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October 9, 2003

Why I Voted For Arnold

First a disclaimer: I have never met Arnold Schwarzenegger, have never spoken to him, was never contacted by his political people, no one ever asked me to support him, or offered me money to do so. I supported him because I respect him and because I am convinced that he will be good for California. In fact, if I may brag just a little, I started predicting that he would be the next governor of California many months ago, when only a few hard-line nuts seriously considered that a recall could be successful. I didn’t think/hope that Gray Davis would be recalled. I just was sure that Arnold would run and win the next race.

I knew a lot less about him at that time than I do now but one thing was clear: Arnold Schwarzenegger is a winner. Always has been and always will be. And he won on Tuesday by continuing to use his abilities, his intellect and his will. The fact that he has a world-class body and looks doesn’t hurt, but I am convinced that a man with his mind, energy and drive could be confined to a wheelchair and still be a success.

Arnold came to America in 1968. He was 21 years old — no money, no English, no education, no wealthy parents or friends to help him. And look at him now: a multimillionaire businessman, a movie superstar, married into American aristocracy, practically unlimited White House access by both Democrats and Republicans. He will be the governor of a state with a population four times that of his native Austria. Not too shabby, right?

Yes, when he arrived in the United States he already had a reputation as an up-and-coming bodybuilder, but obviously he had much more. After all, there are probably hundreds of bodybuilding champions and all they have are wonderful memories of past triumphs.

The Los Angeles Times, to put it mildly, is not overly sympathetic to Arnold. Its lengthy Schwarzenegger biography disdainfully noted, in an uppity sneer, that he had amassed a hodgepodge of credits in the 1970s by taking classes at Santa Monica college and UCLA extension classes. Excuuuse me? Is this something to be sneered at? He had the discipline and the will to workout hour after hour each day, tried out — successfully — for small parts in B-movies where his part had to be overdubbed in English and he still found time to study and amass enough credits to eventually get a degree in international business and economics from the University of Wisconsin in just one year. Many years later he was awarded an honorary doctorate by his alma mater.

Arnold never looked back — he concentrated on looking ahead, achieving and succeeding. He became a very successful real estate investor, a brilliant businessman, a philanthropist who gives many millions to charity and pays many millions in taxes every year. No, he didn’t graduate from Yale or Harvard, and maybe that is a good thing when you consider some of their graduates.

The media persist in portraying him as a muscle-bound ignoramus, a show business shell with little substance. The media is wrong. Julia Roberts has been quoted as saying that, “Republican can be found in a dictionary between ‘repulsive’ and ‘reptile.'”

I can’t picture Arnold ever saying that a Democrat is between “despicable” and “disgusting.” He has more class — and brains.

A few weeks ago I was surfing the channels and came across an interview of a local state senator on Fox News. I didn’t even hear the question that was asked, just the answer: “Do you really think that at a time when our budget deficit is $8 billion, that I should worry about an insignificant $10 million?”

Insignificant $10 million? And the reporter took it in stride. This is Sacramento’s attitude to your dollars at work. Schwarzenegger had to work for every dollar he made. His attitude is different, and his abilities impressive.

I’ve long thought so, and now, it seems, millions of California voters agree.

Welcome, governor.


Si Frumkin is chairman of the Southern California Council for Soviet Jews.

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I’m Dreaming of My School’s Sukkah

The sound of metal folding chairs scraping against rocky parking lot asphalt always gives me the chills — but only in a good way.

To me it’s the sound of Sukkot in the Shaarei Tefila sukkah, where I ate soggy tuna sandwiches and carrot sticks out of rumpled paper bags for most of my childhood Sukkots.

Days before Sukkot, my friends and I would leave our classrooms at Yavneh Hebrew Academy and parade down Beverly Boulevard to Shaarei Tefila, where we would sit in the palm-dappled sunlight gluing bright construction paper strips into garlands. We would wrap those chains through the schach and all around the plywood walls, where scraps of faded decorations clung to staples from years past. Sometimes we would attach all the stretches of garland together, seeing just how far we could make that chain snake along the sukkah walls.

In my early childhood, before my family started building our own sukkah, this was Sukkot for me.

These are memories that most Orthodox day school children of today won’t have, since day schools started closing for Sukkot in the last 10 or 15 years.

As a working mother, I find the eight-day vacation to be an inconvenience at best, a disaster at worst — it comes a few weeks into school, just when kids have finally transitioned into their new environment.

But as a day school graduate, I am hit much harder by the loss of Sukkot at school and the lifelong memories and positive associations that will slip away because of it.

During Sukkot we could always count on a special field trip and at least a couple hours worth of sukkah hopping. My Yavneh classmates and I would chatter along Martel Street, up Fuller and down Alta Vista, pulling carob pods off trees and visiting sukkahs of classmates and even teachers (they had houses and families and life out of school?). At each stop we got a treat — dates, ice cream, candy — and usually a bit of Torah and a song or two. We benched lulav, saying the blessing and shaking the flittering palm and twisting the fragrant etrog.

Sukkot is a holiday whose physicality can’t be denied. It’s all about where you are sitting, what you are smelling, touching and tasting. It’s about guests and community and inviting people in.

All of that sensory input has the inevitable effect of penetrating through to your soul, making the rituals deep and memorable. It’s why Sukkot, to this day, is my favorite holiday of the year, why I still sit down with my kids to cut the construction paper into strips and tape them into interlocking rings.

Rabbi Baruch Sufrin, the new dean at Harkham Hillel Hebrew Academy, said he too laments the loss of Sukkot in school.

“When you experience sitting in the sukkah, decorating the sukkah, not only with family, but also with your friends, and visiting each other, and sukkah parties — what happens is you actually feel it and you actually internalize the message of Sukkot,” Sufrin said.

Rabbi Zalman Uri, head of the Orthodox day schools division for the Bureau of Jewish Education, said the change came about to rectify a situation that was considered a halachic compromise. While most of the halachic prohibitions in effect on Yom Tov don’t apply during Chol Hamo’ed, the intermediate days of Sukkot, the rabbis wanted to be sure that the days were still recognized as mo’ed — festive. They prohibited certain actions — writing, commerce — unless there was a significant loss that would be incurred.

When the Yeshiva Principals Council originally considered the matter under Rabbi Uri’s direction decades ago, they came to the conclusion that what would be lost was the opportunity for children who did not have sukkahs at home to celebrate Sukkot. They decided to keep the doors open.

“Now times have changed — thank God for that,” said Uri. “We have a good number of parents — the majority — who have a sukkah and lulav and etrog at home, so the rationale is no longer relevant.”

Add to that the fact that the staggered days between Yom Tov were usually taken up with things like a longer davening and special activities for the holiday, leaving less time for real academics, and there is enough there to close the school doors.

But that also closed the doors on a joyous, hands-on experience that surely had more impact than sitting in a classroom learning about which greens go where on the lulav, and in what order it gets shaken.

The Conservative and Reform schools still meet on Sukkot, knowing, perhaps, that many of their students don’t have sukkahs at home, but also recognizing that Sukkot is one of the few chances in the year to have a living holiday workshop.

“Rather than teaching about Sukkot, we do it,” said Rabbi Elissa Ben-Naim, Judaic director of the elementary school at Wilshire Boulevard Temple. Aside from eating in and decorating the sukkah, students have music, storytime and reading groups in one of the school’s two sukkahs.

“If you think of it and treat it as a natural extension of the classroom, it becomes just that,” Ben-Naim said.

Back in the Shaarei Tefila sukkah, by the end of the week the construction paper red had faded to pink, the green to a queasy yellow. We never tried to save those decorations from year to year, knowing we would be back the next year to make fresh ones.

Then, one year, the students didn’t come back to continue the tradition and the chain was broken. And that’s too bad, because there’s a whole pile of construction paper waiting from some good, strong glue to keep it together.

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Getting Stuffed on Sukkot

“Have you ever noticed how plump autumn foods are?” asked my 9-year-old daughter two decades ago as we passed a sukkah, a leafy hut, locked behind the gate of a Manhattan synagogue.

“You mean the peppers, pumpkins, eggplants, apples and squash?” I said, staring at a farmers market worth of produce dangling from the sukkah’s flimsy walls.

Outside the synagogue’s iron bars, we looked from afar but could not touch or smell the year’s final harvest, a sight more brilliant than fall foliage in New England. Dwarfed by high rises in a city lined with concrete, we were still attached to Judaism’s agrarian roots.

This scene was a far cry from what I recalled from my childhood. During the 1950s, the sukkah at my suburban synagogue was open all day to people who wanted to step inside. Each evening, the sisterhood women carried steaming pans of stuffed peppers, squash and eggplants to the backyard sukkah, where members of the congregation shared a communal meal. Many of the dishes they prepared entailed stuffing one plump vegetable inside another. Were these women merely paying homage to the garden’s last blast of the season, or was there a deeper, perhaps unconscious meaning to the traditional Sukkot fare they prepared year after year?

“The most common Sukkot dishes are filled foods, particularly stuffed vegetables and pastries, symbolizing the bounty of the harvest,” wrote chef Rabbi Gil Marks in his cookbook, “The World of Jewish Entertaining” (Simon & Schuster, 1998).

Over the centuries, Jewish cooks have gutted and chopped nearly every edible plant species, mixing the pulp with onions, breadcrumbs, matzah meal, meat, spices and assorted vegetables and fruit. They then stuffed these aromatic concoctions inside the vegetables’ cavities, roasting them to create heavenly results.

During the weeklong celebration of Sukkot, people eat their meals in a sukkah, or temporary hut, and holiday recipes call for seasonal produce.

Often migrating throughout their history, Jews both shared and borrowed cooking techniques from local people wherever they settled.

“In the Hellenistic world of Greek and Roman dominance, stuffed foods were prominent features at banquets,” said Corrie Norman, chair of the department of religion and director of the Rome Program at Converse College in Spartanburg, S.C. Filling an already full-looking food, such as a fig, was a double way of indicating celebration and abundance. A common sweet throughout the Sephardic Middle East is a nut-filled date.

“Jews picked up on and advanced the significance and artistry of celebratory stuffed foods,” Norman said. “For example in modern Rome, stuffed fried vegetables are associated with Jewish origins.”

This group of recipes is called alla Giudia (in the Jewish style). While this vegetable-stuffing technique has fused with Roman cuisine, its name credits its Jewish origin.

A former “semiprofessional” cook, Norman is currently combining her enduring passion for food with her studies in religion and history. As an affiliate of the Harvard Pluralism Project, she coordinates student research on food, meaning and gender.

“Fruits, vegetables and their harvest are the realities of fertility,” Norman said. “Roundness or fullness also signify fertility, which also means life.”

Throughout time, there has been a link between agriculture and fertility, the harvest and birth. Stuffing one food inside another at the end of the growing season underscores this point.

“Stuffed squash is full and round,” Norman said. “It is full of mysterious, wonderful ingredients, hidden initially but eventually bursting forth.”

She explains that whether most people are aware of it or not, they understand the significance of a symbolic food, such as stuffed cabbage, by its taste and its presence — or absence — on the Sukkot table. They may associate that sweet apple strudel of their youth with their mother or grandmother.

“That form of embodied knowing — often not rational or conscious — is key to sustaining symbolic meaning,” Norman said.

This is one reason why many people continue to prepare family recipes on holidays, when they could more easily order the entire menu from a deli or restaurant, Norman explained.

“I wouldn’t be surprised if a Jewish grandmother, making her stuffed eggplant from scratch, felt that going to all that trouble in a day of convenience foods somehow helped make Sukkot special for her family,” she said. No doubt, after she is gone, her family will savor their memories of her and the special eggplant dish that she prepared, which connects them to their Jewish ancestry and the mystery of the harvest.

This must be why when the season’s first chill penetrates my sweaters, I reach for a booklet of holiday recipes that my grandmother gave me in desperate hope that I’d keep a Jewish home. That autumn of 1968, I was a 20-year-old in miniskirts, indifferent to her concern. I must have hurt her feelings when I left that booklet on her coffee table. But undeterred, she mailed it to me anyway.

Today as withered leaves blow across the sidewalks of New York, I think of my grandmother as I head to the nearest Korean market, where at Sukkot, the onions are their most pungent, the squash bulging and beautiful and the cabbage ranging in color from green to purple. I wish she were still alive so I could tell her that I make the stuffed cabbage and squash recipes from that booklet, which is now wrinkled and yellowing with age.

I remember her as a portly woman with a kind heart who urged her family to eat more than they cared to. Spiritually connected to Sukkot, she was a good Jewish grandmother who insisted that her loved ones leave the table completely satisfied, if not a little stuffed.

Holishkes: Stuffed Cabbage

1 large cabbage

Freeze cabbage overnight. Defrost completely (about 4 hours). Gently pull off leaves from half of the cabbage, about 12. (Save remaining cabbage for soup or other recipes.) Don’t worry if leaves tear. Cut away their course center spines and discard. Cut larger, outer leaves in half.

Sauce:

2 15-ounce cans tomato sauce

Juice of 2 lemons

2 tablespoons white vinegar

1 1/2 cups honey

1 cup red wine

4 cloves garlic, minced fine

Salt and pepper to taste

2/3 cup raisins

Place all of the sauce ingredients, except the raisins, in a saucepan and bring to a simmer on a medium flame.

Remove from heat and stir in raisins. Reserve.

Meat Stuffing:

1/3 cup raw rice

1 pound chopped beef

1 egg, beaten

1 tablespoon dill, minced

Toothpicks

No-stick spray

Prepare rice according to directions on package.

Combine first four ingredients in a bowl, mixing well.

Place a heaping tablespoon of meat mixture on cabbage leaves, selecting a spot away from tears and where it nestles well.

Gently roll leaves around stuffing, tucking in edges and sides. Fasten with toothpicks in strategic places.

If stuffing mixture remains, roll it into meatballs.

Coat a large roasting pan with no-stick spray. Place cabbage rolls and meatballs inside, layering if necessary. Pour sauce over the top, making sure it dribbles between all cabbage rolls. Simmer on a low flame for 90 minutes, until sauce thickens slightly and meat is well done. Serve hot. Recipe can be prepared ahead and reheated on a low flame.

About 12 entree-sized portions, plus several meatballs.

Vegetable Curry Stuffed Peppers

2 potatoes, peeled

1 cup walnuts, chopped

8 peppers: Select ones with flat bottoms so they don’t topple during cooking. For eye appeal, choose red, yellow, green and orange peppers.

3 tablespoons cooking oil

3 large onions, diced

8 cloves garlic, minced

19-ounce can Cannellini (white kidney beans), drained in colander

4 tomatoes, seeds removed and diced

4 tablespoons parsley, minced

3 teaspoons curry powder

2 teaspoons cumin

3/4 teaspoon turmeric

Salt and pepper to taste

no-stick cooking spray

15-ounce can vegetable broth

1/2 cup white wine

Cut potatoes into chunks and boil until soft. Drain.

Roast walnuts at 350 F until light brown, about two to three minutes.

With a knife, cut a circle around pepper stems, large enough to insert stuffing. Discard stems. Cut away interior fibers. Rinse with cold water to flush out seeds. Place upside down to drain. Dry skins with paper towels.

In a large pot, heat oil on medium flame. Sauté onions and garlic for one minute. Mix in potatoes, walnuts, beans, tomatoes, parsley and spices. Stir for three minutes.

Coat an ovenproof pan with cooking spray. Preheat oven to 350 F.

Spoon enough vegetable mixture inside peppers so it bulges into a dome over their tops. Arrange peppers in pan. Gently pour broth and wine into pan, surrounding but not saturating peppers.

Roast for 45-60 minutes, until peppers soften and pucker and vegetables on top turn golden brown. Serve hot or at room temperature.

8 servings.

Autumn Harvest Acorn Squash

No-stick spray

2 1/2 pounds acorn squash

5 carrots, peeled and coarsely diced

1/3 cup chopped pecans, toasted for 2 minutes until brown

1/2 teaspoon cinnamon

1/4 teaspoon cardamom

1/4 teaspoon ground nutmeg

1/3 cup dried cherries

3/4 teaspoon salt or to taste

1/4 cup brown sugar

Preheat oven to 350 F. Spray Pyrex baking pan with no-stick spray.

Cut squash in half along one of the grooves on its skin. Remove and discard seeds. Place squash in pan flesh side down and skin side up. Pour water into pan 1/2 inch deep. Bake for 40-45 minutes, or until flesh is soft. (While baking, check water level and add more if too much evaporates.)

Meanwhile, steam carrots until soft, about three to five minutes.

When squash is ready, cool for five minutes and remove from pan. Gently scoop out flesh with a spoon, being careful not to rip skin. Place in a bowl. Add remaining ingredients, mixing well.

Spoon mixture into squash shells and serve immediately.

6-8 servings.

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Literary Offerings to Harvest Your Brain

As I write this article, Hurricane Isabel has come and gone; its destructive force headlined the news, offering a strange but appropriate counterpoint to writing about children’s books on Sukkot and Simchat Torah. In today’s world, these holidays, following on the heels of Yom Kippur, remind us of the swift changes life brings and underscore the fragile nature of our security. Through stories, we can find shelter in the joy of offering hospitality, in helping others, in relishing happiness when we can and in acknowledging human courage and endurance in the face of trouble. These are all themes to explore as you sit, rejoicing with your children and guests, in your sukkah.

Books About Booths, Building, Bonding and Blessing

Rochel Groner Vorst’s “The Sukkah That I Built” (HaChai, 2002, preschool) is a lively Sukkot story based on the rollicking rhythms of “The House That Jack Built.” Colorful illustrations by Elizabeth Victor-Elsby humorously contradict the young narrator’s version of how his family’s sukkah was built. The work introduces holiday vocabulary, shows how to build a sukkah and makes family dynamics pretty funny.

Cooperation is the underlying message in “It’s Sukkah Time!” by Latifa Berry Kropf, illustrated by Tod Cohen’s photographs of children in a synagogue preschool (Kar-Ben, 2004, preschool). Cute kids and their teachers build a sukkah and celebrate the season. Even when it rains, they don’t mind, thinking of next year’s good harvest.

Speaking of rain, for those in moister climes, Susan Schaalman Youdovin has written “Why Does It Always Rain on Sukkot?” illustrated by Miriam Nerlove (Albert Whitman, 1990, 4-8). In this fable, when all the Jewish holidays are blessed with special gifts by the chief angel, Sukkot, believing he has been overlooked, starts to cry. Then he learns his gift is too large to fit indoors. Everyone rushes outside to celebrate his lovely booth and the lulav and etrog it contains. Now, the story goes, each harvest time Sukkot remembers the sadness of feeling forgotten and weeps again, his tears falling as raindrops to the earth.

Aydel Lebovics concentrates on the mitzvot of lulav and etrog in his picture book, “Zaydie’s Special Esrogim,” illustrated by Dovid Sears (Merkos L’inyonei Chinuch, 1991, 4-8). Though the illustrations are not enthralling, we’re provided with a thorough introduction to the assembly and use of these special symbols, as well as to the concept of tzedakah. Includes a glossary of Hebrew and Yiddish words.

“Night Lights: A Sukkot Story” by Barbara Diamond Goldin (UAHC Press, 2002, preschool — 8) was originally published in 1995, but this new edition has softer illustrations by Laura Sucher. Daniel tries in vain to hide his fear when he and his big sister sleep in the sukkah alone for the first time. He finds courage when she encourages him to consider the stars overhead as eternal night lights, and falls asleep thinking of his ancestors looking at the same stars long ago.

Books About Hospitality and Helping

Welcoming the ushpizim introduces the idea of hospitality’s importance in Jewish life. One example is “Who’s That Sleeping On My Sofa Bed? A Tale About Hospitality” by Ruby M. Grossblatt (HaChai Publishing, 1999, 3-8) with simple pleasant pictures by Sarah Kranz. Yoni loves the comfy new sofa bed his parents bought but seldom gets to sleep on it because so many visiting rabbis, sofers and others stay overnight in the Block’s welcoming home. When he thoughtfully gives up his turn on the bed to his Bubbie, his parents decide he is ready for a bigger bed of his own.

“Pot Luck” by Tobi Tobias (Lothrop, Lee & Shepard, 1993, 4-9) and “A Song for Lena” by Hilary Horder Hippely (Simon & Shuster, 1996, 5-9) emphasize the importance of sharing the best we have with others. In the first, a granddaughter helps prepare “pot luck” for a visit by an old friend; in the second, Lena’s grandmother tells of how sharing fresh-baked strudel with a beggar in Hungary brought her family a very special gift in return.

Two outstanding books for sensitizing children to the fragility of other people’s lives are “Fly Away Home” by Eve Bunting (Clarion Books, 1991, 5-10), the story of a homeless boy and his devoted father who find temporary shelter in Los Angeles’ airport, and “Uncle Willie and the Soup Kitchen” by DyAnne DiSalvo-Ryan (Morrow Junior Books, 1991, 4-8), a visit to a soup kitchen through the eyes of a young boy whose uncle volunteers there.

“Partners” by Deborah Shayne Syme (UAHC, 1990, 5-9) and “Mitzvah Magic” by Danny Siegel (Kar-Ben/Lerner, 2002, 8-14) both provide specifically Jewish ways to become God’s partners through acts of tikkun olam. Siegel provides a great variety of suggestions and organizational contacts.

Torah as the Source

Finally, celebrate Simchat Torah by reading “When Zaydeh Danced on Eldridge Street” by Elsa Okon Rael, illustrated by Marjorie Pricement (Simon & Shuster, 1997, 4-8), an Association of Jewish Libraries Sydney Taylor Award winner. Take a joyous glimpse through young Zeesie’s eyes of her stern grandfather who is transfigured by his love of Torah and of her as he dances with the scrolls on Eldridge Street.

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The Lulav, the Etrog, the Medicine Pipe

For many years, I used to have long talks with Anselmo Valencia, the Chief of the Yaqui Indian Nation, about the similarities and distinctions between the beliefs and practices of Native American cultures and Judaism. Similar discussions have taken place over the last 10 years between numerous rabbis and Grandfather Wallace Black Elk, a Lakota Elder. But the link between these cultures was all brought home to me a few years ago when my neighbors saw me blessing my Sukkah with the Four Species, and thought I was doing an “Indian” ritual. Suddenly, I realized the amazing similarities between the prayers of a chanupa, or medicine pipe (filled only with tobacco, let’s be clear on that issue early on), and the waving of the lulav and etrog. Both practices are so incredibly important to their respective cultures, and both are so beautiful. But what is amazing in some ways is how similar the understandings, intentions and practices are surrounding these ritual objects.

The Sukkot liturgy specifically tells us that our intention is to be the “unification of the name of the Holy One.” Similarly, Nicholas Black Elk (Lakota Elder of the early 20th century) spoke of how the ceremony of the chanupa unifies the “four spirits” that “are only one spirit after all.” While Rabbi Noson (Rebbe Nachman’s disciple) taught that the waving of the Four Species is to “reveal God’s kingship to all humanity,” Native peoples around the country set their intention on the chanupa as being “Mitakuye Oyasin”… “for all relations.” As Black Elk prays with his pipe, he shouts to God, “This is my prayer; hear me!” How often do we Jews hear that phrase throughout our services?

The construction of the chanupa and Four Species is nearly identical in many ways as well. There are many symbolic meanings for the lulav and etrog among Jews, and it is commonly accepted that among other things they represent the “four worlds,” the letters of God’s sacred four letter name, and the backbone, eyes, lips, and heart of a human being. Native Elders teach of the chanupa as being composed of the “four worlds” of mineral (the bowl is made of stone), plant (the wooden stem), animal (the stem is usually wrapped in animal skin) and human (it is the human’s mouth which physically touches the pipe). The chanupa is considered a symbol of all aspects of Creation.

The lulav is traditionally considered “masculine” with the etrog being “feminine,” and the Bahir teaches that the unification of them is symbolic of the unification between the male “brooks” and the female “sea.” When a pipe-carrier places his pipe together, it is with the understanding that he is unifying the feminine energies of the bowl with the masculine energies of the stem. Both “female” objects of bowl and etrog are held in the left hand, and both the lulav and the pipe stem are held in the right hand as the unification takes place. Both cultures place great value on the “integrity” of the objects, and in both spiritual traditions the items cannot be used if they are stolen from another or if they are physically damaged in any way.

Even the ways the objects are used are consonant with each other. We wave the Four Species in six directions — right, left, ahead, up, down and back. Many tribal traditions teach that the smoke of the chanupa must be blown three times to the four directions, and then above “to Grandfather Sky” and down “to Grandmother Earth.” Both the Jew and the Native American become the catalyst that combines all the elements into all the directions, and both individuals are more centered within themselves and in harmony with all of Life around them as a result of their spiritual practice with these ritual objects.

Even internal “discussions” about the practices are similar. Talmud tells us that the School of Shammai prohibits the carrying out of the lulav into the public domain, while the School of Hillel allows it (Betzah 1:5). Similarly, there are some tribal traditions that allow the use of the chanupa in large public gatherings of prayer, while others believe it is a tool only to be used privately or with the immediate family.

Does the great number of similarities between the two spiritual practices mean that they have the same historical root, and that the traditions are connected in some way? Probably not. More likely, they are both a reflection of authentic beliefs, experiences, and awareness translated into rituals that actively affect the individual user and culture. Different cultures have found similar ways of accessing the same truths and teachings about life and God, and both are incredibly powerful and awakening.

Many Native Elders teach that each individual should learn to pray with the chanupa. As Jews, it might be beneficial on every level if we all performed the mitzvah of waving the lulav and etrog, for our own personal benefit and for the sanctification of the Name.

Shanah Tovah.


Michael Barclay teaches ethics at Loyola Marymount University, and is a student at the Academy of Jewish Religion, Los Angeles.

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New UCLA Sukkah Is a Work of Heart

As Sukkot approached, UCLA Rabbi Chaim Seidler-Feller was reluctant to take Hillel’s old canvas-and-metal sukkah out of storage.

“I felt we were in a new building,” he said of the $10 million Yitzhak Rabin Hillel Center for Jewish life on Hilgard Avenue. “We should go beyond prefabricated sukkot and create something special.”

So he picked up the telephone and called artist Tobi Kahn, renowned for his transcendent abstract landscapes and, in some circles, for his Jewish ceremonial objects. A week earlier, the rabbi had met the painter-sculptor in the meditative space Kahn had designed for New York’s HealthCare chaplaincy.

“I was struck by the combination of artistic and religious feeling,” said Seidler-Feller, who also knew Kahn had built dozens of sukkahs around New York. Would the artist be willing to help UCLA students create a sukkah?

Kahn, 51, immediately warmed to the idea. The proposed project jibed with a national arts and education program he co-founded that uses his Judaica show, “AVODA: Objects of the Spirit,” as a springboard to help young adults develop a sense of cultural identity. Since 2000, Kahn has traveled the country with the exhibit, conducting workshops in which participants create their own ceremonial objects. But while he was excited about adding a Sukkot project to the mix, he had some conditions.

“I wanted the sukkah to be used daily by people from as many backgrounds as possible, because one of the most beautiful things about the holiday is that it’s very much about inclusiveness,” Khan said.

He also wanted to work with art students, although he didn’t intend to dictate to the undergraduates. Rather, he hoped to serve as a technical adviser, providing the blueprint of a sound structure but allowing participants to make their own creative decisions.

“I believe that the more beautiful you make something, the more power it has for you,” he said. “I wanted the students to make the sukkah their own.”

On a recent hot Monday afternoon, Kahn sat on the Jerusalem stone foyer at Hillel, poring over the blueprint with five art students, Jewish and non-Jewish. Amid the whine of power tools, he pointed out the structure’s halachic dimensions as participants heaved huge plywood panels upright, sawed two-by-fours and drilled nails into beams.

He listened like a proud parent as they made aesthetic choices, cutting slits in the walls to compliment the long, slender windows of the Hillel building. He was enthusiastic when they voted to cover the walls with a rough, off-white cotton fabric that “gave the structure an unrefined but still elegant look,” said Mimi Lauter, Hillel director of art.

Lauter, 21, who chose the participants from among fellow art majors, said the plan included hanging light bulbs alongside fabric pomegranates to “create the illusion of illuminated fruits.”

For the observantly Jewish Kahn, the bustling activity brought back memories of Sukkots past. He especially recalled helping to build his family’s sukkah while growing up the son and grandson of German Holocaust refugees in Washington Heights, N.Y.

“The walls were covered with crushed velvet of a deep crimson,” he said with relish. “My grandmother would make little rods and sew white lace curtains, and there was a lovely light fixture with tiny little crystals.” Artwork related to the holiday adorned the walls.

Kahn went on to create his own sukkot yearly as he studied Talmud in Jerusalem, earned a master of fine arts degree from the Pratt Institute and burst onto the national scene in the Guggenheim Museum’s 1985 group exhibit, “New Horizons in American Art.”

Along the way, he built the 400-seat sukkah for Manhattan’s Lincoln Square Synagogue and privately created ritual objects for his family, including spice boxes and a circumcision chair for his son. But it was only after his solo exhibition, “Metamorphoses,” was included in Art In America magazine’s 1999 list of best shows that he felt more comfortable about exhibiting his Judaica without being labeled a “Jewish artist.”

“I came to feel that if a ritual object works as art, you should put it out in the world as art,” he said. “I feel that modern art and ancient ritual can enhance each other. I see all my work as a prayer.”

At UCLA, the sukkah project had different meanings for the diverse student participants, Kahn and Lauter said. For non-Jewish sculptor Ryan Lieu, 19, the halachic requirements of the structure made sense as a harvest dwelling. For Michael Bauer, 21, previously uninvolved with Hillel, the project helped tie him in to UCLA’s Jewish community.

“It’s helping to further the goals of our art program, which aims to bring unaffiliated art students into Hillel and to introduce Hillel students to a broader culture,” Lauter said.

Seidler-Feller, for his part, hopes the sukkah will show that “Jewish life is not divorced from the artistic life. It shows that ritual is itself artistic and that beauty can enhance one’s spirituality.”

Sukkah programs will include a wine and cheese soiree for graduate students and young professionals on Oct. 13, 4:30-6:30 p.m.; Seidler-Feller’s weekly Pirkei Avot (Ethics of our Fathers) class on Oct. 14, 7:30-8:30 p.m.; a party to create baby quilts for those in need on Oct. 15, 6-8 p.m.; an evening of arts in the sukkah on Oct. 16, including a conference call with Tobi Kahn; and a question-and-answer session on the holiday, moderated by non-Jewish students.

The sukkah will be open throughout the week for students and community members to bring their lunch or dinner. UCLA Hillel is located at 574 Hilgard Ave., Westwood. For information, call (310) 208-3081.

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The Pacifist Who Fought Hitler

Early in the Nazi regime, Dietrich Bonhoeffer, a rising young Protestant minister and theologian, was asked by his twin sister to speak at the funeral of her Jewish husband.

Bonhoeffer consulted his church superiors and refused. Later, tormented by his decision, he asked himself, “How could I have been so afraid? I should have behaved differently.”

It was perhaps the only time that Bonhoeffer’s natural human fear trumped his moral courage in fighting the Nazi ideology, a stand for which he finally paid with his life.

The acts and religious beliefs of perhaps the most principled German Protestant voice during the Hitler era are woven together in the 90-minute documentary, “Bonhoeffer,” opening Oct. 10 at two Laemmle theaters.

His complex theological thoughts, which emphasized the interconnectedness between traditional Christianity and secular action, might give some viewers pause, but the path leading to his martyrdom is marked by astounding feats of conviction and daring.

Bonhoeffer took the ultimate step by joining the 1944 plot to kill Hitler. But unlike his fellow conspirators in the army officers corps, whose chief aim was to save German honor and lives, the theologian made the persecution of the Jews the main spur for his resistance.

As early as 1932, Bonhoeffer, 26 at the time and a lecturer at the University of Berlin, became one of the first churchmen to criticize Hitler as a “misleader” who “mocked God.”

Bonhoeffer was profoundly influenced by a year spent at the Union Theological Seminary in New York, during which time he befriended the Rev. Clayton Powell Sr. of the Abyssinian Baptist Church in Harlem and absorbed some of the black congregation’s emotional faith and social and political activism.

Despite his Nazi opposition, Bonhoeffer largely escaped Gestapo detection until the spring of 1943, when he helped 14 Jews flee to Switzerland and was subsequently linked to a resistance cell embedded in the Abwehr, the German army’s intelligence bureau.

One month before the end of World War II, Bonhoeffer was led naked to the gallows at the Flossberg prison and hanged. Devout to his last breath, his last words were, “This is the end of me, but the beginning of life.”

“Bonhoeffer” opens Oct. 10 at Laemmle’s Music Hall, 9036 Wilshire Blvd., Beverly Hills, (310) 274-6869; and Fallbrook 7, 6731 Fallbrook Ave., West Hills, (818) 340-8710.

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