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Home , Tzedakah, United Synagogue, Wimpel

EILEEN SALZrv'lAi'j

TEACHING THROUGH ART EDUCATION

NOVEMBE:t 10- 14, 1986

NCI\TH GALLERY F:I\:E ART5 BUILDING CALIFORNIA STATe UNIVERSITY, NORTHRIDGE 18111 NORDHOFF STREET NORTHRIDGE, CA 91330 EILEEN SALZMAN

TEACHING JEWISH HISTORY THROUGH ART EDU-CATION

NOVEMBER 10- 14, 1986

NORTH GALLERY FINE ARTS BUILDING CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 NORDHOFF STREET NORTHRIDGE, CA 91330 Table of Contents

I. Introduction

2. Creation 3. The Curtain (Parocheth) for the Ark (The Aron-hakodesh)

4. The Wedding Canopy ( )

5. ( Binder)

6. Pillow and Cover

7. The Seder Table Guests at the table: Adam, Eve, Noah, , , lsaaac, Ishmael, Eliezer, Rebekah, , , , Joseph, , Esther, Judah Maccabee, Golda Meir, Benjamin, Miriam, , Joshua, Deborah, Gideon, Samson, King Saul, King , "The King", Elijah, Jonah, , Leo Baeck, Albert Einstein, Amos, Isaiah, Jeremiah, Hillel, Johanan Ben Zakkai, Akiba, Judah Hanasi, _ Ba'al Shem Tov, Haym Solomon,Emma Lazarus,Eliezer Ben Yehudah, Louis Brandeis, Hannah Senesh, Chaim Weizmann, Anne Frank, David Ben Gurion, Anatoly Scharansky, Ida Nude!, I.B.Singer.

8. Reference List (Jewi~h History) 9. Reference List (Art Education and Philosophy) Teaching Jewish History Through Art Education

The students, whose work is in this exhibit are from Leo Baeck Temple and Valley Torah High School. They researched custqms,traditions, values and origins of different historic events and people in Jewish history and religion. Art was one of the methods used to .enhance and reinforce the learning and understanding of these studies. The creation of these works of art by the students demonstrates the evolution of their understanding of concepts of religious customs, traditions and values into visual symbols. The life cycle is the main focus of Jewish life. The student art work displayed in the exhibition deal with this by re.;.creating objects used in Jewish life that relate to various events and rituals:

The Wimpel (Torah Binder) was traditionally the cloth used during the circumcision ceremony, which was later sewn together and embroidered with the child's name, birth date. and traditional ish saying, "Torah,Chupah and ". These three words are a form of a blessing:Torah, relating to· the worship of G-d and the Scrolls which contain the Five Books of Moses;Chupah meaning the wedding canopy, relating to the importance of marriage; and Charity, the importance of doing good deeds and caring for your fellow man/woman. The Torah binder was kept for special events in the the male childs life: his first birthday, his Bar Mitzvahor the transition to manhood ceremony , and on the Sabbath before his wedding day.

The Seder Tablehere exhibited deals with different events in Jewish history and with the contributions of noted Jewish individuals who the students in their imagination had been invited to partake in a Passover ceremony.

The Wedding Canopy, which is used during the wedding ceremony, under which the bride and groom stand and begin their lives together in wedlock.

The Curtain which covers the Ark, the most holy place in the Jewish house of prayer, the place where the Torah Scrolls are housed.

These articles were originated for religious ritual and have their roots in ancient times. The student works displayed in this exhibition use this ancient base to adapt their art to contempory life by using symbols that relate to their individual lives and beliefs. Creation

The first grade students of Leo Baeck Temple Sunday School learned about the

Seven days of Creation from the First Book of the Five Books of Moses. The students discussed the events that occured during the Seven days. They transformed what they learned into symbols through painting and collage.

The "Creation" project was done by the students on one long strip of white butcher paper set up on long tables. Students used watercolor paint, markers, crayons, scissors, construction paper, glue, glitter, fabric, string, yarn and other bits of found materials. When the project was complete, numbers were affixed to each of the Seven

Days of Creation. The long strip was than laminated and displayed at Leo Baeck

Temple. For the exhibition, the strip was cut into individual sections and vacu­ mounted. The Curtain(Parocheth) for the Ark(The Aron-hakodesh)

The Torah Curtain(Parocheth) for the Ark is used to cover the opening of the

Aron-hakodesh (The Ark). This was created by the girls of Valley Torah High School.

The students used canvas, fabric paint, acrylics, permanent markers and other media to create a contemporary version of a Torah Curtain. This curtain was entirely designed, executed and researched by the students.

Traditionally curtains covering the Holiest place in the Temple were created from blue wool, purple wool, red wool and rolled or spun linen (Exodus). These were considered royal colors. In more contemporary times curtains were created from silk, velvet and gold thread.

The Aron-hakodesh (the Ark of the Holiness) is placed at the eastern wall either as a nich built into the wall or as a chest fastened onto or protuding from it. It has always been customary for the (Temple) to be so constructed that the worshippers, when turning toward the Ark, face the direction of (in Europe and America, the front wall of the synagogue will be on the east). The Ark is set on an elevatad platform against the eastern wall, and is approachead by steps. The

Torah (Five Books of Moses) are kept in the Aron-hakodesh(The Ark). The Ark is usually lined with silk or velvet. There are specially formed stands in it to support the scrolls. The designing and ornamenting of the Ark has developed into a fine art expression.

Despite the prohibition of figures, pictures or paintings in the Synagogue, exception has always been made in· the case of the Ark. The symbols of two lions(symbolic of strength) , the Ten Commandments, and a crown can be found in most

Arks. In some , deers(symbolic of swiftness) are added, symbolizing the saying of the sages: "Be fleet as a hart and strong as a lion to do the will of thy

Father who is in heaven." (Aboth V:23) Before the open face of the Ark, is suspended a silk or velvet curtain called Parocheth. This is a reminder of the and the

Temple. The Parocheth was the Temple curtain separating the holy space from the

Holy of Holies (Ex. 26:31-34, Babli Kethuboth 106a). The curtains are usually to the Temple by women, who frequently embroider them with such designs as the Ten Commandments, Hebrew letters, two lions holding a crown, and with their own names in Hebrew characters. The Ark is considered the holiest part of the Synagogue. (The Ceremonies of . Abraham z. ldelsohn, Pp. 83,84) The Curtain in. the exhibition was created by the girls of Valley Torah High

School and will be donated to Alsh Hatorah, a synagogue in North Hollywood,

California, for their Sanctuary. This will be celebrated. by a party given by the community in North Hollywood in honor of the and the girls who created the

Curtain. The Wedding Canopy ( Chuppah)

"1 unto my beloved and my beloved unto me."

------

'• ,.I I ( i ·'I . ~ . li \\

The exhibition of the Wedding Canopies were created by first grade students at

Leo Baeck Sunday school. Each students received a square of fabric and translated

what they had learned about "the life cycle" into visual symbols on to their piece of

cloth. The cloths were then sewn together by one of the parents from the class. As a

culmination of the study of this portion of the "life cycle", a mock ceremony was

performed for the class by the parents, under the Canopy that was created by the

students. -----~ ----~ ---~------The Wedding Canopy is a reminder of the ancient tent-life of . Bedouin

tribes to the present day erect a special tent for the young couple, in which the bridal

bed is set. In the course of cultural development, when the Jewish people came to live

in substantial buildings, the Chuppah was still retained, and a mystic significance read into it. It was believed to srmbolize the canopy made of the skin of the Leviathan (a mythical fish) in which the people expected to live in Paradise. (The Ceremonies of

Judaism, Abraham Z. ldelsohn, Pp. 127, 128.)

The Chuppah (the wedding canopy), was usually erected in the open air in the court of the Synagogue. This was done because the Synagogue might not accomodate the numerous guests. S.M. Lehrman (pg.l62) in his book Jewish Customs and Folklore, believes that another reason for having the wedding ceremony outside was the medieval love of symbolism which preferred the presence of the stars---symbolic of the offspring of marriage, numerous as the stars of heaven. Wimpel (Torah Binder)

The Wimpel or Torah Binder is a tradition that originated among German in the sixteenth century and spreading to parts of France, Austria and Italy. The swaddling cloth used at a baby boy's circumcision (brit) was cut into four sections which were stitched together to form a long band. The wimpel was then embroidered or, in later examples, painted with the child's name, date of birth, zodiac sign, biblical quotations and symb()ls referring to the childs name. These decorations were inherent to the cultural vacinity where they were created and included wishes for a future of

"Torah, Chupah (marriage), and Good Deeds." The wimpel is used to wrap the Torah scroll, which goes once around the Torah and clasps in front, or which is wound around the Torah and is self-tied, keeping the heavy parchment of the Torah scroll (Five Books of Moses written on a parchment scroll)from unwinding and possibly breaking.

The personalized wimpel ( wimpel is German for banner) would be used to wrap the Torah on the first day the child was brought to the synagogue, usuually a year after his birth. The were stored in the synagogue and became a form of birth record. It was then used again on the occasion of his Bar (thirteenth birthday and day of his transition into manhood} when he read from the Torah and used again on the Sabbath before his wedding. This linked each life-cycle passage as it symbolically linked the individual to the Torah. (A History of Jerwish Art, Franz

Landsberger.Pp.73,74., The Jewish Party Book, Pp. 15, 16., and NFTS Art Calendar, The

Wimpel. National Federation of Temple Sisterhoods. Hebrew Union College Skirball

Museum}

As part of the study of the Life Cycle, the first grade students at Leo Baeck

Sunday School created their own individual wimpels with some of the traditional designs. They also added their own creative ideas: hobbies, names of family members, pets, choice of c~lors, hobbies and/ or special sayings. As a culmination to their project, parents were invited to participate, working with their child to add to their childs creation.

As the wimpel . project proved successful for the Reform religious environment of

Leo Baeck Temple, I felt that the Valley Torah High School , which is an Orthodox, more traditional junior high and high school, might also enjoy this project. In this environment and age group, fifteen to sixteen, the result would be closer to the wimpels that were created in Europe, with the traditional Hebrew writing and symbols.

Although, the wimpel was traditionally created for the male child, today the wimpel is a tradition that has been adapted for both boys and girls. It is used as the ceremonial cover for a daughter's naming ceremony or a son's circumcision ceremony. This tradition has been rediscovered as another means to· enrich and strengthen family bonds. The wimpels in the exhibition were created using canvas fabric, cut into two strips approximately forty-five inches long and eight inches wide and sewn together for a ninty inch wimpel. Students used fabric paint, acrylic paint, permanent markers, fabric pastels, etc. Passover Pillow and Cover

The Passover pillow covers on exhibition were created by the fourth through sixth grade students of Leo Baeck Sunday School during a weekeend retreat which focused on the Ethiopian Jews and the fulfillment of their 2000-year-old dream of returning to

Zion. The intent of this retreat, "Operation Moses", was to help students understand this modern,. miraculous exodus and to allow them to participate in the mitzvah (good deed) of pidyon shevuim, redeeming captives.

Art was used to help reinforce some of the learning experiences during this special weekend. The pillow cover project was created to help students transform what they had learned into visual symbols relating to the meaning of the Passover_ and the Exodus of the Jewish people from Egypt in the time of Moses and of the present day Jews from Ethopia. Pillow covers were created using traditional and contempory symbols that related to what the student learned and to their own lives.

For this project students used fabric paint, permanent markers and fabric crayons on white ready-made pillow cases.

The use of the pillow at the Passover Seder table comes from the tradition that the host of the Seder is to be comfortable and in a reclining position, symbolizing freedom, while leading the Seder.

At the exhibition a sample is displayed in a traditional Seder setting.

------\A D LD The Seder Table

Each year at the seder table Jews retell the story of the Exodus as if each had experienced personally the bondage and liberation of their People.

If it is possible for the Jewish imagination to carry us backward in time, so also it should be possible to bring our ancestors forward into our own day.

On Pasach (Passover) we traditionally' invite Elijah into our homes and welcome him with a cup set aside especially for him. The 4th, 5th and 6th graders of Leo Baeck

Temple Sunday school have expanded upon that pracatice and have invited many of the major figures of Jewish history to their seder table. Each has been honored with a placesetting designed to reflect the guest's life story and achievements.

The materials used to create these placesettings are paper plates, gesso, black markers, acrylic paint, laquer,and poster board that has been laminated.

"It is because of what G-d did. for me when I went forth from Egypt." 4 ABRAHAM - Andrew Hurwitz My plate is about Abraham, who believed in one God as represented by the number 11 one.- 11 The tent on the plate symbolizes the place where Abraham settled after traveling from Ur to . My placemat also has 11 one 11 on it because Abraham was the first Jew. 5 SARAH - Jessica Weinstock This plate is for Sarah. The sword and sad face are symbols of her sadness when she heard that Abraham was going to kill , her son. She is the first Jewish woman, and that's why I put a Jewish star. Sarah wanted children a lot. On the placemat, Sarah is giving food to the three strangers who came to tell her that she would have a baby. Sarah is laughing. She was the first mother of Israel so I made her with a lot of children.

6 ISAAC - David Weil My plate.and placement are about Isaac. They show Isaac going with Abraham on their 3-day journey to Mt. Moriah. There is a picture of Isaac helping Abraham because when Isaac got older, he helped Abraham care for the sheep and goats. On the top righthand corner of the plate, it shows the angel that appeared when Abraham almost sacrificed Isaac. 7 ISHMAEL -Zachary Franklin My plate and placemat tell the basics about Ishmael. The large Jewish star at the top stands for Abraham, his father, the first Jew. The. two lines from Abraham lead to a small Jewish star (for Isaac) and a crescent (for young Ishmael). The 10 Commandments represent Isaac's Judaism and the Mosque, Ishmael's Islamic belief. To show that Ishmael is the ancestor of the Islamic people,there is a line from a small to a large Ishmael.

------~-~~~------8 ELIEZER - Jesse Stern Eliezer was Abraham's servant. He was smart, kind, and could think of good ways to something done. So Abraham sent him to Ur to find a good wife for his son, Isaac. He went to a well and said that the women would soon come to get water. Eliezer said to God, "A woman will come by and I will ask her for water, and she will give me water and say, ~I will also bring water for your camels.• That will be the sign that she is the wife for Isaac." Sure enough, a woman named Rebekah came by and said Eliezer's words, and she became Isaac's wife. Because of this story, I have put a picture on my plate of Rebekah giving water to Eliezer at the well. On my placemat, you can see Eliezer leading his camel to the well.

9 REBEKAH - Joanne Glucksman This plate is for Rebekah. Arbraham sent his servant, Eliezer, to find a wife for Abraham's son, Isaac. Eliezer decided that if a young woman offered ·to give him and his camels water, she would be the right one to be Isaac's wife .. Rebekah was the one. She gave Eliezer and his camels water from the well. On the plate you can see Rebekah and her twins, Jacob and Esau. In the center and on the placemat is the well where Eliezer found her.

10 JACOB -Julie Levin My plate shows Jacob with the fur on his arm to trick his father into giving him the blessing. Jacob had twelve kids, but I've only shown five of them. It also shows Jacob's dream about the ladder. My placemat shows Jacob and Rachel getting married. 11 RACHEL - Lindsey Frederick My plate shows Rachel and Jacob . getting married. My placernat shows the broken glass. My plate also shows their two wedding rings. Jacob worked 14 years to marry Rachel. 12 LEAH - Annie Faerstein

The plate is for Leah~ Jacob's first wifP.. There was something in Leah's eyes, the Torah says, that were so pretty. And that's why they are so big on the plate. On the placemat, there are Jewish stars with Leah's eyes inside and candlesticks because Leah loved being Jewish. 13JOSEPH - Alana Thal This plate is about Joseph, the dreamer. In the center of the plate is a coat, the famous coat of many colors that Jacob gave Joseph, his favorite son. Joseph was Jacob's favorite child because he was the first child of Rachel, Joseph's favorite wife. In the center of the coat, the stars, sun, moon, and wheat bushels represent Joseph's dreams about his 11 brothers bowing down to him. On the left, I put Mt. Sinai and the people of Israel because, if Joseph hadn't ended up in Egypt, the Jews wouldn't have become slaves for Pharoah and they­ wouldn't have received the Torah. The two cabinets on the right and left represent the-dreams the good Pharoah had about 7 years of plenty and then 7 years of famine. The bags of gold show how powerful Joseph was in Egypt. My placemat shows the 12 Tribes of Israel. Jacob blessed all his sons and gave them each a special blessing and tAe 12 Tribes came from them. 14 MOSES - Michael Kenny Moses was a Jewish baby boy who was not killed. He was put in a basket and he was found by a girl who was Pharoah's daughter. The man and the red object symbolize the 10 Commandments. The basket next to the 10 Commandments is the basket Moses floated down the river in.

--~---~~------~------14 ESTHER - Rachel Saunders This plate is for Esther. Esther is a Jewish Queen. That•s why I put lots of crowns around the edge. There was a man named Haman who did not like the Jewish People. He tried to kill all of them. But Esther stopped him. On the plate and the placemat are many symbols of being Jewish, especially symbols of , the holiday that celebrates Esther saving the Jews. There•s a gregger, a megillah, hamentashen around a picture of Queen Esther. There is also an Israeli flag and Jewish stars.

15 JUDAH MACCABEE - Adam Barenfeld My plate is about Judah Maccabee, who led the Jews against the Syrians and beat them. The sword on my plate represents the war that they won. Since the name Maccabee means 11 hammer, 11 there is a hammer on the plate. The Jewish star is symbolic of the Jews who~ after the battle, were free to practice their religion.

16 GOLDA MEI R - Rachae l Neste 1 My plate and placemat are about Golda Meir. She was the Prime Minister of Israel. On my plate, Golda Meir is holding the Isaeli flag and people are following her. There is the menorah on the plate which stands in front of the Knesset. The Jewish stars represent the Jewish people. ll BENJAMIN - Micah Auerbach On my plate, Benjamin's brothers are begging for Benjamin to go back to Egypt with them to get more grain from Joseph. Joseph said they could only come back for more grain if they brought their youngest brother, Benjamin.

lB MIRIAM_- Katie Gehring Miriam's plate shows many things that most people don't know about her, along with the few that 11 everyone 11 knows. The Nile River is where Miriam watched over baby Moses in the basket. I show, separately, baby Moses and the basket because a lot of people think of the basket as symbolizing this incident. Miriam was a very strong supporter for women's-lib, so I show a group of women. She led the wonien in songs praising God after they crossed the Red Sea. So I used musical notes to show this. And, most important, Miriam stands surrounded by her cares and feelings.

19 AARON - Brett Weitz Aaron was Moses' brother. On my plate I show Aaron's lips to show that Aaron spoke for Moses because Moses stuttered. I show Aaron speaking.to the people about the golden calf and Moses dropping The Ten Commandments.

zaJOSHUA - David Benoff The crumbling city represents Jericho, which Joshua destroyed. The arm represents Joshua's great strength. The gavel shows that. Joshua was a judge, and the flags show he was a Jew. 21 DEBORAH - Caroline Temmins Deborah was believed to judge under a palm tree. The picture of Israel in a crib is supposed to signify that Deborah was the mother of Israel. The gavel and scale represent that Deborah was a judge. On the placemat, the flower$ and the gavels represent a woman judge. The Jewish stars represent Israel.

22 GIDEON - Steven Marks On the plate, the arm and sword mean strength. The man putting the wool on the ground was testing God,to see if the ground would be wet and the wool dry, because he needed proof that he could trust God to help the save themselves from the Midianites. The gavel means that Gideon was a judge. On the placemat, the people drinking the water·show what happened when Gideon had to choose men for an army. The men who drank like dogs didn't get to be in the army.

23 SAMSON - Matt Soares Samson was a Nazerite and because of that he couldn't cut his hair, go into a cemetery, or drink alcohol. Because of his long hair~ he was very strong. He was a judge. My plate is showing that he pushed down the pillars in the Temple of Dagon. My placemat has Jewish stars.

24 KING SAUL - Lora Aguilar King Saul was the first king in Israel. I showed that on the plate by putting a one. I put a crown on a star to show that he is a King of Israel. 0 . 25 ' KING DAVID - Matt Adler This plate represents King David's many occupations. The palace represents David being King. The harp represents his playing the harp for King Saul. The shield - and spear represent David in the wild running from King Saul. The large crown on the placemat also represents that he was King. -

26 SOLOMON "THE KING"-Jessica Newmark Both the plate and the placemat represent Solomon because the temple with the "1" on it represents the first temple which Solomon built. The question marks remind us that kings have to make many decisions and Solomon had to answer many hard questions. The crown shows that he is a king; the Torah states that kings have to follow the laws, too.

27 ELIJAH- Eli Rykoff On the plate, I have a cup for Passover, somebody sweating­ symbolizing the years of no rain, a flaming chariot for Elijah to go up to heaven. On the placemat, there is a cup for Passover, two candles for the Sabbath, and two stars with peace on them for the coming of the Messiah.

28 JONAH - Cathy Tamkin

My plate deals with Jonah. It shows the fish that ate him, the boat that he jumped from, and the City of Ninevah, which Jonah ran away from. My placemat shows his name, and the fish that ate him. 29 MAIMONIDES - Lisa Borinstein The ladder on my plate reminds us of Moses Maimonides and his 8-rung ladder of . The highest step on the ladder is helping someone become self sufficient. The second one is for giving when the giver and recipient do not know each other. The third one is when the giver knows the ·receiver but the receiver doesn't know the giver. The fourth is when the giver doesn't know the receiver but the recipient knows the giver. The fifth is giving directly before being asked. The sixth is giving directly after being asked. The seventh is giving a small donation, but cheerfully. The last rung is giving grudgingly.

30 LEO BAECK - Lori Levine Leo Baeck was a great man. Our temple was named after him. On the plate, the colored area represents the synagogue's stained .glass windows. On his arm there is tatooed his real concentration camp number. The bird is repre­ senting a dove of peace. On the placemat, the black lines represent the concentration camp gates and the letters "LB" stand for Leo Baeck in the concentration camp.

Jl ALBERT EINSTEIN - Robert Reinis Albert Einstein was known as one of the smartest people in the world. He made the formula that led to the atom bomb although he believed in peace. My plate has the dove for peace and the flag of Israel because he is Jewish. He also is in his lab on . my plate. He's got his atom with him, too. On my placemat, I've got the same designs plus his name and his initials. 32 AMOS - Shana Levin Amos was a shepherd who became a prophet. In my scene, he is tending his sheep on the hillside and everything around him made him think of God. It made him think this way because of the high mountains, the winds and the sun and storms that dar.kened the sky.

33 ISAIAH - Tamy Polland Isaiah was a prophet. The Jewish star on the plate shows that Isaiah was Jewish. The Torah shows that he was also very holy. Isaiah had a so,n who was very important to him. He named him Shaar-Yeshub, which means 11 A remnant shall return ... Isaiah said God told him to give his son this name as a reminder of hope. He told the story of a vineyard to teach people a lesson.

34 JEREMIAH - Betsy Rosenfeld Jeremiah was a prophet. The moon on the plate represents the moon-shaped cakes that people made as offerings to the moon goddess. J_eremi ah tried to teach the people to worship the one true God. The pot is because Jeremiah saw a pot boiling over with trouble for Jerusalem. I put a line through freedom because Jeremiah was not free to be a prophet. He was put in prison and thrown in a pit because people didn 1 t like his message.

35 HILLEL - Susan Falk Hillel was a great rabbi. On my plate is a temple with eyes above it, a woman halfway behind a curtain, someone standing on one leg, and a heart between Greek columns. Hillel was first allowed to study with the when it was realized how much he cared (looking into the temple from above). Women at that time were figuratively behind a curtain, but Hillel tried to bring his wife out. There is a story about a man asking Hillel to teach him the Torah while on one foot. 36 JOHANAN BEN ZAKKAI - Tony Romain The walls symbolize the walls of Jerusalem which were being destroyed. The coffin is the coffin in which Johanan Ben Zakkai escaped from Jerusalem. The school is the one that he started in Yavneh which saved the Jewish people. All the people on the plate and placemat represent those who turned to the school after the Temple was destroyed. 37 AKIBA - Joyce Davidson Akiba was a poor shepherd. He asked if he could marry his master•s daughter, Rachel. They were married without her father•s blessings, but Akiba promised Rachel he would study and become a scholar. Soon, Akiba became discour­ aged and gave up studying. One day, he saw water making an indentation on a rock. He thought, "If something as soft as water can make indentations on hard rock, maybe the Torah can make an indentation on my dull mind." After that, Akiba studied to become a scholar, but he was too poor to go to school. So, one day, Rachel sold her hair for money for him to go to school. Akiba finally became a rabbi, and a respected 1eader.

38 JUDAH HANAS! - Karen Davis The reason I drew a setting and r1s1ng sun is because Judah Hanasi was born on the day that Rabbi Akiba died, so they said, "A sun sets and a sun rises." I put the mountain on the plate because Rabbi Judah built his famous school in the town of Bet She•arim on Mount Carmel and also because he died in the town at Tzippori which was on the top of a mountain. I put the because it was his idea to write down all the oral laws in one place and make the Mishnah. 39 BA 1 AL SHEM TOV - Liana Soll The Ba'al Shem Tov was.a rabbi. The stars symbolize that he was . Jewish. The Torah symbolizes that the Ba'al Shem Tov studied the Jewish religion. The heart symbolizes that he loved the Torah. The candle represents the light of God~ and the sunset and tree his love for nature. The road represents the Ba'al Shem Tov•s long journey through Europe; the eyes~ God inspiring the Ba •al Shem Tov.

40 HAYM SOLOMON - Josh Lansky Haym, Solomon lived in Philadelphia and he supported the United States in the Revoluntionary War. He was arrested by the British for spying. He gave help and money to the young American nation. For his heroic efforts~ he was called "The Good Jew" and "Our Little Friend in Front Street." He helped build a beautiful new- synagogue in Phila­ delphia.

41 EMMA LAZARUS -Allison Gault Emma Lazarus was a special woman who raised money for the symbol of America, The Statue of Liberty. She wanted people from Europe who came to America to know that they were now free. Emma also gave money to the European Jews~ and she wrote famous poems~.including the one on the Statue of Liberty. 42 ELIEZER BEN YEHUDAH - Jonathan Steier Eliezer Ben Yehuda wanted people to speak Hebrew for everyday purposes, not just prayers and study. He began with his family on their arrival in Palestine. His son was the first Hebrew speaking child since Bible times. On Ben Yehudah's plate there's a Hebrew dictionary and his family saying 11 Shalom" surrounded by words in other 1anguages. It also shows the Wall because they lived in Israel. 43 LOUIS BRANDEIS - Jennifer Schuman Louis Brandeis was a man who fought for what he thought was right. The glasses on the plate stand for his poor eyesight. The women's sign stood for how he fought for women's rights. The laws are there to show he was a lawyer and a Supreme Court . 44 HANNAH SENESH - Paul Olshan Hannah Senesh was born in Hungary. After she got out, Hannah parachuted into Hungary to help free Jews. She was captured and put in jail. She wrote many poems. Hannah Senesh was executed. The pcrachute signifies her parachuting into Hungary. The pencil signifies her writing and the flag her Jewish heritage; the suns and broken chains, her freedom.

45 CHAIM WEIZMANN - Erica Miller Chaim Weizmann was a man who loved Israel. He always dreamed of going there. One day his dream came true. He came to Israel. He thoughtisrael was as sweet as apples and honey. The symbol of the Torah on the plate shows that Chaim Weizmann cherished the Torah. 46 ANNE FRANK - Jenny Fritz On my plate I've put a swastika to symbolize that, all her life, Anne Frank was surrounded by anti­ semetism. I show the apartment build­ ing and the two rooms that two families lived in during these times of horror. I put in a Torah to show her feelings about Judaism. I drew a diary because she kept one. The armband was drawn because, during the war, the Jews had to wear th.ese to show that they were Jewish. Anne grew up in Amsterdam and she died in a concentration camp. 0

47 DAVID BEN GURION - Daniel Weinrot David Ben Gurian worked hard in Europe, in America, and in Palestine, to help create the Jewish State. He was chosen to be the first Prime Minister of Israel. The flags on my plate show Israel getting closer and closer to becoming a full country with its own land (the black in the middle) and with a completed flag with a Mogen David. 48 ANATOLY SCHARANSKY -Joshua Messinger Anatoly Scharansky is a refusenik in the Soviet Union. He is in jail. His wife is-going around--t-he-world talking about him. She is trying to get her husband out. He wants to go to Israel. He is in jail because he wants to go to Israel. The placemat has the Star of David and grape leaves symbolizing Israel. 49 IDA NUDEL - Maurice Pitesky This is a little about my plate and placemat. Ida Nudel is a refusnik from the Soviet Union. Right now she is being treated brutily with bad living conditions. Right now hundreds of thousands of people are trying to con­ vince the Soviet Union to let her go - including Jane Fonda SO ISAAC BASHIVA SINGER -Noah Kirshbaum Isaac Bashiva Singer is a writer. He sometimes writes about devils and imps. He was born in Poland and moved to America. He is very serious about religion. He wrote about de vi 1s so I put on the de vi 1. I put a Jewish star because he is very Jewish, and I put a pencil because he writes books. REFERENCE LIST

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Gilbert, Arthur and Tarcov. Your Neighbor Celebrates. New York: Friendly House Publishers. 1957. pp. 4,10,13-18,23-27,36,39-45,76,110-ll8.

Goldin, Hyman E. The Jewish Woman and Her Home. New York: Hebrew Publishing Co. 1941. pp. 72-76,158-162,198,238-240.

Greenberg, Betty D., Silverman, Althea. The Jewish Home Beautiful. New York: Women's League of the United Synagogue of America. 1941.

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Landsberger, Franz. A History of Jewish Art. Cincinnati: The Union of American Hebrew Congregations. 1946. pp. 73,74-78,272-340.

Landsberg, Franz, Phd. Jewish Life and Art: From the Cradle to the Grave, A History of Jewish Art. Cincinnati, Ohio: Union of American Hebrew Cong. 1946.

Lehrman, S.M. Jewish Customs and Folklore. London: The Narod Press. 1964. pp. 10, 11,23,28,104-107,161,162.

Namenyi, Ernest. The Essence of Jewish Art. New York, London: Thomas Yoseloff Co. 1960. pp. ix-xi, 16-24, 74-79.

National Federation of Temple Sisterhoods. Z1otowitz, Rabbi Bernard M., Buys, Rayleen. The Wimple, NFTS Art Calendar, 5747, 1986-1987. Los Angeles and New York: 1986. Raphael, Chaim. A Feast of History, Passover through the Ages as a Key to Jewish Experience. New York: Simon and Schuster. 1 9 7 2. pp.l3, 14,19,17 ,42,58,60,66,74,80,83,87 ,89,107' 112,114,116,117' 119, 151,152,153,250,251.

Rockland, Mae Shafler. The Jewish Party Book. New York: Schocken Books.

Roth, Cecil. Jewish Art An Illustratead History. Greenwich, Connecticut: New York Graphic Society,Ltd.

Sharon, Ruth. Arts and Crafts The Year Round. New York: United Synagogue Commission on . Volume I. 1965. pp. 296-309.

Sharon, Ruth. Arts and Crafts The Year Round. New York: United Synagogue Commission on Jewish Education. Volume II. 1965. pp. 130-136.

Thai, Linda. The Seder Table, in Compass, New Directions In Jewish Education. Summer, 1982. New York: Union of American Hebrew Congregations. 1982. pp. 3-6, 17. REFERENCE LIST

Barkan, Manuel.A For Art Education. New York: Ronald Press Company. 1955.

Barrett, Maurice. Art Education. London: Heinemann Educational Books, Cox and Wyman Ltd. 1979.

Bassett, Riachard. The ()pen Eye. The 'Role of Art in General Education. Cambridge, Massachusetts: The Massachusetts Institute of Technology. 1969.

Battcock, Gregory. New Ideas in Art Education. New York: E.P. Dutton and Co.,Inc. 1973.

Broudy, Harry S. Englightened Cherishing, An Essay On Aesthetic Education. Chicago, Illinois:. University Press. 1972. ,

Cole, Natalie Robinson. The Arts in the Classroom. New York: The John Day Company. 1940.

D'Amico, Victor. Creative Teaching in Art. Scranton, Pennsylvania: International Textbook Company. 1953.

Dewey, John •. Art As Experience. New York: Minton, Balch & Company. 1934.

Dewey, John, Barnes, Albert C., Buermeyer, Laurence, Mullen, Mary, Marzia, Violette de. Art and Education. Merion, Penna: The Barnes Foundation Press. 1954.

Dewey, John. Art As Experience. London: Putnam. 1958.

Ducasse, Curt John. The Philosophy of Art. New York: Dover Publications, Inc. 1966.

Edwards, Betty. Drawing On the Right Side of the Brain. Los Angeles: J.P. Torcher, Inc., Houghton Mifflin Co. 1979.

Fields, Dick. Changes In Art Education. London: Routledge & Kegan. 1970.

Gardner, Howard. The Arts and Human Development. New York: John Wiley & Sons. 1973.

Hoover, Kenneth. The Professional Teachers Handbook. Boston, Massachusetts: Allyn and Bacon, Inc. 1982.

Kostelanetz, Richard. Esthetics Contempor~ry. Buffalo, New York: Prometheus Books. 1978.

Lowenfeld, Viktor. Creative and Mental Growth. New York: The Macmillian Co. 19 52.

Read, Herbert. Education Through Art. London: Farber & Farber. 1944.

Schaefer-Simmern, Henry. The Unfolding of Artistic Activity. Berkeley, California: University Press. 1948. Spender, Stephen. The New Realism, A Discussion. Folcroft, Pa.: The Folocroft Press. 1969.

Tyler, Ralph. Basic Principles of Curriculum and Instruction. Los Angeles: University Press. 197 1. Witkin, Robert. The Intelligence of Feeling. London: Heinemann Educational Books. 1974.