Sacred Rights in a Time of Terror
Barely 48 hours after the Paris reign of terror, it feels like a Jew-centric indulgence to show up for Sacred Rights Sacred Song‘s “A Concert of Concern,” billed as “a musical experience to support Israel’s modern Jewish democracy.”
But when Sunday’s New York area premiere changed course to open with full-throated, full-orchestrated ringing tones of “La Marseillaise,” tears came to my eyes. This was the right place to be—in the darkened main sanctuary of Ansche Chesed. The Upper West Side Conservative synagogue had opened its doors for this call to action to us New York Jews.
With the timing of “A Concert of Concern,” I expected an outpouring of Jews—and others—feeling the need to come together to be healed by music with a call to action for democracy. We would find strength and comfort with others to stand up against extremism in the name of religion.
So where was everybody? Barely 50 people were scattered around the dramatic darkness of the sanctuary, the bima bathed in light, two giant six-branch menorahs (symbols of the Jewish State) flanking the 18-person chorus; full orchestra below, under the baton of Cantor David Tillman, silver-haired, in black suit, small knitted yarmulke. (By their headgear you shall judge them.)
Sacred Rights Sacred Song (punning on “rights”) is the creation of lawyer-mother-religious activist Francine M. Gordon. She alternates between giving the facts on the ways that Israel’s Jewish democracy falls short, especially for women, and joining the chorus in music composed to inspire American Jews to push for change in Israel.
She quotes David Ben-Gurion, founding prime minister of Israel, declaring that the State of Israel “will uphold the full social and political equality of all its citizens, without distinction of race, creed or sex; will guarantee full freedom of conscience, worship, education and culture.”