home.”  This was the response of a young Soldier at Forward Operating Base Taji, Iraq, following the Passover seder in 2005.  As I traveled throughout the country, seder participants were amazed and touched that a rabbi would reach out to them in their remote locations to create a small island of familiar and comforting ritual.  Privates sitting next to Captains, it didn’t matter.  Singing Dayenu together transcended the usual barriers of rank and assignment.

2005 was a rough year in Iraq.  A small contingent of Jewish Soldiers serving at Abu Ghraib prison surrounded me in a diamond formation, offering protection as we walked their camp.  I journeyed to Forward Operating Base Sykes, where the seder was held inside the secure area of the Tactical Operations Center.  As we began, one Sergeant remarked that he was glad we were behind closed doors for our own protection.  It was quite a tense moment when we opened the door for Elijah, but a triumphant moment as we asserted our right as Americans to freedom of religious expression.

I had the privilege of providing Jewish religious support for Passover in Iraq in 2005 and 2006.  The largest gathering was 41 folks, the smallest was me and 2 others.  Every encounter underlining the escape from tyranny was exponentially meaningful in those heady days of the overthrow of Saddam Hussein.

As a military chaplain, most of our duties have little to do with the Jewish community.  Chaplains serve all the members of our units, Family members, and DA civilians.  Being the first chaplain to establish a US Army Reserve Regional Support Command was a challenging growth experience, establishing standard operating procedures, and supervising a growing staff serving 7 southwestern states.  We administered the Army’s Strong Bonds program, developing and implementing retreats for single Soldiers, Couples, and Families.

The Army has provided leadership training and opportunities I could never have experienced in the civilian world.  In 2011 I was selected to attend the US Army War College, and in 2013 I received a Master of Strategic Studies degree following the most demanding academic experience of my life.  Serving in the reserve component has allowed me to maintain my focus on my beloved congregation, while simultaneously creating a window into the unique environment of the United States Army.

An assignment to US Army Europe allowed me to travel in France and Germany, and craft a training conference for Jewish lay leaders.  With the 164th Corps Support Group I spent 3 weeks in South Korea, where I attended a Purim Ball at the Seoul Hilton.  After the attack on the World Trade Center, I was mobilized for a year of service as the 112th Military Intelligence Brigade Chaplain.  Now, as the Command Chaplain of the 807th Medical Command, I mentor and provide training for 140 Chaplains, Chaplain Assistants, and Chaplain Candidates, serving 11,700 Soldiers in 26 states.

Yet- it is the moments with deployed Jewish service members that make my heart sing.  I have been to Kuwait for Passover on numerous occasions, and spent 2 Chanukkah seasons traveling in Afghanistan.  Night after night Soldiers came together to light candles, sing, share stories, and build community.  One Sergeant came every night and stayed until midnight.  His Soldiers complained, “Why do you have to go there every night?  What do you do?”  He replied, “We sing, we laugh, we tell stories.”  “Well,” they questioned him, “You can’t do that here with us?”  “Yeah,” he concluded, “but there they get my jokes!”  He later confided, “I didn’t realize how I was longing to connect to my people.”

Being a Jew in the military can be so isolating.  As a Jewish chaplain, I bring folks together who often thought that they were the only Jewish person within hundreds of miles.  And I hope that the connection we establish will endure long after I have left that location.

Judaism is not a pacifist tradition.  We believe in the right- the obligation- of self-defense.  The Torah itself recognized the need for chaplain support in the military.  “Before you join battle, the priest shall come forward and address the troops.”  (Deuteronomy 20:2)  It is taken for granted that the troops have spiritual needs that require the unique perspective of religious leaders.  My 37 year career playing that role for our Soldiers today has, indeed, been a humbling honor and privilege.

Rabbi Bonnie Koppell is a Chaplain (Colonel) in the United States Army Reserve and currently serves as Command Chaplain of the 807th Medical Command (Deployment Support) in Salt Lake City, Utah.  She is also the Associate Rabbi at Temple Chai in Phoenix, AZ. 

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chaplains

Memorial Day: Reflections from Chaplain David Frommer

A year ago, I was invited to speak at Central Synagogue for the occasion of Memorial Day. In my remarks, I focused on how this holiday is understood differently in our military and civilian communities. For the former, Memorial Day mourns the loss of friends and family members. For the latter, it anticipates the sun and fun of summer. The reason for this disconnect, I observed, was that our civilian community in general and our American Jewish community in particular lacked a personal connection to the military. It was hard to sit around grieving when we didn’t seem to know anyone (and especially anyone Jewish) who was even serving in our Armed Forces, let alone who had died while doing so.

Tragically, this Memorial Day has been very different. This year, everyone is aware that Justin Zemser, a Jewish midshipman at the U.S. Naval Academy in Annapolis, MD was among those killed in the derailment of Amtrak train 188 on May 12, as he traveled home to visit his family in New York. According to the extensive coverage of his death on the internet, Justin was the kind of person we all would like to be—intelligent, athletic and a mensch. Most impressively, however, Justin was actively engaged with Judaism. He served as vice-president of the Jewish Midshipman’s Club, headed by the Naval Academy’s Jewish Chaplain, Rabbi Yonatan Warren, and he had recently taken his first trip to Israel over spring break. He was also enrolled in Torah Mates, an educational program run by Oorah, an Orthodox organization for kiruv. “He was very interested in learning,” said his chavruta partner, Tzvi Aryeh Rubinfeld. “He wrote every word down, soaking everything in and getting a greater appreciation with each time.” The news of his death “hit us all very hard,” said Rabbi Joshua Sherwin, Rabbi Warren’s predecessor at the Naval Academy’s Jewish Chapel.

The more I read about Justin’s story, however, the more I noticed a PaRDeS-like layering of meaning to it. The p’shat is that Justin was an exemplary human being and his untimely death was a tragedy for those who knew and loved him. That much is obvious to everyone. But the remez is that Justin’s death created an opportunity not only for eulogizing, but for promoting the work of those Jewish organizations and professionals who worked to fill the Jewish needs in his life. Several articles hailed the success of Torah Mates in bringing learning to Justin’s busy life at the Naval Academy, and Rabbi Gerald Skolnick contributed a piece describing the work of Rabbi Warren, his son-in-law, in coordinating Justin’s funeral as a Jewish military chaplain serving in the U.S. Navy. At first, such advertising struck me as ill-timed in the extreme but I soon realized that the fatalities of the crash had also given new voice to long-time advocates for better safety in our rail systems. In the end, I concluded that Justin probably would have been proud that his death had offered an opportunity to implement life-saving changes to our transportation and to celebrate the Jewish teachers in his life.

That said, the larger meanings that are highlighted from tragic events aren’t entirely silver linings. The clouds of failure must be recognized as well. And if we as Reform clergy are going to join in the chorus of censure over Amtrak’s shortcomings, we must also honestly acknowledge the shortcomings of the Reform movement as the d’rash of Justin’s story. From the moment Justin enlisted in the military, our choices as Reform clergy over the last several decades all but ensured that the prominent Jewish voices in Justin’s life would not come from our clergy. The Jewish Army chaplain whom Justin would have met as a guest at West Point’s Jewish Warrior Weekend is Orthodox. The civilian Rabbi who coordinated Justin’s chavruta study is Orthodox. And the Jewish Navy chaplains who nurtured his identity at the Naval Academy and buried him at his funeral are Conservative.

This is not a coincidence. There are 10,000 Jewish men and women currently serving in our Active Armed Forces, and unnumbered more in our Reserve Components. Most of them come from Reform Jewish backgrounds. But of the sixty Jewish chaplains currently serving in the military, only seven are graduates of HUC-JIR. Until the middle of the Vietnam War, one in three Jewish military chaplains was Reform. Now that percentage is almost one in ten, and will soon be even smaller.

And so, what then is the sod? We Reform Jews care deeply about honoring our servicemen and women, both in life and death. As a chaplain who has served in both the part-time capacity of the National Guard and the full-time capacity of an overseas deployment, I can personally attest to the outpouring of support from my clerical colleagues for the Jewish life of my Soldiers—siddurim, books, and Kosher food all donated with impressive generosity. But we are just as deeply frightened by the military because it seems to us a foreign, massive engine of death. Though we mostly think about Memorial Day for its sales and its getaways, deep down we understand that it represents the worst possible moment in the life of a parent or child or sibling or spouse. And that fear tends to overshadow every other militarily related thought we might have.

Yet, if we focus on the lives that our fallen Jewish servicemen and women lived, we often find the most inspiring stories of a hunger for Jewish experience, as we saw with Justin Zemser, and a dedication to providing it, as we saw with his Chaplains. “When life is at its worst, at war, in peacetime, in times of joy or inexpressible pain,” writes Rabbi Skolnick, “they are there to provide help and solace.” We all hold within our hearts the honey of Jewish learning and we all care for those in need. On this Memorial Day, let us contemplate using that honey to nourish those who serve our country and represent our people in the rockiest of places.

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Cantor David Frommer currently serves at Congregation Shomrei Torah, in Santa Rosa, CA and as a Battalion Chaplain in the California Army National Guard. He deployed overseas to Afghanistan and Kuwait in 2012.

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omer Rabbis Organizing Rabbis

We All Count: Counting the Days Until All Lives Matter

This blog is the seventh and final in a series from Rabbis Organizing Rabbis connecting the period of the Omer to the issue of race and class structural inequality.  Rabbis Organizing Rabbis is a joint project of the CCAR’s Peace & Justice Committee, the URJ’s Just Congregations, and the Religious Action Center. 

Three years ago, when ALEC* rolled out model, corporate-designed, legislation in State Legislatures across the country, they targeted North Carolina as their test State for the most comprehensive of their initiatives. Within a few months the North Carolina legislature stripped State support programs in health care, education, aid to the poor, voter rights and more. Living in North Carolina’s capital I had been called in the past to lobby for one social justice cause or another. Early in 2012, those calls multiplied exponentially. Everyday brought a new crisis: State mental health beds drastically cut; teachers fleeing public schools; 500,000 left off of Medicaid roles… The deleterious legislation pulled at my heart; how could I sit idly by watching my State swallowed in this vortex of callous, corporate-funded, self-righteousness?

In short order, I realized that if I continued to answer the multiple calls for justice I would lose myself. There was no way any one citizen could speak to each of these critical issues. That’s when I heard of Rev. Dr. William Barber’s answer to the assault on North Carolina, as he was gearing up for the first year of Moral Monday Demonstrations. Barber, a minister and the president of the North Carolina NAACP, had been paving the road to advocacy for “the poor, the orphan, and the widow” for years and was primed to move for our State.

Barber fluently communicates with the wisdom and tenacity of the prophets; and he opens the podium, inviting young and old to speak truth to power. Barber’s leadership has garnered tens of thousands from all economic and social backgrounds to protect basic rights of jobs, health, education, and voting.

It quickly became apparent that working with Dr. Barber was the path to maintain my integrity against the assault on my State. I became a regular at Moral Monday meetings, sometimes marching, sometimes speaking, knocking on legislators’ doors and asking for comprehensive response so that the rights of children, the poor, and the sick, would not be sacrificed for the bottom line of the top earners.

Though much of the legislation being enacted disproportionately affects people of color, the NAACP and Reverend Barber made it clear from the start that the Movement is not about one race, party, religion, or gender. Rather, it is about humanity and the precious soul in every living being. Rev. Barber embraces leaders from religious groups ranging from Christian, to Muslim, Jewish, Atheist, and beyond. He invites professors from universities and single mothers who never had the opportunity to finish high school to the dais. All of us teaching from the depth of our personal backgrounds bring the core of our faith, intellect, and experience. This diversity of perspectives comes together to offer one united message: “We all count.”

Over the years of my rabbinate I have become versed in speaking before sanctuaries of worshipers, halls filled with students, convocations of legislators, and meetings with leaders. None of that quite prepared me for the impact of speaking before and with thousands of impassioned demonstrators, flowing to the music and to the cause, rallying for action. There you feel the pulse beating through the chants of the crowd, answering the call as you speak, and committing to bring that shared vision to reality. In the eyes of one, you see reflected the craving of the thousands. In that moment you know that the power of humanity, the glory of humanity, the blessing of humanity, will rise again and again over the forces that oppress. And therein lays hope and promise.

As we near the conclusion of the Counting of the Omer, and as we begin the reading of the Book of Numbers, the message of the Moral Movement shouts out of the prescience of this convergence. We count the Omer to remind us not to take our harvest for granted, to remind us that our bounty is not our bounty; but, rather, a gift that God brings forth from the earth. When we count the Israelites, in this first parasha of the book of Numbers, we do not count souls or heads. We count ½ shekels, one per person. In that way the rich and the poor are equal; the wood cutter and the CEO have the same value; no life is valued as greater than another. Thus it becomes apparent that the regard we afford the least among us reflects the greatest regard we have for human life. Each life matters. WE ALL COUNT.

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Rabbis Organizing Rabbis is project of the Reform Movement’s social justice initiatives: the CCAR’s Committee on Peace, Justice and Civil Liberties, the Religious Action Center, and Just Congregations.

Rabbi Lucy Dinner serves Temple Beth Or in Raleigh, North Carolina. 

barber1 - Copy   barber2 - Copy   barber3

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omer Rabbis Rabbis Organizing Rabbis Social Justice

We All Count: Loving Our Neighbors as Ourselves, in Baltimore and Beyond

This blog is the sixth in a series from Rabbis Organizing Rabbis connecting the period of the Omer to the issue of race and class structural inequality.  Rabbis Organizing Rabbis is a joint project of the CCAR’s Peace & Justice Committee, the URJ’s Just Congregations, and the Religious Action Center. 

The wisdom of Torah is applicable in all times and places. Especially during these tense days in the life of Baltimore, the city where I live and serve as a rabbi, the lessons of Torah help us understand what we must do.

The Shabbat before last, we read Parashah Kedoshim in the Book of Leviticus, the physical and theological center of the Torah. The Book of Leviticus, a document written primarily for priestly consumption, is concerned with distinctions. God likes orderliness. God does not want us to wear clothing of mixed fabric, to plow a field using diverse animals, or sow a field with mixed seed. God tells the priests to distinguish between the pure and impure, the priests and lay persons, the holy and ordinary, Israel and the nations. Yet, in the midst of these laws demanding distinction, we read Leviticus 19, the zenith of which is the verse “V’ahavta l’re’acha ka’mocha,” “You shall love your neighbor as yourself.” God commands us to love not only our fellow Jews but all human beings.

The rabbis acknowledge that it is difficult to understand this law. When asked to summarize the entire Torah, Rabbi Hillel said, “What is distasteful to you, do not do to another person. The rest is commentary; now go and study.”

I interpret this admonition in a positive sense: “Want for your neighbor what you want for yourself.” That seems to be easier to understand and simpler to achieve. We all want safety, security, good health, decent housing, and productive and meaningful work. We want our children to have a good education and a chance to reach their potential. We want to live in a community that helps us achieve these reasonable goals.

It has been a very dark two weeks in the life of our city. Baltimore has been roiling from violence and injustice. Freddie Gray, who was apparently healthy when arrested by Baltimore police, suffered mortal injuries during arrest and transport to the Western District Police Station. Legitimate peaceful protests demanding justice morphed last Monday to illegitimate and egregious violence. Youthful rioters set fires to buildings and destroyed businesses in their own community. Police were injured, and the National Guard was called in to restore order. A curfew was imposed. Business is suffering, and ordinary life has been curtailed.

Three weeks ago, I attended an emergency BUILD clergy meeting at a church in West Baltimore. We asked the residents of Sandtown what they wanted. We heard from them that they want the same things we want for ourselves and our children. The residents of Sandtown told us they want more police on the streets to drive away the drug dealers in the neighborhood. They want a relationship with the leadership of the Western District but have repeatedly been put off by “acting” majors, for there has not been a permanent commander in the Western District for the last two years. The police leadership, including Commissioner Anthony Batts, have refused to meet with them. I ask: How can we know what our neighbors want when we will not meet with them and listen to their concerns?

On Wednesday, I attended a BUILD action at City Hall. More than 150 of us went to the Board of Estimate to request that the president of the city council and police commissioner meet with the residents of Sandtown (the mayor, who has not met with neighborhood residents, will not meet with BUILD, the only multi-religious, multi-racial community organization in our city). Council President Jack Young, who knew in advance we were coming and what we were requesting, reluctantly agreed to meet with us. We then marched to police headquarters, where we were able to schedule a meeting with Commissioner Batts for this week.

All of life is about relationships. We cannot love our neighbors unless we listen to them. What do they want? What do they need? If we want to fulfill the commandment to “Love your neighbor as yourself,” then we must enter into relationship with our neighbors.

We call upon the political leadership of our city and state to meet with West Side residents and truly listen to them. There are endemic issues on the West Side and in other neighborhoods in Baltimore that have existed for generations and have only compounded in the last 30 years with the epidemic of drugs and the loss of manufacturing jobs.

As Rabbi Tarfon said in Pirkei Avot (2:16), “It is not your obligation to complete the task, but neither are you at liberty to desist from it entirely…” The task of listening and learning to love can never be completed. It is, however, our sacred obligation to begin.

 

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Rabbis Organizing Rabbis is project of the Reform Movement’s social justice initiatives: the CCAR’s Committee on Peace, Justice and Civil Liberties, the Religious Action Center, and Just Congregations.

Rabbi Steven Fink serves Temple Oheb Shalom in Baltimore, MD