Parshat Be'Halotcha בהעלותך
by Rabbi Alicia Magal

When we confront each Torah portion we can skim the surface for the “Pshat”- simple story, or we can dive into deeper layers.  In the months that Siona Benjamin and I explored the text of Behaalotecha together we had to put on each other’s glasses, as it were, to see through the lens of the other person. 

 I began by outlining the many elements in this parsha: raising oneself up to light the menorah, the fashioning of silver trumpets, the section separated by the upside down nun letters, the very moving element of healing in the prayer of Moses for his sister Miriam: El na refa na la, and the struggle between one’s personal vs. public roles that caused Miriam with Aaron to speak of their concern to their brother Moses.

I wasn’t sure which of these elements would be the focus of our combined study, and was surprised when Siona zeroed in on one phrase: Miriam’s description of Tzippora, Moses’ wife, as the Cushite wife, the “dark-skinned woman,” which Siona thought was not merely a description of the origin of Tzippora but casting aspersion on her skin color. 

 From there we veered to the historical denigration and discrimination of white Ashkenazi Jews against Jews of color who actually represent the “original” Jews of the Middle East who had been dispersed to Babylon and then grew as vibrant communities in India, Persia (Iran), modern day Iraq which had been the Empire of Babylon at the time of the destruction of the First Temple, Yemen, Morocco, Egypt, and the Sephardic Jews who settled in Spain and then were expelled in 1492 and found their way to many lands like Greece, Italy, Turkey, Bulgaria, as well as Holland and the New World.  Siona suggested the book “Mother India Father Israel” by Ilana Shazor, containing many biographical stories of painful experiences by Indian Jews who were made to feel like second class citizens in Israel in the early years of immigration.  My husband Itzhak was born in Iraq, and calls himself “original Babylonian Jew” quite proudly, and tells of heart-rending stories of his first two years as a little boy in a tent camp in Israel before he was adopted by a kibbutz where he grew up. 

Torah is both a window and a mirror: It allows us to look on other worlds, archetypes, and relationships. It also reflects back elements of our own lives in new ways, and forces us to confront not only holy and aspirational teachings but also the difficult and dark areas to which we may have been blind in self-protection or arrogance. 

 In Siona’s powerful animation, we see Miriam’s face go white - showing the “tzaraat,” white scales that covered her skin - as a punishment for her lashon ha-ra, denigrating gossip, according to some commentators, but also perhaps in shame, getting pale from the realization that she has hurt another woman unfairly.  I had always ascribed a gentler motivation to Miriam, that she was scolding her brother for avoiding his responsibilities as a husband and father in favor of his weighty public role as leader of the Israelites, but during this time of study with Siona, I had to face this other possibility of possible haughtiness and discrimination on the part of Miriam, or at least, to realize what a button had been pushed by the phrase “Cushite wife,” which led us to a larger discussion of racism and lack of compassion for the “other” in our world.  Now in Israel there is burst of celebrating diversity in food, music, intermarriage, and appreciation of the very wide range of Jews from around the world, but that does not mitigate the pain that Siona and so many Jews from eastern lands have suffered. 

Siona is a brave artist who doesn’t cover up or whitewash difficult questions.  But she also doesn’t give in to an angry tone.  She makes her point with beauty and grace (and a punch!).  We will show her animation twice, once at the very beginning of our articulation. Then she will analyze the intricate parts to raise the consciousness of the viewer, and show it again, at which time the many interweavings of light blue Miriam and dark blue Tzippora, the elements of water ascribed to Miriam’s skill at finding sweet water wells and also the healing aspect of water, the inevitable darkening and sinking that happens with shame and anger giving way to lightening, and renewing and celebrating... these any many more emotions and transformations are represented in the animation that Siona has been producing and refining over many months. 

My original understanding of this portion has been expanded and enhanced by our honest discussions over these past months.  As a former Museum Educator with a background in art history I was delighted to be able to see more of Siona’s work and appreciate the skillful way she combines aspects of her identity in her extraordinary  work. See https://artsiona.com/ for a look at her "Transcultural Art in a Multicultural World."

Behaalotecha speaks about raising ourselves (the priest persona in us) upwards toward the elevated light of the menorah.  That is what we did— we lifted each other up, and we were lifted up by the words, the art, the honest meeting, and together kindled light for the viewers and readers. 

Thank you, Dvir Cahana of the unique Amen Institute, for this opportunity to rise beyond our own vision and gain perspective through chevruta partnership.