The Torch explores gender and religion in the Jewish community. Named for Deborah the Prophetess, "the woman of torches," the blog highlights the passion and fiery leadership of Jewish feminists, while evoking the powerful image of feminists "passing the torch" to a new generation. Disclaimer: All posts are contributed by third party authors. JOFA does not assume responsibility for the facts and opinions presented in them.
A new issue of the JOFA Journal will soon be in our subscribers’ mailboxes; its theme is Orthodox women in the performing arts and sports. The headline we’ve given it is “Raising our Voices”—because many of the articles deal with the topic of kol isha, a woman’s singing voice heard in public. But I think a better title might be “The Dance.” The difference is not about artistic genre, but concept. Let me explain.
A rabbi I highly respect once told me that halakha—Jewish law—is like a dance between the rabbis and the Jewish people. The rabbis are the leading partner, putting their arms around the people and guiding them this way and that. But if they are out of rhythm with the people, if both are not moving in the same direction, then the dance will fail and the dancers will be frustrated with each other.
Within this issue of the journal, one can see the dance in motion around the issue of kol isha. Rabbi Shmuel Herzfeld, in a
on Vayishlah, recalls Rashi’s question about the whereabouts of Dina, Jacob’s daughter, when Jacob was about to cross the river and confront his brother Esau. The Midrash tells us that Jacob had put Dina in a box to protect her, so that Esau would not lay eyes on her. However, Rashi tells us, because she had been inappropriately locked up, Dina became a yatzanit someone who “goes out,” and she fell into the hands of Shechem—to far worse consequences. Rabbi Herzfeld sees this story as instructive for the issue of kol isha, in which over-stringency has had the effect of drowning out the voices of women and girls in every context and thereby squelching their spirituality. He calls for a more nuanced view that takes into consideration the content of the singing, not just the gender of the singer.
Rabbi Herzfeld’s understanding of kol isha is presented in tandem with the voices of women who wish to pursue careers in singing and struggle with the notion of kol isha. They run the spectrum from the Hasidic women’s rock band Bulletproof Stockings, who only play for all-female audiences, to Neshama Carlebach, who, after years of conflict, has concluded that kol isha “is an antiquated, misogynistic concept that has no place in our modern society.” Neshama believes that she is following her father Shlomo Carlebach‘s conviction in stating that, for her, singing is “a holy calling.”
We also hear the voice of the young woman, Ofir ben Shitrit, who placed second in the Israeli talent competition, “The Voice,” and was consequently suspended from her religious school. We meet the Glaser sisters, who sing together both on stage and around the Shabbat table. We hear singer Rebecca Teplow proclaim, “It cannot be wrong for me to use my God-given talent to encourage hearing the inner voice of the soul’s yearning.” For each of these musical women, kol isha is no theoretical question, but is central to how they will live their lives and pursue their chosen paths.
There are few places in the Orthodox world where halakhic issues are discussed from the perspectives both of the rabbis and of the people for whom these decisions are critical. The JOFA Journal is a forum in which the voices of women struggling with, and living joyously with, halakha can be heard. It is a place where “the dance” that is the process of halakha can take place.
Pronounced: khah-SID-ik, Origin: Hebrew, a stream within ultra-Orthodox Judaism that grew out of an 18th-century mystical revival movement.
Pronounced: MIDD-rash, Origin: Hebrew, the process of interpretation by which the rabbis filled in “gaps” found in the Torah.
Pronounced: shuh-BAHT or shah-BAHT, Origin: Hebrew, the Sabbath, from sundown Friday to sundown Saturday.