This is an English translation of Psalms 30 by Rabbi Zalman Schachter-Shalomi z”l, first published in his Siddur Tehillat Hashem Yidaber Pi (2009). The translation was set side-by-side with the original Hebrew by Aharon Varady. . . .
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A Ḥanukkah meditation on the hidden, infinite light of creation, the Or HaGanuz, with some of the midrashic and Ḥasidic sources it is based upon. . . . 
Kabbalistic kavvanot and blessing formulations for the eight nights of Ḥanukkah. . . . 
An interpretive version of Al HaNisim for Ḥanukkah that is playful, powerful, and embodied. May it fuel our activism, including the self-care and community-building that is part of activism. . . . 
Before potatoes entered the diet of Ashkenazi Jews, latkes were cheese pancakes, or cassola, as described in “Even Boḥan” (Touchstone), a satyrical poem by Rabbi Kalonymus ben Kalonymus ben Meir (b.1286-died after 1328). . . . 
“Odecha ki anafta bi (I give thanks to you although you were angry with me) was composed by Joseph ben Solomon of Carcassonne, who is dated to the first half of the eleventh century. This elegant and abstruse poem tells an epic tale of the Jews’ resistance to the decrees of Antiochus IV and includes accounts of both the Hasmonean bride and Judith. It bears a considerable resemblance to texts 4 and 12 of the Hanukkah midrashim[ref]See Grintz, Sefer Yehudit, pp. 205, 207–08[/ref] and this is evidence for the circulation of the joint Hasmonean daughter-Judith tales in the eleventh century, even if the surviving manuscripts of these stories are from a later date.” (Deborah Levine Gera, “The Jewish Textual Traditions” in The Sword of Judith: Judith Studies Across the Disciplines (2010).) . . . 
For the purpose of the unification of the Holy One and His divine (feminine) Presence, with trepidation and love and love and trepidation, to unify the name Yud-Kay with Vav-Kay (the four letters of the Tetragrammaton) with a complete unity in the name of all Israel, behold I intend in the lighting of the Hanukkah candle to fulfill the command of my Creator as our wise men of blessed memory have commanded us to repair her root in a supernal abode. . . . 
This is an intention that I composed for the conclusion of a performance piece, Inner Fire, created and performed by my Mistabra Institute for Jewish Textual Activism at Brandeis University in 2002. It is as relevant today as ever. Please use it for inspiration when you light Ḥanuka candles. . . . Just in time for Ḥanukkah, Chajm Guski shares a חנוכה מדריך (Ḥanukkah Madrikh), Handbook for Ḥanukkah, with a Deutsch translation and transliteration of the blessings on lighting the Ḥanukiah, the kavanah, HaNerot HaLalu, and the piyyut, Maoz Tzur. . . . 
Alternative lyrics to the popular Ḥanukkah song, Banu Ḥoshekh L’Garesh by Sara Levi-Tanai (1960). . . . 
Some might seem surprised that this work isn’t in the Public Domain simply by virtue of the song’s popularity. Translations of Banu Ḥoshekh L’garesh are not uncommon despite the apparent lack of translation rights provided to translators. This all underlines how copyright is regularly ignored in the living practice of creative cultures. And yet, copyright law and the protections it affords are ignored at the peril of a copyrighted work’s remixers, publishers, translators, and other creatives. Both the song and an anonymous English translation are here being provided as an example for this article on copyright under Fair Use. Each individual contribution to our collective intellectual commons may be small, but together, our contributions will make a tremendous resource for a renewed vibrant living and creative culture. . . . 
Maoz Tsur as translated by Dr. Solomon Solis-Cohen, with Hebrew adapted in the first stanza by Joseph Herman Hertz, chief rabbi of the British Empire. . . . 
Rabbi Levi Weiman-Kelman introduced the tradition of reading these verses from Isaiah during the month of Kislev through the end of Ḥanukkah in his Siddur Ha’Avodah Shebalev of Kehillat Kol HaNeshamah (R’ Levi Weiman-Kelman, R’ Ma’ayan Turner, and Shaul Vardi, 2007). The translation provided here was adapted from the one made by Shaul Vardi in Siddur Ha’Avodah Shebalev. –Aharon Varady. . . . 
The Yiddish resistance song, “Partisaner Lid” (The Partisan Song) was composed by Hirsh Glick in the Vilna Ghetto in 1943. . . . 
A singing translation of the popular piyyut (devotional poem), “Maoz Tzur,” by Reb Zalman for Ḥanukkah. . . . 
Every Jewish holy day, even Shabbat and the highest ones, we call forth all the 22 Hebrew Letters to join us in celebration. For those of us who study Kabbalah from within the realm of the Alef-Bet, Ḥanukkah is unique in that we are given a magical tool with which to activate these signs and wonders. . . . 
Psalm 67 is a priestly blessing for all the peoples of the earth to be sustained by the earth’s harvest (yevulah), and it is a petition that all humanity recognize the divine nature (Elohim) illuminating the world. Composed of seven verses, the psalm is often visually depicted as a seven branched menorah. There are 49 words in the entire psalm, and in the Nusaḥ ha-ARI z”l there is one word for each day of the Sefirat haOmer. Similarly, the fifth verse has 49 letters and each letter can be used as a focal point for meditating on the meaning of the day in its week in the journey to Shavuot, the festival of weeks (the culmination of the barley harvest), and the festival of oaths (shevuot) in celebration of receiving the Torah. Many of the themes of Psalm 67 are repeated in the prayer Ana b’Koaḥ, which also has 49 words, and which are also used to focus on the meaning of each day on the cyclical and labyrinthine journey towards Shavuot. . . . 
Here’s a first draft of a brief liturgy for last night, for solstice plus Ḥanukkah. Note that this is a kind of eco-liturgy, but it also stands on its own without imposing an ecological overlay. Since it’s still solstice all day, you may want to use this prayer now, or at dusk tonight. . . . 
“Tsaar Balei Ḥayyim” ([It is forbidden to cause] suffering to a living creature), source unknown. Many thanks to Tiferet Zimmern-Kahan for recording the niggun for the song and to Naftali Ejdelman and The Jewish Daily Forward for providing the lyrics. . . . 
A mandala for Ḥanukkah by Brazilian Yemenite Jewish artist, GatoJudeau . . . 
May the next Thanksgivukkah be a time of health and abundance for all of you who will receive the world from our hands. May we together find away to make sure that there is health and wealth and beauty not just for our family, not just for the Jewish people and humanity, but for all living creatures who share this planet with us. May the One bless us with the power and wisdom to birth a society that shows love to the world around us, that lives with love towards all beings. . . . |
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