Ram Kol - Camp Ramah

Transcription

Ram Kol:
LOUD Israeli Culture
These materials were developed for the National Ramah Commission as
part of “RILI” (Ramah Israel Leadership Initiative) with generous support
from the Legacy Heritage Fund
Spring, 2010
Ram Kol: LOUD Israeli Culture
‫מחנות רמה‬
Rabbi Mitchell Cohen, National Director
Email: Mcohen@jtsa.edu
To: ‫צוות מחנות רמה‬
From: Rabbi Mitch Cohen
Date: June, 2010
Re: “Ramah Israel Leadership Initiative” (RILI) Resource Materials
It is my pleasure to present the latest installment of Israel education resources which have
been specially designed for ‫ מחנות רמה‬with generous support from the Legacy Heritage
Fund. One of the most important goals of the National Ramah Commission is to provide
resources for sustaining the high level of educational and religious programming at every
Camp Ramah, and to help each camp maintain the high standard that is associated with
the name Ramah.
Working under the leadership of Ami Hersh, JTS students and Ramah staff members
(including many of our Shapiro Fellows and Rashei Chinuch) have volunteered many
hours this year to help produce these materials. Two seasoned educators, who both bring
a great deal of camping experience, have spent the past year writing the three new units
of material for this summer. A big ‫ תודה רבה‬to Ilan Bloch and Charlie Schwartz! Also,
‫ תודה רבה‬to Donna Elyashar, a long time Ramah Wisconsin staff member, who is
responsible for much of the translation work in these units.
Our initial goal was to develop twelve new units of Israel education resources, over the
course of three years, in order to enhance the resources available in each of the camps. I
am pleased that we are well on our way to reaching this goal. While success in this
endeavor will look different for each camp, as long as the materials are utilized, the RILI
shlichim are involved and engaged in its implementation, and new Israel resources are
shared amongst the camps, our goals and those of the grant will have been met.
I look forward to seeing you at camp this summer and learning more about ‫ארץ ישראל‬
together!
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‫‪Ram Kol: LOUD Israeli Culture‬‬
‫מחנות רמה‬
‫‪Rabbi Mitchell Cohen, National Director‬‬
‫‪Email: Mcohen@jtsa.edu‬‬
‫אל‪ :‬צוות מחנות רמה‬
‫מאת‪ :‬הרב מיטץ' כהן‬
‫תאריך‪ :‬יוני ‪2010‬‬
‫הנדון‪“Ramah Israel Leadership Initiative” (RILI) Resource Materials :‬‬
‫יש לי העונג להציג את התוספת האחרונה‪ ,‬למאגר פעולות חינוך ישראל‪ ,‬אשר תוכנן במיוחד‬
‫למחנות רמה‪ ,‬בעזרתם הנדיבה של הקרן לגסי‪ .‬אחת המטרות החשובות של וועדת רמה‬
‫הארצית‪ ,‬היא מתן מקורות מידע אשר ישמרו על רמה גבוהה של מערכי לימוד חינוך ודת‪ ,‬בכל‬
‫מחנה רמה ולעזור לכל מחנה לשמור על רמה גבוהה המזוהה עם השם "רמה"‪.‬‬
‫בעבודתם תחת הנחיית עמי הירש‪ ,‬סטודנטים מג'יי טי אס‪ ,‬חברי צוות רמה רבים )כולל רבים‬
‫מחבורת שפירו וראשי החינוך( נידבו השנה‪ ,‬שעות עבודה רבות‪ ,‬על מנת ליצור את החומרים‬
‫הללו‪ .‬שני מחנכים וותיקים‪ ,‬אשר מביאים איתם ניסיון רב במחנות‪ ,‬בילו השנה האחרונה‬
‫ביצירת שלושה מערכים חדשים לקיץ הקרוב‪ .‬תודה גדולה לאילן בלוך וצ'ארלי שווארץ! כמו‬
‫כן‪ ,‬תודה רבה לדנה אלישר‪ ,‬חברת צוות וותיקה מאוד ברמה וויסקונסין‪ ,‬האחראית על מרבית‬
‫עבודת התרגום של יחידות אילו‪.‬‬
‫מטרתנו הסופית היא לפתח שתים עשרה יחידות לימוד‪ ,‬בתחום חינוך ישראל‪ ,‬במהלך תקופה‬
‫של שלוש שנים‪ ,‬על מנת לחזק ולהעשיר את המקורות הזמינים בכל מחנה‪ .‬אני שמח לומר כי‬
‫אנו בתהליך המקרב אותנו מאוד להשגת מטרה זו‪ .‬הצלחת יוזמה זו‪ ,‬תהיה שונה ממחנה‬
‫למחנה‪ ,‬אך תימדד בשימוש בחומרים אילו‪,‬בהטמעת השליחים מ ) ‪“Ramah Israel‬‬
‫‪ Leadership Initiative” (RILI‬המעורבים ‪ ,‬את החומרים והמערכים‪ ,‬ושיתוף חומרים‬
‫ומקורות נוספים בין המחנות‪ .‬אז מטרותינו תושגנה במלואן‪.‬‬
‫אני מצפה לראותכם במחנה השנה‪ ,‬וללמוד על ארץ ישראל יחד!‬
‫‪-3-‬‬
Unit Topic: Understanding Israel through popular culture
Unit Author: Charlie Schwartz
Age: 8th-12th grade, can be adapted for younger campers
Summary:
As a dynamic and young country, the music, art, and culture produced by Israelis
reflect the complexities and nuances that make up modern Israeli society. This
unit utilizes the diverse messages embedded in Israeli popular culture to teach
chanichim about the complexity of the Israel while attempting to inculcate a deep
respect and love for the Jewish State. Chanichim will learn about Israeli culture:
BaRadio
 God: Listening, learning, and studying recent Israeli pop songs about God
and how they relate to classical Jewish sources.
 Prayer: Examining the way Israeli musicians use tefilot in their music.
BaRahov
  Graffiti: Looking at what Israeli graffiti and street art can teach us about
modern Israel.
BaKolnoa
  Film guide for "Little Heroes.”
Methodology note:
While the sources in this unit can be used as is, feel free to use the songs,
images, questions, and activities in any way you like, picking what appeals to you
and what will work in your particular camp setting.
Aims:
 To have chanichim come into contact with modern Israeli culture, thereby
lessening the gap between North American Jews and Israelis.
 To have chanichim understand some of the complexities of Israeli society.
 To have chanichim use pieces of Israeli culture as triggers for deeper
reflections about their own North American Jewish identity.
This unit consists of the following components:
1. Five core sessions that use Israel popular culture to teach chanichim
about both Israel and their own North American Jewish identities (pp. 627).
2. Two Peulot Edah: Movie Night featuring a recent Israeli movie and guide
for a post movie discussion; and a Mangal, featuring an outline of how to
throw your own Israeli BBQ (pp. 28-32).
3. Mekorot and Questions for Divrei Torah (pp.33-34).
-4-
‫‪Ram Kol: LOUD Israeli Culture‬‬
‫נושא היחידה‪ :‬הבנת ישראל דרך התרבות הפופולרית‬
‫כותב היחידה‪ :‬צ'ארלי שווארץ‬
‫גיל‪ :‬כיתות ח' יב' )‪ , (8th-12th graders‬ניתן להתאים לגילאים צעירים יותר‪.‬‬
‫תקציר‪:‬‬
‫כמדינה צעירה ותוססת‪ ,‬אומנות‪ ,‬מוסיקה ותרבות‪ ,‬הנוצרים ע"י ישראלים‪ ,‬משקפים את‬
‫המורכבות והפרטים הבונים את התרבות הישראלית המודרנית‪ .‬יחידה זו‪ ,‬מביאה את‬
‫המורכבות של התרבות והמסרים אותה מביאה‪ ,‬על מנת לאפשר לחניכים ללמוד על ישראל‬
‫המורכבת‪ ,‬יחד עם פיתוח כבוד הערכה ואהבה למדינה היהודית‪.‬‬
‫החניכים ילמדו על תרבות ישראלית‪:‬‬
‫ברדיו‬
‫‪ ‬אלקים‪ :‬להקשיב וללמוד‪ ,‬דרך שירים פופולריים בישראל‪ ,‬על אלקים וכיצד הם מתחברים‬
‫למקורות היהודיים‪.‬‬
‫‪ ‬תפילה‪ :‬בחינת הדרכים השונות בהם‪ ,‬אמנים ישראלים משתמשים בתפילות‪ ,‬ביצירותיהם‪.‬‬
‫ברחוב‬
‫‪ ‬גראפיטי‪ :‬לראות מה יכולים כתבי גראפיטי וציורי קיר‪ ,‬ללמד אותנו על ישראל היום‪.‬‬
‫בקולנוע‬
‫‪ ‬מדריך הקולנוע ל"גיבורים קטנים"‪.‬‬
‫הערה מתודולוגית‪:‬‬
‫בעוד שניתן להשתמש במקורות המוצעים ביחידה זו‪ ,‬כמו שהם‪ .‬ניתן להוסיף‪ ,‬ולבחור את‬
‫החומרים‪ ,‬השירים והתמונות‪ ,‬המתאימים לכם ביותר‪ ,‬המושכים את החניכים שלכם במחנה‬
‫שלכם‪.‬‬
‫מטרות‪:‬‬
‫‪ ‬להביא את החניכים במגע עם תרבות ישראלית עכשווית‪ ,‬ןבכך לצמצם את הפער בין‬
‫יהודים מצפון אמריקה וישראלים‪.‬‬
‫‪ ‬להביא את החניכים להבנת מקצת המורכבות בחברה הישראלית‪.‬‬
‫‪ ‬להביא את החניכים להשתמש במרכיבי התרבות הישראלית על מנת לשקף דרכם בצורה‬
‫עמוקה יותר‪ ,‬את הזהות היהודית מצפון אמריקה‪ ,‬שלהם‬
‫יחידה זו כוללת את המרכיבים הבאים‪:‬‬
‫‪ .1‬חמישה מפגשי יסוד‪ ,‬המשתמשים בתרבות הישראלית‪ ,‬על מנת ללמד חניכים הן על‬
‫תרבות ישראלית והן על זהותם היהודית בארה"ב )עמודים ‪.(27-6‬‬
‫‪ .2‬פעולות עידה‪ :‬ערב סרט‪ ,‬הקרנה של סרט ישראלי עכשווי כבסיס לדיון שייערך‬
‫לאחריו‪ ,‬ו"על האש"‪ ,‬כיצד ליצור ערב ברביקיו ישראלי )עמודים ‪.(28-32‬‬
‫‪ .3‬מקורות לדבר תורה )עמודים ‪.(33-34‬‬
‫‪-5-‬‬
Session 1 – Prayer and Pop Culture: Modeh Ani
Tziyud Needed:
1. Recording of Meir Ariel’s “Modeh Ani” (available on the “RILI CD” or from
the National Ramah Program Bank).
2. Laptop/projector and speakers (someway to project the video of “Modeh
Ani”).
3. Appendix I with lyrics to “Modeh Ani” (one copy/every two chanichim)
4. Paper and pencils for all chanichim.
Introduction:
Allusion to traditional Jewish prayer and liturgy pops up time and again in Israeli
music, renewing the language of worship while helping make prayer relevant to
the contemporary Jew. This session guide deals with Meir Ariel's song “Modeh
Ani,” a fantastic example of how a popular Israeli singer draws inspiration from
Jewish prayer. Often considered the Bob Dylan of Israel, Meir Ariel rose to fame
with his song “Jerusalem of Iron,” a dark interpretation of “Jerusalem of Gold,”
based on his experience fighting in Jerusalem during the 1967 Six-Day War.
Meir Ariel's influence on Israeli culture and music remains immense even after
his death in 1999. The song “Modeh Ani” appears on the album Modeh Ani,
posthumously released in 2000.
Goal:
Chanichim will reflect on the meaning of the “Modeh Ani” prayer through the lens
of Meir Ariel's song “Modeh Ani,” eventually composing their own version of the
song/prayer.
Procedure:
Part A:
 The Madrich/a should have the Chanichim read the words to the traditional
Modeh Ani prayer (Appendix I).
 Review with the chanichim that this prayer is traditionally said when first
waking up in the morning.
 Facilitate a discussion utilizing some or all of the following questions:
• Why do we say the Modeh Ani prayer?
• What are the major themes Modeh Ani?
• What is the purpose/meaning of this prayer?
• Is this prayer relevant to you?
Part B:
 Watch or listen to Meir Ariel’s song, “Modeh Ani” (included on the “RILI CD” or
available on the National Ramah Program Bank).
 Review the lyrics with the chanichim answering any questions they might
have about words/meaning.

Facilitate a discussion utilizing some or all of the following questions:

• What is the meaning of this song?
-6-
•
•
•
•
Who is addressed in the song?
Does it add anything to the traditional prayer, if so what?
Why do you think Meir Ariel chose to base this song on the prayer
Modeh Ani?
Do you like this song?
Part C:
 In groups or on their own, have the chanichim write a poem, song and/or
prayer based either on the traditional Modeh Ani prayer or the Meir Ariel song
utilizing the themes and ideas of the prayer and/or song.
 Once the chanichim have written a draft of their prayer/songs, have them
share their creations with one another.
 Facilitate a sikkum discussion utilizing some or all of the following questions:
• Do these (the new song/prayers written by the chanichim) have
anything in common with each other?
• Do they have anything in common with the traditional Modeh Ani, or
the Meir Ariel version?
-7-
Appendix I
“Modeh Ani”
Traditional Prayer Said Upon Waking:
I offer thanks before you, living and
eternal King, for You have mercifully
restored my soul within me; Your
faithfulness is great.
‫מודה אני לפניך מלך חי וקים שהחזרת בי‬
‫ רבה אמונתך‬,‫נשמתי בחמלה‬
“Modeh Ani”
Lyrics and words by Meir Ariel
I am thankful,
Before you and to you,
For of the grace and the truth,
for the good and the bad and the
good,
That you have done for me,
My family,
My close ones, my friends and my
people,
My land, all of the world and for
mankind,
who you created.
,‫מודה אני‬
‫לפניך ולך על כל החסד והאמת והטובה‬
‫והרעה והטובה‬
‫שעשית עמדי ועם ביתי‬
‫ועם קרובי וידידי ועם בני עמי‬
,‫ועם ארצי‬
.‫ועם כל העולם והאדם אשר בראת‬
‫ טופפות עתידות‬,‫ חרש חרש אט אט‬,‫בלאט‬
‫ ואת מחייכת אלי מתוך‬,‫עתידות לקראתנו‬
.‫השינה‬
‫ זה‬,‫ טוב מאוד‬,‫ טוב מטוב‬,‫יהיה לנו טוב‬
‫מתחיל כבר בבוקר בבוקר את צוחקת אלי‬
.‫מתוך מתוך השינה‬
Slowly, quietly,
Slowly slowly,
In the future, just for us,
And you smile at me in your sleep,
Things will work out, well, very well,
It will begin in the morning,
You laugh at me,
in your sleep.
-8-
Session 2 - Shoah Business: Israeli Rappers Fight Over Holocaust
Education
Tziyud Need:
1. Recording of “Adon Olam, Ad Matai?” and “Shoah Business (available on
the “RILI CD” or from the National Ramah Program Bank).
2. Laptop/projector and speakers (someway to project the two music videos)
3. Appendix II with lyrics to “Adon Olan, Ad Matai?” (one copy/every two
chanichim).
4. Appendix III with lyrics “Shoah Business” (one copy/every two
chanichim).
Introduction:
In commemoration of Yom HaShoah (Holocaust Remembrance Day) in spring of
2007, mainstream Israeli rapper Subliminal released the single and video, “Adon
Olam, Ad Matai?” (Lord of the Universe, Until When?), featuring Grammy award
winning Israeli violinist Miri Ben Ari. Furious with the portrayal of the Holocaust in
the video and lyrics, underground Israeli rapper, Sagol 59, recorded a response
track entitled “Shoah Business.” This session deals with a dispute between
these two Israeli hip-hop artists around Holocaust education and seeks to find out
what these two rappers were fighting about, and how this feud reflects the role of
the Holocaust in forming Jewish-Israeli identity.
Goals:
During this session, chanichim will engage with Israeli culture and society
through the medium of hip-hop while reflecting on the place of the Holocaust in
Jewish-Israeli cultural identity and on the role of Holocaust education in forming
their Jewish cultural and/or religious identities.
Procedure:
Part A: The Line Up
 Have the chanichim stand up and make a line across the room/peula area.
Designate one end of the line “agree” and the other end “disagree.” The
middle part of the line should be seen as a spectrum between
“agree/disagree.”
 The madrich/a should read a selection of the statements listed below.
 When each statement is read the madrich/a should instruct the chanichim to
move along the line according to how much they agree or disagree with the
statement.

After the chanichim have all selected their spot for a given question, the

madrich/a should ask a few of them why they are standing where they are
standing.
• The Holocaust is a central part my Jewish identity.
• I think the Holocaust is a central part of Jewish-Israeli identity.
• I think the Holocaust should be a central part of my Jewish identity.
-9-
I think I get the correct amount of Holocaust education in my religious
school.
• I think I get the correct amount of Holocaust education in my public school.
• I think it is important to learn about the Holocaust.
 At the conclusion of the exercise, the madrich/a should ask the chanichim if
anything surprised them when lining up with their peers.
•
Part B: Adon Olam, Ad Matai?
 The madrich/a should hand out the lyrics for “Adon Olam, Ad Matai?”
(Appendix II) while explaining some of the background (see the introduction
to this session) to the dispute between Subliminal and Sagol 59.
 Screen or listen to the music video of “Adon Olam, Ad Matai?” (available on
the “RILI CD” or from the National Ramah Program Bank).
• Ask the chanichim to think about the portrayal of the Holocaust and
Holocaust victims while watching the music video.
 Ask the chanichim if there is anything in the video/song that they didn’t
understand.
 Have the chanichim break into chevrutot to discuss the following questions:
• What do you think was the central message of the video?
• What were some of the other messages of the video?
 Gather the chanichim into one large group and briefly discuss what was
talked about in the chevrutot.
Part C: Shoah Business
 The madrich/a should hand out the lyrics for “Shoah Business” (Appendix
III) while explaining some of the background (see the introduction to this
session) to the dispute between Subliminal and Sagol 59.
 Screen or listen to the music video of “Shoah Business” (available on the
“RILI CD” or from the National Ramah Program Bank).
• Ask the chanichim to determine what Sagol 59’s is so angry about.
 Once the movie has been screened and the chanichim have had a chance to
discus Sagol 59’s anger, the madrich/a should lead a group discussion about
Sagol 59’s critique of Subliminal.
 Ask the chanichim if this video teaches anything about the Holocaust in Israeli
society and/or if it reflects anything occurring in our own communities and
lives.
-10-
Appendix II
“Adon Olam, Ad Matai?” Subliminal and Miri Ben Ari
My God, my God oh my God until when?
A minute of silence is not enough for six million, We can never grasp the size of the
atrocity, He had a final vision the solution
Everyone is going "to sleep" and its the final day, One by one, an entire people
almost perished
Even the bravest did not survive No one was a person, everyone became a number,
That stands in a long line not to see tomorrow
So much crying a not even a single tear, So many endings, that's just a beginning,
Many prayers, screams, yet no sound heard
And why doesn't the Messiah come to save us?
Moving targets in the devil's shooting gallery, Impossible to hide and no place to
escape, Temperature rising, our feet stick to the ground
Dust to dust, our souls go to heaven
The death trains, the web of lies, Helpless, still struggling for their lives
They were murdered, robbed, their souls faded out
The perished were counted, we won't forget their names, Freedom vanished, but the
hope still remained,
Our spirit stirred deep in our hearts, our eyes looking, A massacre without a reason
So many victims, Those who had yellow stars on their shirts
Were thrown into the fire
How is it possible to exterminate kids' dreams, While kidnapping adults' memories?
What did I do so bad that there's no forgiveness?
I always said "Amen" after every prayer! Now thoughts run in my head welcoming
death
Tell me, how we lost all human likeness
Feel what we have been through in the Holocaust, sixty years later, it never left our
souls
A big scream is stuck inside my throat
Six million! Never left my memory!
What's the error that Anti-Semitism happened
Who gave man the right to extinguish a culture?
Of the Star of David a vestige remains
I'll wear mine, never take it off as long as I live
That it may explain in the future
Not to repeat the same mistakes
And to remind to keep my eyes open
To learn not to become bait for the hunters
Not to be afraid or scared to stand up
To live in dignity and die in dignity
The code to heaven is survival
The sun will rise, the sun will set
The rain will come and wash everything away
This circle is round that's right
Why if there's life after death,
Shall we wait for it there!
-11-
Appendix III
“Shoah Business”, Sagol 59
Yo, man, I got something I gotta get off my
chest I ain’t hatin’, it’s all love here, but
listen…
She ran away just so she won’t get slayed,
No husband, carrying twins and a baby who
died along the way.
Got to the promised land and was deported
right back. Then they stuck her and the kids
in Jaffa in a tiny messed up flat.
60 years went by, she turns on the TV and
watches her memories being sold so
cheaply. Well, she’s seen it all so it may not
bother her really.
But any normal human being can notice it’s
downright silly. And some people may say
“let it slide, it’s just a song.”
They trying to reach the youth, is this that
wrong? But as an M.C, it is my duty to state
my point of view. Do it for the father that my
own father never knew. You need to be
careful to write it down in a song. Stop using
blood to erase the writing on the wall.
Because eternal suffering is no jingle or
game. We’ve burned the shame, threw our
tact down the drain.
First of all, I’m declaring this is no “dis” song,
Just a little something about what’s been
wrong. And I can’t really recommend a track.
Whose only purpose is to pile money in
stacks. And Israeli hip hop sounds like Naomi
Shemer. Who gave permission to turn the
Shoah to Broadway?
Yo man, this is really uncalled for. That’s not
why my granny fled from Warsaw to Lita and
I’m truly sorry, miss, and with all respect due
to those Grammys. That tune is both anemic
and bloody. And one has to wonder, who
authorized that? Take the Holocaust and
chop it into salad. Slick campaign ready even
before the studio “on air” light is out.
Little by little, tainting the genre. Want
publicity? Buy an ad or a some kinda banner,
Mister Macguyver, this one comes from the
heart. Next time take a minute to think before
you start.
-12-
Session 3 - The Writing On The Wall-A Guide to Israeli Graffiti
Tziyud Need:
1. Color photos of Israel graffiti (attached to this unit, available on the “RILI
CD” and on the National Ramah Program Bank).
2. Appendix IV containing Graffiti explanations (one copy/chanich/a).
3. Supplies for chanichim to make their own stencils (letters, photos, razors,
spray paint, paper, pens).
Introduction:
Graffiti is everywhere in Israel. From tags, to stencils, to full out street art, it is
hard to find a corner of any major Israeli city that hasn't been touched by a can of
spray paint. While some of this graffiti appears to be the work of bored
adolescents, other pieces can best be defined as actual art, incorporating
critique, satire, symbolism and/or humor to create a meaningful viewing
experience for any passer by who takes a moment to stop and look. This
session seeks to expose chanichim to various types of Israeli graffiti as a window
into various elements of and issues in Israeli society.
Goal:
Chanichim will be exposed to various issues in and elements of Israeli society
through the lens of graffiti and will create their own Israel centered graffiti.
Procedure:
Part A:
 The madrich/a should place the color photos of Israeli graffiti around the floor.
 The chanichim should be given some time to look at the various photos of
graffiti and select one they like the most.
 Once the chanichim have selected their piece of graffiti, the madrich/a should
give each chanich/a the explanation sheet of the piece of graffiti they
selected.
 The madrich/a should instruct the chanichim to read their explanation sheets
and think about the questions on the explanation sheets.

In a whole group, the chanichim should present the piece of graffiti they have

chosen including the questions on the explanation sheet.
Part B:
 The madrich/a should lead a discussion around what type of Israel centered
graffiti the chanichim would want to create.
 Once the chanichim have had time to discuss and think about the Israel
centered graffiti they want to create, they should sketch a rough draft of their
graffiti art.
 If possible, working with tzevet Omanut, stencils of the graffiti should be
created and the new Israel centered graffiti should be spray painted around
appropriate places in camp (check with your camp director BEFORE spray painting
anywhere!), or on pieces of paper.
-13-
Appendix IV
Graffiti Explanation Sheet
A City For All
The words “A City For All” spray painted in Arabic and Hebrew on a wall in
Jerusalem. Jerusalem is a “mixed city” in which about 64% of its inhabitants are
Jewish and 34% are Arab. Why did you choose this photo? Do you think there
is a message behind this piece of graffiti?
Chai
A bright red “chai” painted on a wall. Why did you choose this image? Why do
you think the artist choose paint a “chai” on the wall? Would this piece of graffiti
have a different meaning if it were done in North America as opposed to Israel?
Girl And Heart
A whimsical stencil of a girl chasing a heart with a butterfly net, spray painted on
a Tel Aviv street. Why did you choose this photo? Why do you think the
meaning of this piece is? Do you think there is a message behind this piece of
graffiti?
I Love You
A simple stencil found on a wall in Jerusalem with the words, “I Love You.” Why
did you choose this photo? Do you think there is a message behind this piece of
graffiti?
Ahmadinejad with Bunny Ears
A stencil of the President of Iran, Mahmoud Ahmadinejad, with bunny ears and a
bow tie. Recently, Ahmadinejad has come under harsh criticism for his denial of
the Holocaust and threats to “wipe Israel off the map,” all while Iran continues its
efforts to build nuclear weapons. Why did you choose this photo? Why do you
think the artist placed bunny ears on the president of Iran? Do you think there is
a message behind this piece of graffiti?
Dr. Martin Luther King, Jr.
A stencil of Dr. Martin Luther King, Jr. with the word “HaMivaser,” roughly
translated as “the bringer of good news,” spray painted in a park in Jerusalem.
Why did you choose this photo? Why do you think the artist chose to use the
image of Dr. Martin Luther King, Jr. in an Israeli context? Do you think there is a
message behind this piece of graffiti?
N Na Nach Nachman MeUman
Written by members of the Breslov sect of Hasidic Judaism, this piece graffiti is a
mantra is made up of the name of the founder of Breslov Hasidism, Nachman of
Breslov, and the location of his burial, Uman, a city in modern day Ukraine.
Some Breslov Hasidim believe that chanting this mantra and spray painting it
-14-
around Israel (and the world) has a positive mystical affect on the world. Why did
you choose this photo?
Golda Ready for a Party
A stencil of former prime minister of Israel, Golda Meir, with a party hat and noise
maker. Why did you choose this image? Why do you think the artist gave Golda
Meir a party hat and noise maker? Do you think there is a message behind this
piece of graffiti?
Salaam Flag
A stencil of an Israeli flag with the word “Salaam,” Arabic for peace, in place of
the Star of David. Why did you choose this image? Do you think there is a
message behind this piece of graffiti?
Soldier with Bubbles
A stencil of an Israeli soldier casually blowing bubbles. Why did you choose this
photo? Why do you think that artist chose to combine the image of bubbles with
the image of a soldier? Do you think there is a message behind this piece of
graffiti?
-15-
Session 4 – God on the Radio
Tziyud Need:
1. Recording of Hatikvah 6's “God” (available on the “RILI CD” or from the
National Ramah Program Bank).
2. Laptop, projector, or speakers (someway to project the music video).
3. Appendix V Source Sheet with song lyrics of “God” (one copy/every two
chanichim).
4. Appendix VI Source Sheet with Jewish texts to be hung around the
room (one copy to hang).
5. Appendix VII Source Sheet for short text study (one copy/every two
chanichim).
Introduction:
In recent years songs about God have become mainstays on Israeli radio.
Ranging from reggae musings on what God is like, to ballads describing the
difficulties in believing in God, these songs raise meaningful questions about our
relationship to the Divine.
Goal:
Chanichim will be able to understand and express the multiple ideas of divinity
within Jewish tradition while reflecting on their own concept of the Divine.
Procedure:
Part A: Warm Up
 In order to get the chanichim thinking about God, the madrich/a should ask
them what they have learned about God in school, at home or at camp.
  The madrich/a should ask them if they believe what they have been taught, if
so why, if not why not.
Part B: Hatikvah 6, “God”
 The madrich/a should handout the source sheets with the lyrics to Hatikvah
6's song, “God” (Appendix V).
 Screen or play the music video of “God” (available on the “RILI CD” or from
the National Ramah Program Bank).
• Are there are parts of this song that are distinctly Jewish or distinctly not
Jewish?
• Are there any lyrics that you particularly like or dislike?
• Do you have answers to any of the questions raised in this song?
• What do you think is the message of this song?
Part C: Ideas About God
 The madrich/a should hang up the various quotes about God found in
Appendix VI around the room, creating a gallery of ideas about God.
-16-
 Have the chanichim walk around the gallery asking them to stand under the
idea they agree with most.
 Ask the chanichim to talk in small groups about the idea of God they chose,
explaining why the liked it the most.

If time allows, the madrich/a can also have chanichim stand under the

concept of God they like the least, and discuss why they dislike it.
Part D: Jewish Texts
 Distribute Appendix VII and have the chanichim read through the selected
Jewish texts about God
• Do any of these texts agree or disagree with the ideas of the song?
• Do any of these texts agree with the texts that were just seen posted on
the walls?
• Do any of these texts resonate with how you think of God?
• Do you think there is a right way or wrong way to understand God?
-17-
Appendix V
“God” Hatikvah 6
If one of these days I'll meet God,
Allah, Ja-Ja, God, Dieu, The King of all
Kings.
I'll check if he has a secretary who
collects the notes.
Is there any treatment to the ones who
ask? If one of these days I'll meet God
Escorted by his bodyguards-the angles,
I'll check if there in the clouds it's like in
here,
And there are no more safe places.
‫ אפגוש את א והים‬,‫אם ביום מן הימים‬
‫או מלך‬, Dieu God , ‫ ג'ה ג'ה‬,‫את אללה‬
‫המלכים‬
‫אבדוק אם לו פקידה אשר אוספת ת'פתקים‬
? ‫היש כל יחס למבקשים‬
‫ אפגוש את אלוהים‬,‫אם ביום מן הימים‬
‫בליווי מאבטחיו המלאכים‬
‫אבדוק אם כמו אצלנו גם שם בעננים‬
‫כבר אין מקומות בטוחים‬
Is the thunder your voice?
Is the moon your houses' light?
Are we all alone in the universe?
Do you know where we land after death?
Is heaven your private property or not?
Where do you get all this inspiration in
your hands from?
Have you ever been worried that people
will live here without you? Is there any
point prayer?
? ‫האם הרעם הוא קולך? או הירח אור ביתך‬
? ‫האם אנחנו לבדינו ביקום כולו‬
, ‫אולי אתה יודע היכן נוחתים אחרי המוות‬
? ‫האם גן העדן הוא רכוש פרטי שלך או לא‬
? ‫מניין כל ההשראה הזו שבידך‬
? ‫האם חששת אי פעם שיחיו כאן בלעדיך‬
? ‫היש כל טעם לתפילה‬
Do you have answers to every
clarification and question? Are you mad
at everyone who became non-religious?
Do you have the ability to make any wish
come true? What sounds stronger,
“Halavai” or “in-sha-Allah”? Between all
the living and dead are you here or up
there? Between the preachers and
kidnappers, here or up there? Is there
Mrs. God or love which passed by?
Where did we come from, from the ape
or from above?
? ‫האם לך תשובות לכל בירור ושאלה‬
? ‫האם אתה כועס על כל אדם שחזר בשאלה‬
? ‫היש לך יכולת להגשים כל משאלה‬
? ‫ומה נשמע חזק יותר הלוואי או אינשאללה‬
‫בין כל החיים לבין כל המתים אתה כאן או‬
? ‫שם למעלה‬
‫בין כל המטיפים לבין כל החוטפים כאן או‬
? ‫שם למעלה‬
‫האם יש גברת אלוהים או אהבה שכך חלפה‬
? ‫לה‬
? ‫מן אין אנו באים מן הקוף או מנמלה‬
Foolish questions like, What did you do
last night? Are you also being careful
from the sun's beams? Are you also
resting on Shabbat? Are there many
more like you, or are you the only one?
Which one is stronger, a synagogue, a
mosque or a church? A Rabbi, the
muezzin or a nun? Who do you turn to in
difficult times? Who is your God, God?
"? ‫שאלות שטותיות כמו "מה עשית אמש‬
? ‫האם גם אתה נזהר מפני קרני השמש‬
? ‫או שגם לך יום מנוחה ביום שבת‬
? ‫האם כמוך עוד רבים או שאולי אחת‬
? ‫ או מסגד או כנסייה‬,‫מי חזק בית כנסת‬
? ‫האם כבוד הרב המואזין או גברת נזירה‬
? ‫למי פונה אתה ביום של רגעים קשים‬
?‫מיהו אלוהיך א והים‬
-18-
Appendix VI
A Few Jewish Texts on God
Genesis Rabbah 4:4
Rabbi Hanina bar Ishi said: There are times when the world and the fullness
thereof can not contain the glory of the Godhead (God’s presence), and there
are times when God speaks to a person from between the hairs of their head.
Babylonian Talmud, Sukkot 5a
We have been taught that Rabbi Yose said, The Divine Presence never came
down below, and Moses and Elijah never ascend on high, for Scripture says,
“The heavens are the heavens of the Lord, and it is the earth that He has
given to the children of mortals” (Psalm 115:16).
Babylonian Talmud, Hullin 60a
A Caesar said to Rabbi Joshua ben Hananiah, “I want to see your God.”
Rabbi Joshua said, “You cannot see God.” Caesar: “Nevertheless, I want to
see God.” So Rabbi Joshua had Caesar stand facing the sun during the
summer solstice of Tammuz and said to him, “Look directly at the sun.”
Caesar: “I cannot.” Rabbi Joshua: “If you say of the sun, which is only one of
the servitors before the Holy Blessed One, ‘I cannot look directly at it,’ how
much more les could you look at the Presence itself!”
Sifre Deuteronmy 346
“This is my God, and I will glorify Him” (Exodus 15:2). When I acknowledge
God, God is glorified, but when I do not acknowledge God is glorified merely
in name. Similarly, “You are My witnesses, says the Lord, and I am God”
(Isaiah 43:12). When you are My witnesses, I am God, but when you are not
My witnesses, I am not God.
Rabbi Moshe Cordovero (16th century), Shiur Qomah to Zohar 3:14b (Idra Rabba)
The essence of divinity is found in every single thing — nothing but it exists.
Since it causes every thing to be, no thing can live by anything else. It
enlivens them; its existence exists in each existent. Do not attribute duality to
God. Let God be solely God. If you suppose that Ein Sof emanates until a
certain point, and that from that point on is outside of it, you have dualized.
God forbid! Realize, rather, that Ein Sof exists in each existent. Do not say,
“This is a stone and not God.” God forbid! Rather, all existence is God, and
the stone is a thing pervaded by divinity.
-19-
Appendix VII
Maimonides, “Guide for the Perplexed”
God's existence is absolute and it includes no composition and we
comprehend only the fact that He exists, not His essence.
Dr. Neil Gillman, explaining Mordechai Kaplan’s thought
God is a “power” – not a Being, certainly not a personal Being, but a force or a
process. We commonly assume that a noun is out language refers to some
entity. But there are nouns that refer not to entities but to activities or
behaviors. These nouns are really adverbs in disguise: they describe an
activity. The noun “God” is really an adverb parading as a noun. Like the
noun “mind,” for example, it describes a certain manner of activity, this time
an activity within nature.
Rabbi Abraham Joshua Heschel
Radical amazement is the chief characteristic of the religious man's attitude
toward history and nature. It is alien to his spirit to take things for granted, to
regard events as a natural course of things.... He knows that there are laws
that regulate the course of natural processes; he is aware of the regularity and
pattern of things. However, such knowledge fails to mitigate his sense of
perpetual surprise at the fact that there are facts at all. Looking at the world,
he would say, quoting from the Psalms, “This is Adonai's doing – it is
marvelous in our eyes.”
-20-
Session 5 – Jerusalem(s)
Tziyud Need:
1. Recordings of Matisyahu's “Jerusalem,” and Sagol 59's “Jerusalem
(available on the “RILI CD” or from the National Ramah Program Bank).
2. Laptop, projector, or speakers (someway to project the music videos).
3. Source sheets for this session (Appendix VIII) (One/every two
chanichim).
Introduction:
Jerusalem holds a central place in Judaism, serving as a symbol of God's
presence in the world and as the heart and capital of the Jewish people. This
spiritual essence of Jerusalem is often at odds with the physical realities of
modern day Jerusalem, a bustling metropolis replete with crime, poverty, and civil
unrest along side some of the holiest sites in the world. This session seeks to
show chanichim that this tension between the physical Jerusalem and the
spiritual Jerusalem, between the ideal Jerusalem and the real Jerusalem, is not a
new tension but dates back several thousand years and is a part of Jewish
tradition.
Goal:
Chanichim will be exposed to multiple perspectives of Jerusalem while being
provided suggestions about how to integrate and negotiate these multiple
perspectives.
Procedure:
Part A: Warm Up
 Distribute Appendix VIII and have the chanichim read Source 1 on the
sheet. Ask the chanichim to think about how the Rabbis view Jerusalem in
this text.
 In order to get the chanichim thinking about Jerusalem, the madrich/a should
facilitate a discussion utilizing some or all of the following questions:
• What words, people, events, feelings, stories or ideas do you associate
with the word Jerusalem?
• What do you know about Jerusalem from your own experiences of visiting
there, or from your friends/family members visits?
o What was your/their experience like?
Part B: Two "Jerusalems"
 This activity contrasts the two images of Jerusalem embedded in a song
entitled “Jerusalem” by Matisyahu and a second song entitled “Jerusalem” by
rapper Sagol 59 featuring Shaanan Street of the well known rap group HaDag
Nachash.
 The madrich/a should screen or listen to the music video of Matisyahu’s
”Jerusalem (available on the “RILI CD” or from the National Ramah Program
-21-




Bank) and ask the chanichim to think about the images of Jerusalem in the
song and video.
Using the lyrics and commentary to Matisyahu's “Jerusalem” found in
Appendix VIII, Source 2, unpack the images of Jerusalem found in the
Matisyahu song with the chanichim.
The madrich/a should screen or play the Sagol 59 song “Jerusalem (available
on the “RILI CD” or from the National Ramah Program Bank) and ask the
chanichim to think about the images of Jerusalem described in the song.
• WARNING: The middle section of the Sagol 59 song contains an expletive and is
less relevant to the narrative of this session. Skip it by fast forwarding between 1:30
and 2:40 in the song.
Using the lyrics and commentary to the Sagol 59 song found in Appendix
VIII, Source 3, unpack the images of Jerusalem embedded in the song with
the chanichim.
Have the chanichim compare and contrast the depiction of the city of
Jerusalem in the Matisyahu song versus the depiction of Jerusalem in the
Sagol 59 song.
Part C: Two “Jerusalems” in Jewish Texts
 Read and discuss Appendix VIII, Sources 4/5 with the chanichim,
drawing out the idea that there are two “Jerusalems,” (an upper, spiritual
Jerusalem, and a lower, earthly Jerusalem) and that both “Jerusalems” are
part of Jewish tradition.
 Ask the chanichim what connections they see between Appendix VIII,
Sources 4/5 and the two songs they just heard.
-22-
Appendix VIII
1) Babylonian Talmud, Kiddushin 49b
Ten portions of beauty were
‫ תשעה נטלה‬,‫עשרה קבים יופי ירדו לעולם‬
bestowed to the world, nine were
.‫ ואחד כל העולם כולו‬,‫ירושלים‬
given to Jerusalem and one to the
entire world.
2a) Matisyahu's “Jerusalem”
3,000: The first Exile of the Jews/Israelites from the Land of Israel
took place in 586 BCE at the hands of the Babylonians.
Jerusalem, if I forget you,
fire not gonna come from my tongue.
let my right hand forget what it's supposed to do.
In the ancient days, we will return with no delay. Picking up the bounty and
the spoils on our way
We've been traveling from state to state
And them don't understand what they say
3,000 years with no place to be
And they want me to give up my milk and honey
Don't you see, it's not about the land or the sea
Not the country but the dwelling of His majesty
[Chorus]
Rebuild the temple and the crown of glory
Years gone by, about 60
Burn in the oven in this century
And the gas tried to choke, but it couldn't choke me
I will not lie down, I will not fall asleep
They come overseas, yes they're trying to be free
Erase the demons out of our memory
Change your name and your identity
Afraid of the truth and our dark history
Why is everybody always chasing we
Cut off the roots of your family tree
Don't you know that's not the way to be
[Chorus]
Caught up in these ways, and the worlds gone craze
Don't you know it's just a phase
Case of the Simon says
If I forget the truth then my words won't penetrate
Babylon burning in the place, can't see through the haze
Chop down all of them dirty ways,
That's the price that you pay for selling lies to the youth
No way, not ok, oh no way, not ok, hey
-23-
Ain't no one gonna break my stride
Ain't no one gonna pull me down
Oh no, I got to keep on moving
Stay alive
2b) Explication of Matisyahu Song
Psalms/Tehilim 137:5
If I forget You Jerusalem, may my
right hand forget it's cunning, let my
tongue cleave to the roof of my mouth
if I remember thee not, if I not set
Jerusalem above my chiefest joy.
‫ תִּ דְ בַּק‬.‫שׁכַּח יְמִינִי‬
ְ ִ‫ י ְרוּשָׁלָ ִם תּ‬3ֵ‫שׁ ָכּח‬
ְ ‫ִאם ֶא‬
.‫א ֶאזְכּ ְֵרכִי‬+ ‫לְשׁוֹנִי ְל ִחכִּי ִאם‬
Lamentations/Eicha 5:21
Turn us to you God, and we shall be
turned; renew our days as of old.
‫ ְונָשׁוּבָה חַדֵּ שׁ יָמֵינוּ ְכּ ֶקדֶ ם‬4‫ֲהשִׁיבֵנוּ י ְי ֵאלֶי‬
Exodus/Shemot 6:5
I am come down to deliver them out
of the hand of the Egyptians, and to
bring them up out of that land unto a
good Land and a large, unto a land
flowing with milk and honey.
‫ וּ ְל ַהעֲ&תוֹ מִן‬,‫ָו ֵא ֵרד ְל ַהצִּילוֹ ִמיּ ַד ִמצ ְַרי ִם‬
‫ אֶל‬,‫וּר ָחבָה‬
ְ ‫ אֶל ֶא ֶרץ טוֹבָה‬,‫ָאָרץ ַההִוא‬
ֶ ‫ה‬
.‫ֶא ֶרץ זָבַת ָחלָב וּדְ בָשׁ‬
Psalms/Tehilim 121:4
Behold, the guardian of Israel does
not slumber or sleep.
.‫שׂ ָראֵל‬
ְ ִ ‫ִהנֵּה "א י ָנוּם וְ'א י ִישָׁן שׁוֹ ֵמר י‬
Psalms/Tehillim 137:1
By the rivers of Babylon, there we
sat down, yea, we wept, when we
remembered Zion.
:‫שׁבְנוּ גַּם ָבּכִינוּ‬
ַ ָ ‫שׁם י‬
ָ ‫עַל נַהֲרוֹת ָבּבֶל‬
.‫ְבּזָכ ְֵרנוּ ֶאת צִיּוֹן‬
Milk and
Honey:
Dwelling of
His majesty:
Rebuild the
Temple:
About 60:
Burn in the
oven:
Change your
The milk and honey used to describe the Land of Israel in
the Torah is most likely goat’s milk and date honey.
Traditional Jewish theology posits Jerusalem as the
“dwelling place” of God’s presence, the shekhina.
The Temple Mount in Jerusalem was the site of both the
First and Second Temples.
A reference to the end of the Holocaust, almost 60 years
before this song was written.
The memory and trauma of the Holocaust continues to
shape Jewish identity.
According to the Midrash Mekhilta, when the Israelites
-24-
name:
Dark History:
Babylon:
Ain't no one
gonna break
my stride:
where enslaved in Egypt they did not change their names
or language, but stayed true to their tradition.
“Suffering is part of the destiny of the Jews, but so is
repeated joy as well as ultimate redemption.” –Salo W.
Baron
The kingdom that destroyed the First Temple in Jerusalem
in 586 BCE and the symbol for corrupt, oppressive
systems in the Rastafarian religion.
Quote from the classic reggae song “Break My Stride” by
Blue Lagoon.
3a) Sagol 59’s “Jerusalem,” 2007
Three kilometers from the Knesset cafeteria
Three tourists are chilling on a balcony,
A godly quiet when Shabbat begins,
Three polices officers with bulletproof vests next to the Beit Keneset
Kubbe on Friday; Hamin on Saturday
She's Glatt Kosher, under supervision of Badatz
Coming from the bomb shelters
The generation of judgment is on the field
Soldiers on the seam-line pulling triggers like buttons on a remote
Hummus with salad, longings for the Mandate
Traffic jams at Pat Junction, the smell of mint, marijuana and kat
Housing projects that should be torn down,
But refuse to be abandoned
Sometimes you feel like you're just not there.
To the wounded city, in need of a bandage
Where the most romantic place is Ammunition Hill
Can't suppress all the bitter memories
Because its all been hidden deep for twelve years.
[Jerusalem...]
J-E-R-U-S-A-L-E-M
You me, us and them
Y-E-R-U-SH-A-L-Y-M
Now it's us and them
enough already, stop it
A-L-Q-U-D-S
Until when will this continue?!
There is no cycle – only teeth
There is no Holy Presence – only chaos
The city that was promised to heaven is stuck deep in the ground
-25-
I was born in her, grew up in her I raised my children in her
Walking on that Golden Path
Prayer that all the suffering was not in vain.
And I dream that in my lifetime I will see
the day the barriers will fall the day that we will be free,
I have a dream, I have a dream (Arabic), I have a dream (Hebrew),
The day will come, The day will come (Arabic),
The day will come (Hebrew).
Jerusalem...
3b) Explication of Sagol 59 Song
Kubbe:
A delicious Iraqi dish of stuffed dumplings served in soup.
Glatt Kosher:
A type of kosher meat.
Seam-line:
The name for the border between Jewish West Jerusalem
and Arab East Jerusalem.
Pat Junction:
A busy traffic intersection in Southern Jerusalem.
Twelve years: A possible reference to the murder of Prime Minister
Yitzhak Rabin in 1995.
Golden Path:
The path of moderation suggested by the medieval Jewish
Aristotelian, Moses Ammonites.
Knesset:
The name of the Israeli parliament.
Hamin:
A hot stew served by Jews from the Middle East on
Shabbat.
Badatz:
Beit Din Tzedek, an Israeli Orthodox organization that
supervises kashrut
Mandate:
A nostalgic reference to pre-1948 Palestine when the
region was ruled by the British.
Kat:
A mildly narcotic plant chewed throughout Yemen and the
Middle East.
Ammunition
The site of a famous Israeli victory during the Six Day War
Hill:
of 1967, with a great view of the city.
Holy
Alluding to the idea that God’s presence dwells in
Presence:
Jerusalem.
4) Babylonian Talmud, Taanit 5a
What does Hosea 11:9 mean when
he says, “Holiness is among you, and
I will not come into the city.” Is it
possible that “when there is holiness
among you” then “I will not come into
the city”? As Rabbi Yochanan would
say, “God says, ‘I will not come to the
higher [heavenly] Jerusalem until I
come to the lower [earthly]
Jerusalem.’”
-26-
5) Rashi’s (11th-Century France) Comments on Taanit 5a
I will not come to higher Jerusalem:
‫ עד שיהא‬:‫ והכי קאמר‬:‫לא אבא בירושלים כו‬
You should read this: Until holiness
‫ לא‬,‫ דהיינו ירושלים‬,‫בקרבך קדוש למטה‬
dwells among you below, that is to
.‫אבוא בעיר שלמעלה‬
say in Jerusalem, I will not enter the
upper [heavenly] city.
-27-
Peulat Edah One – Movie Night
Tziyud Need:
1. Copy of the movie Giburim Ketanim, (Little Heroes) (the film’s running time
is 76 minutes).
2. Laptop, projector, or speakers (someway to project the music videos).
Introduction:
The quality of Israeli movies has dramatically increased in recent years providing
a fun and engaging way to integrate Israeli culture into a camp setting. This
Peulat Edah involves a showing of the 2006 movie Giburim Ketanim, Little
Heroes. While this session guide provides framing questions for a discussion
after the movie feel free to skip the discussion and enjoy the movie if it is more
appropriate for your crowd.
Goals:
Chanichim will be able to relate to elements of modern Israeli society while
identifying what makes a hero.
Procedure:
Part A: Night at the Movies
 Screen the movie Giburim Ketanim.
 Hand out Israeli style snacks for chanichim to munch on during the movie,
such as sunflower seeds and/or bamba.
 If appropriate for your setting, create movie tickets with assigned seat/row
numbers, replicating an authentic Israeli cinema experience.
  Hold an intermission half way through the movie, again replicating an
authentic Israeli cinema experience.
Part B: Debrief
 Break the edah into small groups and ask the chanichim to retell the plot of
the movie.
 Ask the chanichim if there are any questions about what happened in the
movie.
  Points for the madrich/a to bring up in the discussion with chanichim, making
sure to connect them to the plot and scenes from the movie:
• Alicia and her brother Lev are new immigrants to Israel from the former
Soviet Union.
• Immigrants from former Soviet states make up approximately 1/5 of the
population of Israel.
• While their integration into Israeli society has not always been easy, the
situation for new Jewish immigrants to Israel from the former Soviet Union
has dramatically improved in recent years.
• This movie takes place in the South of Israel, away from the major
population centers of Jerusalem and Tel Aviv.
-28-
While cities like Beer-Sheva and its suburbs continue to grow and prosper,
many smaller towns in the south struggle to maintain vibrant economies
and provide for the welfare of their often lower-class populations.
  Have small groups of chanichim discuss one or several of the following
questions:
• Which characters do you like the most? Why?
• Which characters do you like the least? Why?
• Is there anything that makes this movie particularly Israeli? If so what?
•
Part C: Who is a Hero?
 The name of the movie is Giburim Ketanim or Little Heroes. Ask chanichim
why they think this was the name chosen for the movie.
  Ask chanichim what is means to be a hero, and if they know any heroes.
 Who were the heroes in the film?
 In Mishna Avot 4:1 Ben Zoma says:
Who is a hero? One who conquers
their desires.
•
•
‫איזה הוא גיבור הכובש את יצר‬
Ask the chanichim what they think this means; do they agree with Ben
Zoma?
Have chanichim discuss what aspects or qualities of themselves or their
families they see as heroic.
-29-
Peulat Edah Two – Israeli Mangal
Tziyud Need:
1. Typical mangal food such as: pita, hummus, grilled hamburgers, chicken
wings, Israeli salad, and meat skewers.
2. Guitars/
3. Mangal Music Mix (available on the “RILI CD” or from the National Ramah
Program Bank).
Introduction:
There are few things more stereotypically Israeli than the mangal (BBQ). With a
grill of fresh coals and pita filled with hummus and salad awaiting flaming hot
skewers of meat, Israelis love to BBQ in parks, at home, or even on the street.
During Yom Ha’atzmaut, this is practically a national obsession, and the smell of
BBQ is in the air everywhere you walk. This peulat edah seeks to replicate
elements of the classic Israeli mangal.
Goal:
To have chanichim simulate a fun, relaxing, and filling part of Israeli culture.
Procedure:
 Working with the kitchen staff, try to replicate Israeli themed BBQ food to the
best of your ability.
 Bring guitars and song sheets for an Israeli sing along. This is a great way to
include some of the members of the mishlachat.
  Play the “Mangal Music Mix” (available on the “RILI CD” or from the National
Ramah Program Bank) to enhance the Israeli feeling.
Part A: Make Your Own Pita
 Making pita is a fun and engaging activity and safe when done with the proper
supervision.
 Pita is traditionally made on an open fire, using a large metal stove. This
implement can easily be replicated by taking a large metal wok and inverting it
on a fire.
  Make the dough using this delicious recipe:
• Ingredients:
1. 250 ml (1 cup) of warm water
2. 25 g (1 oz.) of yeast
3. 1 tsp. of salt
4. 2 tbsp. of vegetable oil
5. 500 ml. (2 cups or 17 fl. oz) of durum wheat flour
• Procedure:
1. Dissolve the yeast in a bowl of warm water. Add salt, oil and flour, mix
it, and knead it into dough.
2. Let the dough rise to twice of its size.
3. Divide the risen dough into 8 pieces and shape them into balls.
-30-
4. Then roll the balls into flat and round pita breads (to a diameter of 15
cm or 6").
5. Let the breads rise in a warm place covered with a cloth for about 30
minutes.
• Note: If the amount of dough weighs more than 5 pounds, you will need to
take challah from it. Consult your camp rabbi on how to do this.
6. Have chanichim take a handful of dough and have them flatten it out
until it looks like a piece of pita.
7. Help chanichim to put their dough on the hot inverted wok, flipping it
once every few minutes it ensure both sides are fully cooked.
8. Help chanichim to assemble a delicious pita meal with the other foods
from the mangal.
Part B: Role Play
 As the mangal is underway, have anshei tzevet or chanichim play the role of
and interact with chanichim as various religious, ethnic and culture groups in
Israel. Please note that the idea here is simply to have fun, laugh, and learn a
little about some various snapshots of Israeli society.
  Some examples could include:
1. Na Nachs:
This effusive and joyous group of Brelsov Hasidim are known for endless
dancing in town squares around Israel in an effort to bring joy to all. To play
the role of the Na Nachs, dress in all white and start dancing and singing. Try
to get others to sing and dance with you.
2. Protestors:
Israeli society is very involved socially and civically. One of the ways this is
evident is in the number of people involved in protests for (and against)
various political, social and religious causes. To play the role of a protestor
choose a cause such as vegetarianism, make protest signs, such as
meat=murder (‫ )בשר=רצח‬and protest your chosen cause with chants and
solgans.
3. Old Time Kibbutznik:
As more and more kibbutzim become privatized and embrace elements of
capitalism, the old school kibbutznik is a dying breed. Still, there are plenty of
Israelis born and raised on kibbutzim who embody the socialist ideals of these
collective farms. To play the role of the Old Time Kibbutznik, pull out a pair of
short-pants, kova-temble (pointed hat favored by kibbutznikim), and any
farm/gardening equipment you might have. When interacting with chanichim
talk about how, even though your kibbutz is incredibly prosperous, and you
have a nice house, great food and don't have to work too much, things were
much better in the old days when the kibbutz truly embraced socialist ideals.
-31-
4. Hi-Tech Girls and Guys:
Israel is quickly becoming one of the world's epicenters of hi-tech innovation.
From Google's office in Haifa, to Intel's factories in the South and the
countless start-ups, hi-tech is one of the leading industries in the Modern
state of Israel. To play the role of hi-tech girls and guys, dress in nicer
clothing, wear sunglasses, carry numerous cell phones, and talk incessantly
about the amazing products you are developing and the high profile
companies that are trying to buy you out.
5. New North American Immigrant:
While the majority of new immigrants (olim) to Israel come from the countries
of the Former-Soviet Union, more and more North Americans Jews are
choosing to live in Israel. To play the role of a new North American Immigrant,
speak Hebrew with an American accent while talking about your love for the
State of Israel.
6. Religious Hippy:
A hippy-like aesthetic has been developing within religious communities in
Israel combining, long hair, flowing clothing, and acoustic guitars with a deep
level of spirituality and devotion to God. To play the role of religious hippies,
find long flowing clothing, large kippot, and bandanas to cover one's head,
and walk around singing and playing religious music on a guitar.
7. Make your own:
Feel free to make up your own role to play; just a warning: It is advisable to
say away from negative cultural and religious stereotypes.
-32-
Mekorot for Divrei Torah
D'var Torah Idea One: Jerusalem
1) Babylonian Talmud, Kiddushin 49b
Ten portions of beauty were
bestowed to the world, nine were
given to Jerusalem and one to the
entire world.
2) Babylonian Talmud, Taanit 5a
What does Hosea 11:9 mean when
he says, “Holiness is among you, and
I will not come into the city” Is it
possible that “when there is holiness
among you” then “I will not come into
the city”? As Rabbi Yochanan would
say, “God says, ‘I will not come to the
higher [heavenly] Jerusalem until I
come to the lower [earthly]
Jerusalem.
‫ תשעה נטלה‬,‫עשרה קבים יופי ירדו לעולם‬
.‫ ואחד כל העולם כולו‬,‫ירושלים‬
‫מאי דכתיב )הושע י"א( "בקרבך קדוש ולא‬
‫ משום דבקרבך קדוש לא‬,"‫אבוא בעיר‬
‫ הכי אמר רבי‬,‫אבוא בעיר? אמר ליה‬
‫ אמר הקדוש ברוך הוא לא אבוא‬:‫יוחנן‬
‫בירושלים של מעלה עד שאבוא לירושלים‬
.‫של מטה‬
3) Rashi’s (11th-Century France) Comments on Taanit 5a
I will not come to higher Jerusalem:
‫ עד‬:‫ והכי קאמר‬:‫לא אבא בירושלים כו‬
You should read this: Until holiness
,‫ דהיינו ירושלים‬,‫שיהא בקרבך קדוש למטה‬
dwells among you below, that is to
.‫לא אבוא בעיר שלמעלה‬
say in Jerusalem, I will not enter the
upper [heavenly] city.
4) Matisyahu, “Jerusalem”
fire not gonna come from my tongue.
let my right hand forget what it's supposed to do.
5) Sagol 59, “Jerusalem”
There is no cycle – only teeth
There is no Holy Presence – only chaos
The city that was promised to heaven is stuck deep in the ground
Questions to discuss/answer:
1. What does the idea of two “Jerusalems,” an upper and a lower, mean?
2. How does this manifest itself in modern day Jerusalem?
3. What does Rashi mean when he says that God will not dwell in the heavenly
Jerusalem until holiness dwells in Jerusalem below?
4. What is our role in creating that holiness?
-33-
D'var Torah Idea Two: God
1) Hatikvah 6, “If I Meet God”
Is the thunder your voice?
Is the moon your houses' light?
? ‫האם הרעם הוא קולך? או הירח אור ביתך‬
Are we all alone in the universe?
? ‫האם אנחנו לבדינו ביקום כולו‬
Do you know where we land after
, ‫אולי אתה יודע היכן נוחתים אחרי המוות‬
death?
Is heaven your private property or ? ‫האם גן העדן הוא רכוש פרטי שלך או לא‬
? ‫מניין כל ההשראה הזו שבידך‬
not?
Where do you get all this inspiration
? ‫האם חששת אי פעם שיחיו כאן בלעדיך‬
in your hands from?
?‫היש כל טעם לתפילה‬
Have you ever been worried that
people will live here without you? Is
there any point prayer?
2) Abraham Joshua Heschel
Radical amazement is the chief characteristic of the religious man's attitude
toward history and nature. It is alien to his spirit to take things for granted, to
regard events as a natural course of things.... He knows that there are laws
that regulate the course of natural processes; he is aware of the regularity and
pattern of things. However, such knowledge fails to mitigate his sense of
perpetual surprise at the fact that there are facts at all. Looking at the world,
he would say, quoting from the Psalms, “This is Adonai's doing – it is
marvelous in our eyes.”
3) Dr. Neil Gilman explaining Mordechai Kaplan’s thought
God is a “power” – not a Being, certainly not a personal Being, but a force or a
process. We commonly assume that a noun is out language refers to some
entity. But there are nouns that refer not to entities but to activities or
behaviors. These nouns are really adverbs in disguise: they describe an
activity. The noun “God” is really an adverb parading as a noun. Like the
noun “mind,” for example, it describes a certain manner of activity, this time
an activity within nature.
Questions to discuss/answer:
1. What does it mean to question God?
2. What concept(s) of God to you believe in?
3. What does it mean that Judaism has multiple concepts of what God is?
-34-

Ram Kol - Camp Ramah

Transcription

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