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tag: שירת הים Shirat haYam Sorted Chronologically (old to new). Sort most recent first? According to Rabbinic tradition, the 21st of Nissan is the day in the Jewish calendar on which Pharaoh’s army was drowned in the Sea of Reeds, and the redeemed children of Yisrael sang the Song of the Sea, the (Shirat Hayam, Exodus 15:1-19). The song, as included in the the morning prayers, comprises one of the most ancient text in Jewish liturgy. The 21st of Nissan corresponds to the 7th day of Passover, and the recitation of the Shirat HaYam is part of the daily Torah Reading. Rabbi Hillel Ḥayim Yisraeli-Lavery shares a performance of a melody he learned for the Shirat Hayam from צוף דבש Tzuf Devash, a Moroccan synagogue in the Old City of Jerusalem. If there is something about this tune that strikes one as particularly celebratory, it might be because the relationship between G!d and the Jewish people is traditionally described as a marriage consummated with the Covenant at Mt. Sinai. The passage of Bnei Yisrael through the Sea of Reeds towards Mt. Sinai thus begins a bridal march commencing in the theophany at Mt. Sinai, 42 days later. . . . Categories: Sefer Shemot (Exodus), Pesaḥ Readings, Shirat ha-Yam, Parashat b'Shalaḥ, 7th Day of Pesaḥ 📜 Torah Reading for Parashat b’Shalaḥ (Exodus 13:17-17:16): Chantable English translation with trōp, by Len FellmanA Torah reading of Parashat B’shalaḥ in English translation, transtropilized. . . . 📜 פָּרָשַׁת בְּשַׁלַּח | Parashat b’Shalaḥ (Exodus 13:17-17:16), color-coded according to its narrative layersThe text of parashat B’shalaḥ, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . . Tags: 31st century A.M., 8th century B.C.E., annual Torah reading cycle, liberation from mitsrayim, mythopoesis, פרשת השבוע Parashat haShavua, פרשות parashot, קריעת ים סוף qriyat yam suf, redaction criticism, שבת shabbat, פרשת בשלח parashat B'shalaḥ, שירת הים Shirat haYam, Song of the Sea, supplementary hypothesis, ימי השובבים Yemei haShovavim שירת הים | Shirat haYam, recitation for a day with a circumcision according to Seder Avodat Yisrael (1868)According to Isaac Seligman Baer’s famed Seder Avodat Yisrael, one of the first scholarly siddurim critical editions ever published, there was a custom that on the day of a circumcision, the P’sukei d-Zimra reading of Shirat haYam along with a portion of its introduction would be recited aloud as a call and response by the mohel (circumcizer) and sandaḳ (godfather). Baer’s division of the verses (from Seder Avodat Yisrael, pp. 72-74) is included here, along with a new translation. . . . אַתָּה־הוּא וְאָז יָשִׁיר (מקוצר) | Atah Hu and a condensed Az Yashir, adapted and translated by Rabbi Zalman Schachter-ShalomiRabbi Zalman Schachter-Shalomi, z”l, included his translation of נחמיה ט׃ו-י (Neḥemyah 9:6-10) in his Siddur Tehillat Hashem Yidaber Pi (2009). . . . Categories: Shirat ha-Yam אָמַר אוֹיֵב | Amar Oyev (The Enemy Said) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Amar Oyev (The Enemy Said), the sixth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the targum of Exodus 15, verse 9. . . . Categories: 7th Day of Pesaḥ מַן־כְּוָתָךְ | Man K’vatakh (Who is Like You) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Man K’vatakh (Who is Like You), the seventh in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of the verse that includes “Mi Khamokha.” The English translation preserves the Hebrew acrostic of the Aramaic. . . . Categories: 7th Day of Pesaḥ תָּנוּן שְׁבָחֵיהּ | Tanun Shvaḥeih (Tell the Praise) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Tanun Shvaḥeih (Tell the Praise), the eighth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of Exodus 15:18, the famous verse “Adonai yimlokh l-‘olam va-‘ed.” The English translation preserves the Hebrew acrostic of the Aramaic. . . . Categories: 7th Day of Pesaḥ This piyyuṭ, bearing the acrostic signature “Samuel,” is traditionally recited in the communities of Babylonia and India as a petiḥa, or opening poem, before the Song of the Sea. It is also sung on Shabbat Shira, the Sabbath where we read the Song of the Sea in public. This translation is an attempt to preserve the original meaning as well as the rhyme scheme and poetic form. . . . אִילּוּ פּוּמֵּי נִימֵי | Ilu Pume Nima (If Our Mouths Were Thread) — an introductory a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Meir ben Isaac Nehorai of Orléans (ca. 11th c.)This piyyut, Ilu Pume Nima (If Our Mouths Were Thread), the first in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the first aliyah, as an introduction or ‘reshut’ to the seder meturgeman as a whole. . . . Categories: 7th Day of Pesaḥ אֲבוּנָן דְּבִשְׁמַיָּא וּבָרְיַן | Abunan D’biShmaya (Our Parent in Heaven) — a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Meir ben Isaac Nehorai of Orléans (ca. 11th c.)This piyyut, Abunan D’biShmaya (Our Parent in Heaven), the second in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the fifth verse of the first aliyah (or second verse of the second aliyah on Shabbat). . . . Categories: 7th Day of Pesaḥ אֱלָהָא עָלַם | Elaha Alam (Ageless God) — a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Meir ben Isaac Nehorai of Orléans (ca. 11th c.)This piyyut, Elaha Alam (Ageless God), the fourth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the Song of the Sea proper as an introduction to the targum of the text. . . . Categories: 7th Day of Pesaḥ אֱלָהָא תַּקִּיפָא רַבָּא וְגִבָּרָא | Elaha Taqifa (Mighty God) — a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Yequtiel ben YosefThis piyyut, Elaha Taqifa (Mighty God), the third in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the concluding verse of the second aliyah (third on Shabbat). The translation preserves the alphabetical acrostic, as well as the authorial tag — Jequtiel son of Joseph. . . . Categories: 7th Day of Pesaḥ אִזֵל מֹשֶׁה | Izel Mosheh (Arise, Moses) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Izel Moshe (Arise, Moses), the fifth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the second verse of the song proper, as an elaboration on God’s strength. The English translation preserves the Hebrew acrostic of the original. . . . Categories: 7th Day of Pesaḥ The twelve hued rainbow above the Sea of Reeds during the miracle of its division into twelve channels of liberationA medieval manuscript illustration of the aggadah that the Yam Suf was split in 12 discrete channels, one for each tribe, as reflected above by a 12-color rainbow . . . This is a pizmon for Shabbat Shirah (Parashat B’Shalaḥ) by an unknown author. The text is as transcribed from the pizmonim included in the siddur משמרת הקדש: קול שומר שבת Mishmeret haQodesh: Qol Shomer Shabbat (Pisa 1821), p. 117. . . . These are the lyrics of the song, Miryam haNevi’ah, written by rabbis Leila Gal Berner and Arthur Waskow (with Hebrew by Leila Gal Berner) as found published in My People’s Prayer Book, vol. 7: Shabbat at Home, (ed. L. Hoffman, 1997), section 3, p. 189. The English lyrics are from an article published several years earlier — “Memories of a Jewish Lesbian Evening” by Roger McDougle appearing in Bridges (vol. 4:1, Winter/Spring 1994), on the top of page 58. No specific date is given for the havdalah program described in the article, alas. If you know the earliest reference for the publication or use of Miryam haNevi’ah, please contact us. . . . 🆕 עוּרִי עוּרִי – שִׁירַת מִרְיָם וּדְבוֹרָה | Uri Uri – Song of Miriam and Devorah, a piyyut for Shabbat Shirah by the Diwan Ashira Project“Shirat Miriam and Devorah / Uri, Uri” (Song of Miriam, Song of Deborah / Rise up, Rise Up) was first published in 2024, as the second of four piyyutim published through the Diwan Ashira Project by Ephraim Kahn. . . . | ||
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