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RabbiRob Toren
SamisFoundation
I received in my e-mail inbox a link toa ascinating Youube video: A violinistplaying at a subway station in a Washing-ton, D.C. Metro stop. What was interest-ing was that this was somewhat o anexperiment or, more accurately, a “gen-tleman’s wager” (an un-PC expression ora dollar-less bet).Tis was not your typical street musi-cian looking to pick up an extra buck ortwo. It was Joshua Bell, world-renownedconcert violinist, playing solo Bach parti-tas during rush hour. Te bet was aroundthe question o whether anyone would pay any attention and notice extraordinarily beautiul music being played by a consum-mate concert artist.Guess who won the bet? Te person who bet there would be signicant num-bers o passersby who would stop in theirbusy lives and take notice — akin to usSeattleites noticing “when the mountain’sout” even while driving to work in agoniz-ingly slow rush hour trafc on 520 —
lost
.Sure, one or two people stopped anddropped quarters into Bell’s violin case, acase that cradles a violin worth hundredso thousands o dollars! But the videorevealed countless passersby not payingany discernible notice to the artistry andbeauty right in ront o them. (Subway stations oten have quite good acoustics,by the way, albeit a bit too echo-y.)Tis interesting story o human oblivi-ousness to beauty or, let’s say generously,obliviousness to beauty
out o context
,seemed to me a
Midrashic
parable, or what our sages called a “
mashal
.” Expla-nation/digression: Rabbinic
midrashic
parables are stories our sages created toexplicate or explain a usually challeng-ing narrative in the orah, essentially interpreting one narrative by means o another, apparently more accessible one.Te “Joshua Bell in the Subway ale”occurred to me as a “
mashal
” o many o our people’s response to Jewish lie thesedays in the U.S. Here we have
something
o extraordinary beauty and power, attestedto by its adherents throughout the his-tory o this culture and this people, beingignored, passed by; our people too busy oroblivious or otherwise occupied to stop,observe, and appreciate. (Conession: I’ma snob, which means I don’t believe thatmusic or other great art is simply a mattero personal taste. Beethoven, or in thiscase, Bach, is simply better, greater musicthan Led Zeppelin or whatever gooy noiseteenagers listen to nowadays. Mozart iseven much greater than
Abbey Road
, anoisy album even an old snob like me canappreciate!). But, parentheses aside, I alsodon’t believe that Shabbat or Pesach or“
Shnayim ochazin b’talit
” (the provocativeopening
mishna
o Bava Metzia discussingthe dispute between two litigants layingapparently equal claim to a ound object,but pick any other nearly innitely as-cinating and compelling teachings romthe wellsprings o orah, both written andoral) are equal to whatever is “out there”in the marketplace o ideas and sensationscompeting or Jewish time, Jewish energy,Jewish wisdom.On an aesthetic plane, I suppose onecould argue whether Shabbat is moremoving or beautiul than hearing JoshuaBell play Mozart. But Jewish lie is notabout aesthetics, a value we inherit some- what rom Classical Greece, though aes-thetics play an important but limited rolein traditional Judaism. Indeed, so mucho Jewish lie deals with ways o livingone’s lie and how a community shouldideally live in “holiness.”Jewish tradition concerns itsel sooten with limits. Tis emphasis on limitsmay be the core problem as to why somany pass by its beauty, opting or what-ever else. Much o the message o our Wikipedia, cable V with 700-plus chan-nels, Google culture eschews limits. We celebrate reedom, bordering on anunbridled i not anarchic reedom.Te entire corpus o Jewish lie andlaw embraces norms and rhythms o per-mitted and orbidden, kosher and non-kosher, categories o work and rest, pureand impure; the word
kadosh
/holy has asits root meaning “separation.” It is similarto classical music, with its rigors o orm,melody, rhythm, instrumentation, yetmysteriously acilitating and providing aplatorm and ramework or genius — inaddition to the signicant technical acil-ity required to bring a score, a writtencode, to lie. In addition to the discomt-ing t between authentic Jewish conceptso holiness — not the spiritual, super-cial u o “holiness” as some sort o disembodied or out-o-body experience— and popular culture, the mist is alsoexpressed by the disconnected i not nar-cissistic sel (c. Robert Putnam’s
Bowling Alone
) in contrast to this collective iden-tity known as “the Jewish people” or, clas-sically, “
Knesset Yisrael/Klal Yisrael
.”Tis reminds me o the wicked son’squestion at the Pesach seder: “What’sall this to
you
, not him.” He denies hisinvolvement in the collective Jewishexperience o redemption and thus —and here’s the point — he denies a unda-mental truth o Judaism.he sages o the
Haggadah
declareone o their most serious opprobriums onthis wicked one: He is a “
kopher b’ikkar
,”a denier o the essence o Judaism. Prob-ably, more accurately,
an
essence, sincethere is considerable, ongoing dispute asto what
the
essence or
ikkar
o Judaismis. By denying the centrality o the col-lective Jewish people, elevating himsel as an individual over the collective, heis deemed a heretic. (Oh, how modernity hates the word heresy; again, the culture-conict between an unbridled individ-ualism and a collective with norms andstandards.)Many devote their proessional livesto reversing or stemming this seemingly inexorable march o assimilation. Assim-ilation accompanied by low birthratesand high rates o perpetual “passing by”(read: “opting out”). In many ways, thechallenges o cultivating a classical musi-cal audience are parallel to those acingJewish proessionals and organizations. Attend a typical Seattle Symphony oropera or chamber music concert — and we are truly blessed in this city by these wonderul world-class organizations andmany other “minor” ones — and you’llsee what advocates observe as the “gray-ing o the audience.” Many wonder wherethe next generation o devotees will comerom once all these gray heads — and Icount mysel proudly among this “wise”elite — are no more. And the “assimilation” or, more accu-rately, attrition is a serious problem. Onthe other hand, the concerns about thenext generation both among classicalmusic advocates and Jewish communalleaders are decades old. I recall readinga 1954 study conducted by the AmericanJewish Committee about the crisis o con-tinuity, the lack o eective Jewish educa-tion, the ongoing disaster o assimilationand intermarriage, even i rates back then were much lower than the currentroughly 50 percent. Sometimes I think we Jews just love a crisis mentality, eveni the crisis is real. It’s the mentality, thedrama, the “oy vey!” that we Jews so love. As noted Jewish historian, ormerly o theUW aculty, Deborah Lipstadt amously quipped, “We Jews never ail to nd thecloud in the silver lining.”For those o us at the Samis Founda-tion, devoted to Jewish education andthe continuity o the Jewish people, what other choice is there but to investin eective Jewish education? We aretruly blessed in our community to havesuch wonderul day schools and campsor those amilies possessing the wisdomand insight to not just “pass by” our glori-ous tradition. Even i we were not acinga crisis, which we Jews seem to so enjoy masochistically, this is the legacy SamIsrael bequeathed to the Jewish commu-nity o Washington State. I only more would pause or a moment and not justpass by, but stop and listen to this ach-ingly beautiul way o lie, which has sus-tained our people or 4,000 years.
Skg
Taking a moment to stop and smell the owers of our Jewishness can yield intellectual and spiritual treasures
accentuating the Positive
The article which appeared in theApril 9 edition o
JTNews
(“Opting out”)was oensive to me as a Holocaust survi-vor. Other survivors who read this articleshared some o the same eelings with methat a Jewish paper supported by Jewishpeople would be so insensitive to publishthis opinion in the week o Yom HaShoah.When we commemorate Yom Ha-Shoah, we pay respects to those who haveperished during the Holocaust. We alsopay respects to those survivors who haverisen rom the ashes and come to Americawithout knowing the language or customs.As survivors, we worked very hard to raiseamilies or years, and many o us kept ourpast inside. In the last ew decades manyhave decided to share their experiencesby going to schools and sharing their sto-ries to prevent uture Holocaust rom hap-pening.We survivors tell students about love andcompassion and the quest to live and neverto give up. We are the witnesses to some o the worst horrors—we don’t teach hate, weteach compassion and love or each other.Thereore, when we commemorateYom HaShoah we have to see the posi-tive — that each human is special and thateach one o us is dierent. Personally, I amalive because one person risked her lie.In Germany today, beore you gradu-ate rom high school, you have to visit aconcentration camp. I personally speak tothousands o people each year becauseeducators eel it is important to teach thehistory o the Holocaust.I hope that survivors are helping put anend to genocide by telling their stories.
Hnr FridmanFundr and Prsidnt emritusWashingtn Stat Hlcaust educatinRsurc Cntr
Protesting granDPa
So the South Arican Zionist Federa-tion has arranged to prevent Judge RichardGoldstone rom attending his grandson’sBar Mitzvah next month. Thus contin-ues the vilication and rejection o Gold-stone since the Goldstone Report onIsrael’s 2008-9 campaign in Gaza. A blog-ger wants to “spit in his ace and kick himin the ass.” What more is let — assas-sination? When a segment o Jewry cre-ates a sae haven or hatemongers, theyare taking the proverbial serpents to their
u
Page 4
rabbi’s turn
crr
Te name o Anna Cherkasov, oneo the 10 Jews Under 40 (April 16), wasmisspelled throughout the article.
JNews
regrets the error.
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