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Chayei Sarah: Sarah Imeinu was not the rabbinic paradigm of a perfect woman, but a real woman.

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Chayei Sarah – Domestic Abuse in Judaism

The International Day for the Elimination of Violence against Women is on 25th November, days after we will have read the parasha detailing the death and burial arrangements for the first biblical matriarch, Sarah Imeinu.

The Declaration on the Elimination of Violence Against Women issued by the UN General Assembly in 1993, defines violence against women as “any act of gender-based violence that results in, or is likely to result in, physical, sexual or psychological harm or suffering to women, including threats of such acts, coercion or arbitrary deprivation of liberty, whether occurring in public or in private life.” It includes such acts as intimate partner violence (battering, psychological abuse, marital rape, femicide);   sexual violence and harassment (rape, forced sexual acts, unwanted sexual advances, child sexual abuse, forced marriage, street harassment, stalking, cyber- harassment);     human trafficking (slavery, sexual exploitation);     female genital mutilation; and  child marriage.

Sarah is introduced to us as the wife of Abraham. Whether she was his niece, his half-sister, or any other relation to him is unclear – but we are not told directly of her antecedents, simply that he takes her for a wife (Genesis 11:29) around the same time that Abraham’s brother Nahor also takes a wife, after the death of Haran their other brother.  The second thing we know about Sarah is that she is unable to conceive a child.

It is not very promising stuff. Here is a vulnerable woman who is married into a “patriarchal family” with a husband ten years older than her, and who is unable to do the one thing expected of her – to produce an heir.  This is a particular trauma given that her husband has been promised to have innumerable descendants – it is almost as though they are being set up against each other, with no possibility of resolution.

Taken yet again from her settled place she and her husband travel to Canaan, and because of the severe famine there ,onward to Egypt, where she is described as her husband’s sister in order to protect his life. The consequence is that she is taken into the harem of Pharaoh, and while we have many midrashim designed to protect her purity and good name, we have no idea what happened to her there – only that Pharaoh gave her back along with material compensation to her husband, after a series of events which he rightly understood to be divine warnings.

After ten years of living in the land, with no sign of a child to fulfil the divine promise, Sarah does what many a female figure in bible will do after her – intervene in order to bring about that which is expected to happen. In this case she hands over her Egyptian maid to her husband in order for him to have a child. While there are those who might see this as a wonderful wifely and unselfish gift, the clear light of day shows otherwise. Ten years of marriage with no child – this becomes grounds for divorce (Mishnah Yevamot 6:6) – and would leave a woman without family to take her in, unprotected socially and economically. Sarah uses another woman to give her husband the child he desires so much, and in so doing causes greater anguish for Hagar, for Ishmael, for Abraham and for herself. One could argue that the pain this intervention caused resonates to this day.

After the birth of Ishmael the relationship between the two women breaks down completely. Sarah mistreats Hagar, Hagar runs away from home but returns – she has nowhere else.  Ishmael and Hagar are banished causing pain to them both and to Abraham who will not know the outcome of their story, Isaac inherits family trauma he cannot begin to understand.

The birth of Isaac is told in quasi miraculous terms. Abraham and Sarah are old, she is clearly post-menopausal. When God tells Abraham there will be another child he laughs, reminds God he is 100 years old and Sarah 90, and pleads for Ishmael to be his heir, only to be told that the promised  child and heir to the covenant will indeed be Sarah’s, though Ishmael will be looked after too.

When God tells Sarah, she too laughs, and she is more direct with God – after she is so old would she have such pleasure?  she asks. And her husband is too old too, she reminds God. (Genesis 18:12)

God then does something extraordinary. His report back to Abraham Sarah’s inner narrative voice, but he alters it. Instead of the clear message that Sarah has given up hope of such pleasure because her husband is too old, God transposes the person – telling Abraham that Sarah laughed because she feels herself to be too old.

This transposition is the origin of the rabbinic idea of Shalom Bayit – of marital harmony, the telling of small innocent lies in order to keep the peace. The idea that somehow the woman has to disproportionally protect the feeling of the man has become embedded into what might otherwise be a laudable aim. And sadly, Shalom Bayit has become the carpet under which domestic abuse has been brushed all too often down the generations.

Sarah has become the paradigm for the ideal woman for rabbinic Judaism in other ways too – when the visitors arrive o announce the birth of Isaac, Sarah is hidden away inside the tent, her husband facing the world. It is he who hurries around being hospitable, she who bakes the bread for the visitors.   Later we will be told that when Isaac marries Rebecca he takes her to his mother’s tent and is comforted and the midrash (Bereishit Rabbah 60:16) will teach “Three miraculous phenomena that occurred in the tent during Sarah’s lifetime returned when Isaac married Rebecca: the Shabbat candles remained lit from one Friday to the next, the challah dough was blessed and was always sufficient for the family and guests, and the Divine cloud hovered over the tent.”  The rabbinic tradition generally understand this as showing that Rebecca was, like Sarah, a good and faithful homemaker, their role limited to baking and cleaning and preparing the home.  At least one contemporary – and female – commentator, has a different, and in my view more likely view of the meaning. Tamara Frankiel suggests that the midrash is commenting on the intrinsic holiness of the first two matriarchs, such that the wherewithal for Shabbat and the divine presence were always on hand, rather than that the two women were particularly devoted to housework. She comments also that the description of the tent here is a parallel to the later Temple where the ner tamid was always burning, the 12 loaves of showbread always fresh and present in front of the Ark of the Covenant.  (The Voice of Sarah: Feminine Spirituality and Traditional Judaism).

The roles ascribed by the rabbinic tradition to Sarah and the other matriarchs – maternal, wifely, home making, providing the resources of hospitable giving while not actually being present when guests come – these are not the roles given in the biblical texts. And the male gaze through which we generally see these women who clearly have confidence and agency in their own lives when seen in bible, has layered both them and the expectations of subsequent generations with an impossible and also undesirable aura.

Sarah does not put herself down when contemplating a child, she is realistic about her chances, the idea of an unexpected pleasure long forgotten, the changes age has wrought to her, and to her husband. She does nothing towards Shalom Bayit here – it is the rabbinic extension of God’s comments which brings us this view of her as a woman who would subjugate herself for her husband’s feelings. Equally there is nothing in the text to suggest she is subjugating herself when presenting Hagar to her husband in order for him to get a child – if anything the power is all hers, as we see in her response when there is a dilution of that power relationship.  When she takes charge of Hagar once more, even God tells Abraham to listen to her voice and do what she says, something that remarkably has little traction in the male world of traditional rabbinic texts.

Women in the Jewish community are as likely to be the victims of domestic abuse as women in the wider community – about one in four will experience it. Women in the Jewish community are increasingly being constrained and lectured about “Tzniut”, seemingly understood about women’s bodies and actions only, although most certainly in its earlier meanings tzniut is about humility for both men and women.

Women in the Jewish community are at a disability according to halachah – unable to initiate the religious divorce document of Gittin for example. Increasingly the halachah is being reworked to push women out of the public space, to try to remove and hide women’s voices from the discourse, to push some cultural attitudes as if they are legal ones.  And so often Sarah Imeinu is cited – the perfect female paradigm in the minds of the rabbinic tradition, but actually a real woman who develops her own agency and power, who sees the frailties of her husband, who intervenes in history and who laughs disbelievingly at God.

As we mark the day that reminds us of how women have become so vulnerable to male violence that there needs to be an international policy to try to shape a different world, let’s take a moment to see the real Sarah Imeinu, the woman who originally belongs to no man in bible, who marries Abraham and helps him in his life’s work, travelling with him and sharing his destiny, working as part of a team, and subservient to no one.

 

Image courtesy of Rahel Jaskow – Rosh HaShanah : the sign on the right welcoming the men to synagogue,the one on the left telling women where their separate entrance is, telling them to leave as soon as the shofar service is finished (even though the services will continue in the synagogue), that they should go straight home and not loiter in public places………….

Chayei Sara: Sara imeinu non era colei alla quale i rabbini insistono che le donne dovrebbero somigliare, ma forse dovremmo tutti provare ad essere più simili a lei e dare forma ai nostri destini.

Pubblicato da rav Sylvia Rothschild, il 20 novembre 2019

Chayei Sara – Abusi domestici nell’ebraismo

 

La Giornata internazionale per l’eliminazione della violenza contro le donne sarà il 25 novembre, qualche giorno dopo che avremo letto la parashà che illustra in dettaglio la morte e le disposizioni di sepoltura per la prima matriarca biblica, Sara imeinu.

La Dichiarazione sull’eliminazione della violenza contro le donne emessa dall’Assemblea generale delle Nazioni Unite nel 1993, definisce la violenza contro le donne come: “qualsiasi atto di violenza di genere che provochi, o rischi di provocare, danno o sofferenza fisica, sessuale o psicologica alle donne, comprese le minacce di tali atti, la coercizione o la privazione arbitraria della libertà, che si verifichino nella vita pubblica o privata”. Ciò include atti quali violenza del partner nell’intimità (percosse, abusi psicologici, stupro maritale, femminicidio), violenza e molestie sessuali (stupri, atti sessuali forzati, profferte sessuali indesiderate, abusi sessuali su minori, matrimonio forzato, molestie stradali, stalking, cyber-molestie), tratta di esseri umani (schiavitù, sfruttamento sessuale), mutilazione genitale femminile e matrimonio infantile.

Sara ci viene presentata come la moglie di Abramo. Se fosse sua nipote, la sua sorellastra o se avesse qualsiasi altra relazione con lui non è chiaro, niente ci viene detto direttamente dei suoi antecedenti, ma semplicemente che lui la prende per moglie (Genesi 11:29) nello stesso periodo in cui anche Nahor, fratello di Abramo, prende moglie, dopo la morte di Haran, l’altro loro fratello. La seconda cosa che sappiamo di Sara è che non è in grado di concepire un bambino.

 

Non è materiale molto promettente. Ecco una donna vulnerabile che è sposata in una “famiglia patriarcale” con un marito di dieci anni più grande di lei, e che non è in grado di fare l’unica cosa che ci si aspetta da lei: produrre un erede. Questo è un trauma specifico, dato che a suo marito è stato promesso di avere innumerevoli discendenti: è quasi come se fossero stati messi l’uno contro l’altro, senza possibilità di soluzione.

 

Allontanata ancora una volta dal posto dov’era stabilita, lei e suo marito viaggiano verso Canaan e, per la grave carestia lì presente, di nuovo verso l’Egitto, dove viene presentata, per proteggere la sua vita, come sorella di suo marito. La conseguenza è che viene portata nell’harem del Faraone e mentre abbiamo molti midrashim progettati per proteggere la sua purezza e il suo buon nome, non abbiamo idea di cosa lì le sia successo, solo che il Faraone la ha rimandata indietro unitamente a una compensazione materiale per suo marito, dopo una serie di eventi da lui giustamente intesi come avvertimenti divini.

 

Dopo dieci anni di vita nella terra, senza alcun segno di un bambino che mantenga la promessa divina, Sara fa ciò che molte figure femminili nella Bibbia faranno dopo di lei: interverranno per realizzare ciò che dovrebbe accadere. In questo caso, consegna la sua cameriera egiziana a suo marito per avere un figlio. Mentre c’è chi potrebbe vedere ciò come un dono meraviglioso e disinteressato, la chiara luce del giorno mostra il contrario. Dieci anni di matrimonio senza figli: questo diverrebbe motivo di divorzio (Mishnah Yevamot 6:6) e potrebbe lasciare una donna senza una famiglia ad accoglierla, non protetta socialmente ed economicamente. Sara usa un’altra donna per dare a suo marito il figlio tanto desiderato, e così facendo provoca maggiore angoscia per Hagar, per Ismaele, per Abramo e per se stessa. Si potrebbe sostenere che il dolore causato da questo intervento risuona fino ai giorni nostri.

 

Dopo la nascita di Ismaele il rapporto tra le due donne si interrompe completamente. Sara maltratta Hagar, Hagar scappa di casa ma torna: non ha nessun altro. Ismaele e Hagar sono banditi causando dolore a entrambi e ad Abramo, che non conoscerà l’esito della loro storia, Isacco eredita un trauma familiare che non può iniziare a capire.

 

La nascita di Isacco è raccontata in termini quasi miracolosi. Abramo e Sara sono vecchi, lei è chiaramente in post-menopausa. Quando Dio dice ad Abramo che ci sarà un altro bambino egli ride, ricorda a Dio che ha cento anni e Sara novanta e supplica perché il suo erede sia Ismaele, solo per sentirsi dire che il figlio promesso ed erede dell’alleanza sarà davvero di Sara, anche se di Ismaele si avrà comunque cura.

 

Quando Dio parla a Sara, anche lei ride, è più diretta con Dio e gli chiede: adesso che è così anziana avrebbe tale piacere? E anche suo marito è troppo vecchio, ricorda a Dio. (Genesi 18:12)

 

Dio quindi fa qualcosa di straordinario. Riporta ad Abramo la voce narrativa interiore di Sara, ma alterandola. Invece del chiaro messaggio che Sara ha rinunciato alla speranza di tale gioia perché suo marito è troppo vecchio, Dio traspone la persona, dicendo ad Abramo che Sara ha riso perché lei si sente troppo vecchia.

 

Questa trasposizione è l’origine dell’idea rabbinica di Shalom Bayit di armonia coniugale, il racconto di piccole bugie innocenti per mantenere la pace. L’idea che in qualche modo la donna debba proteggere in modo sproporzionato il sentimento dell’uomo si è radicata in quello che altrimenti potrebbe essere un obiettivo lodevole. E purtroppo, Shalom Bayit è diventato il tappeto sotto cui gli abusi domestici sono stati spazzati via troppo spesso lungo le generazioni.

 

Sara è diventata il paradigma della donna ideale per l’ebraismo rabbinico anche in altri modi: quando i visitatori arrivano o annunciano la nascita di Isacco, Sara è nascosta nella tenda, suo marito affronta il mondo. Lui si affretta a essere ospitale, lei cuoce il pane per i visitatori. Più tardi ci verrà detto che quando Isacco sposa Rebecca la porterà nella tenda di sua madre e verrà  confortata e il midrash (Bereishit Rabbà 60:16) insegnerà: “Tre fenomeni miracolosi verificatesi nella tenda, durante la vita di Sara, tornarono quando Isacco sposò Rebecca: le candele di Shabbat rimasero accese da un venerdì all’altro, l’impasto della Challà fu benedetto e fu sempre sufficiente per la famiglia e gli ospiti, e la nuvola divina si librò sopra la tenda”. La tradizione rabbinica generalmente lo interpreta mostrando che Rebecca fu, come Sara, una buona e fedele casalinga, il loro ruolo è limitato alla cottura, alla pulizia e alla preparazione della casa. Almeno un commentatore contemporaneo, e femminile, ha una visione diversa e, a mio avviso, più probabile del significato. Tamara Frankiel suggerisce che il midrash stia commentando l’intrinseca santità delle prime due matriarche, in modo tale che il necessario per Shabbat e la presenza divina fossero sempre a portata di mano, piuttosto che le due donne fossero particolarmente dedite alle faccende domestiche. Commenta anche che la descrizione della tenda qui è parallela al successivo Tempio, dove il ner tamid bruciava costantemente, i dodici pani dell’offerta erano sempre freschi e presenti davanti all’Arca dell’Alleanza. (La voce di Sara: spiritualità femminile ed ebraismo tradizionale).

 

I ruoli attribuiti dalla tradizione rabbinica a Sara e alle altre matriarche: materno, coniugale, casalingo, fornire le risorse dell’ospitalità ma non realmente presenti quando gli ospiti arrivano, non sono ruoli assegnati nei testi biblici. E lo sguardo maschile attraverso il quale generalmente vediamo queste donne, che godono chiaramente di fiducia e libero arbitrio nella propria vita se viste nella Bibbia, ha stratificato sia loro che le aspettative delle generazioni successive con un’aura impossibile e anche indesiderabile.

 

Sara non si mortifica quando prende in considerazione l’idea di avere un bambino, è realista riguardo alle proprie possibilità, all’idea di un piacere inaspettato dimenticato da tempo, ai cambiamenti che l’età ha portato a lei e a suo marito. Non fa nulla per la Shalom Bayit, è l’estensione rabbinica dei commenti di Dio che ci porta questa visione di lei come di donna che si soggiogherebbe per i sentimenti di suo marito. Allo stesso modo non c’è nulla nel testo che suggerisca che si soggioghi quando presenta Hagar a suo marito per fargli avere un figlio: semmai il potere è tutto in mano sua, come vediamo dalla sua reazione quando c’è un indebolimento di quella forte relazione. Quando si prende di nuovo carico di Hagar, anche Dio dice ad Abramo di ascoltare la sua voce e fare ciò che dice, qualcosa che ha straordinariamente poca popolarità nel mondo maschile dei testi rabbinici tradizionali.

 

Le donne nella comunità ebraica hanno le stesse probabilità di essere vittime di abusi domestici delle donne nella comunità più ampia, circa una su quattro li sperimenterà. Le donne nella comunità ebraica sono sempre più costrette a tenere conferenze sulla “Tzniut“, apparentemente intesa solo riguardo i corpi e le azioni delle donne, anche se certamente, nei suoi primi significati, la tzniut riguardava l’umiltà sia per gli uomini che per le donne.

 

Secondo l’halachà, le donne nella comunità ebraica sono incapaci: incapaci, per esempio, di intraprendere il documento di divorzio religioso di Gittin. Sempre più la halachà viene rielaborata per spingere le donne fuori dallo spazio pubblico, per cercare di rimuovere e nascondere le voci delle donne dal discorso, per sostenere alcuni atteggiamenti culturali come se fossero legali. E così, spesso, viene citata Sara imeinu: il paradigma femminile perfetto nelle menti della tradizione rabbinica, ma in realtà una vera donna che sviluppa il proprio agire e il proprio potere, che vede le fragilità di suo marito, che interviene nella storia e che ride incredula di Dio.

 

Mentre segniamo il giorno che ci ricorda come le donne siano diventate tanto vulnerabili alla violenza maschile da dover esserci una politica internazionale per cercare di plasmare un mondo diverso, prendiamoci un momento per vedere la vera Sara imeinu. La donna che non appartiene in origine a nessun uomo nella Bibbia, che sposa Abramo e lo aiuta nel lavoro della sua vita, viaggiando con lui e condividendo il suo destino, lavorando come parte di una squadra e non servendo nessuno.

 

Immagine gentilmente concessa da Rahel Jaskow – Rosh HaShanà: il cartello sulla destra accoglie gli uomini in sinagoga, quello a sinistra dice alle donne dove si trovano i loro ingressi separati, dicendo loro di andarsene non appena il servizio di shofar è terminato (anche se il servizio continuerà nella sinagoga) e che dovrebbero andare dritte a casa e non bighellonare nei luoghi pubblici ………….

 

Traduzione dall’inglese di Eva Mangialajo Rantzer

 

 

Tu b’Av: an especially joyful festival to be reclaimed

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The three weeks that lead from the 17th Tammuz (breaching of the walls of Jerusalem)  to the 9th of Av (Tisha b’Av) are traditionally a period of mourning, known as bein hametzarim – in the narrow straits. So it is all the more surprising that just one week after Tisha b’Av comes an especially joyful festival – the full moon of Av brings us Tu b’Av – when we are told:

Rabban Simeon ben Gamliel said: Never were there any more joyous festivals in Israel than the 15th of Av and the Day of Atonement, for on them the maidens of Jerusalem used to go out dressed in white garments – borrowed ones, however, in order not to cause shame to those who had none of their own. These clothes were also to be previously immersed, and thus the maidens went out and danced in the vineyards, saying: Young men, look and observe well whom you are about to choose; (Mishnah Ta’anit 4:8)

The rabbis of the Gemara are perplexed – ““On the 15th of Av and on the Day of Atonement,” etc. It is right that the Day of Atonement should be a day of rejoicing, because that is a day of forgiveness, and on that day the 2nd tablets of the Law were given to Moses; but why should the 15th of Av be a day of rejoicing?”

And so begins a fascinating rabbinic journey into what is behind the celebration of the fifteenth (Tu) of’Av :

“ Said R. Yehudah in the name of Samuel: “On that day it was permitted to the members of the different tribes to intermarry.” Whence is this deduced? Because it is written [Num 36: 6]: “This is the thing which the Eternal has commanded concerning the daughters of Zelophehad,” they claim that “this is the thing” implies the decree was only for that generation, but for later generations the decree doesn’t apply.

  1. Joseph in the name of R. Nachman said: On that day the members of the tribe of Benjamin were permitted to intermarry with the other tribes, as it is written [Judges 21. 1]: “Now the men of Israel had sworn in Mizpah, saying: Not any one of us shall give his daughter unto Benjamin for wife.”

Rabba bar bar Hana said in the name of R. Johanan: On that day the last of those who were destined to die in the desert died, and the destiny was thus fulfilled;

Ulla said: “On that day the guards appointed by Jeroboam to prevent the Israelites from coming to Jerusalem were abolished by Hosea the son of Elah, and he said: ‘Let them go wherever they choose.'”

  1. Matnah said: “On that day permission was given to bury the dead who were killed in battle at the city of Beitar”

Rabba and R, Joseph both said: On that day they ceased to cut wood for the altar, as we have learned in a Baraita: R. Eliezer the Great said: “From the fifteenth day of Av the heat of the sun was lessened and the timber was no longer dry, so they ceased to cut wood for the altar.”

There is a golden rule in rabbinic exposition – the more explanations given for something, the less likely it is that anyone knows what the explanation actually is. Clearly a celebration on the 15th of Av, which coincided with the beginning of the grape harvest, is part of the custom and practise of the Jews by the time of the Talmud, but its origin is already lost in the mists of time.

Let’s look briefly at the Talmudic explanations before looking at the festival itself.

The story of the daughters of Zelophehad is told in the book of Numbers- a rare piece of case law in that book and a powerful piece of text about women confronting Moses in order to attain fairness under the law. Zelophehad is dead, he had 5 daughters and no sons, and according to the rules of inheritance at that time, the girls would be left without anything. They approach Moses and argue their case, including the fact that their father will be forgotten in his tribe. Moses has to ask God about the merits of the case, and God tells him that the case of these daughters is valid; they should indeed inherit from their father. Later a problem arises, the leaders of the tribe of Manasseh – which the family of Zelophehad belong to – also bring a petition to Moses. Should daughters inherit when there is no son, and then marry into another tribe, the inheritance and land that would normally stay within the tribe will be given to the tribe that the woman marries into.

So the law is amended – such women who inherit land from their fathers must marry only within their own tribe – a limiting phenomenon that itself causes problems. So Rabbi Yehuda quotes Samuel by saying that tribes may now intermarry freely – and the date of this decision was the fifteenth of Av on the last year before the Israelites entered the Land of Israel.

The second explanation in the gemara is from a much darker story found at the end of the book of Judges, where a woman staying overnight in the territory of the tribe of Benjamin, was gang raped until she died. The other tribes went to war against the Benjaminites who would not give up the criminals for justice, and a ban was proclaimed which meant no one could marry into that tribe. This ban was eventually lifted on the fifteenth of Av. One assumes that this idea comes from the commonality of Tu b’Av to the statement in the Book of Judges ““And see, and, behold, if the daughters of Shiloh come out to dance in dances, then come out of the vineyards, and let every man catch  his wife of the daughters of Shiloh, and go to the land of Benjamin.” (21:21)

The third explanation – This comes from a midrash found in the Jerusalem Talmud amongst other texts, which say that the generation who were to die in the desert because of their connection to the sin of the Golden Calf expected to die on Tisha b’Av. This would cause a problem – if there were to be so many deaths on one day, then who would be able to dig the graves and bury the people? So Moses sent out a decree: On Tisha b’Av everyone must dig their own grave and sleep in it. Those who would die would die, and the survivors would simply have to fill in the graves with the bodies already in them. But many did not die who felt that they too were destined for this fate, and so they continued to sleep in the graves they had dug for themselves until they saw the full moon of Av and realised that Tisha b’Av was well and truly behind them. They would live!

The fourth explanation: King Jeroboam (c900BCE) had challenged Rehoboam the son of Solomon, because of his authoritarian rule, and took the ten Northern tribes with him to his capital Shechem. He built two temples as rivals to the one in Jerusalem (Bethel and Dan) and banned his people from going to worship in Jerusalem.  Fifty years later, the last King of the Northern Kingdom of Israel, rescinded the ban – on Tu b’Av – and the joy that ensued is encoded in the festival.

The fifth explanation also involves graves, in this case the ones slaughtered in the rebellion against Rome led by the false messiah Shimon bar Kochba in 135. The massacre of the Jews by the Romans was estimated by one Roman historian as being at least 580 thousand dead and many more taken captive into slavery in other parts of the empire. The majority of the Jewish population was exiled from the land and the land given a new name by the Romans – Syria Palestina – to try to sever the connection between the land and the Jews. Tisha b’Av saw the final destruction of Temple and hopes, and the fortress of Beitar was breached and its inhabitants murdered and left unburied. So Rav Matnah’s explanation for Tu b’Av is that 6 days after the tragedy (some stories say a year and six days), the Romans finally permitted the burial of the slaughtered Jews – on Tu b’Av.

After such dramatic explanations the final one in the list is more prosaic, but also most likely to be the case. Simply that the full moon of Av is around the summer equinox, the days are beginning to shorten and one might be less sure of enough dry weather for the wood cut down for the Temple sacrifices to be sufficiently prepared for its use, and any wood cut down later would be liable to smoke unpleasantly. This explanation is bolstered by the fact that we know of customs in the near East whereby the end of the season for cutting wood is marked by celebration including dancing and music.

So having established that Tu b’Av was being celebrated in Mishnaic times, that the young women would go out into the vines wearing white dresses they had borrowed so as not to be identified by their clothing, that they danced and sang and that clearly a shidduch market was in full swing on that date – the young men would chase them and choose their brides – the rabbinic tradition tried to explain the event using stories of rape, graves, massacre, orphaned women claiming economic rights and hence losing the right to marry outside of their tribe, civil war and rebellion against both internally among the Jewish people and also against an oppressive occupying power. One has to wonder why.

I am reminded of a recent “tweet” that asks why a prominent politician is tweeting terrible racism, and suggests that the deflection is to stop people paying attention to something worse – the statutory rape of underage girls.  Here the rabbinic tradition has a clear story of strong young single women in public space, helping each other with their clothing and “seductively” dancing and singing among the grape vines, with their symbolism of wine and wealth and fertility. So immediately there is a deflection – Beitar! Bnot Zelophehad! Possibly the darkest story in bible of a young concubine gang raped and murdered, whose fate was to be cut into twelve pieces each of which was sent to one of the tribes of Israel! Sin and death and lying in the grave! Rebellion and Massacre!

It seems to me that the Tannaim (the rabbis of the Mishnah, c50-200CE) were fine with the celebrations of Tu b’Av and the fact of young girls out on a summer evening enjoying their bodies, their strength and their music, but the Amoraim (the rabbis of the Gemara c200-500CE) were decidedly not. So Tu b’Av became a date more often ignored than celebrated. The single attention was liturgical – Tachanun (the penitential section of prayers of supplication and confession) are not said on Tu b’Av. Only since the modern State of Israel has been established has Tu b’Av been celebrated – it has become a kind of Jewish “Valentine’s Day”, a day for love, for weddings, for romance. The 19th century Haskalah poet Judah Leib Gordon wrote about its celebration in the newly planted vineyards and certainly for the more secular Israelis this is a Jewish festival to take to their hearts.

It’s worth noting the framing of the Mishnah where Tu b’Av is recorded. It is mentioned in the same breath as the most solemn day in the calendar – Yom Kippur, the Sabbath of Sabbaths, the white fast. On this day people traditionally wear kittels – the white shrouds they will be buried in. The day is a day of joy as well as penitence, because when we have truly repented, God will forgive us. We leave the day lightened by our activities and return more able to continue with living our lives.

There are real similarities between the two festivals, albeit one is a day out of time “as if dead” and the other a day of sensuous delight. Each reminds us of the importance of living our lives as fully and as well as we can. Each reminds us about living” in the now”, each helps us create our future selves.

So – let’s reclaim Tu b’Av, the full moon that follows three weeks of mourning,  that takes place 6 days after the blackest day in the calendar. Let’s remind ourselves that life must continue, joy must be part of our living, that relationships with others matter and that the future is ours to create

Shofetim: authority cannot be taken it must be given, so stop the bullies and stand up for diversity in the Jewish world and beyond

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“This parashah, more than any other in Deuteronomy, is concerned with what we would call authority: rightful action in a world full of wrongdoing; power that is right and not merely effective; rule by those who have a right to rule. A parade of authorities is delineated, starting with the word that opens the parashah and gives it its name—magistrates—and followed by officials, judges, priests, prophets, elders, kings, and, of course, the immediate and ultimate authors of the book who are the sources of its authority: Moses and God. We need authority desperately, the Torah teaches, because our very lives depend upon doing what is right—and that is difficult for us.” (Professor Arnold Eisen, chancellor, JTS. 2011)

I have been thinking about the whole idea of authority recently. Defined in dictionaries as being the ability to make decisions, to have power and control politically or administratively, to give orders and to enforce obedience, authority has a different meaning in Judaism – or at least it used to have.

Authority was always multifaceted – there were different groups who could wield only one part of the whole – the monarchy, the priesthood and the prophets all held authority, and in biblical times they kept each other in check.   The most dangerous of these was generally held to be the monarchy, God had not wanted the Jewish people to have a monarch at all, but acceded to the request in the book of Samuel after Samuel had warned the Israelites of how a king would exploit them if they insisted on having one but “Nevertheless the people refused to obey the voice of Samuel; and they said, ‘No, but we will have a king over us; that we also may be like all the nations; and that our king may judge us, and go out before us, and fight our battles’. (I Sam. 8:11-21).. and so began the unhappy monarchy of King Saul.

In Judges 9:7-21 we have the mashal of Jotam, a story that is sometimes told on Tu B’Shevat and reads a bit like a fairy story, but is in reality a biting allegory against monarchy:
Jotham, the youngest son of Gideon is the only one left alive after his older brother Abimelech has murdered all the other brothers and anointed himself as king. He escapes to Mount Gerizim, near Shechem and recounts the story of “the trees who went forth to anoint a king over them.”

The trees first ask the olive tree to be their king, but it refuses. “Should I give up my oil which honours God and people, in order to have power over trees?” The trees then ask the fig, and then the vine, both of which turn down the offer of sovereignty over the trees because they are already producing good fruits which honour God and people and each tree repeats the idea that they cannot do the good work they already do in producing fruits/oils/wines which benefit society at the same time as holding the monarchy.

Finally the trees ask the Atad – a bramble or thorn bush – to be their monarch  and this plant which produces nothing and has nothing to offer society except some shade, agrees to reign – and at the same time it issues a threat: ‘If you really want to anoint me sovereign over you, come and take refuge in my shade; but if not, then let fire come out of the Atad and consume the cedars of Lebanon!’ (Judges 9:15).

The Atad is a thorny tree, its shade is patchy, it has a wide ranging root system which drains the water and nourishment from the soil around it. It produces no fruits and has no benefits whatsoever to anyone else, though it is well adapted to survival in difficult terrain.

The allegory is clear in its context – the good people either do not want to be sovereign because they are already contributing greatly to society and this would suffer, or they see no point in acquiring a pointless status. The thorny unpleasant and selfish person/plant not only accepts the power with alacrity, but begins its reign with bullying and threats in order to keep the power.  Abimelech is the thorn in the context of the parable, but we see so many who take over power undeservedly or with bullying in our own world.

Leaving aside the current world political situation where leaders who are Atadim are grabbing power and manipulating and bullying others, I was thinking of our own Jewish world, where the mansplaining, the power grabbing over women’s bodies and voices, the conferences on women’s health or activities which are led by men, the advertising or even news stories where pictures of women have been edited out or the women completely disappeared – these are the Atadim grabbing power they should not have, and certainly there needs to be other power bases who can challenge and contain them, as in the biblical model of the three separate strands of authority.

Who will challenge them? There is “Flatbush Girl” who photoshops pictures from the frum community, there is the hashtag #frumwomenhavefaces ; there are Women of the Wall at the Kotel and there is attorney Batya Kahana-Dror—who petitioned the high court and is currently vying for the position of Rabbinical Courts director, and these all do good work. But where are the voices from the rest of the Jewish world? Where are the people challenging the Israeli Government demanding equality for all the citizens, male and female, Jewish and non-Jewish, as the declaration of Independence proclaims. Where are those people who can promote and defend a halachic system that is multifaceted and diverse?

The problem is with the word “authority” which has come to mean a singular, all powerful monopoly that cannot be challenged and that does not need to explain itself.

This is a modern phenomenon. Heck, even I am older than it, I can still remember the norm of rabbis being independent thinkers, of different regions having different and equally valid customs and practises, of vibrancy and creativity and innovation in the responsa literature. Now I meet people whose only approach is that that someone else told them the line they are taking and it cannot possibly be challenged.

Authority ultimately is seen as coming from God. We have in Talmud a series of blessings upon seeing leaders – In Berachot 58a we read :

The Rabbis taught: ‘On seeing sages of Israel one should say: “Blessed be the one who has imparted  wisdom to them that have awe of God.”

‘[On seeing] sages of other nations, one says: “Blessed be the one who has given wisdom to flesh and blood.”

‘On seeing kings of Israel, one says: “Blessed be the one who has imparted  glory to them that have awe of God.”

‘[On seeing] kings of other nations, one says: “Blessed be the one who has given glory to flesh and blood.”‘

It is clear from this that the wisdom and the glory that leaders have are divinely given, and in the context of Jewish leadership there is a relationship of awe and perspective between the human beings and God.   It is also clear that leadership exists in a number of different contexts and that different populations have different and valid leaderships. And it is abundantly clear that each leader must make of their leadership what they can, from their own skills, creativity and perceptions and that each is only a Jewish leader if they are not out for themselves but out to increase God in the world.

Sadly we seem increasingly in the orthodox world to have leaders who are more thorn bush than cedars, whose fruits are only about increasing their power and control over others and not about honouring God and people or about developing a thriving society where everyone can take part. Whether it be newspapers editing women’s faces (or whole selves) out of photographs, so that even Angela Merkel or Hillary Clinton have disappeared from recorded images, or adverts where apparently men only households eat the cereal or whatever is being advertised, or women being refused access to work positions, or women not being allowed to sing…… this is getting more and more ridiculous and the parable of Jotam increasingly relevant. We don’t need a centralised leadership in Judaism and up till now we have never had one. We don’t need the people who want to be powerful to take power over us – indeed we want them NOT to have access to the levers of power. And if we are stuck in a position like Yotam where it is happening anyway, then we must protest, we must raise our voices and say “not in my name” and most of all we must mistrust anyone who claims to have this authority and be clear that we are not about to cede it to them.

Authority ultimately must be consensus driven and agreed or it is bullying and oppression. And any threats from the Atad claiming their power or else there will be trouble must be faced and faced down.  We have history and authenticity on our side, let’s take our own authority too

#frumwomenhave faces #allwomenhavefaces #maleandfemalecreatedequal #halachahisdiverse

 

 

 

Parashat Balak: Prophecy and Leadership can come from the most unexpected places, OR Female Donkeys have much to teach us

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Twice in Torah an animal speaks. The first is the Nachash, the serpent in the Garden of Eden whose conversation is instrumental in Eve eating the fruit from a forbidden tree (Genesis 3); and the second is the donkey who three times tries to protect her owner (Balaam) from the wrath of God before her mouth is opened by God to challenge his behaviour. (Numbers 22)

Interestingly both animals speak in the interrogative as they initiate the conversation. The serpent has its own agency, approaching the woman without prior recorded interaction, and it clearly understands the reality of the situation they are in rather better than the woman does. The serpent asks her “Has God said that you should not eat of any tree in the garden?” and on being told that the fruit of the tree in the middle of the garden was forbidden lest they die, the serpent says, quite truthfully – “you shall not die, for God knows that in the day that you eat it, then your eyes will be opened and you shall be like God, knowing good and evil”.  He does not seduce her to eat the fruit or even recommend that she eat it – he simply points out that the punishment she believes will follow is not the case, and instead a different outcome will emerge – the humans will have godlike qualities that currently they do not possess, the ability to make moral judgments.  The tree itself is beautiful, the fruit looks delicious, and the woman – now clear of her fear of death – eats and gives to her partner. There is nothing to warn of danger in the presentation of tree or fruit, and the intervention of the serpent seems a necessary catalyst for the human beings to take the next step.

In contrast, the donkey does not speak at first. She is simply trying to get out of the way of the angel by any route possible, squeezing herself and her rider into increasingly small spaces, and bearing the cruel punishment by Balaam in silence until eventually, when Balaam’s beatings of her become unbearable, God opens her mouth and she asks “What have I done to you that you have beaten me these three times?”  When Balaam answers “because you mocked me, I wish I had a sword in my hand for I would kill you”, she asks two more questions: “Am I not your donkey upon which you have ridden all your long life until today? Have I ever done this sort of thing before to you?” To which Balaam answers with one word: “No”.

Only then does God open Balaam’s eyes and he sees what the donkey has seen all along – the fiery angel standing in the way, who DOES have a sword in its hand. Balaam bows down and falls prostrate to the ground, and the angel of God asks the same question the donkey did – “Why have you beaten your donkey three times?” before going on to explain that the angel is there as an adversary (le’Satan), “because your way is contrary to me”

The serpent is “arum” – subtle or cunning (though it has another meaning of cautious and prudent). It is its own self, beholden to none.

The donkey ‘s personality is not described in the same way, but we understand her by her behaviour. Firstly, she can see the angel when no one else can – she is a perceptive animal. She only speaks when God ‘opens her mouth’, rather than from her own initiative, she has been Balaam’s donkey for many years and served him faithfully. Her questions are personal, immediate, and relational. “What have I done to you that you hurt me?” “Am I not your long term and faithful donkey?” “Have I ever done this before?”

She is a faithful servant, dedicated to helping and protecting the person she sees as her master – quite unlike the serpent who is an individual with agency, dedicated to – well who knows what? Truth? Mischief? Action?

In both cases the intervention of the animal allows their human interlocutor to perceive and know what the animal already knows. They seem to mediate divine revelation, albeit in different ways and with different outcomes. The serpent is punished, lowered, put in opposition to humankind. The donkey is defended by the angel who asks the same question she asked of Balaam, and it is made clear that while the angel might have killed Balaam, it had no intention of hurting the donkey.

I find it interesting that the donkey is not “Chamor חֲמוֹר” but an “aton  אֲתֹן” – very specifically she is a female donkey, her verbs are in the feminine, this is the deliberate presentation of a female protagonist.

I find it interesting too that the donkey is contextualised in relationship; her interventions are not grand or self-centred but to do with the bond and connection between her and Balaam. She doesn’t feel the need to tell him of the angel in the road, but to ask about what has happened between them that their rapport has failed and he is beating her.

I don’t see this as subservience, even though the donkey is clearly of low status in human society. Instead between the two stories I see two models of change. The first is hierarchical, the shrewd and calculating “catalyst figure” knows the information and by their line of questioning is leading the other person towards the information it wants them to know. The question is asked and the answer is challenged with the facts. The change happens but the outcome is not really happy for either protagonist.

In the second story, while the “catalyst figure” knows the information, it makes the assumption that the other also holds information, and it takes care of them and uses their relationship and the trust built up between them to allow the other to learn.  Even when there is a further intervention (when God opens the mouth of the donkey) she does not discuss the revelation in front of them but formulates her response around the relationship between them.

While it may be unfair to say that the first model is the “male” one and the second model of leadership the “female” one, it is I think true that generally female leadership is characterised by being more transformational, task focussed, collaborative and often indirect, whereas generally male leadership is characterised by being more transactional, hierarchical and focused on the achievement of the preferred outcome.  It is no surprise to me that the serpent is masculine but the donkey feminine.

The donkey provides a voice of gentle sanity in a story that describes testosterone fuelled attempts to increase power and demonstrate status in the world of the king and the prophet – and all the time the reader knows the added irony that the Children of Israel know nothing of what is going on, so that the grabs for more status and power are irrelevant to them. The great Seer Balaam proves to be a comically less able prophet than his donkey, the great King Balak’s frustration grows to almost laughable boiling point as he tries again and again to have his enemies cursed – paying a fortune to no avail. Again and again we are invited to understand that there is much more to the world than we can easily see; that the apparently important figures are in fact not so important in the larger scheme of things; that if we only pay attention to the surface or believe the publicity of those who claim leadership rights, then we are missing the complexity and connectedness, the way relationships and shared values organise or world.

There are many variants on the theme that behind every great man is a person supporting them selflessly to enable that greatness – usually a woman. But my two favourites which both speak to the story of Balaam and his female donkey are from popular culture.

John Lennon wrote (though not about Balaam) “As usual, there is a great woman behind every idiot.” And Harrison Ford opined “Behind every great man is a woman. Telling him he’s not so hot.”

The bible seems to agree. And the prophet Zechariah reminds us

גִּילִ֨י מְאֹ֜ד בַּת־צִיּ֗וֹן הָרִ֨יעִי֙ בַּ֣ת יְרֽוּשָׁלַ֔ם הִנֵּ֤ה מַלְכֵּךְ֙ יָ֣בוֹא לָ֔ךְ צַדִּ֥יק וְנוֹשָׁ֖ע ה֑וּא עָנִי֙ וְרֹכֵ֣ב עַל־חֲמ֔וֹר וְעַל־עַ֖יִר בֶּן־אֲתֹנֽוֹת:

Rejoice greatly O daughter of Zion, shout O daughter of Jerusalem, behold your king is coming to you, righteous and redeeming, poor and riding on a donkey (chamor), and upon the foal of a (female) donkey.

Come the messianic times, the child of that donkey who protected and supported her rider Balaam, will have the honour to bring the anointed one into Jerusalem.  The line of Balaam’s donkey will ascend into the service of the messiah. The line of the serpent in Eden will be lowly and in opposition to humankind.  Very different outcomes from the different interventions of the animals who speak.

 

 

Chol haMoed Pesach: the love affair begins – the view from the harem

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During Chol HaMoed Pesach it is traditional to read Shir HaShirim (Shir haShirim), one of the five ‘megillot’ read in synagogues over the year.  Esther is read at Purim for obvious reasons, Ruth at Shavuot, Eicha (Lamentations) at Tisha b’Av, and Kohelet (Ecclesiastes) at Succot.

While the Midrash Rabbah groups these books together (along with the Five Books of Moses), they were not written at the same time or indeed in the same way, and date from between the 5th and the 12th centuries as far as we can tell.  Purim is predicated on the Book of Esther, Tisha b’Av is clearly connected to Eicha, but the three pilgrimage festivals having their own Megillah is rather more complicated and the links between them somewhat fragile.

So why is Song of Songs read during the festival that commemorates the exodus from Egypt?

It is, quite plainly, a book of love poetry. It describes the story of a Shulamite woman who is passionately in love with a shepherd but is separated from him, having been taken into King Solomon’s harem. In an erotically charged and physically explicit series of poems she remembers the relationship she yearns for, the imagery is bucolic and sensual, using imagery of the field and the vineyards, painting a picture of intense love between two people. In a dialogue structure we hear the voice of the lover describing her and their encounters, lingering on her face, her body, her breasts and thighs and neck, her face, her smell. A third voice, that of narrator or chorus, also appears in the structure and the protagonist occasionally turns to speak to or to give advice to the daughters of Jerusalem.

The book begins with a superscription informing us that this is “Song of Songs which is Solomon’s” and so it is traditionally ascribed to King Solomon, a factor which was critical into its acceptance into the biblical canon. But this authorship is unlikely in the extreme. The language shows it to be much later than the Solomonic period – probably 3rd to 1st Century BCE; It has parallels with other love poetry of the region and with Greek poetry and it fits into the genre of women’s poetry for the harem.

Yet it was taken into the biblical canon and treated by the rabbis as an allegory of the love story between Israel and God, with Israel taking the role of the female protagonist and King Solomon standing for God. The book was clearly controversial and only the powerful and passionate defence by Rabbi Akiva in the first century ended the argument. Famously he said” Heaven forbid that anyone in Israel would ever dispute the sacredness of Shir HaShirim for the whole world is not worth the day on which Shir Hashirim was given to Israel;  all of the Writings are kodesh (“holy”) but Shir Hashirim is kodesh kodashim (“holy of holies”).

Quite why he defends it so robustly, or why he plays on the name with the idea of holiness (kodesh kodashim) is left in history, but it has the effect of reframing how we read this book so fully that the voice of the woman is all but muted, the physicality and comfort with her emotions and desires are practically erased, and the book is taken into the men’s domain of ‘holiness’ and of the patriarchal God, and the religiousness of the woman and of women in general is diminished to the point of invisibility.

This is a book that speaks of the power of love through the voice of a woman. It bespeaks young and untested love, the intense first love that nothing ever quite matches again.  One can see why it fits Pesach which happens in the springtime when all the animals and birds are coming out of a long winter and going through their mating rituals prior to settling down. One can see how it fits into the first love of the Exodus from Egypt, when the beloved can change the world for their lover, in this case quite literally. Nothing bad has happened yet, no quarrels, no golden calf, no element of falling short of the mark, the beloved can do no wrong and as yet is untainted by doubt.

Yet having been appropriated for the patriarchal view of covenantal religion it is easy to miss that this book is women’s religious literature, that Solomon is not the desired or the lover, but instead represents a disruption to the older, earlier love that is both more pastoral and more prosaic. Religion in the hands of men created a structure of ritual purity, a hierarchy and a priesthood who ministered in mysterious inner sanctums where no one could see or could enter. Religion in the hands of women was more nature based, more in tune with the rhythms of the body, focused on the creation of new life and the dwindling of energies as life diminishes. It is no accident that there were women in the liminal space at the doorway before the tent of meeting, performing their poetry and songs, welcoming the bringer of the sacrifice and facilitating their leaving the ritual. It is no accident that it is women who mark important events with song – there are more women’s songs in bible than men’s by far. Women from Deborah to Jephthah’s daughter, from Hannah to Miriam, sing across the boundaries of events.

I think that Rabbi Akiva was right when he says that this book is so holy, but probably not for the reasons he gives. It is holy because it records the religious expression of women, it is forthright and unashamed about the physical space that women take up, and while written from an inner world of the harem it reminds the reader that the author is well aware of the outer world and all its gifts. The voice of the woman is equal to that of the man in this book, it is ideal in that it takes us back to the first story of Creation and the simultaneous formation of men and women.  It can bespeak the love affair between God and Israel in the sense that a truly matched couple in love must not have a power dynamic where one is so much greater than the other – in this love affair God enters our world as lover not as sovereign. There is much eye contact and kissing in the poetry, it is a relationship where both participants give and receive equally.

I fear that the book which reflects the spirituality of women has been so reframed and reinterpreted that it is almost heretical to read it in what I believe was its original voice. It seems to be no coincidence that the mangled punning of Shmuel to alter the beautiful phrase from this book “…har’ini et mar’ayich, hashmini et kolech, ki kolech arev umarech naveh” – “show me your countenance, let me hear your voice, for your voice is sweet and your countenance is pleasant” is made to read instead “kol b’ishah ervah” the voice of a woman is nakedness/sexuality. (BT Berachot 24) and then offered as a proof that women’s voices should not be heard.

Did he choose the verse from the very book of women’s voices singing in public space to try to mute that very voice from discourse as a deliberate act in order to add insult to injury? To assert the patriarchal norms and taking up of all public space for masculine voices in order to silence any other way of worship?  Is this the first attempt in recorded history of mansplaining?

Whatever the process, for a long time the voice of women in religious worship and religious relationship has been quiet, a whisper, the voice of slender silence. Yet there are hints throughout our tradition that the voice is still speaking – the bat kol, literally the daughter of the voice, is a rabbinic term for communication from the divine.

The book ends with a plea for the voice to continue to be heard: “You who dwell n the gardens, the companions listen out for your voice: Cause me to hear it. Make haste my beloved” (8:13,14)

There is another reason that shir hashirim is read on Pesach, the great festival of our liberation, our freedom from oppression, the fulfilled desire of the Israelites to be able to worship their God in their own way – it is a reminder that the voices of women in Judaism are still struggling to be heard, still searching for a space in the discourse, still asserting viewpoints that are seen as less valid or less important or less authoritative. We have not yet achieved our liberation within the Jewish tradition. But our voices will continue to sing, to speak, to shape the world we see and to counter and add counterpoint to the other voices heard so loudly in our tradition.

 

 

 

Serach bat Asher:the woman who authenticated Moses and went alive to paradise. Parashat Vayigash

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Last week’s torah portion ended on a cliff hanger. A missing cup is found in Benjamin’s sack. Joseph demands that Benjamin remain in Egypt as his slave. Judah begs Joseph to allow him to take Benjamin’s place as Jacob will not survive Benjamin’s loss. At this point Joseph finally reveals himself to his brothers. They are – understandably – astonished that the young frightened boy they left in the pit so many years ago has become this most powerful Egyptian official.  Meanwhile Pharaoh learns that Joseph’s brothers are in Egypt and tells Joseph to invite Jacob and the entire household to come live in Egypt in the land of Goshen. So Jacob and Joseph have an emotional reunion. The family work as shepherds, the famine continues, and Joseph manages the country, selling grain for land until by the end of the famine Pharaoh owns all of the land in the country, except for that owned by the priests. Once the famine ends, Joseph gives seed to all the people telling them that they must repay Pharaoh with one fifth of their harvest.

Joseph is at the centre of the complex threads of the narrative, but look around the stage and other figures come into view. Those who caught my attention this year are the ones who are barely sketched out, yet who are noted in the genealogical lists, and this always bears further examination. There is the Canaanite woman, unnamed, who bears a son – Saul – to Shimon, apparently a different mother than that of his other five sons. She reappears again in the list in Exodus (Ch. 6) as the mother of Shimon’s son Saul, and yet other Canaanite women who bore sons to the family are not singled out like this – we already met the unnamed wife of Judah, introduced only as the daughter of the Canaanite Shua, whose children Er and Onan so dishonoured Tamar in Gen 38, yet she is not mentioned here.

Then there are the other unnamed wives we find in verse 5:  “And Jacob rose up from Beer-Sheva; and the sons of Israel carried Jacob their father, and their little ones, and their wives, in the wagons which Pharaoh had sent to carry him.” And there is the somewhat ambiguous language of verse 7 where we are told of “[Jacob’s] sons, and his sons’ sons with him, his daughters, and his sons’ daughters, and all his seed brought he with him into Egypt.”

Only two ‘daughters’ are mentioned here by name – Dinah, the daughter of Jacob and Leah whose sad story has already been told, and Serach, the daughter of Asher, granddaughter of Jacob and Zilpah, the maid of Leah. Yet the word ‘daughters’ is in the plural – there were clearly other women who were born into the household, even though they remain unnamed and indeed uncounted in the famous statement that seventy souls went down to Egypt with Jacob.  Is the number seventy to be understood literally here, in which case there has to be some creativity with the arithmetic in the names listed here? Or is it the symbolic number it is often used as elsewhere. Seventy is the multiplication of two perfect numbers (seven and ten), it is the number of elders appointed to help Moses (Num 11:16), the number of nations and languages after the flood. Seventy symbolises a whole world, and we know that Jacob brings a whole world of his wives, his children and of his grandchildren – both sons and daughters, yet the listed names show only two female descendants – Dina, and Serach bat Asher.

So who is Serach bat Asher and why is her name remembered? No story remains extant in the narrative, but there are some tantalising intimations.

She appears here in the list of those who left Canaan to go to Egypt, and she appears also in the census at the end of the Israelites sojourn in the desert (in Numbers 26:46).  That is it as far as bible is concerned, but the aggadic literature is intrigued by this woman who apparently lives for over four hundred years and whose name bookends both the leaving of Canaan and the return to the Land.

The first function of Serach bat Asher is to hold memory. She links the generation of the ancestors to the generation of the exodus, from the “family” of Israel to the post-Sinai “people” of Israel.  She is the original “oral tradition”, and the midrash (Pirkei d’rabbi Eliezer) has her validating Moses as the man who will redeem the Israelites from Egypt, as she knew the secret sign given by Joseph to his brothers to signify that divine deliverance was imminent.

So not only does she link the generations and hold the memory of the divinity, she also provides the authority and authenticity of the leadership. The man from whom rabbinic tradition derives its whole substance is essentially given his legitimacy by the woman, Serach bat Asher. Something to think about as we hear the howls of outrage in some quarters when women scholars are finally given the respectful title that recognise their abilities.

According to the midrash Serach was a musician and a singer. When the sons of Jacob wanted to tell him that Joseph was still alive, they feared that the shock of the news might kill him, so they enlisted the talents of Serach who revealed the information to him gently. In response he blessed her, and said “the mouth that told the news that Joseph is alive will never taste death” (see Midrash hagadol on Gen 46 and Targum pseudo Yonatan)  This blessing gave Serach immortality, and like the prophet Elijah some traditions tell of her going to heaven while still living.

Serach was not only the link between the patriarchal generations and the post Sinai people. She was also the possessor of all kinds of hidden or lost knowledge that she would reveal when appropriate. So, for example, she knew the place where Joseph’s body was kept in Egypt, and when the time came for Moses to take the bones out with the people of Israel in accordance with the promise made to Joseph on his deathbed (Exodus 13) it was Serach who could lead him to the coffin. She explains biblical text, in one midrash she corrects a rabbi’s teaching about the splitting of the reed sea, saying that the waves looked like a wall rather than a lattice work. And in the story in the book of Samuel when a wise woman averts a crisis that Yoav, the captain of the army of King David, is not dealing with well – the midrash assumes that this is Serach bat Asher, and gives her the words “I am the one who completed the number of Israel; I am the one who linked the faithful to the faithful, Joseph to Moses” (Bereishit Rabbah)

Serach bat Asher is never married in the midrashic literature. Yet this does not stop Nachmanides suggesting she is named in the census because her descendants would inherit land. The aggadic tradition creates a life filled with miracles and wisdom, with courage and scholarship, a woman whose life extends for hundreds of years and who teaches about redemption. And yet at the same time she barely registers on the awareness of many students of Jewish tradition, and it is Elijah who catches our imagination, who visits every brit milah and pesach seder, whose chariot drives our stories of messianic redemption.

Serach bat Asher does not wander our world, unlike Elijah. And while there is a Sephardic tradition that she died in the twelfth century – there was even a grave site in Isfahan – she disappeared long before she was so conveniently laid to rest.  This confining of her seems to be almost deliberate – she is just too much for the medieval Jewish world to accept, she has been veiled and contained and controlled. Her name – which may well be a cognate of the verb samech reish chet – would mean to be abundant, to be excessive, to go free, to loosen the hair, to roam; yet more often dictionaries suggest that her name is just a variant of Sarah – to be a princess. And we know what happens to princesses in most fairy stories – they end up locked in the tower and hidden.

So may Serach bat Asher find her way back to her freedom to walk in the world, correcting rabbinic teachings which close things down and reminding us of the signs that show who truly speaks the words of God. Her job was to remember, to reveal, to connect us to our foundational stories, to open the world for us. We need her to cut through the thickets that have grown up since those stories were recorded. Serach bat Asher, another woman’s voice in our tradition that was quieted over time, calls to us once more.

 

 

 

 

Beha’alotecha: the silencing of Miriam and the Cushite woman

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“And Miriam and Aaron spoke against Moses because of the Cushite woman whom he had married; for he had married a Cushite woman.” (12:1)

 

 

She is the ultimate object, critical to the narrative but without voice or name. She exists only in passivity – the woman that Moses had taken.  Ha’Isha HaKushite, black and female, her presence in the text is enough to irritate Miriam and Aaron, but not enough to make any statement of her own.  Only her femaleness and her blackness are remarkable, and both are cause to keep her powerless. The unseen narrator sets her up against Miriam, the powerful sister of the man to whom she is married, a woman earlier described as a prophetess – yet Miriam too is demeaned and diminished in this interaction.

 

Framed between the story of the false prophesying of Eldad and Medad, and the divine statement that only Moses’ prophecy is entirely trusted, this is a story about real and illusory power and the two women are ciphers, literally seen in black and white, silenced .

 

Miriam is described as challenging Moses “on account of the Cushite woman he has taken as wife”, even while the speech reported to us is about the equal prophetic status of the triumvirate of siblings: “Has the Eternal indeed spoken only with Moses?  Has God not spoken also with us?’    And it is noticeable that Miriam alone is punished, even though Aaron had joined her in asserting their status in relation to Moses. Why does the narrator divert our attention towards race and gender when the issue is about the leadership of Moses and the relative status of his sibling co-leaders?

 

We never learn more about the Cushite woman, about when Moses married her, about her story and how she came to be with the Israelites and the mixed multitude leaving Egypt. We know that ancient civilisations were racially diverse and there is a buried history of black Egyptians which only now is being recognised by scholars, but our modern categories of race are not those of the ancient world. Her description as Cushite signifies only that this is not Zipporah, Moses’ Midianite wife.

 

It is sometimes said that the story of Miriam and the Cushite woman proves that God has a sense of humour, that Miriam who complained about this black interloper is given her comeuppance by God when her skin is turned white as snow with the impurity of tzara’at. And her anger at her relative loss of leadership status leads to her exclusion from the community, put outside of the camp until her skin heals once more. Comical reversals of fortune.

 

But there is a murkier thread to this tale. For now both women are silenced, both passive recipients of the narrators attention.  Aaron, who confesses their joint sin, is not only unpunished for his part in challenging Moses’ authority but joins together with him in prayer for her healing, leading the people who are anxiously awaiting her return to camp. Both women are now out of action, their skin colour and their gender apparently rendering them unsuitable for a role in the public space. The power of the men is enhanced.

 

A Jewish friend of mine, married to a black woman, once told me that their fights usually ended up with her telling him he could always take off his kippah and ‘pass’ in society, but she could never take off her skin, echoing Jeremiah who asks “Can an Ethiopian/Cushite person change their skin, or a leopard their spots?” (Jer13:23) Some things about us are the first thing that people see, and sometimes those people never get past that attribute. Never notice the person inhabiting that skin.  Sometimes they dismiss the person because of the characteristic, ignoring them or silencing them, putting them ‘outside the camp’, not hearing their voice or recognising their cause.

Whatever we might wish, society is neither colour nor gender blind. But noticing characteristics should not lead to disadvantaging their bearers.

 

The prophet Amos had God ask “Are you not like the Children of the Ethiopians to me, O Children of Israel?”  Bible reminds us that our common humanity is recognised by God who sees beyond the outer aspects. But it also reminds us that we often fail to see that shared humanity for ourselves, that we categorise and judge by gender and by race, and those who are so judged can find themselves trapped without voice or power to change the perception.

 

We never find out the fate of the unnamed woman from Ethiopia, but we do have one shaft of light at the end of this story. The people wait for Miriam to be healed and brought back to the camp before they move on. She may be chastened, but Miriam is back in the public space, and one day she may yet sing with her unnamed black sister, their voices raised up – and heard and responded to by all.

 

 

First published in Jerusalem Report The People and the Book 2015

image “Miriam The Leper” by Rose Rosenthal http://imajewnation.org/the-museum/past-events/freedom-imagined-freedom-lived/part-3/

 

 

Beshallach/ Shabbat Shira: the Song of Miriam

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“And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances. And Miriam sang to them: Sing ye to the Eternal for God is highly exalted: the horse and its rider God has thrown into the sea.”

Shabbat Shira, the Sabbath of Song, is named for the Song at/of the Sea (Shirat haYam) and this name takes precedence over the usual format of the first important word giving the title to the week. Shirat haYam was the song of victory sung by the Israelite slaves after they had successfully crossed the Reed Sea, and the pursuing Egyptians had drowned there following the miraculous opening and then closing of the waves to allow the Israelites safe passage but not the heavily armed Egyptians.

Along with the poem in Deuteronomy (Ha’azinu) it bookends the story of Moses and the people of Israel as they leave Egyptian slavery and journey through the wilderness to arrive at the edge of the promised land, and tradition ascribes its authorship to Moses.

But tucked into the text a little way down we are introduced for the first time by name to Miriam, described as “Miriam the prophetess, the sister of Aaron” and she takes a drum in her hand and leads the women in singing and dancing and drumming to celebrate the victory. And while apparently singing the same first line, Moses and the children of Israel sing “I will sing to the Eternal, for God is highly exalted” while Miriam sings “Sing to the Eternal, for God is highly exalted”. She uses the imperative version, whereas Moses and the Israelites use the personal pronoun.

The order of the text makes us read this as the song of Moses, but is there a clue in the wording of the text to tell us that this is the song of Miriam?

In the fragments of text found in Qumran (known as the Dead Sea Scrolls) we find a tantalising addition. Just as in the biblical text we find that “Miriam the prophetess, the sister of Aaron took a timbrel in her hand and led the women out with her with timbrels and dancing”, but then there is a break, and then the fragments of seven lines NOT found in the biblical text, followed by the narrative being picked up as the biblical verse 15:22 where Moses leads the Israelites away from the Reed Sea into the desert, and the people find no water until arriving at Marah they find undrinkably bitter (Marah) water.

Is the Qumran text a gloss on the biblical poem of Moses, answering the question of what Miriam might have sung and paralleling other songs of victory or was it the original text which took away words from Miriam and the women in order to give them to Moses and the Israelites? We know that women sang songs of victory after battles – Deborah is a prime example whose song is recorded (Judges 5), and Jephthah’s daughter (Judges 11:34) comes out with timbrel and dancing on his return home. Unnamed women come out dancing and singing with their timbrels when David returns having defeated the Philistines (1Sam 18:6-7) celebrating his success and humiliating King Saul’s record. Hannah (1Sam:2) sings when she achieves her goal of a child, and the late book Judith has her sing in the final chapter, having beheaded Holofernes…

So why not Miriam and the women singing their song? Miriam the prophetess was also Miriam the musician and song leader. Her voice and her words deserve to be heard and to be recognised.

miriams timbrel

Whatever the reason for the biblical canon to contain just the remnant of her singing with the women, apparently echoing the words of Moses and the men, so that tradition could claim her as the song leader for the women only, I think there are enough clues left for us to give her the power and place she deserves.

The first place that Moses leads the Israelites to is called by the narrator “Marah” , after the bitter and undrinkable water found there and there is much murmuring against Moses until on God’s instructions he finds a tree whose wood will sweeten the water. Moses uses this as a teaching aid to remind the people that God is their healer, and then they move on to Elim where there are twelve good water sources and seventy palm trees. Is this a veiled reference to Miriam, whose name is impossible to translate with certainty but which is often understood as coming from “Mar – yam – bitter – water/sea”? Are the people murmuring because of Miriam and her treatment by Moses that he appropriated her rightful role? And are they pacified by the oasis of plenty represented by 12 springs and seventy palm trees and so forget their indignation?

But more intriguing I think is the possibility that Miriam’s name is not derived from bitterness MRH) but comes from a rarely used root MRR to mean a flow of water, drops of water or a watercourse. In which case her name would mean the flowing of water or the directing of water – something that would come to fruition not only in the midrashic idea that wherever Miriam was there was water for the Israelites in the desert (which comes from the drought that is the first reported event after her death), but from this text about the Reed Sea, which changed direction, flowed differently and intentionally while the Israelites crossed it. The name Miriam, introduced exactly here, is I think a clue to her purpose –  we are already explicitly told that she is a prophetess, she has real and intentional meaning and understanding – it is Miriam who causes the sea to part and the miraculous redemption of the fugitive people. Her name, hiding in full view, tells us exactly that.

So the Song here attributed to Moses yet called slightly confusingly Shirat HaYam , the Song of (or at) the Sea (a name first recorded in the 2nd Century in Talmud Yerushalmi), might actually have been Shirat MirYam, the song of Miriam. And how powerfully that simple change could have affected our understanding of our foundational texts and shaped the hearing of the voices of women in our tradition.

Drop by drop as we look again at the texts, we who see Miriam as a role model, who see ourselves reflected in her life as prophetess, sister, organiser, carer for children, provider of life giving water/nourishment, song leader, drummer and dancer , as well as a hard worker behind the scenes who protested injustice done to others and the arrogating of power to the male leadership – we need to take notice of the effect that the flow of water can have – it can wear away the hardest rock. Drop by determined drop we take up her mantle and raise our voices in song and in challenge and in prophecy, and hope that this time the words will not disappear from the canon.

(Photo of Miriam’s timbrel and the reeds in Egypt/water of the Reed Sea from an embroidered Torah Wimple made by Caroline and Naomi Ingram for the author)

Miketz: the strange case of the disappearing women

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Dr Ruchama Weiss points out that sidra Miketz is the first in Torah that is devoid of any stories of women : – she identifies it as the point at which bible begins to actively exclude women from the focus of the narrative. Over the fourteen years that the sidra spans in three and a half chapters of the book of Genesis, women are indeed conspicuous by their absence. The matriarchs have died, the only daughter of Jacob that we know of, the unfortunate Dina, has disappeared following her experiences with Shechem, no other daughters or indeed wives of the sons of Jacob are recorded here. They must have existed, but the biblical author does not see fit to document their presence.

There is in fact one woman who briefly makes an appearance – Asenath, the daughter of Potiphera a priest of On. Our introduction to her is laconic and almost imperceptible, she rates less than a third of the verse in which she appears, coming after the renaming of Joseph and before his status is recorded: “And Pharaoh called Joseph’s name Zaphenath-paneah; and he gave him to wife Asenath the daughter of Potiphera priest of On. And Joseph went out over the land of Egypt.—“(41:5). She reappears five verses later as mother to Joseph’s two sons: “ And to Joseph were born two sons before the year of famine came, whom Asenath the daughter of Potiphera priest of On bore unto him.” (41:50). She doesn’t get to name her sons, up till now the privilege of the mother, nor do we see her relationship with them – all we see is Joseph naming Manasseh and Ephraim in order to make statements about himself: “And Joseph called the name of the first-born Manasseh: ‘for God has made me forget all my toil, and all my father’s house. And the name of the second he called Ephraim: ‘for God has made me fruitful in the land of my affliction.’ (51,52)

Asenath

Her lonely presence in the sidra, useful only as a wife for Joseph and mother to his children, is picked up in the 6th century pseudepigraphical work “Joseph and Asenath” , though to be honest there too she is still the plaything and chattel of men. A pagan woman, she falls in love with Joseph and gives up her idolatry in a painful and protracted process in order to marry him and have his sons. Later the son of the Pharaoh tries to take her for himself but the plot is foiled, and Joseph takes the crown of Egypt. So there is not much more to her there either. She may be the daughter of a powerful priest of the Egyptian cult, the wife of the most powerful man in the country bar Pharaoh himself, the mother of the founders of the tribes of Ephraim and Menasse, but she is unknowable, mysterious and all but erased from history. Her fleeting presence in the sidra that is filled with the powerful men who control all the resources of the country only really serves to highlight the poignancy of her disappearance. And to complicate matters further, there are those who say that her presence in the sidra at all, inserted quite clumsily into the text as daughter, wife and mother, is only tolerated because she acts as a counterbalance to the physical beauty of Joseph which drives women into a sexual frenzy while he himself remains emotionally detached and essentially sexless. She is there as an answer to the questions about his sexuality, to put paid to any idea that he may not conform to the heteronormative ideal of the Hebrew bible.

This year – 2015 – is the eightieth anniversary of the private ordination of the first woman rabbi of modern times, Rabbiner Regina Jonas; and the fortieth anniversary of the ordination of the first woman to be given semicha by a European rabbinic institution (Leo Baeck College) Rabbi Dr Jackie Tabick.

One of the most shocking things about the life and times of Rabbiner Regina Jonas was how quickly she was forgotten after her death in Auschwitz in 1944. When I was studying at the Leo Baeck College in the 1980’s we knew only of rumours that there had been a woman who may or may not have been ordained Rabbi in Germany – even though some of the teachers and founders of the college had known her well. It was only with the fall of the Berlin Wall and the emergence of some of her papers and photographs from an archive that she once again became real. And now her life and name are being researched and reclaimed, yet there is so much that is lost beyond recall. She disappeared even while there were people alive to remember her. Her story is an object lesson, a cautionary tale, how quickly can the stories of people disappear if there is no interest, no will to record them and to keep them alive.

In the forty years that Rabbi Dr Jackie Tabick has been working as a rabbi the world has moved on. There is less anxiety (at least in the progressive Jewish world) about women working as rabbis, but still there are those individuals who ask for a male rabbi for a life cycle event, or synagogue search committees who worry what will happen to their community if a woman is appointed as rabbi, or as the senior rabbi.

So we should not be complacent and believe that the battle has been won. The erasing of the inconvenient from history goes on everywhere, and it is a truism history is written by the winners. If the narrator of the biblical text is not interested in the women then the stories of the women will not appear. If we don’t have a multiplicity of voices recording history as they see it, then we will have a thin and diminished version of history, seen through the narrowest of lenses. And this too has knock on effects. Because there are so few women fully described and fully voiced in our foundational texts, it is a short leap for some to believe that this must not be a function of the (lack of )interest of the narrator but a function of the divinely inspired status of women in society.

As the societal norms are impacting on Judaism, as the eightieth anniversary of the ordination of Regina Jonas and the fortieth of Jackie Tabick begin to filter into the consciousness of orthodox feminism, and as more Jewish women demand that their voice be heard, there is a corresponding kick back from some in the orthodox world. Only this week A senior haredi rabbi suggested at a conference for high school principals held in Bnei Brak that higher education for women constitutes a more severe blow to the haredi world than the Holocaust and a responsa was given to a man about letting his daughter go to university that “ to do so would be worse than stealing money since material goods may be recovered but the “spiritual damage” of permitting the young woman to achieve higher education could not be undone.”

The spiritual damage envisaged when a woman is allowed to study at a high level, to learn to think and question and understand the world around her is not to the woman herself – it is damage to the structure of a community which relies on unquestioning following of self-appointed sages. When people think for themselves, the artificial consensus breaks, and a real consensus, based on challenge and debate, logical argument and building of agreement is allowed to emerge. In sidra miketz the women are submerged in the narrative with just the flash of one woman’s presence that serves to point up all the absences. We should be warned, there is nothing new under the sun, and women are being ‘disappeared’ from public space in the Jewish world with increasing determination, just as they are in this sidra. In the book of Exodus the presence of women will reassert itself, but their silence as the book of Genesis begins to move towards its close is a telling one. And a nudge to us to take responsibility not to allow it to happen again.

Women’s Voices and the Public Space:Tradition and Texts that must not disappear

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I am increasingly convinced that unless women know the texts of our own tradition, we will be at the mercy of the interpretations of those who wish to keep women’s voices from the public sphere. The tension that exists between those who wish to shut women up and the rights and desires of women to speak and be heard has been around for hundreds, even thousands of years. And yet the texts upon which our tradition actually stands are unaware of such tension. It is clear that women and men both had a voice that must be heard, there is no cognizance or pattern in bible of women being silenced. Indeed the voices of the matriarchs are powerful drivers of the narrative, their needs are documented, their feelings acknowledged. Indeed one of my favourite overlooked verses in bible is when Abraham is told to listen to the voice of Sarah: “And God said to Abraham: ‘Let it not be grievous in your sight because of the lad, and because of your bondwoman; in all that Sarah says to you, hearken to her voice; for in Isaac shall seed be called to you.” (Genesis 21:12)

I am well aware that in Genesis 3: 17 God punishes Adam, apparently because he listened to his wife’s voice: “And to Adam God said: ‘Because you have hearkened to the voice of your wife, and have eaten of the tree, of which I commanded you, saying: You shall not eat of it; cursed is the ground for you sake; in toil shall you eat of it all the days of your life.” But these two verses do not need to be in opposition. In the story of the eating of the fruit of the tree, the words “because you have listened to the voice of your wife” are apparently superfluous in that Adam also ate of the fruit of the tree. So what is the problem here? Chaim ibn Attar (known as the Or ha-Ḥayyim) a prominent 18th century Moroccan Rabbi suggests that the problem is that Adam listened to his wife but did not engage her in conversation and so did not understand the provenance of the fruit that she was giving him. If we extend this argument to the verse where Abraham is told to listen to Sarah, his listening (presumably a more dynamic and thoughtful listening than that of Adam) leads him to do what God wants. The point is that both voices in active conversation, with active listening to the other, are required, and not the one way control where women are instructed by the voice of men to keep their voices silent. That way lies the fate of Adam, cast out of the garden because he did not actively converse with his wife.

The classical world did not appreciate the voice of women in public space, and it seems to me that Judaism (along with other traditions and cultures) have whole heartedly adopted the mores of the Greek and Roman worlds where it comes to the voices of women. Mary Beard wrote a wonderful treatment of women’s voices in this classical world which you can access here http://www.lrb.co.uk/v36/n06/mary-beard/the-public-voice-of-women and I recommend that you do so in order to see just how much syncretism has gone on in order to suppress the sound of women’s voices. She speaks not only of the systematised disempowerment of women in the classical world but also of the thinking behind it, writing that “to become a man – and we’re talking elite man – was to claim the right to speak. Public speech was a – if not the – defining attribute of maleness. A woman speaking in public was, in most circumstances, by definition not a woman.”

But in the world of bible the genders were not so defined, though certainly the rabbinic literature is influenced by the view of women as being of lower status that threads through the law and customs from the Roman world. The rabbis might have absorbed this view, but it comes to them from a world view outside the ur-texts of our tradition.

So here is a list, not exhaustive and not definitive, of the voices of women singing and dancing and loudly celebrating in the presence of – indeed alongside – the men.

The songs (and dances) of Women

  1. Miriam dances and sings with timbrels in a victory song Exodus 15: 1-3, 20 – 23

א אָ֣ז יָֽשִׁיר־מֹשֶׁה֩ וּבְנֵ֨י יִשְׂרָאֵ֜ל אֶת־הַשִּׁירָ֤ה הַזֹּאת֙ לַֽיהֹוָ֔ה וַיֹּֽאמְר֖וּ לֵאמֹ֑ר אָשִׁ֤ירָה לַּֽיהוָֹה֙ כִּֽי־גָאֹ֣ה גָּאָ֔ה ס֥וּס וְרֹֽכְב֖וֹ רָמָ֥ה בַיָּֽם: ב עָזִּ֤י וְזִמְרָת֙ יָ֔הּ וַֽיְהִי־לִ֖י לִֽישׁוּעָ֑ה זֶ֤ה אֵלִי֙ וְאַנְוֵ֔הוּ אֱלֹהֵ֥י אָבִ֖י וַֽאֲרֹֽמְמֶֽנְהוּ: ג יְהוָֹ֖ה אִ֣ישׁ מִלְחָמָ֑ה יְהוָֹ֖ה שְׁמֽוֹ:

“Then sang Moses and the children of Israel this song unto the Eternal, and spoke, saying: I will sing unto the Eternal, for God is highly exalted; the horse and his rider God has thrown into the sea. The Eternal is my strength and song, and God is become my salvation; this is my God, and I will glorify Him; my father’s God, and I will exalt Him. The Eternal is a man of war, The Eternal is God’s name.”

כ וַתִּקַּח֩ מִרְיָ֨ם הַנְּבִיאָ֜ה אֲח֧וֹת אַֽהֲרֹ֛ן אֶת־הַתֹּ֖ף בְּיָדָ֑הּ וַתֵּצֶ֤אן ָ כָל־הַנָּשִׁים֙ אַֽחֲרֶ֔יהָ בְּתֻפִּ֖ים וּבִמְחֹלֹֽת: כא וַתַּ֥עַן לָהֶ֖ם מִרְיָ֑ם שִׁ֤ירוּ לַֽיהוָֹה֙ כִּֽי־גָאֹ֣ה גָּאָ֔ה ס֥וּס וְרֹֽכְב֖וֹ רָמָ֥ה בַיָּֽם:   ס   כב וַיַּסַּ֨ע מֹשֶׁ֤ה אֶת־יִשְׂרָאֵל֙ מִיַּם־ס֔וּף וַיֵּֽצְא֖וּ אֶל־מִדְבַּר־שׁ֑וּר וַיֵּֽלְכ֧וּ שְׁלֹֽשֶׁת־יָמִ֛ים בַּמִּדְבָּ֖ר וְלֹא־מָ֥צְאוּ מָֽיִם: כג וַיָּבֹ֣אוּ מָרָ֔תָה וְלֹ֣א יָֽכְל֗וּ לִשְׁתֹּ֥ת מַ֨יִם֙ מִמָּרָ֔ה כִּ֥י מָרִ֖ים הֵ֑ם עַל־כֵּ֥ן קָֽרָא־שְׁמָ֖הּ מָרָֽה:

“And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances. And Miriam sang to them: Sing ye to the Eternal, for God is highly exalted: the horse and his rider God has thrown into the sea. And Moses led Israel onward from the Red Sea, and they went out into the wilderness of Shur; and they went three days in the wilderness, and found no water. And when they came to Marah, they could not drink of the waters of Marah, for they were bitter. Therefore the name of it was called Marah.”

Many scholars are of the opinion that the whole hymn in Exodus was originally led by Miriam, not just the verse above (v21) that mirrors Moses in verse 1. It was known that women would lead victory songs and dancing (see 1 Samuel 18:6-7 below)

A separate song of Miriam has survived in part in a Qumran text (4Q365 fragment 6a and 6c). The seven lines which expand the song and are preserved here indicate that Miriam was considered in the ancient Jewish text as an appropriate singer of songs, an autonomous figure with her own song of triumph which, while it repeats some of the features of the Mosaic song recorded in Exodus has other material not so recorded.

Certainly Jewish tradition contains a number of statements that refer to the song of Miriam and to the way her voice was heard at the Reed Sea. Philo of Alexandria (also known as Philo Judaeus) (20 BCE- 50 CE) suggests that the men and women sang together. Rashi, citing the Mechilta (ad loc), comments that “Moses sang the song to the men; he sang the song and they responded after him, and Miriam sang the song to the women (and they responded after her, as it is written ‘Sing’ [Shiru]).”

Malbim (Rabbi Meir Leibush Weiser, 1809-1879) also assumes that the women sang, because they could claim that the redemption from Egypt only took place because of their merit as women had saved Moses as a baby and the midwives Shipra and Puah had defied the Pharoah in order to deliver baby Jewish boys. Indeed he says that they sang separately from the men so that their voices would be heard clearly, as they had had such a share in the miracles. And other commentators suggest that the men and women sang polyphonically, with the men initiating song and the women responding by repeating it, both parts equally important.

The song of Miriam as a response to military victory with dancing and the beating of drums, is part of a strand of women’s singing that can be found as a victorious celebration by women throughout bible (see also Judges 11:4; Jer.31:3; Psalm 68:26; Judith 15:12-13)

  1. Deborah the prophetess sings her song of victory

א וַתָּ֣שַׁר דְּבוֹרָ֔ה וּבָרָ֖ק בֶּן־אֲבִינֹ֑עַם בַּיּ֥וֹם הַה֖וּא לֵאמֹֽר: ב בִּפְרֹ֤עַ פְּרָעוֹת֙ בְּיִשְׂרָאֵ֔ל בְּהִתְנַדֵּ֖ב עָ֑ם בָּרְכ֖וּ יְהֹוָֽה: ג שִׁמְע֣וּ מְלָכִ֔ים הַֽאֲזִ֖ינוּ רֹֽזְנִ֑ים אָֽנֹכִ֗י לַֽיהֹוָה֙ אָֽנֹכִ֣י אָשִׁ֔ירָה אֲזַמֵּ֕ר לַֽיהֹוָ֖ה אֱלֹהֵ֥י יִשְׂרָאֵֽל: ד יְהֹוָ֗ה בְּצֵֽאתְךָ֤ מִשֵּׂעִיר֙ בְּצַעְדְּךָ֙ מִשְּׂדֵ֣ה אֱד֔וֹם אֶ֣רֶץ רָעָ֔שָׁה גַּם־שָׁמַ֖יִם נָטָ֑פוּ גַּם־עָבִ֖ים נָ֥טְפוּ מָֽיִם: ה הָרִ֥ים נָֽזְל֖וּ מִפְּנֵ֣י יְהֹוָ֑ה זֶ֣ה סִינַ֔י מִפְּנֵ֕י יְהֹוָ֖ה אֱלֹהֵ֥י יִשְׂרָאֵֽל: ו בִּימֵ֞י שַׁמְגַּ֤ר בֶּן־עֲנָת֙ בִּימֵ֣י יָעֵ֔ל חָֽדְל֖וּ אֳרָח֑וֹת וְהֹלְכֵ֣י נְתִיב֔וֹת יֵלְכ֕וּ אֳרָח֖וֹת עֲקַלְקַלּֽוֹת: ז חָדְל֧וּ פְרָז֛וֹן בְּיִשְׂרָאֵ֖ל חָדֵ֑לּוּ עַ֤ד שַׁקַּ֨מְתִּי֙ דְּבוֹרָ֔ה שַׁקַּ֥מְתִּי אֵ֖ם בְּיִשְׂרָאֵֽל: ח יִבְחַר֙ אֱלֹהִ֣ים חֲדָשִׁ֔ים אָ֖ז לָחֶ֣ם שְׁעָרִ֑ים מָגֵ֤ן אִם־יֵֽרָאֶה֙ וָרֹ֔מַח בְּאַרְבָּעִ֥ים אֶ֖לֶף בְּיִשְׂרָאֵֽל: ט לִבִּי֙ לְחֽוֹקְקֵ֣י יִשְׂרָאֵ֔ל הַמִּֽתְנַדְּבִ֖ים בָּעָ֑ם בָּרְכ֖וּ יְהֹוָֽה: י רֹֽכְבֵי֩ אֲתֹנ֨וֹת צְחֹר֜וֹת יֹֽשְׁבֵ֧י עַל־מִדִּ֛ין וְהֹֽלְכֵ֥י עַל־דֶּ֖רֶךְ שִֽׂיחוּ: יא מִקּ֣וֹל מְחַֽצְצִ֗ים בֵּ֚ין מַשְׁאַבִּ֔ים שָׁ֤ם יְתַנּוּ֙ צִדְק֣וֹת יְהֹוָ֔ה צִדְקֹ֥ת פִּרְזֹנ֖וֹ בְּיִשְׂרָאֵ֑ל אָ֛ז יָֽרְד֥וּ לַשְּׁעָרִ֖ים עַם־יְהֹוָֽה: יב עוּרִ֤י עוּרִי֙ דְּבוֹרָ֔ה ע֥וּרִי ע֖וּרִי דַּבְּרִי־שִׁ֑יר ק֥וּם בָּרָ֛ק וּֽשֲׁבֵ֥ה שֶׁבְיְךָ֖ בֶּן־אֲבִינֹֽעַם:Judges 5

Then sang Deborah and Barak the son of Abinoam on that day, saying: When men let grow their hair in Israel, when the people offer themselves willingly, bless the Eternal. Hear, O ye kings; give ear, O ye princes; I, to the Eternal will I sing; I will sing praise to the Eternal, the God of Israel. Eternal, when You went forth out of Seir, when You did march out of the field of Edom, the earth trembled, the heavens also dropped, yea, the clouds dropped water. The mountains quaked at the presence of the Eternal, even Sinai at the presence of the Eternal, the God of Israel. In the days of Shamgar the son of Anat, in the days of Jael, the highways ceased, and the travellers walked through byways. The rulers ceased in Israel, they ceased, until you did arise, Deborah, that you did arise a mother in Israel. They chose new gods; then was war in the gates; was a shield or spear seen among forty thousand in Israel? My heart is toward the governors of Israel, that offered themselves willingly among the people. Bless ye the Eternal. Ye that ride on white asses, ye that sit on rich cloths, and ye that walk by the way, tell of it; Louder than the voice of archers, by the watering-troughs! there shall they rehearse the righteous acts of the Eternal, even the righteous acts of God’s rulers in Israel. Then the people of the Eternal went down to the gates. Awake, awake, Deborah; awake, awake, utter a song; arise, Barak, and lead your captivity captive, you son of Abinoam”.

3.Jeptha’s Daughter Judges 11:34ff meets her victorious father with timbrels and dancing

לד וַיָּבֹ֨א יִפְתָּ֣ח הַמִּצְפָּה֘ אֶל־בֵּיתוֹ֒ וְהִנֵּ֤ה בִתּוֹ֙ יֹצֵ֣את לִקְרָאת֔וֹ בְתֻפִּ֖ים וּבִמְחֹל֑וֹת וְרַק֙ הִ֣יא יְחִידָ֔ה אֵֽין־ל֥וֹ מִמֶּ֛נּוּ בֵּ֖ן אוֹ־בַֽת: לה וַיְהִי֩ כִרְאוֹת֨וֹ אוֹתָ֜הּ וַיִקְרַ֣ע אֶת־בְּגָדָ֗יו וַיֹּ֨אמֶר֙ אֲהָ֤הּ בִּתִּי֙ הַכְרֵ֣עַ הִכְרַעְתִּ֔נִי וְאַ֖תְּ הָיִ֣יתְ בְּעֹֽכְרָ֑י וְאָנֹכִ֗י פָּצִ֤יתִי־פִי֙ אֶל־יְהֹוָ֔ה וְלֹ֥א אוּכַ֖ל לָשֽׁוּב: לו וַתֹּ֣אמֶר אֵלָ֗יו אָבִי֙ פָּצִ֤יתָה אֶת־פִּ֨יךָ֙ אֶל־יְהֹוָ֔ה עֲשֵׂ֣ה לִ֔י כַּאֲשֶׁ֖ר יָצָ֣א מִפִּ֑יךָ אַחֲרֵ֡י אֲשֶׁ֣ר עָשָׂה֩ לְךָ֙ יְהֹוָ֧ה נְקָמ֛וֹת מֵאֹיְבֶ֖יךָ מִבְּנֵ֥י עַמּֽוֹן: לז וַתֹּ֨אמֶר֙ אֶל־אָבִ֔יהָ יֵעָ֥שֶׂה לִּ֖י הַדָּבָ֣ר הַזֶּ֑ה הַרְפֵּ֨ה מִמֶּ֜נִּי שְׁנַ֣יִם חֳדָשִׁ֗ים וְאֵֽלְכָה֙ וְיָרַדְתִּ֣י עַל־הֶֽהָרִ֔ים וְאֶבְכֶּה֙ עַל־בְּתוּלַ֔י אָנֹכִ֖י וְרֵעֹיתָֽי [וְרֵעוֹתָֽי]: לח וַיֹּ֣אמֶר לֵ֔כִי וַיִּשְׁלַ֥ח אוֹתָ֖הּ שְׁנֵ֣י חֳדָשִׁ֑ים וַתֵּ֤לֶךְ הִיא֙ וְרֵ֣עוֹתֶ֔יהָ וַתֵּ֥בְךְּ עַל־בְּתוּלֶ֖יהָ עַל־הֶהָרִֽים: לט וַיְהִ֞י מִקֵּ֣ץ ׀ שְׁנַ֣יִם חֳדָשִׁ֗ים וַתָּ֨שָׁב֙ אֶל־אָבִ֔יהָ וַיַּ֣עַשׂ לָ֔הּ אֶת־נִדְר֖וֹ אֲשֶׁ֣ר נָדָ֑ר וְהִיא֙ לֹא־יָדְעָ֣ה אִ֔ישׁ וַתְּהִי־חֹ֖ק בְּיִשְׂרָאֵֽל: מ מִיָּמִ֣ים ׀ יָמִ֗ימָה תֵּלַ֨כְנָה֙ בְּנ֣וֹת יִשְׂרָאֵ֔ל לְתַנּ֕וֹת לְבַת־יִפְתָּ֖ח הַגִּלְעָדִ֑י אַרְבַּ֥עַת יָמִ֖ים בַּשָּׁנָֽה:

“And Jephtha came to Mizpah to his house, and, behold, his daughter came out to meet him with timbrels and with dances; and she was his only child; beside her he had neither son nor daughter. And it came to pass, when he saw her that he rent his clothes, and said: ‘Alas, my daughter! You have brought me very low, and you are become my troubler; for I have opened my mouth to the Eternal, and I cannot go back.’ And she said to him: ‘My father, you have opened your mouth to the Eternal; do to me according to that which has proceeded out of your mouth; forasmuch as the Eternal has taken vengeance for you of your enemies, even of the children of Ammon.’ And she said to her father: ‘Let this thing be done for me: let me alone two months, that I may depart and go down upon the mountains, and bewail my virginity, I and my companions.’ And he said: ‘Go.’ And he sent her away for two months; and she departed, she and her companions, and bewailed her virginity upon the mountains. And it came to pass at the end of two months, that she returned to her father, who did with her according to his vow which he had vowed; and she had not known man. And it was a custom in Israel that the daughters of Israel went yearly to lament the daughter of Jephtha the Gileadite four days in a year”

4.The women of the Cities of Israel sing their song of victory with dancing and timbrels   1 Samuel 18:6-7

     ו וַיְהִ֣י בְּבוֹאָ֗ם בְּשׁ֤וּב דָּוִד֙ מֵֽהַכּ֣וֹת אֶת־הַפְּלִשְׁתִּ֔י וַתֵּצֶ֨אנָה הַנָּשִׁ֜ים מִכָּל־עָרֵ֤י יִשְׂרָאֵל֙ לָשִׁ֣ור [לָשִׁ֣יר] וְהַמְּחֹל֔וֹת לִקְרַ֖את שָׁא֣וּל הַמֶּ֑לֶךְ בְּתֻפִּ֥ים בְּשִׂמְחָ֖ה וּבְשָׁלִשִֽׁים: ז וַתַּֽעֲנֶ֛ינָה הַנָּשִׁ֥ים הַֽמְשַֽׂחֲק֖וֹת וַתֹּאמַ֑רְן ָ הִכָּ֤ה שָׁאוּל֙ בַּֽאֲלָפָ֔ו [בַּֽאֲלָפָ֔יו] וְדָוִ֖ד בְּרִֽבְבֹתָֽיו:

“And it came to pass as they came, when David returned from the slaughter of the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet King Saul, with timbrels, with joy, and with three-stringed instruments. And the women sang one to another in their play, and said: Saul has slain his thousands, and David his tens of thousands”

5.Psalm 68 vv26-27 the women sing and dance and play timbrels

 כו קִדְּמ֣וּ שָׁ֭רִים אַחַ֣ר נֹגְנִ֑ים בְּ֖ת֥וֹךְ עֲלָמ֣וֹת תּוֹפֵפֽוֹת: כז בְּֽ֭מַקְהֵלוֹת בָּרְכ֣וּ אֱלֹהִ֑ים יְ֝הֹוָ֗ה מִמְּק֥וֹר יִשְׂרָאֵֽל:

 “The singers go before, the minstrels follow after, in the midst of damsels playing upon timbrels. ‘Bless ye God in full assemblies, even the Eternal, ye that are from the fountain of Israel.’”

  1. Judith 15: 8-13

Then Joachim the high priest, and the ancients of the children of Israel who dwelled in Jerusalem, came to behold the good things that God had showed to Israel, and to see Judith, and to salute her. And when they came to her, they blessed her with one accord, and said to her, You are the exaltation of Jerusalem, you are the great glory of Israel, you are the great rejoicing of our nation:  You have done all these things by your hand: you have done much good to Israel, and God is pleased therewith: blessed be you of the Almighty God for evermore. And all the people said, ‘So be it’.  And the people spoiled the camp the space of thirty days: and they gave to Judith Holofernes, his tent, and all his plate and beds and vessels, and all his stuff: and she took it and laid it on her mule; and made ready her carts, and laid them thereon.  Then all the women of Israel ran together to see her, and blessed her, and made a dance among them for her: and she took branches in her hand, and gave also to the women that were with her.  And they put a garland of olive upon her and her maid that was with her, and she went before all the people in the dance, leading all the women: and all the men of Israel followed in their armour with garlands, and with songs in their mouths.