1. Tattoo Jew

    04:34

    from Andy Abrams Added 229 1 1

    Tattoo Jew is documentary about Jewish people getting Jewish-themed tattoos as expressions of individuality and pride; people who feel more connected to their roots by displaying a modern Jewish identity permanently etched in ink upon their skin. This project explores the intersection between traditional Jewish culture and the current popularity of tattoos.

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    • Mystery School Intro - Prepare to DIE

      01:16:02

      from Michael Wolf Added 58 0 0

      This is a 1-hour video recorded 8-22-10. It introduces the Path of XPR and XPR 1, Two TREE group course. To learn more visit http://www.empoweringnow.com In the East and the West, an ancient legend speaks of a 3rd key to be revealed at the shift of the ages, a key powerful enough to unlock the mystery and to give the individual and the universal mind a safe way to die! Two keys have been received thus far to “attain” enlightenment (a.k.a. an embodied integrity defined here as the state of that which is entire). The Buddha recognized the first key as inquiry: and indeed, keep on asking who am I and you shall receive an answer so potent that you will be beyond the need for questions or answers! Then the Christ came to show us that the second key is in surrender: keep turning your “free will” over to a Higher Power and life shall become way more harmonious… Yet what was the third key and when would it be found? Awaited with great anticipation, that key was prophesized to open a path so intuitively sound that it would permit not only for a few highly evolved individuals to get to the ‘other side,’ but also for the collective. But that passage had to be earned and the environment, to be ready: it had to have cooked long enough that a certain threshold of… global warming would be reached! Are we arrived yet? Are you ready to stop suffering? Would you like to learn about the 3rd key? If so, join us for this introduction to the Path of XPR. The Path of XPR—is here to let your mind gently XPiRe and receive the XPRience of your full XPRession! (XPR is the evolution in Roman script of the Hebrew word for “sound, number, letter, light, chakra!”) In this free introductory course we will introduce the XPR 1, Two, TREE course and explore the topic of communication known by the ancients as the “Living Word.” By helping you to remove all of the blocks to clear and clean communication you can then receive the brilliant results that you desire. The experience is going to be highly interactive, lively and fun. Please bring an open mind and your most skeptical questions. There is no preparation required for this free event.

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      • FRANKLYN WEPNER STORYTELLER the ring

        01:18

        from franklyn wepner Added 128 0 0

        a beggar comes to the rabbi but the rabbi has no money to give him, so he gives the beggar a ring, but then the rabbi's wife comes home and . . . original music and imagery added to a retelling of the traditional jewish story. This tiny story, less than two minutes long in the telling, is of the zen sort. A rabbi, who we can assume from his wife's behavior is not wealthy, senses a great urgency to give the beggar something, but all he can find is a ring. His wife returns and informs the rabbi that the ring has a diamond in it. Apparently the diamond is not very conspicuous in its ring setting. Our rational, bourgeois mind shares the anxiety of the rabbi's wife, or at least we are perplexed and cannot decide what the rabbi will do. Perhaps he will take back the ring and hand the beggar something less valuable. But then comes the zen moment when the rabbi cautions the beggar to take note of the diamond and to get a good price for the ring. I want to use this little story to introduce some big ideas, ideas which are central to mystical, intuitive thinking in general and to hassidic Jewish storytelling in particular. Hassidism is rooted in Kabbalah, and Kabbalah is dialectical philosophy with Jewish labels. Dialectical philosophy is about dividing things up and putting them back together again, from the one thing (the thesis) to opposite subdivisions of that thing (the two antitheses) and on to an integration of those opposites in a higher order new thing that somehow encompasses the two opposites but adds some new scope or information. This integration is called the synthesis, from the root "syn" (together). Dialectical thinking in its Kabbalah version likens human experience to an upside down tree, with the root in some big idea, the big idea being "God" for religious Jews. According to this optic, we are always, in our experience, either descending from root to branches on the left side of the tree or ascending from branches back to the root on the right side of the tree. This brief intro is all we need right now to locate our tale of the ring in a Jewish dialectical context. Up to the moment the rabbi says to the beggar the final punch line about getting a good price for his new ring, our mind as audience is descending dialectically on the right side of the tree, from the initial situation into its distressing ramifications. We are led by the plot of the story to an impasse characterized by extreme opposites. To be a true blue Jew hassidic rabbi, the rabbi needs to give lots of charity, but certainly he also needs to deal with the needs of his wife and his own material welfare. Then, suddenly, the rabbi's final move shifts us from the downward path on the right side to the upward path on the right side, as he jolts us into a sublime integrating idea, an idea which we might describe as follows: that giving charity is so important that it encompasses all these petty material concerns and is absolutely untouchable by them. Charity, in this dialectical or zen context is a pure idea, in the world of pure, heavenly (Platonic) ideas. The rabbi's final move closes the circle of dialectical thinking. We started with one idea, the thesis. Next, we descended through first the antitheses and then the impasse; and now we are ascending back towards a new single idea. The new single idea somehow has traces of the preceding pathway we were dragged through to get to it, but the new idea no longer is immersed in that quagmire. Somehow the rabbi and his distressed wife will manage to go on with their lives, and for a split second we are not even disturbed by the possibility that the beggar will merely squander his new fortune on whisky, just as he might have squandered his former fortune leading to him being a beggar in the first place. We are for a moment enjoying the shock value of the shift of consciousness from the downward pathway (deductive thinking) to the upward pathway (inductive thinking). The story makes us laugh, due to its ability to shatter our usual rational expectations and free us, for a moment, to see things in a different light. Kabbalists say that the former light that filled our rational vessels of thinking, the "filling light", has been swamped and negated by an "encompassing light" from on high, a light from the divine realm of pure ideas in the Mind of God, as it were, ideas such as "charity". Already we have enough dialectical philosophy here to end this discussion. But let me go one step further, just to indicate how deep are the waters in which we are swimming. Let's broaden the context to that of Maimonides' principle philosophical work, his "Guide For The Perplexed". This book is one of the sources which welds dialectical thinking (of the Aristotelian sort) to the Jewish biblical tradition. I merely wish briefly to cite here Maimonides' theory of prophecy, which is the organizing dialectical principle of that entire work. Maimonides proposes that in prophecy a certain new idea descends first into the rational faculty of the prophet, and then once the prophet has maximized the powers of his rational mind, the new prophetic idea shifts over to the intuitive, imaginative faculty of the prophet. And it is the latter which is the most important stage of the process, so long as the former has been given its due. Is that not exactly what we have just observed happening in this story about the ring? First we struggle deductively to "get the point" of the story, but that gets us nowhere. It is only when the rabbi shocks us into a sort of "ahah!" moment of inductive integration on the ascending path back to "the One Without A Second" that we "get the point", that we grasp The Word of the prophecy. But since this Word is more encompassing than is rational thinking or coherent speaking, we are hard pressed to say exactly in a few words what is the message. That is why we need the story. The story is The Word. And if you take a look at how I present the story in my video you will see that I foreground the intuitive side artistically by having the characters appear and disappear abruptly, almost magically, as the text fills in gaps that are left by the visual track of fleeting images. The Idea is eternal, while our tragic and comic lives flit by like the characters in the story, present at one moment and absent the next moment. Film and video as media, when pried loose from the heavy weight of naturalistic soap opera (the left side of the tree), have the potential to present the complete dialectical cycle, journey, way, Word, Kabbalah or "Torah" (from the Hebrew root, "to seek").

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        • THE KING'S SON & THE EMPEROR'S DAUGHTER part 1 "the lost princess"

          19:19

          from franklyn wepner Added 2,586 0 0

          a 90 minute collage of text, music and images, based on the lives of rabbi nachman of breslav and salon hostess rahel varnhagen. the title, "the king's son & the emperor's daughter", is from one of the three nachman stories which are included in the show. the other two are "the lost princess" and "the heart of the world and the spring". TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT. APPRECIATING MY MUSICAL SHOW "RAHEL! RAHEL!" 1. GENERAL THEORY Of course, the best way to begin to appreciate most works of art is just to experience them a few times and form your own conclusions. The opinions of the creator of an artwork are merely incidental at that stage of the process. And certainly once an artwork is created it takes on a life of its own, just like a child more and more slips out of the control of its parents. Nevertheless, I think we will agree that this particular artwork is unique in its form, what it seeks to accomplish, and the demands it makes on its audience. "Rahel! Rahel!" is an ambitious project which reaches out beyond the realm of art and grapples with major issues of religion and philosophy. Whether I as the author have succeeded in my project is for you the audience to decide, but since my artwork is intended to operate on several different levels I feel it appropriate for me to lay out for you the plan of what might be there for you if I have succeeded in carrying out my original goals. Just as I did not compromise in creating the piece, I will not compromise here in discussing the piece. If you don't "get it", maybe I failed and there ain't nothing there to "get" in the first place. Or if you don't "get it", maybe you need to do some homework on your own, or just give up on it and go do something else more appropriate for your talents. Nachman of Breslav wrote "my Torah is entirely 'b'hinot' ". "B'hinot", in Hebrew, means "aspects of", "associations", "points of view". For example, if I think of vanilla ice cream then I can associate to that idea chocolate ice cream, or cows, or a forest of vanilla beans somewhere in Madagascar. In other words, there is no limit to the range of possible associations I might get. Nachman might have said instead, "my Torah is entirely induction", and then we would contrast inductive logic to deductive logic. Deductive logic begins with a single idea and like an upside down tree follows the ramifications of that idea out into the myriad subdivisions and corollaries of that idea. Scientific textbooks usually are written deductively. Inductive logic begins with the vast realm of concrete living awareness experiences and step by step moves up the upside down tree back to a single encompassing idea that strives to somehow include all of the original experiences in its breadth. Francis Bacon in the 14th century championed inductive logic. Theologically speaking, Breslav kabbalah is inductive thinking, while Chabad kabbalah is deductive thinking. Nachman begins with a wide range of Torah texts and trusts in associative links to get to his main points, while Shneur Zalman, author of the Chabad "Tanya", writes an orderly textbook in which he systematically lays out his major and minor premisses. But both authors are using the same tree style thinking. Nachman moves up the upside down tree, while Shneur Zalman moves down the upside down tree, the kabbalistic tree of life on which the "sefirot" (points of view) are hanging like Christmas tree ornaments. For philosophy in general, this tree is the tree of dialectical thinking, whether we are forking from one branch to two or from two branches to one. Both types of forking involve moving logically from thesis to antithesis to synthesis in one way or another. Dialectical thinking underlies much of world culture, whether in religion, philosophy, healing or the arts. Turning now to "Rahel! Rahel!", this work is offered as an example of dialectical thinking, especially in the inductive tradition which we find in the work in Nachman of Breslav. It is therefore one more chapter to be added to Nachman's own "Likutei Moharan" ("Collected Essays"). I do in this piece what he does in Likutei Moharan, with the addition that I insert the man Nachman himself into the same dialectical process he uses. I begin with Nachman's biography and writings. Then I work by associations and trust that somehow you as audience will have the intelligence, motivation and patience to "get it" when it all comes together at the end. Or if you don't get it on your own, perhaps you will get it once I show you what I am driving at. You might not agree with my interpretation, but at least I hope you will consider it for a moment. The piece begins with two dialectically opposite points of view, that of Rahel (Varnhagen) and that of Menachem (code for Nachman). Specifically, I begin with Hannah Arendt's "Rahel Varnhagen" text, and Nachman's "Likutei Moharan". At the beginning I make no attempt to bridge the gap. On the surface, it is a story of how some religious fanatic shows up at a wild secular party looking for trouble. Nachman wants to bring Rahel back to the fold of orthodox Judaism. Lots of luck! That is to say, theatrically speaking the piece begins in the style of "naturalism", real life melodrama between good guys and bad guys. Who is the good guy depends upon your own point of view. I personally see value and garbage, sense and nonsense, in both camps. But by the end of the show we have left naturalism behind and we are at a different level altogether, that of symbolism. For gradually Menachem begins to see in Rahel the embodiment of "the Shekhinah", while gradually Rahel begins to see in Nachman the coming Messiah. Menachem is quite explicit, and gives us an extended lecture about how Rahel is the Shekhinah, the female aspect of God. Rahel also gives us an extended lecture about how she herself is the Shekhinah of God. But nowhere does she say that Menachem is the Messiah. Rather she comes to that conclusion by means of a deep metaphor, that of the "night" in the song "Night And Day". She discovers that by killing off Menachem (in the form of Captain Ahab) she also is dying. This is a transparent alllusion to the underlying dialectic of the whole project. The thesis and the antithesis need to suffer death in order that the new encompassing synthesis can emerge. Rahel and Menachem are the thesis and the antithesis, while the End of Days, or Jewish Messiah, or Jesus, or whatever label you wish to use is the emerging synthesis. Dialectical thinkers here refer to the "negation of the negations", since each extreme of the polarity is itself a negation of the original Oneness. So the label "Messiah" refers here merely to the emerging Oneness, what Gestalt therapists label "the coming solution". This way of thinking runs the risk of putting God within the dialectic, as Hegel was wont to do. But pietists like Nachman of Breslav counter this tendency by emphasizing the power of the Void as a stage of the dialectic, the moment at which we allow ourselves to not know the answer for a long enough time to discover some new ideas. Now I do not want to get involved in the battle over which flavor of Messiah is the most tasty. I personally identify with the Jewish community, and I am an ardent Zionist, as will be clear to you if you read my show about the Cave of Machpelah. However, in this RAHEL show I leave that question hanging by having the wedding of Menachem and Rahel followed by Rahel's allusions to Jesus. I could have added another scene and had her extol the virtues of Mohammed or the Buddha, and the basic meaning of the play would have remained the same. Just as we can look in the direction of "the coming solution" to get the big picture, likewise we can look back in the direction of "origin" to seek an initial Oneness that has been negated by the necessities of existences. The forward looking direction is that of Aristotle's "final cause", which is to be attained via committed authentic action. The backward direction is that of Plato's "anamnesis", "not forgetting", and the emphasis in anamnesis is on entering the void of "not knowing". This is what kabbalists, following Rabbi Isaac Luria, label "tsimtsum", contraction of ego. In any real happening the two points of view, that of Aristotle and that of Plato, are intertwined, and RAHEL! RAHEL! is no exception. But if we look back to a hypothetical place before this play begins, then what or who is the Oneness that is implied? What or who is the Oneness that is fragmented as the play begins? From the point of view of a dialectical therapy, such as Gestalt Therapy, we can infer that since Rahel and Menachem are the antitheses, therefore I as their author must be the Gestalt client who is presenting my own search for integration by means of this playwriting project. At the same time, to the extent that you can identify with the characters I have created you as audience member also are invited to be that Gestalt Therapy client undergoing your own healing vicariously, as though you are attending a groupwork Gestalt session at which I am doing most of the work and you are sitting patiently watching. 2. PRACTICE RAHEL! RAHEL! is a collage of music, text and images, at the same time it is a tragic drama in the tradition of Aristotle's theory of tragedy. That is to say, it is Brechtian formalism and Stanislavsky naturalism at the same time. It is Plato and Aristotle simultaneously. The tragedy aspect of the script is that both sides of the dialectic, Nachman and Rahel, need to die in order for the final Oneness to emerge, like the legendary phoenix, from their ashes. The junk collage builds up a wide range of "b'hinot", a net of associations, that undergoes Platonic collection, or gestalt formation, or a figure/ground reversal. These fragmentary associations then coalesce at the end into a single idea. That final single idea is the messianic notion that the one and the many, God and the world, somehow can - in the manner of Humpty Dumpty - be put back together again. As the play goes on this quest for the one in the many, identity in difference, or return to origin focuses on Menachem's aggressive approach to Rahel and her aggressive defense against his preaching. The dialectical process requires that there be two opposite extremes that burn each other up in a final conflagration, and that is the reason for all the creative aggression. The battle of Ahab and the Goddess Of The Ocean is the peak moment of the dialectic, in which the two fanatics do each other in. Each has evolved into a caricature of itself. Ahab symbolizes a hyper-chassid determined to embody the Talmudic story about the big fish that spouts the two messiahs by harpooning Moby Dick. He sees himself simultaneously as the final Messiah Son Of David and the penultimate Messiah Son Of Joseph. The latter, the warrior messiah, operates on the level of "the spirit of Cain", as a force of evil on the other side, with a lust for bloody vengeance in his crusade to accomplish positive holy objectives. Likewise Rahel, by taking Fichte's philosophy of Romantic Individualism to its absurd Nazi limits fancies herself to be the warrior Great Lady Of The Ocean, making a joke out of Zohar kabbalah in the process. The complex junk collage symbolizing the final battle between Menachem and Rahel, between Gog and Magog as it were, is at the same time the moment of Platonic collection and Aristotelian tragedy. At that point I call up a text of Julia Kristeva about how the female side represents what she labels the explosion of the Semiotic into the Law Of The Father. We can say the same thing by referring to Aristotle's final cause or Plato's anamnesis as the healing Oneness that blasts the pseudo-wholeness of a rigid structure to pieces and restores the primordial free flow of energy and infinite possibilities to the world. From this point of view the Indian guru Rajneesh wrote, "it is only pure if it is chaotic". The Law Of The Father here is any myopic reduction of religion to an oversimplified do-it-or-else rulebook taught to children at a tender age, and swallowed whole as an unassimilated introject. Just as Rahel is demolishing Menachem's simplistic Judaism, Menachem is demolishing Rahel's simplistic Nazi totalitarianism. Visually I associate the right angles of a swastica to the squares of a checker board, and this accounts for the checker board wings that the Goddess Of The Ocean is wearing. 3. RAHEL! RAHEL! AND LIKUTEI MOHARAN In my essays on Likutei Moharan I decode Nachman's kabbalistic word salad of b'hinot into basic philosophical ideas. Let's review some of that process here, and relate the theory to the RAHEL show as an example of practice. First of all, the notion of the Shekhinah, which in the kabbalah is a legend with endless ramifications and endless layers of associations. One metaphor Nachman uses is that of two birds that when they fly properly represent the pure singing of a properly inspired singer or prophet. In any concrete living experience a person, as it were, radiates out (from his forehead, it is said) a ray of holy light, which Nachman sees as a holy pidgeon or canary or eagle or Page 5 of 6 0-RAHEL essay 1.rtf 3/9/10 3:37 AM whatever. At that same moment, the object of our attention or awareness likewise emits a holy pidgeon or canary or eagle or whatever. The holy birds meet halfway, fall in love, come to an orgasm of oneness in the manyness, and voila! We get a moment of healthy, contactful experience in our life. Nachman might have gotten the idea from Aristotle's theory of psychology, or from the notion of a phoenix arising from the ashes of two other dead birds, or more likely he got the idea from various Torah commentaries on Genesis, commentaries which focus on the moment at which Adam generates Eve from his own being. If so, then bird A is Adam, while bird B is Eve, and the ongoing world of our contact boundary of lived experience is the messianic state of authentic action or the primordial state of Adam and Eve in the Garden of Eden where the pure rivers of experience flow endlessly. Adam is continually "knowing" Eve in a state of ongoing orgasm. In the RAHEL show, I have Menachem (Adam, bird A, sefirah chochmah) projecting onto Rahel the role of Eve, bird B, sefirah binah, in an idealistic passion to restore the experience of "oneness in manyness" to the Jewish people as a whole. The encounter of the two birds, of Adam and Eve, of chochmah and binah, ideally generates a moment of authentic healthy action or enlightenment, depending upon whether your perspective is Aristotle or Plato. The Shekhinah is, then, the side that Adam projects out of himself. On a macrocosmic scale the Shekhinah is the female aspect that God as male projects out of Himself. Of course, in the microcosm of human experience things never go quite according to Divine expectations, and the next thing you know this pure phenomenological process is stymied when Eve/Lilit/ Moon gets fed up with shining only by reflected light, and she wants to compete with Adam/Sun as the generator of her own holy light. Things then can get quite complicated, as the plot of the RAHEL show indicates. For on the one hand Menachem wants to restore the Shekhinah, his other half, to her original purity and power to hasten his own integration, and on the other hand his efforts at dominating her accomplish the exact opposite result. She rebels and is all set to gobble him up after cooking him and his cohorts in a big black pot. Likewise, Rahel is no more successful in projecting Menachem as her own Shekhinah, when she herself assumes the traditional masculine macho role. She uses the cannon as a substitute penis, her own Moby Dick to do her projecting! I, Franklyn Wepner, as author, of this kaleidoscopic collage of images, I keep discovering new nuances of interpretation, and I invite you to get your own hits and come up with your own "Torah" exegesis. Referring back to Nachman's analogy of the two birds, the unpure state of two rabid birds (since doves originally were dinosaurs) pecking at each other, Nachman relates to an unholy cantor singing primarily to impress his wife or to advance professionally in the system. Since Menachem and Rahel end up "following after their eyes", worshipping the golden calf, being possessed by the "spirit of Cain", hence they deserve to be demolished as the play draws to its conclusion. Menachem and Rahel, as caricatures of themselves, both end up stuck on the "day" side of reality, while it is the "night" side of reality which remains the true ground of experience. The final moments of the play represent this figure/ground reversal, as the night reasserts it authority as the One capable of encompassing the Many. The epilogue scene makes the statement that this primordial One/night is not just Jewish property, but is available to all life through the dialectical process which the play embodies. Amen. 4. ACKNOWLEDGMENTS This show, like Likutei Moharan, is a collage of fragments. No one fragment is the main idea of the show, but certainly all of them need to be acknowledged and given credit. If I overlook a few, it is because there are so many of them. In a sense, life is one big plagiarism, which we label "tradition" or "learning". Do I need to run around getting permission from 100 artists and writers? Probably not, and perhaps I will get sued one day. First of all I will acknowledge the Torah which Nachman pilfered to write Likutei Moharan and Arthur Green pilfered to write "The Tormented Master". Then I will acknowledge the writings of Rahel Varnhagen, which Hannah Arendt pilfered to write "Rahel Varnhagen". Certainly the drawings of shtetl life of Reiss and the photos of Vishniac deserve mention, as well as the paintings of Chagall, of which three appear here. I ought to acknowledge the music of the western culture from which I stole the rules of harmony and counterpoint which underlie my musical score. And certainly Rabbi Danny Schultz deserves mention, for inspiring my portrayal of the great rebbe Mordecai Daniel of Schultzrina at the time I was living in the Diaspora Yeshiva of Jerusalem in 1982. Overall, this whole process of video collaging would not have been a realistic option had it not been for the powerful resources which the Art Explosion and the Google libraries of images makes available. Last but certainly not least, there is my mama, my dear "chicken soup mama" who, incidentally, never bothered to distinguish between milchik and fleishik, or even between kosher and nonkosher! But nevertheless, certainly her heart was all for me, and without her endless support and encouragement and love the junk collage that is Franklyn Wepner would never have coalesced into the artist Franklyn Wepner. SUMMARY OF THE SCENES PART 1 "the lost princess" SCENE 1: Berlin, 1806. Jewish salon hostess Rahel Levine, alone in her boudoir, soliloquizes about her dissatisfaction with her Jewish upbringing, which to her mind is the cause of all the frustrations she has experienced in life. She would like to change herself completely. SCENE 2: Menachem of Saslov (i.e., Nachman of Breslav) protests to the reigning Hassidic rebbe, Mordechai Daniel of Schultzrina, against what he regards as a preoccupation with the externals of Jewish life rather than commitment to Torah study and prayer. A celebration of the holiday of "Shavuous is taking place, but Menachem feels that only he is actually receiving the Torah at this moment. SCENE 3: Locked in the stocks by Rebbe Mordechai Daniel, Menachem tells us the story of the Lost Princess: a King (God) momentarily angered by his favorite daughter ) tells her to go to the devil. And in the morning she is nowhere to found. Seeing the misery of the King over her absence, the Viceroy (Messiah) sets out to seek her. He finds her in the palace of the devil. Symbolically Rahel here represents "the Shechinah", from the Hebrew root "to dwell". The implication is that the Jewish people has the potential to embody God's living presence ("dwelling") here on earth so long as it does sell its soul to the devil. PHILOSOPHICAL OVERVIEW The author is of the opinion that the true "history" that Rahel "would not now have missed at any price" is: (1) what Hegel calls "the phenomenology of the spirit", or an "objective history" rather an everyday ego dominated, illusionary "subjective history", (2) which is what therapists call working through the blocks to our awareness and the "games we play" to get to authentic action in our lives, (3) which is what literary critics call a complete dramatic action, in this case spread out over the events enacted by both Rahel and Menachem rather than combined in the life of just one character, (4) which is what neo-Platonic thinkers such as Philo call the path of the logos embodying pure Platonic ideas, (5) which is what Christians call the "stations of the cross" as embodied ideally in the life of Jesus, (6) which is what Maimonides in his "Guide For The Perplexed", and in the tradition of Aristotle, calls the system of concentric spheres or heavens leading down from and back up to God (God being conceived as the Unmoved Mover or Active Intellect), (7) and which is what Jewish kabbalists call emanation of the "Word of God" or "hish'tal'sh'lut", from the Hebrew: "to make a chain". The chaining is a chain of "sefirot", from the Hebrew "to count" pure numbers (like Pythagoras) or to enumerate a sequence of pure ideas or different points of view (like the Greek "logos" or account). The "hish'tal'sh'lut" is a descent down the chain and an ascent back up the chain - from the highest sefirah ("Keter") down to the lowest sefirah ("Malchut") and then back up again. The ascent or "t'shuvah" (Hebrew: "returning") is the pathway back to our lost unity with God. The different one sided points of view which Rahel and Menachem embody along this pathway are incomplete versions of the Name of God, while the play as a whole seeks to approach - but only asymptotically - the Great Name (or Naming) of God. As the Jewish prayer service tells us, "On that day will God and His Name be One". (8) Menachem embodies the soul of the Messiah, the possibility of God in human experience as symbolized by the notion of the complete Name. Rahel, on the other hand, embodies the Shekhinah, all the partial Names distributed among the many created creatures, especially among the different individuals of the Jewish people. The sacred marriage of Menachem and Rahel symbolizes the integration of the one with the many, which has an endless number of representations in cultural traditions all over the world. For Jews the union of God (the One) with the Jewish people (the Many or Shekhinah) is focused especially on key moments in the ritual calendar, especially the moment of the "L'chah Dodi" prayer, song and dance on Friday nights at the beginning of the Sabbath. The Hebrew is: "Come, my friend, and let us greet the Sabbath Queen or Shekhinah". (9) You did not come to an avant garde theater script for a Torah lesson, but you got one anyway. I fooled you! The word Torah has two possible Hebrew roots. (1) "Hora'ah", which means "instruction", and (2) "tur", which means "to seek, investigate, search", i.e., to take a journey of discovery, which is what this play represents. The descent and ascent of the Shekhinah is one way this Torah experience is symbolized in Jewish tradition. The pathway (Torah) away from and back to what in this play is labeled "God" is a possibility for human consciousness. We have the option to travel it or we can find other things to do with our allotted time. And we can use either sacred or secular terminology to describe the trip. This play uses both.

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          • SHEKHINAH Centro Holístico - Inauguración

            04:18

            from Paty Juárez Added 42 0 0

            El 29 de mayo de 2010, se inauguró el Centro Holístico "Shekhinah", a las 19:00 hrs en Oriente178 No. 144, Col. Moctezuma 2da. Sección, Deleg. Venustiano Carranza, C.P. 15530, México, D.F.

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            • Introduction to Kabbalah

              13:34

              from Shm Added 33 0 0

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              • Trailer sobrevivir al 2012 com

                04:45

                from Miquel Benitez Added 891 0 0

                Trailer del documental Sobrevivir al 2012 ©Miquel Benitez Música: Alex Oses

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                • Lo Sfidante - 3. What is the Opponent?

                  20:42

                  from Centro MareNectaris Added 187 0 0

                  Lo Sfidante ( The Opponent ) is a documentary movie created by MareNectaris and freely available at web site http://losfidante.marenectaris.net/eng This movie is about the understanding and the overtaking of the set of forces acting on all human beings in order to make them weak, fearful, doubtful, leading to delay rather than to act. This is the part III.

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                  • רבי אוהד אזרחי אצל אברי גלעד משוחח על חג האהבה Rabbi Ohad Ezrahi

                    04:27

                    from ohad Added 401 0 0

                    Rabbi Ohad Ezrahi in Israeli TV talks about Tu Be'Av and the major ilnesses of Judaism

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                    • 5 tips to beautiful skin: Holistic Skincare interview with Esther Levy by Lisa Hein

                      01:00:00

                      from Esther Added 126 0 0

                      Interview for the Radio Ear Network on July 20, 2010 on the Everyday Parenting show of Lisa Hein. Find out about Holistic Skincare with consciousness and energy, proper nutrition, success for kids (SFK), Kabbalah and 5 tips to beautiful skin. For more information see Esther's site: Treeoflifefacials.com

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