By Michael Regenstreif
I’ve always found Passover – when we recall the slavery our ancestors endured in ancient Egypt and their struggle for freedom and liberation under Moses’ leadership as told in the book of Exodus – to be the most inspiring of all the Jewish holidays.
Every year, the Passover Haggadah reminds us that each of us, like the many generations who came before us, must see ourselves as personally moving from the bondage of slavery to freedom.
Many centuries later, African Americans found inspiration in those same biblical legends as they struggled for freedom from the cruel shackles of slavery in the 19th century and as they continued that struggle in the civil rights movement of the 20th century and beyond.
The story of the ancient Israelites was recalled by such eminent African American leaders as Harriet Tubman, who organized and led the Underground Railroad, which brought many from slavery in the Southern U.S. to freedom here in Canada in the 1850s; and Reverend Martin Luther King, Jr., the inspiring leader of the modern civil rights movement.
There are countless songs in both the Jewish and African American musical traditions that celebrate these biblical stories and remind us of the paramount importance their lessons still hold in our own time when outright slavery and other forms of extreme oppression still exist in many places throughout the world. You can hear some of those songs on two wonderful CDs, both first released in advance of Passover in 2005, and both inspiring collaborations between Jewish and African American musicians. Eight years later, both CDs remain on the Amazon.com bestseller lists for Jewish music.
Brother Moses Smote the Water (Piranha Records) is a live concert recording by the Klezmatics, one of the most dynamic and innovative bands of the modern klezmer revival, with African American gospel singers Joshua Nelson and Kathryn Farmer, while Let My People Go: A Jewish and African American Celebration of Freedom (Appleseed Recordings) is a collaboration between my friends Kim and Reggie Harris, African American folksingers who have made the songs of the Underground Railroad and the civil rights movement a cornerstone of their repertoire, and their friend Rabbi Jonathan Kligler, the spiritual leader of Kehillat Lev Shalem, the Jewish congregation in Woodstock, New York.
Every year, I listen again to these inspiring albums as we approach Passover. Their songs and stories remind me of the relevance to our contemporary world of the story of Moses leading ancient Israelites out of bondage thousands of years ago. Until freedom reigns throughout the world, the journey begun by Moses so long ago will continue.
End of the Common Era
It was revealed late last month that the Canadian Museum of Civilization, soon to be called the Canadian Museum of History, has changed its style guide and will now use the abbreviations BC and AD, which stand for “before Christ” and anno Domini (Latin for “in the year of the Lord”), rather than BCE and CE for “before the common era” and “common era,” which have been used for decades.
It has become increasingly common for historians and other academics, and for museums, to use BCE and CE over the past 40 or so years as we’ve recognized ours is a multicultural society. The World Almanac and Book of Facts, a reference book published annually in the United States since 1868, dropped BC and AD for BCE and CE in 2007.
But usage of the religiously neutral terms BCE and CE have been common – no pun intended – in Jewish circles for more than 150 years. They were used by Rabbi Morris Jacob Raphall in his book, Post-Biblical History of the Jews, published in 1856.
Museum of Civilization officials insist the change was not made for religious reasons; that it was only made in recognition of more museum-goers being familiar with BC and AD than with BCE and CE.
Using BCE and CE was mostly symbolic. But symbolism is important. The terms sent a message of inclusion and multiculturalism. If some museum-goers didn’t know what the abbreviations meant, they could be told – education is part of any museum’s mission – as, presumably, they have been over the decades. The museum is an institution that belongs to all Canadians and the move is a step backwards to a time when Canada was a less inclusive, indeed, a less tolerant, society. The policy should be reversed.
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