Let’s be clear. I can make any conversation into a conversation about art. Especially when it comes to the Torah and art at camp. Parah Adumah? Let’s talk about the color red! Miriam leading the people in celebration? Kikar dancing! Moses with two tablets? Sculpture! But really, those are stretches. That’s what makes Vayakhel-Pekudei so exciting for me. It’s not just easy to make a connection between the story and “art,” it’s explicit.
We read about the nomination of Betzalel and Oholiav to design the Mishkan and lead it’s construction. And the Torah goes into great detail about the materials used (acacia wood, dolphin skin, crimson wool, etc.). So here I could talk about the different materials our campers get to create with in the art room and the wood shop: clay, mojpoj, paint, pine wood, woodstains, etc. And the Torah talks about the skill of the lead designers, how their talents are divinely inspired. Here I could talk about
, and how every piece of art made at camp, from a 11 year old camper’s painting to a 16 year old camper’s original song, is done with Jewish content in mind, with a sense of Jewish intention behind the art. And of course, the Torah talks about portability – this is not going to be a permanent fixed structure. That is an easy bridge to the art work at camp being ephemeral, meaningful in the moment as a memory, and then lost to a blank canvas, which resets for the next session, the next summer, the next camper with an idea for expression.
But those things are not what makes this parsha so clearly about art at camp. In Chapter 36, Verses 1-7, we see that Bezalel and Oholiav were overwhelmed by the amount of things Israelites brought to contribute to the project. People brought their gold, their wood, their fabrics. They all wanted to be a part of what was happening, they all wanted ownership. And THAT is what Jewish summer camp’s philosophy of artistic creation is really all about. You go see group of campers perform