Vayakhel–Pekudei -- Exodus 35:1 – 40:38

The genius of every design by Steve Jobs (1955-2011) was an ability to understand what his community of users really wanted. Jobs was single-minded, and at times ruthless, in directing his designers to respond to community, to "have the courage to follow your heart and intuition."

Community is founded upon shared values and built upon shared practice. The team of wise-hearted artisans who create the Tabernacle and its furnishings as detailed in the previous reading of Terumah (Exodus 25:1-27:19) are truly inspired and devoted. The co-operative nature of this communal art project is inspiring on many levels. The instructions Moses conveys regarding the construction of the Tabernacle require materials in abundance. Once asked, the response is immediate and the materials arrive in abundance: from gold, silver, and copper, to blue-, purple-, and red-dyed wool, as well as goat hair, spun linen, animal skins, wood, olive oil, herbs, and precious stones. It is likely one of the only capital campaigns in Jewish history where its leader had to ask the members to stop giving!

"My favorite things in life don’t cost any money," Jobs’ once remarked. Jobs had clarity on the design of life, namely "that the most precious resource we all have it time." With that in mind, the strange opening of this week’s reading now falls into place — Moses' assembly of the Israelites begins with reiterating the importance of observing the Sabbath.

Making time sacred is the purpose of the Sabbath. The map of the soul’s journey, as Rabbi Lew (1945- 2009), z”l, taught, "...is the journey from isolation to a sense of our intimate connection to all being." That journey, unique to each soul, happens regularly in spiritual community. It is only when we are dedicated to a spiritual practice as central as the Sabbath that we can truly build communal institutions of lasting value.

- Rabbi Aubrey Glazer

Artwork note: This week's illustration is a depiction of a grape vine trained into the shape of menorah. The picture is inspired by theologian Rachel Adler's commentary on the Mishkan's menorah. She writes, "The menorah is not just any lamp, however. It is a giant lamp of unusual design.... We cannot sustain our presence at the original moment when a startled shepherd sees a terrible and wonderful sight: a tree on fire, unconsumed. We can only make a memory-tree to remind us of that moment, an artifice-tree of hammered gold, which we set afire, not abruptly, but with the choreography of ritual. Our reenactment distorts the story as it enriches it. The memory-tree is no humble wild thornbush, but the richly bearing fruit tree of the promised land, or the utterly stylized tree of modern ritual art." Illustration by Christopher Orev Reiger.

Hardly Strictly Selichot Unplugged Recap

facebook_yehudasolomonduvidswirsky_hardlystrictlyselichotunplugged_september2016Almost two hundred people visited the CBS campus this past Saturday evening to mark our entrance into the final days of preparation for the Yamim Noraim ("the Days of Awe"). A joint production of CBS, the Mission Minyan, and The Kitchen, Hardly Strictly Selichot Unplugged made for a special night (and early morning!) – deeply affecting, joyous, and fun.

The centerpiece of the night was a communal singalong featuring Yehuda Solomon and Duvid Swirsky of the Israeli-American folk-rock band, Moshav. Yehuda and Duvid were joined by prayer leaders and hazzanim from CBS, the Mission Minyan, and the Kitchen – together, they led the crowd in giving voice to Selichot, our tradition’s beautiful and penitential piyyutim (liturgical poems). According to Ashkenazi tradition, the recitation of Selichot begins after midnight on the Sunday before Rosh Hashanah (or the Sunday prior, if Rosh Hashanah falls on a Monday or Tuesday, as it does this year) and, although our service didn't wind down until 2 a.m., there was no shortage of energy and ruach in the CBS Sanctuary! Attendees danced, stomped, and swayed with the music and singing, awakening to the urgency of this moment and our need for teshuvah.

Speaking of teshuvah and the related seasonal demand for chesbon hanefesh (a rigorous "accounting of the soul"), Rabbi Peretz Wolf-Prusan shared some moving words during the film panel that occurred earlier in the evening. Following a screening of Fire On The Water, a short film dealing with the Akedah (the binding of Isaac) that Rabbi Aubrey Glazer made during his days as a student filmmaker, Rabbi Wolf-Prusan spoke earnestly of his anxiety about the lack of communal sacrifice experienced by Jewish Americans in the last 50+ years. What loss has our society felt, he asked, as we wage an ongoing war in Afghanistan? Too many families lose their sons and daughters, of course, and our federal coffers are steadily drained, but the majority of Americans are insulated from the war – it remains a background abstraction, and there is little to no sense of communal commitment, contribution, or sacrifice. Even during the Vietnam era, Rabbi Wolf-Prusan argued, despite the anti-war movement and the greater public awareness of the body count (on both sides of the conflict), our culture experienced the 1960s and early 1970s as a period of economic growth and general prosperity. He contrasted this with the American experience during World War II, when all citizens were required to ration foods, fuel, and many consumer goods. We haven't experienced anything like that since the 1940s. "When will the bill come due?," he asked the audience.

Rabbi Dorothy Richman responded to Rabbi Wolf-Prusan and quoted the 20th century sage, Rabbi Abraham Joshua Heschel: "Some are guilty, but all are responsible." With so much racial strife, ongoing overseas wars, ugly partisanship, and reactionary politics, she said Rabbi Wolf-Prusan's anxieties about our lack of sacrifice hit her hard. Doubtless, many people in the room were similarly stirred.

This sort of earnest, challenging soul-searching is what the High Holy Days are all about. Observant Jews devote the entire Hebrew month of Elul – which began on September 4 this year – to the spiritual heavy lifting of teshuvah. And what exactly is teshuvah? Depending on which Jew you ask, you'll get different answers. Most resources translate teshuvah as "repentance," but many rabbis scorn this translation, and instead frame teshuvah (which literally translates as "return") as the work of returning to relationship with God. Given contemporary Jews' varied conceptions of deity, that's too vague a formulation for many. However you translate or characterize it, though, teshuvah is about working to develop and improve our character – and it's meant to be hard.

As Rosh Hashanah approaches, the need for a commitment to teshuvah becomes increasingly urgent, but it is likewise important to balance the moments of reckoning with moments of joy. Hardly Strictly Selichot Unplugged provided both.

Thanks to all of the panelists, performers, and prayer leaders who made the evening so moving and fun. Thanks, too, to all of the friendly folks from the Mission Minyan and The Kitchen who trekked out – in some cases, carpooling (kol hakavod!) – to the Richmond to make this memorable evening that much better. Todah rabbah, and l'shanah tovah u'metuka (for a good and sweet year)!

A selection of photographs snapped during the event are included below.

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Vayakhel -- Exodus 35:1-38:20

CoverDesign_VayakhelCharles (1907–78) and Ray Eames (1912–88) gave shape to America's twentieth century. Their lives and work represent the nation's defining movements: the West Coast's coming-of-age, the economy's shift from making goods to producing information, and the global expansion of American culture.

Born in St. Louis, Missouri, Charles Eames grew up in America's industrial heartland. As a young man, he worked for engineers and manufacturers, anticipating his lifelong interest in mechanics and the complex working of things. Ray Kaiser, born in Sacramento, California, demonstrated her fascination with the abstract qualities of ordinary objects early on. She spent her formative years in the orbit of New York's modern art movements and participated in the first wave of American-born abstract artists. The genius of every Eames design was summed up by Charles as follows: “The details are not the details. They make the design.” Eames designs took pride in contemplating the intricacy of all details and how they inter-relate to a larger whole.

That "larger whole" can also be community. Community is founded upon shared values and built upon shared practice. The team of wise-hearted artisans who create the Tabernacle and its furnishings as detailed in the previous reading of Terumah (Exodus 25:1-27:19) are truly inspired and devoted. The co-operative nature of this communal art project is inspiring on many levels. The instructions Moses conveys regarding the construction of the Tabernacle require materials in abundance. Once asked, the response is immediate and the materials arrive in abundance: from gold, silver, and copper, to blue-, purple-, and red-dyed wool, as well as goat hair, spun linen, animal skins, wood, olive oil, herbs, and precious stones. It is likely one of the only capital campaigns in Jewish history where its leader had to ask the members to stop giving!

The strange opening of this week’s reading now falls into place — Moses' assembly of the Israelites begins with reiterating the importance of observing the Sabbath. Making time sacred is the purpose of the Sabbath. The map of the soul’s journey, as Rabbi Lew (1945- 2009), z”l, taught, “…is the journey from isolation to a sense of our intimate connection to all being.” That journey, unique to each soul, happens regularly in spiritual community. It is only when we are dedicated to a spiritual practice as central as the Sabbath that we can truly build communal institutions of lasting value.

Just as the Eameses embraced their era's visionary concept of modern design as an agent of social change, so too might we elevate our spiritual practice as the highest agenda, bringing together our boundless passions and talents so we might overlap with our interests with those of our place in America and Israel.

- Rabbi Aubrey Glazer

Artwork note from Christopher Orev: This week's illustration shows the basic layout of the Mishkan (Tabernacle) within its constructed courtyard. Instead of a rectangle denoting the location of the Tent of Meeting, the silhouette of an Eames chair appears, a nod to Rabbi Glazer's Torah Byte. Additionally, the simple external wall of the Mishkan's courtyard here appears as the interior lines of a Necker Cube, an optical illusion created by Swiss crystallographer Louis Necker. I regard the Necker Cube as a symbol of life's push-pull ambivalence and the impossibility of ever perceiving capital-T Truth. It is, therefore, a reminder to walk with wonder and humility -- a fitting way to approach the Holy of Holies. Illustration by Christopher Orev Reiger.