Thirty-one years ago. That is when this piece received its first performance,in a concertsponsored by the Corpus Christi Jewish Community Council in Texas. Sisters was a collaboration between Cantor Meredith Stone and myself. Meredith’s brother Rabbi Warren Stone was a rabbi at a Reform congregation in Texas and he arranged the performance in Corpus Christi. Before I write about the specifics of the piece I want to say how grateful I am that I kept scrapbooks on Avodah. Not only do I have ten scrapbooks of Avodah history but also videotapes from many performances, and some of them include my narration which gives me an idea of what was important to me at the time. For a few pieces I even have a file with notes and musical scores. For Sisters,a piece about the Biblical sister wives, Rachel and Leah, I have a file, a video of the piece in November 1988 with my narration and another video in 1995 with some different performers and again my introduction to the piece. I could not write these blogs without having these materials to refresh my memory.
Of the many pieces I choreographed over the 34 years I was artistic director of Avodah, this one was unusually meaningful to me. In watching it again I am also particularly fond of the choreography. One of the main reasons I began Avodah and continued particularly in the later 70’s and on was to find the woman’s voice in the Torah, particularly the five books. The importance of these five books (Genesis, Exodus, etc.) resonated strongly with me as a portion is read each Shabbat and by the end of the Jewish year the five books have been completely read. The patriarchal tone is so strong that I found myself consistently looking for the female voices.
I was not alone. The 1980’s was a time when there was a lot of feminist writing, art, dance and theatre happening in religious spheres. The first female rabbi, Rabbi Sally Priesand,had been ordained in 1972 by Hebrew Union College. Earlier in 1935 Regina Jones had received semicha (ordination) by a liberal rabbi in Berlin. She had found work as a chaplain. Remaining in Germany she died in Auschwitz in October of 1944 at the age of 42. By the 1980’s Rabbi Sally Priesand had her own congregation in Tinton Falls, NJ having first been an Assistant and Associate Rabbi at Stephen Wise Synagogue in Manhattan, which she left when she realized she would never become their Senior Rabbi. After a few years she became the Rabbi for Monmouth Reform Temple and was there until she retired in 2006. I always felt a strong emotion on the several occasions when we performed at Monmouth Reform Temple, aware of the strong pioneering efforts it took her to be the first!
In writing about Sisters, I want to set the scene for the kind of energy that was going on among many women in religious communities at this time. New feminist prayers were being written. The first women-only Passover Seder was held in 1976 co-hosted by Esther M. Broner and Phyllis Chesler and attended by 13 women including Gloria Steinem and Letty Cottin Pogrebin. By 1988 Feminist Passover Seders were gaining popularity and it was in 1988 that Debbie Friedman wrote Miriam’s Songand introduced it at a NYC Seder where the women grabbed tambourines and filled the room with dance.
Rosh Chodesh groups had begun to form in the 1970’s. While reference to the woman’s role in Rosh Chodesh (the holiday celebrating each new moon) goes all the way back to Talmudic times, women centered groups were gaining popularity throughout the United States in the 1980’s
As I began to focus on creating Sisters on the story of Rachel and Leah I was aware of this new energy and wanted to capture it in this new piece. I found the perfect collaborator in Cantor Meredith Stone. We played with ideas for the piece for well over a year.
Susan Freeman, a rabbinic student at HUC-JIR, had also recently joined the company which meant she would also be able to recite prayers in Hebrew as accompaniment or counterpoint to Meredith’s chanting and singing.
As I watched both videos of the piece I was struck at how well developed the choreography was in each section. Meredith and I had clearly defined each section. The choreography for each part had a distinctiveness and unique phrases that were developed. At the same time I felt the piece held together as a whole.
The piece opens by setting the retelling of the story of the sister wives as if it is happening in the midst of a Rosh Chodesh ceremony. The movements for this section are very circular and inspired by the shape of the new moon. Meredith is humming a vocalization by composer Ron Nelson while Susan is chanting the Rosh Chodesh prayer from the Reform Gates of Prayerbook while she circles the three dancers in the center who are doing very circular and lyrical movement.
As the music builds and the moon-like movement begins to fade, Susan and the dancer from the center who won’t be portraying one of the sisters begin wrapping the other two dancers with an imaginary thread.
In the 1995 video I shared with the audience that this section was inspired by the idea that red threads are given out at Rachel’s Tomb located at the northern entrance to Bethlehem. Several years earlier I had been to the Tomb and gotten my red thread which I tied on my wrist and wore for quite a while.
Custom says that getting a red thread at Rachel’s Tomb goes back about 150 years. Usually the small length of thread which is just enough to tie around one’s wrist comes from a much longer red thread that had been wound around the Tomb several times. It is thought that the thread can protect a person.
While the wrapping has been going on Meredith has been singing Roitman’s Rachel Weeps for Her Children, a very strong and moving piece. Susan also starts reciting a poem:
And the children struggled together
Two nations
One stronger than the other
The elder… the younger
Brothers sisters
Meredith joins her saying the word “sisters.”
The scene is now set for totally focusing on Rachel and Leah. They perform a lyrical, gentle duet with a lively and playful middle section accompanied by a piece of Bartok which Meredith played on a recorder. Chanting continues telling the story of Leah and Rachel.
There is a traditional midrash that says Rachel and Jacob had a secret sign, and that Rachel shared that sign with Leah so that Jacob could be deceived by having the older sister Leah under the wedding veil instead of his beloved Rachel. The secret sign was for Rachel to touch her toe, thumb and ear. This provided wonderful inspiration for movement with Rachel demonstrating the three gestures to Leah and then Leah following through with them in a short solo showing some of her anxiety.
Strong diagonal crosses have always been a favorite of mine and are used in the piece as Susan recites, to Meredith’s drumming, the names of “the children they bore.” Coming from opposite corners the two dancers come into the center and then circle around each other. This is repeated several times until they are in the center and Benjamin’s name is repeated over and over as Kezia portraying Rachel is falling to the ground, using a traditional Graham contraction and ending in stillness to capture the idea that Rachel died during the childbirth of Benjamin.
I remember having a hard time finding an ending to the piece. I asked Deborah playing Leah to reach out and touch Rachel’s hair. Kezia instinctively slowly sat up. As if brought back to life, Rachel then rises and the other two dancers join the group with the Bartok melody coming back as well as some movement from the earlier duet as the following poem by the Israeli poet Rachel is recited:
Her blood is flowing in my veins
And in my song is heard another
The shepherdess of Laban’s sheep,
Rachel our mother
The very first time I saw a full dance run-through of the piece with the ending, I knew that it worked and I also felt an overwhelming emotion. In fact I excused myself from the room and spent several minutes alone in the hallway. I realized how personal the piece was to me. My youngest sister Suzanne at age 26 had committed suicide and the gesture of Leah bringing Rachel back to life was what I wished I could have done. While that had happened about ten years before, the pain of losing her was still present.
Kezia and Deborah played a strong role in creating the parts of Rachel and Leah and their performances were filled with intensity along with beautiful dancing. Susan brought her rabbinic studies into the dance studio chanting prayers, poetry and the names of the children along with her dancing. When Susan left the company, Beth Millstein brought excellent Hebrew chanting skills to the company and was able to easily take on Susan’s role. Elizabeth took over Deborah’s role as Leah when Deborah moved on. The part of Rachel was only danced by Kezia, always with such beauty and tenderness.
Hebrew Union College liked to coordinate programs and exhibits in the Joseph Gallery on the first floor. While the first performances of Sistersoccurred in the spring of 1988 in Corpus Christi and then in Dallas, the first performance in New York City was at HUC in November as part of a series of programs related to an exhibit of the sculptor Chaim Gross. In the photo below, we were honored to welcome one of the sculptures into the dance company temporarily.
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