National Scholar Updates

On Friday, September 27, 1935, the Boston Jewish Advocate published an extensive interview with Rabbi Joseph B. Soloveitchik, who had recently returned to Boston following a four-month stay in Palestine. In what is arguably the most comprehensive articulation of his early Zionism—if one takes seriously the citations of the interviewer, Carl Alpert—Rabbi Soloveitchik set forth in this interview his perspective on the role of Orthodoxy in Erets Yisrael.

According to theJewish Advocate, Rabbi Soloveitchik said, “The future of Palestine is with Orthodoxy, just as the future of Orthodoxy lies in Palestine. I make this statement not as a rabbi, but as an objective observer. The recent newspaper announcement that ministers are being sent to Palestine to propagate Progressive Judaism is nonsense. Orthodoxy will be the only form of Judaism in Erets Yisrael.”

Later in the article, Rabbi Soloveitchik predicted that “When Palestine Orthodoxy is well-organized, it will reclaim even those who have gone astray. After all, even among the most radical halutsim there exists a subconscious desire and longing for religious life and observance that temporarily finds its outlet in the redemption of the soil and the renaissance of the Jewish people. If this religious fervor will be cultivated and brought into clear light, it will eventually lead to traditional Judaism.”

Finally, Rabbi Soloveitchik suggested, “It is the task of Orthodoxy to redeem not only the soil of Palestine, but also the souls of its sons and daughters, and bring them within the traditional fold.”

Although there are many dimensions to Rabbi Soloveitchik’s comments, some of which I recently addressed in an article analyzing Rabbi Soloveitchik’s early Boston career, the following article explores each of these statements from the contemporary perspective (inserting Medinat Yisrael for Palestine), asking if Rabbi Soloveitchik’s statements still ring true today, and if they calibrate with the ethos of contemporary Orthodoxy.

Is the future of Medinat Yisrael with Orthodoxy, and is the future of Orthodoxy in Medinat Yisrael?

Rabbi Soloveitchik’s first statement was made at a time when Orthodoxy in the United States still represented the normative religious community—at least in name—for the majority of Eastern European Jewish immigrants. Today, of course, although Orthodoxy is the norm (by law) in Israel vis-à-vis marriage and divorce and is generally adopted as the norm in synagogue life and burial, the layers of resentment felt among the non-Orthodox population are balanced by those who are content with the traditional model. Still, it is not difficult to imagine Medinat Yisrael without Orthodoxy. In fact, many claim that the Orthodox monopoly in the modern state is deleterious to its Jewish and democratic nature.

A number of years ago, I flew on a plane with Effy Eitam, who was then the leader of the National Religious Party in Israel. As I described to him my work within the religious establishment helping secular Israelis navigate religious life, he stopped me and said: “Let me tell you why you won’t ever be successful: The religious Zionist rabbinic leadership has a messianic vision that everyone will be Orthodox. I’m not sure that you are convinced that this is an ideal.”

Many Orthodox Jews remain unsure about Orthodoxy’s universal application among the contemporary Jewish community—especially in Israel. I’m not convinced that religious coercion is viable on the tactical or strategic planes. This certainly throws into question whether the future of Medinat Yisrael is with Orthodoxy.

As to the converse claim of Rabbi Soloveitchik, that the future of Orthodoxy is with Medinat Yisrael, I equally remain unconvinced, notwithstanding my personal decision to live in Israel. A number of years ago, I delivered a paper at the Orthodox Forum in New York about the so-called brain drain to Israel. The argument that many of my contemporaries put forward was that talented young leaders of (Modern) Orthodoxy were making aliya, thus depriving the North American Jewish community of its best and brightest. I argued that I believe Orthodoxy has flourished in North America, notwithstanding the departure of rabbinic leadership such as Rabbi Aharon Lichtenstein, Rabbi Shlomo Riskin, or Rabbi Danny Tropper. In fact, the great renaissance of Orthodox Day Schools and Orthodox synagogues happened after each of these three men moved to Israel.

Ironically, it was Rabbi Soloveitchik himself who—failing to receive the position of Chief Rabbi of Tel Aviv in 1935—forged contemporary Orthodoxy in the United States. I believe that the type of Orthodoxy Rabbi Soloveitchik contemplated might have had exclusivity in Medinat Yisrael, had history unfolded differently. But contemporary Orthodoxy is comprised of so many subgroups that it is hard to imagine that the future of Orthodoxy lies—at least exclusively—in Medinat Yisrael.

Will the religious fervor of the “halutsim” lead to traditional Judaism?

This second assertion of Rabbi Soloveitchik needs to be put in its immediate historical context as well. Just days before the interview in Boston, Rabbi Soloveitchik had paid a visit to Rabbi Abraham Isaac Kook, who was then ailing, and would pass away just before Rabbi Soloveitchik returned to Boston. No doubt this was a dramatic meeting for Rabbi Soloveitchik. (Rabbi Kook had studied with Rabbi Soloveitchik’s grandfather in the Volozhin yeshiva.) During his visit to Israel, Rabbi Soloveitchik had met with a number of students of Rabbi Kook. The statement which relates to a “subconscious desire and longing” may find its anchor in the influence of Rabbi Kook’s thinking on Rabbi Soloveitchik in the mid-1930s.

Whatever the case, today’s contemporary Jewish scene in Israel is a work in progress. There are still elements of theba’al-teshuvah movement of the 1970s, but more and more individuals who have a religious fervor (including those from the Orthodox community) are seeking a new-age type of religiosity that is a far cry from the type of Orthodoxy that Rabbi Soloveitchik espoused (and a far cry from the Orthodoxy that the normative Modern Orthodox community espouses). Sometimes known as ChabaKook (short for Chabad, Breslav, and Kook /Carlebach), this ideology has some connection to halakha but emphasizes the religious ecstatic moment rather than the disciplined cerebral one. It certainly is not “traditional” Judaism. My sense is that this is a phenomenon more central to Medinat Yisrael than to the North American Jewish community.

Again, given the contemporary Orthodox scene, I think there is still a lot of questioning going on in Israel about what is normative Orthodoxy. The ideals (and dreams) of Rabbi Soloveitchik do not appear to be either relevant or able to be realized given the contemporary Orthodox scene in Israel.

Is it the task of Orthodoxy to redeem not only the soil of Medinat Yisrael, but also the souls of its sons and daughters, and bring them within the traditional fold?

The last claim of Rabbi Soloveitchik is remarkable and deserves close attention. In many respects, notwithstanding the commitment to halakha that Orthodox Jews share, this statement reveals a layer of Jewish life not often spoken about. Orthodoxy is not only about kibbush (conquest), but also about kiruv (bringing near).  I imagine it was hard to conceive—particularly in the mid 1930s—that these two notions might stand in opposition. During the last three decades, too much emphasis in the Orthodox community has been placed on redeeming the soil (in the broadest sense of the term), and not enough emphasis has been placed on exposing the non-religious community to the beauty of traditional Judaism. The Modern Orthodox community has expended enormous resources on the settlement movement in Israel, without paying attention to the Jewish lives of Jews in Tel Aviv or Rishon Letzion. These Jewish souls have been exposed to a much more fundamentalist, Hareidi Orthodox approach, speaking in the name of halakhic Judaism. This is a trend that needs to be rectified.

Of course, one could argue that kiruv isn’t an essential part of Orthodoxy, or certainly halakhic practice. But in its broadest sense, Orthodoxy in Israel should see kol yisrael arevim zeh lazeh (all Jews are responsible for each other) not only as a descriptive adage, but rather as an imperative. If one can see Rabbi Soloveitchik’s terminology of “redemption of souls” as a charge to expose rather than impose traditional Judaism within the secular community, then I believe such a responsibility is still central to our community.

The challenges to contemporary Orthodoxy in Israel are enormous, and the implications of modernity and the founding of the State of Israel for traditional Judaism are still being explored in Israel. Notwithstanding the rising political clout of the Hareidi Orthodox parties in Israel, I believe that the Modern Orthodoxy that Rabbi Soloveitchik spoke of still has a place in Israel, and will ultimately play a central role in its future.

At around the time that the State of Israel was being recognized by the United Nations, the Chief Rabbis of Israel wrote a letter in Arabic to the Arab world. The Sephardic Chief Rabbi Benzion Uziel, who was fluent in Arabic, likely wrote this letter that was signed by him and the Ashkenazic Chief Rabbi Yitzchak Herzog.

Although so many years have passed since the formal establishment of the State of Israel in 1948, the message of peace conveyed in this letter has largely been eclipsed by the ongoing hostilities and warfare.

Yom Ha'Atsma'ut, Israel Independence day, is observed this year on Tuesday night April 21 and Wednesday April 22. It's worthwhile to review the words of Rabbis Uziel and Herzog, and pray that the message of peace will prevail...sooner rather than later.

21 Kislev, 5708
"A Call to the Leaders of Islam for Peace and Brotherhood."

To the Heads of The Islamic Religion in the Land of Israel and throughout
the Arab lands near and far, Shalom U'Vracha:

Brothers, at this hour, as the Jewish people have returned to its land and
state, per the word of God and the prophets in the Holy Scriptures, and in
accordance with the decision of the United Nations, we approach you in peace
and brotherhood, in the name of God's Torah and the Holy Scriptures, and we
say to you:

Please remember the peaceful and friendly relations that existed between us
when we lived together in Arab lands and under Islamic Rulers during the
Golden Age, when together we developed brilliant intellectual insights of
wisdom and science for all of humanity's benefit. Please remember the sacred
words of the prophet Malachi, who said: "Have we not all one Father? Did not
one God create us? Why do we break faith with one another, profaning the
covenant of our ancestors?" (Malachi 2:10).

We were brothers, and we shall once again be brothers, working together in
cordial and neighborly relations in this Holy Land, so that we will build it
and make it flourish, for the benefit of all of its inhabitants, without
discrimination against anyone. We shall do so in faithful and calm
collaboration, so that we may all merit God's blessing on His land, from
which there shall radiate the light of peace to the entire world.

Signed,
Ben-Zion Meir Hai Uziel
Yitschak Isaac Ha-Levi Herzog

“Imagination is more important than knowledge.”

—Albert Einstein

“Pyramids, cathedrals, and rockets exist not because of geometric theories of structures or thermodynamics, but because they were first a picture—literally a vision in the minds of those who built them.”

—Historian Eugene Ferguson

Introduction

Art education is rarely prioritized in Jewish Day School curricula. A double curriculum of secular and religious studies often leaves little time for subjects whose importance is “still questioned.” Even in the best of secular schools, art education often survives, but only on a year-to-year basis with the constant threat of being slashed. If not for the monitoring by the education watchdogs and the relentless hard work of art advocates, there would be many artless schools in America and even more artless Jewish Day Schools.

The fact that art is offered in some schools and not others is nothing new. Many administrators or school boards have considered an art program “glorified busywork” and do not really understand the nature of art and its value to society. While no one group can be blamed for this misunderstanding, arguably most everyone who is against art programs rarely cares enough to give the matter of art education serious thought. As a result, the average Jewish Day School graduate, like most secular school graduates, is probably a victim of a passive attitude toward art education that often translates into no art classes being offered. There is a sad irony in this situation because the arts have always played a major role in Judaism. In this essay, therefore, I will argue that it is essential to have an art program in a Jewish Day School, and present ideas for what I think a rich art curriculum should consist of, taking into account limits on time that result from a “double curriculum.”

Before I talk about art education in a Jewish Day School setting, it is important to define what art is. It is commonly held that the definition of art has changed many times since the cave paintings were first created 40,000 years ago. It started with “art is magic,” then moved to “art is beauty and emotion,” then to “art is the artist’s view of the world,” and on and on and on. Each culture has defined art in its own way, depending on the time, the place, and the people who made it. But what is art today, in the twenty-first century, postmodern era? The present accepted definition is, “art is when a person takes any material or substance and uses it to make a statement.” Today, one can take paint, stone, clay, food, newspaper, scraps of metal, wire, cloth, vinyl, egg crates, rubber, or film and use them to make a statement. Anyone who has visited a museum of modern art anywhere in the Western world can attest to the variety of materials being used in unique ways. Like the paintings of the past, postmodern art of the twenty-first century challenges the viewer to think about and analyze what the artist is trying to say. But it may be more demanding than paintings of the past because the viewer may not readily understand the language of an artist who, for instance, uses a few tree branches to make a point.

What distinguishes art from science is that art and creativity are timeless. Science is like a ladder—each year humanity builds upon what it knows and what it has achieved to move forward and upward. When humanity makes progress in science, it usually replaces old techniques and old insights with new ones. Art is only somewhat similar, in that while artists employ techniques that build upon those of their predecessors, viewers do not cease appreciating and finding beauty in what came before. Cave paintings are just as fantastic to behold as a Michelangelo statue, or a Picasso painting, or an Andy Warhol silkscreen of a soup can, or a Frank Gehry piece of architecture. Someone might prefer one style over another, but each is still relevant today and can be appreciated. So with this in mind, why is it important to teach art in school?

Why Is an Art Education Important for Every Child?

Many people do not accept art as an important element in their lives or in the general education of their children. Therefore, there are numerous schools that lack art education, even in the richest and most progressive states.  I am fortunate to teach at a school whose headmaster and administrators value art education, but within many Jewish Day Schools across the country art education is often missing from their curricula. This is always an unfortunate state of affairs, and with budget cutbacks and financial restraints, the problem will only get worse. Therefore it is important to outline a few reasons why every child should have the opportunity of an art education throughout his or her years in school.

I use the term art education to mean a curriculum that combines the teaching of art appreciation and theory with the instruction of hands-on projects—seeing and doing. There are several reasons children benefit from this type of art education. Most broadly, art education can help nurture creativity and critical thinking, which are necessary to excel in a range of disciplines. If people stopped creating or thinking critically, progress in many fields—medicine, engineering, science, or literature would cease. At the same time, art education can encourage healthy risk-taking so that children become comfortable with stepping out of their “comfort zone,” and gain confidence in trying new projects. This ability to come to terms with risk-taking, and sometimes experiencing and recovering from failure, is an important skill-set to learn. Parents who therefore dream of their children becoming doctors or engineers or lawyers should consider that the skills taught in art education can be useful, and critical to, a variety of professional careers.

Aside from benefiting their future professional lives, art education both deepens and broadens children’s understanding of the world around them. Students who take art classes are not only able to appreciate art in museums, they are able comprehend and value the different cultures they come in contact with on a daily basis. Students equipped with this skill are more able to navigate through an increasingly multicultural world and interact intelligently with people of different backgrounds and faiths.

Finally, art education can help improve children’s academic performance. Making art is a uniquely human activity and the making and appreciating art marks an important stage in human intellectual development. In addition, research shows a correlation between studying art and academic achievement. For instance, art education correlated with higher SAT scores, and some studies show that students perform 30 percent better in business when they have taken art classes.[1]

Why Is an Art Education Especially Important in the Jewish Day School Setting?

To make connections.

We marvel at modern-day communication tools; the iPhone, the Internet, Skype, wi-fi, and the digital camera have all facilitated communication and the sharing of ideas. We can be in touch with people living anywhere in the world in a matter of a few seconds. But of course we cannot call or email people who lived years ago. Art is different, as it can put us in touch with civilizations and people that lived thousands of years ago. Art is the voice of what occurred.

Jewish Day School students are especially vested in history, so they can use art to better appreciate their Jewish cultural heritage and see how their forefathers and foremothers lived, as well as get a sense of the other civilizations of the ancient world. The art tells the story. Whether it is an ancient menorah, a ceramic jar, an Assyrian animal carving, an Egyptian tomb painting, a Babylonian ziggurat, or a Greek mosaic, art puts the viewer in direct contact with the past.

To nourish the soul.

How might a student feel when at the Kotel for the first time, or when he or she learns about the horrors of the Holocaust? The history and stories of the Jewish people can certainly open profound as well as unsettling emotions and feelings. In an art class, students can express their feelings and emotions and make a statement through the visual arts.  It is a place where they can incubate their thoughts without the pressure of a test. They can get lost in thought as they make a clay bowl; as they feel the wet clay slip through their fingers, they can find themselves. But it is where they can also explore their values and create a visual image that is reflective of their beliefs and concerns. For example, they can design a poster to express the injustice of the kidnapped soldier Gilad Shalit.  Nourishing the soul of a Jewish child has to include the arts as a way of integrating the life cycles, the emotions, the battlefields of Jewish history, and the spiritual meaning of our traditions. It is especially important and is a way of staying connected to Israel as well as the outside world.

To learn respect.

The world is filled with human rights violations, prejudice, discrimination, gender inequality, anti-Semitism, ethnic hatred, and war.  Art curricula can enlighten students both about their own culture, as well as the cultures of the world around them. The advantages of a Jewish education are enormous. But there is a downside to it. Day School students often grow up in an environment that is just like theirs, and they often miss the opportunity to mingle freely with kids from other backgrounds and lifestyles. An art program is a great way to learn about other cultures. This is increasingly important because Jewish people play on the world stage, and so it is essential that they be comfortable with other cultures for business, in politics, and for pleasure. For example, doing a Chinese landscape painting and along the way understanding the origin of this style of painting can help a Jewish Day School student learn about the symbolic meaning of the style and the culture within which it developed. Instead of laughing, which kids normally do when they see something that is bizarre or strange to them, if they have knowledge of what they are looking at, they can begin to respect different cultures. In the end, they will respect themselves as well for being culturally literate. Museum visits with observations and explanations are therefore very important. Worksheets, writing and sketching in the museum are wonderful ways to get children to ask about what they see.

To develop an interest in the aesthetic dimension of life.

Somehow a sense of aesthetics sometimes gets lost in the observant Jewish family tradition. Why? Does a sukkah have to be pre-fab and made of plastic? Does everyone’s wedding invitation have to look similar? Can a menorah be made from copper plumbing parts or fire bricks?  Judaica that is creative not only brings a smile to everyone’s face, but also can make them think more about the mitzvah. Holidays and semahot become more exciting and inspire more reflection when the Judaica is unique. Why does creativity tend to get lost in the tradition? This issue is something that I never quite understood, but is certainly a valid argument for a substantial art program in the Day School setting. There are endless possibilities for new and different ideas while keeping with tradition.

To take risks.

To become a creative person, one has to take risks, come up with new ideas, and have the tenacity to follow through with the creative process. In Jewish Day Schools, taking risks, or trying something different, is often avoided. More broadly, thinking and problem solving is becoming easier to avoid in the age of computer technology. It’s just easier to Google your way from start to finish. What is getting lost, therefore, is the teaching of problem solving and imparting the confidence in students to take risks. It is an especially important skill to have the courage to create something, change it, revise it, critique it and work with it. It doesn’t happen instantly. You have to work it through. That is the nature of the creative process. And you might get a great idea that just doesn’t pan out and that is okay too! It is just as important to learn from mistakes.

A Proposed Art Curriculum in the Jewish Day School

Ideally, if Day School art educators work together, a seamless art curriculum could be developed that would run from grades K–12 and that follows state standard guidelines.

Knowledge and skills would be built on prior experience, but would be revisited allowing for mastery. This is called a spiraling approach. Kids need to be re-exposed to the information and the experience for education and confidence building to work best.  The following are proposed standards, which are based, in part, on some baseline standards set by New York State:

Standard 1: Students should participate in the arts and make works of art that explore different kinds of subject matter, topics, themes, and metaphors. Students will understand and use sensory elements, organizational design principles, and expressive images to communicate their own ideas in works of art.

Standard 2: Students should know and use a variety of visual art materials, techniques, and processes and become aware of the many options and careers in the arts.

Standard 3: Students should respond critically to works of art connecting the individual work to aspects of human thought. They will learn to reflect on, interpret, and evaluate works of art using the language of art criticism.

Standard 4: Students should develop an understanding of the personal and cultural forces that shape artistic communications and how the arts shape the diverse cultures of past and present society. They will explore art and artifacts from world cultures and discover the roles that art plays in the lives of a given time and place. They will use art to understand the social, cultural, and environmental dimensions of human society.

With these standards as a guide and with the limited amount of time for art classes, I would propose the following:

K–2^nd grade: An introduction to the different art materials and techniques, such as painting, sculpting, and printmaking. The emphasis should be on experimentation and exploration. Children should begin to feel confident with the materials. There should be a focus on Jewish themes, such as the holidays. Examples: a clay hannukiyah or a tzedaka box.

3^rd–5^th grade: An introduction to the elements of art, which are line, shape, form, color, value, texture, and space. Basic observational drawing skills and modeling skills should be introduced, as well as an introduction to the work of various artists.  Jewish themes should be used whenever possible. Examples: scenes of Israel painted in acrylic paint on canvas, three-dimensional soft sculpture.

6^th–8^th grade: Design principles should be introduced, such as balance, movement, rhythm, contrast, emphasis, pattern, unity, proportion, and variety. This is the language and grammar of art. Students in middle school should be given the opportunity to delve deeper into the art and culture of other lands as well as learn about the art of the Western world. An overview of the art movements as well as a close study of one of the artists should be explored. Examples: Chinese hand scrolls, hard-edge paintings, Picasso cubist portraits, pop-art paintings, the mosaic and South American rain sticks.

9^th–12^th grade: One unit of art is needed for a high school diploma and the choice is one of the four arts, which include dance, music, drama, or the visual arts. Students who choose fine arts should create a collection of artworks in a variety of media, based on assignments that encourage them to explore various ideas and viewpoints. Teachers should use rubrics for evaluation. College portfolios should be prepared for those students seeking admission to university art schools. Examples of projects: graphic design, lithography, computer graphics, poster design, and experimental sculpture.

Conclusion: To the Source

The center of our Jewish spirituality was the Holy Temple and from the beautiful biblical descriptions we know that there was an emphasis on aesthetics.  As it’s mentioned in the Torah, “Let them make a Holy Shrine that I may dwell amidst them” (Exodus 25:8). The descriptions in this part of the text tell us that the Israelites procured such materials as gold and silver along with fine artisanship, such as weaving, dyeing, and the setting of jewels. The Torah prescribes in detail all the fine materials to be used to build the Temple including the specific measurements and amounts. One could only imagine how beautiful it all was—a true work of art.

In the time of the Temple, Judaism’s expression of faith was fundamentally connected to the arts. And so it should be today as well. There is a concept in Judaism of “hidddur mitzvah”—beautifying the mitzvah. It is praiseworthy to not just fulfill the commandment, but to embellish the mitzvah with additional beauty, so as to express our love and respect for it. It is our responsibility as a community to continue that aesthetic journey with our children so that they may express their faith and so that they can appreciate and participate in the arts throughout their lives. After all, out of the Jewish Day School might come a great architect, industrial designer, fine artist, art teacher, graphic designer, interior designer, curator, art conservationist, art historian, commercial artist, fashion designer, frequent museum visitor, or art collector. Hopefully all of our children armed with a good art education in their Day School years will become lifelong participants in the creative process as well as the future caretakers of all of humanity’s artistic treasures.