Cantor Elena Zarkh

Life is full of surprises and opportunities for tremendous growth.  Who could have predicted that I, the cantor with 26 years of experience trained in classical music, five years ago would pick up the guitar and be so brave and bold as to start not only using it for teaching but also accompany myself during Shabbat and holiday services.  It went so well and was so greatly received by the congregation that it led to creation of the fabulous Tefillah Band.

This year, I have an opportunity to work with a young songleader who is just starting her journey into the wonderful world of Jewish music.  I thought to myself that it would be so much fun to attend the Boot Camp together and share in this great opportunity together.  Well, the three days spent in St. Louis were a most inspiring, exciting, thought-provoking time for me and for Emily.

The SLBC program is created in such way that all of us, Jewish music educators and aspiring songleaders, with or without years of experience, were able to learn and immediately put into practice the most important skills that enable us to be the best champions of Jewish Music.  I was blown away by so many talented participants!  Facilitator and musician Rick Recht created something that we are all struggling to achieve.  He is able to energize and inspire our youth!

I came back inspired, optimistic, willing to try and put in place the knowledge I received.  According to her parents, Emily returned a different person with new found confidence.  She is fired up, taking every opportunity to share her skills and continuing to write music. I know that it is her dream to come back next year and continue to grow, learn and sing together with her new found friends.  And who knows, you may see me again next year!

Songleader Emily Marder

Life changing events don’t happen very often. This is just the reason why Songleader Boot Camp was such an amazing experience for me. When I was told about SLBC from Cantor Zarkh, neither she nor I had any idea of what to expect. Being a fairly new songleader, it sounded pretty cool. Of course, at the time, all I knew that it was a “songleading seminar thingy led by Rick Recht.” Must’ve been good enough for me as, before I knew it, I was in the car with Cantor on our way to the airport.

When we finally reached St. Louis and got into a cab to get to the JCC, I suddenly became very anxious. How many people would be there? How would I be compared to the others? We arrived at the JCC and received our nametags with schedules on the back and a bag containing a t-shirt and a binder. We found a table in the main room, and as I looked through the binder, somebody came up behind me and asked if I had chords to a certain song. I handed her my shireinu and knew just then that for the next three days, none of my worries about the trip would come to haunt me.

Throughout the trip, everything seemed non-stop. Our days were filled with music, discussion, learning, teaching and really getting to know each other.  They seemed to make sure that everyone could experience the true meaning of “Kehillah Kedoshah.” I was introduced to several people, including artists Rick Recht, Sheldon Low, and hundreds of other participants. Not only was it neat to be able to spend time with one another, but it was fantastic to know that everybody was there because of two things – a passion for music and their faith.

Out of every activity, breakout, songsession, performance, or lesson I experienced, my favorite occurred on the first night. That night, we had a Havdallah service. This was not just any service, though. This was the time for everybody, no matter where they came from and no matter what their age was, to come together as a community. In the light of only candles, I felt a feeling of love, peace, safety, and a whole big pool of other emotions. I had my arms around two people that were most likely from different states and that I had never met in my entire life before that day, but it didn’t matter. We were all connected as one family, just like we will be for the rest of our lives. I learned that being a songleader is much, much more than just being known as “the girl at services with the guitar.” I am an educator and music is my vehicle. I AM the leader.

Emily Mardar is currently in 8^th grade at Abington Jr. High School and has participated in several activities within the music and theater departments including the school musical and school orchestra. Emily is very passionate about music. She has played the piano and violin since she was little and just recently began teaching herself guitar (both acoustic and electric).  Her favorite musicians include Billy Joel, Elton John, Queen, The Beatles, Jason Mraz, and several others.  Emily writes her own music as well and hopes to some day be able to perform them.

Hey Jewish Rock Radio listeners, in case you missed it, an awesome gathering of over 1500 young Jewish professionals came into Vegas for the 2nd TribeFest organized by The Jewish Federations of North America.  There was AMAZING energy, social networking, and tons of great sessions and plenaries for two days in the desert.

We heard from Rachel Dratch of SNL fame and A.J. Jacobs, New York Times best-selling author, as well as many other inspiring and enlightening professionals who are  living and breathing Jewish values in their creative and engaging organizations.

However, what would a two-day conference in VEGAS be without some music?  Organized by Lee Levin and his team, TribeFest participants were treated to a Mash-Up entertainment night of food, drink, showcases by Jewish organizations, and of course MUSIC!  : )

Both nights were filled with young Jewish professionals rockin’ out to amazing sounds from some very talented and inspiring performers who bring the essence of Judaism and some Hebrew lyrics into their soulful songs/melodies.  We listened to some great sounds by Erez ‘Diwon’ Safar of Shemspeed , Jewish rapper Kosha Dillz, and Israeli reggae band Hatikva 6 on Sunday night.  On Monday night, Israeli singer/songwriter Aya Korem and the Israeli/American band Moshav performed to a packed audience.

Overall, the Mash-Ups were a DEFINITE highlight of the whole TribeFest experience, and I hope in the future Lee Levin and his team at JFNA make the evenings a bit longer and include even more awesome Jewish artists from the Jewish rock world!  Who knows maybe Jewish Rock Radio will be on hand to represent and get the crowd jammin’ in the right direction?

In the meantime, while we wait for our next time in the desert (and trust me it will NOT be 40 years), let’s support ALL of the brilliant and talented Jewish musicians out there by listening to them on Jewish Rock Radio, liking their band pages on Facebook, buying tickets to their shows, and sharing the Jewish love and rock with all of our family and friends!

Enjoy a video sample from Moshav Band singing “Salaam” and some pics from the night’s festivities….

Peace,
Sara (aka Sassyjewrocker)
Jewish educator/writer/photographer and proud supporter of Jewish Rock and Jewish musicians everywhere in our vast colorful world.  Follow me on Twitter at Sassyjewrocker and support Jewish Rock Radio’s efforts at bringing more music into your lives and communities.

Moshav Band Video

Every year, we have an educational theme at my Religious School,—a new way to approach our learning, a new lens through which to view Judaism.  Our Director of Education appreciates the power of music as a teaching tool, and has always tried to find one song to help reinforce the theme for students. When I first learned that I would be leading the same song every week for a year, I knew I would really need to love it…so I offered to write it!

I had worked as a Jewish educator and singer-songwriter for years, but since being a camp songleader in high school and college, I had not found another meaningful way to combine my two passions.  Writing this first theme song proved to be a great way to explore our educational theme for the year.  Students and teachers felt ownership over the new song and would sing it louder every week.

Singing the song regularly allowed our theme to come alive throughout the school year, and the theme soon found its way into other creative outlets. We hired an artistic teacher to create a monthly bulletin board display based on the theme, and after years of parent assemblies with shrinking attendance, we revived our last day of school with all of the students wearing theme song t-shirts and singing for their families in an original musical based around the theme.

Beyond the theme song, this musical has become a great opportunity to share new Jewish music with children and parents. Our 6th graders, who never used to attend on the last day, are now the lead actors in the show.  We end the school year on a high with everyone singing together!

It has become a tradition to welcome families back in the fall by starting with the old theme song and then officially kicking off the new school year with the new song. Eventually, I accumulated enough theme songs to make a CD, which we gave to families as a souvenir to enjoy during the summer months.

Thanks to the power of music, the children can recall each year’s themes just by thinking back to their favorite Jewish songs.  I am amazed when our teens recite them back to me now!  It’s so nice to be able to tailor songs directly to our annual theme, make sure it is geared towards the age groups we want to use it with, and create and share something new together.  The process has also opened up creative opportunities for various members of our staff to express the theme in different ways.  Everyone’s talents join together to make learning come alive!

As a Jewish kiddie rocker, Pesach is one of my busiest seasons!  In a typical holiday concert, I use about 30 minutes to fulfill the mitzvah of retelling the story of Pesach while engaging an audience of children (ages 3-10) and adults in a musical, entertaining, educational, interactive and meaningful way.

My telling of the story focuses on four concepts:

1.     Mitzrayim, Hebrew for Egypt, means narrow place.  The Children of Israel journeyed from the narrowness of captivity to the openness of freedom, echoing the natural cycles of life: winter to spring, old to new.

2.     We can imagine ourselves as Moses and hear God’s voice directing us to renew and refresh our hearts.

3.     Be brave; take a leap of faith!

4.     The first recorded mega dance “partay” happened on the beaches of the Sea of Reeds. Have fun!

*The points are woven together by an engaging narrative, supported by a number of additional fun and educational songs.  For a full script on ShirLaLa’s Blog Sameach, click here.

Imagine yourself in a room set up with ample open space, parents and children sitting together, on the floor, so that I can move in and out of the group, and so that we can all boogie (of course).  You may be called on to play a role, (I will feed lines and prompt cues, not to worry).  Other times, the whole audience will be invited to play roles like animals, trees, wind, and water. I will be strumming the guitar, creating a soundtrack for the story.  You will hear musical texture, sound effects and backtrack created by a range of strumming styles from dramatic loud tremolo to light and gentle picking.

Here we go! The journey begins:

1.     Transitioning from slavery to freedom:  We begin with the storytelling music of Building Cities and Go Down Moses.   The songs become the narrative and the audience becomes Israelite slaves.  The journey of the story starts with music of slavery and ends with music of rejoicing.   Ultimately, the music will transition us out of Mitzrayim, the Narrow Place, into an open space of freedom.

2.     “Moses, Moses take off your shoes for this is holy ground.”  (Ex. 3:5)  (Sung in a beautiful chant, origin unknown.) I bring us to the point in the story when Moses, minding his sheep, spots the burning bush, stares intently, meditates on the flames and finally, “hears” the voice of God. I sing the song a little bit at a time, beginning with just the call, “Moses, Moses.”  In my telling, it takes a few times before Moses can respond to God’s voice.  This text reminds me Gen. 28:16,  “God was in this place and I did not know it.”  This is my opening to introduce the idea of sitting, listening with more than our ears, to the still small voice inside us.

3.     The Pesach story also revolves around bravery and faith:

• Confronting Pharaoh: the audience role-plays a nervous Moses, barely whispering the song, “Oh Listen King Pharaoh!”  We repeat the song, several times, each time increasing our confidence and our volume until we get Pharaoh’s attention and until the 10 plagues do their work.

• Escaping Mitzrayim: We sing Nusrat Fateh Ali Khan/Debbie Friedman’s “Hallelu” conveying the conflicting feelings of hope, fear, hurry and ultimately bravery.  A Midrash reminds us that leaving was not an easy choice and tells that only 1/5 of the Israelites actually left. The song conveys the tension and drama of making this transition and finally erupts in celebration, sung with energy and enthusiasm.

• Crossing the Sea of Reeds:  We are unprepared to cross the water. With great fear in our hearts some of us want to flea, some want to hide, others want to fight the approaching Egyptians (Pseudo Jonathan Aramaic Targum, Ex. 14).  And some, according Midrash Mehilta Behsalah 5, in a leap of faith are ready to walk bravely into the water following Nachshon ben Amindadav.  Guitar accompaniment dramatizes the magnitude of each step into the water, from our toes up to our nose.

• Parting of the Sea: We burst into song with the second part of “HalleluYAH!” From here I transition directly into Debbie Friedman’s “Miriam’s Song,” altering the lyrics (with Debbie’s permission) to sing “And the children dancing with their timbrels…”

4.     It’s essential to have an all-out musical dance party at the end of most stories, especially this one. After “Miriam’s Song”, I sing “Dance Dance Dance,” based on a song by the Imagination Workshop Band, which I’ve adapted into Hebrew.  Various niggunim and celebratory singing fill out the party.

We dance, we play, we make it from a narrow place to an open space, open minds, open hearts.  Happy Pesach everyone!

In a full-length concert I add in a number of fun and educational songs to enhance the telling of the Pesach story.   For a full script on ShirLaLa’s Blog Sameach, click here.  For talking points on the story, family activities, printables, and recipes visit ShirLaLa’s Blog Sameach. 

To hear your own song being sung at the peak of song session by 400 campers and staff is one of the most exciting, yet humbling events any composer can experience. Back in 2004, as head songleader of URJ Camp Newman-Swig in Northern California, our songleading team decided to use one of my compositions, Hareiu, as a staple in the Shabbat evening song session. As the years went by, Camp Newman songleaders continued to play that song in their song sessions and introduced it to other song leaders throughout the country, so they could use it in their communities and at their camps.  I thought to myself, “What if there was some way to easily distribute and spread new, awesome music to people all across the country”?
A few years later, Jewish Rock Radio was introduced into our lives and has turned out to be an incredible medium for Jewish composers, musicians, clergy and any other lover of Jewish music! Whether I’m sitting in my office at Temple Sinai in Denver or traveling around the country performing, I always listen to Jewish Rock Radio.  It not only uplifts me spiritually, but there are gems of music from featured and emerging artists that I can introduce to the communities that I visit.
Although I would love for everyone to hear the music that I’ve composed and eventually become fans of my group Kol Echad, my overall purpose in being a Jewish musician and entertainer is to allow others to be spiritually fulfilled and to strengthen Jewish identity through music (my own or that composed by other artists).  Jewish Rock Radio not only provides the music that has engaged you in the past, but also plays music from newer, up-and-coming artists that will enhance your spiritual relationship into the future. For artists, Jewish Rock Radio creates the perfect way for composers and musicians to submit their music, creating new opportunities for positive exposure and influence throughout the Jewish world.
As Jews, we could not ask for a better resource!
JRR not only is a valuable resource for introducing and spreading new music, it also provides the platform for members of youth groups and other incredible programs to share their inspiration for why they do what they do. From NFTY to BBYO to Alternative Spring Break programs, youth leaders from around the world have the opportunity to share their experiences with listeners, which will influence others to become involved.
I can honestly say that it is a true blessing to compose Jewish music that is being listened to and used in congregations and camps. Because of Jewish Rock Radio, more and more people are hearing my music, opening the doors to bring us to their communities to entertain, inspire and educate. I hope that one day you will have the opportunity to feel the same blessing by submitting your music, your ideas and the programs you are passionate about.  You can request songs, submit your votes and raise your Jewish voice!  Who knows where the next big hit will come from…just like my Hareiu!

My journey in Jewish music (I’m a “newbie” Cantorial Soloist, songleader and teacher) began after our middle son, Evan, was diagnosed with High Functioning Autism, and was singularly focused after I met Rick Recht.  Through these experiences, I learned about the power that high-intensity music can bring to Jewish life.  And, all of a sudden, the life I had been living inside the bubble of Autism – therapy, intervention, school meetings, aaaahhhhhh – was transformed into a life that INCLUDED Autism, but wasn’t built around it.  NOW, there was music!

A bit of history:

When Evan turned one, he had only a five-word vocabulary, and, within two months, those words were gone.  At age two, he was diagnosed with Pervasive Developmental Disorder and, eventually at age five, High Functioning Autism.  He was treated five days a week by a team of therapists until he was eight. When we moved away, I became Evan’s full-time therapist.  Through all of it, I turned to music to keep me sane.  As I filled my car and house with anything from Mickey Mouse and Gymboree to Broadway and rock, what I noticed was that Evan was entranced by music!

Evan wasn’t using language, but he was playing music.  He hated hearing loud sounds, but still he would sit and “play” my piano, bang on drums, blow horns, shake maracas and tambourines, and strum the mini-guitar. He turned anything and everything in my house into a musical instrument.  I exploited this by using music to engage and draw him out of his self-stimulatory behavior.  By the time he was seven, and his older brother had started piano lessons, Evan was sounding out familiar tunes on the piano and playing them with one finger – over and over again.  And then, he started singing!

What the pros do:

Article after article will expound upon the benefits of music on Autistic students.  For kids who are non-verbal, music provides them with their own form of communication.  It has also been known to enhance communication for children whose verbal skills are emerging.  I believe this is what happened with Evan.

Of course, the umpteen hours of therapy were what mostly saved his life, but the music, which most of his therapists incorporated into their work in some way, always seemed to bring him more to life than any other technique.  His group therapist had the kids dance and play games to music, teaching them to interact with each other and communicate in a way that no other therapy could.

One of our biggest fears:

As Evan grew and his expressive language and behavior improved, he still struggled with receptive language -the ability to comprehend and process what he was hearing and reading.  When we enrolled him in Hebrew school, we wanted to ensure that Evan would be able to have a meaningful Bar Mitzvah experience, despite perceived limitations.  Judaism is such a huge part of our lives, so for one of our children to not reach this milestone would be devastating.  Originally, I was under the impression that in order to become Bar Mitzvah, the student had to chant Torah and Haftarah and lead the service.  I had no idea that students with special needs could still participate meaningfully.

The end result:

Living in the Autism bubble is a hard life with very little stress relief.  Discovering the power of Jewish music changed me as a teacher, songleader, soloist, mom and makeshift Autism therapist.

To me, music is THE most important part of Jewish education for young children, for it is through music – learning to SING the blessings before they are reading them, becoming familiar with the holiday songs, incorporating melodies into their understanding – that they comprehend what Judaism is all about.

As a 1st/2nd grade religious school teacher, I bring “extreme creativity” to my students in order to bring their Jewish experiences to life in a positive and dynamic way.  I use Jewish Rock and unique music to expand their horizons and give them the ability to express themselves through music.

Learning how to merge my faith and the power of the music has also allowed me to guide Evan into a larger world where he is able to flourish and grow.  The night that Rick Recht came to perform a concert at our temple was the first time Evan got up in front of a room full of people to dance and sing – behavior we had never envisioned!   It was a breakthrough of unimaginable proportions that has resulted in Evan becoming a tuba/drum/piano playing middle-school-band-kid who loves to break dance and sing with Wii Rock Band. He will be chanting FOUR aliyot, an entire Haftarah, and leading most of his Bar Mitzvah service in September 2012.

And, it has turned me into a mom/songleader/cantorial soloist who wants to teach every Autistic child that it IS possible to achieve anything…just believe in the music!

Evan (in the purple shirt) singing with Rick Recht

Evan (in the purple shirt) singing with Rick Recht!

Evan playing his Tuba, June 2011

Evan playing his tuba!

Evan and his drumsticks!

On the long list of things that my young, Jewish, city-dwelling peers and I cram into a typical week, Shabbat is usually absent. It’s in large part, I believe, because we’ve been taught that Shabbat is incompatible with our secular existence. Somewhere along the line, we were presented with a choice between ‘doing Jewish’ and ‘having fun’, and at the end of a stressful workweek, most of us choose to spend Friday evening in a bar or restaurant with friends rather than walk into a synagogue. Unfortunately, as the only option for Shabbat observance that most young Jews are familiar with, the typical Friday night synagogue service is not a very compelling one.

Imagine an alternative: an opportunity to separate Shabbat worship from its traditional confines of space (the synagogue) and to focus instead on Shabbat as a holy moment in time – one accessible wherever we choose to spend it. Enter TheWarehouse, a fresh model of contemporary worship held in an unconventional physical space, utilizing innovative music and new media to provide a truly different worship experience and an open door to the broader Jewish community.

Since launching last spring, Warehouse Shabbat has offered an access point to the holy moments of Shabbat from within truly non-traditional spaces – specifically, bars. Attendees arrive for pre-Shabbat drinks and appetizers followed by Shabbat candlelighting and a 55-minute, interactive worship service led by singer-songwriter Josh Nelson and his band. The service contains traditional liturgy and familiar Jewish tunes alongside secular music, poetry, and video animation. Words to songs and prayers are provided on a screen. A rotating clergy presence (usually a local rabbi from within the 20s/30s demographic) offers a d’var Torah or other teaching. The evening concludes with more music and announcements of upcoming social, learning, and worship opportunities from around the community – and, just maybe, another drink or dinner with a new friend.

In post-event surveys, respondents called Warehouse Shabbat “a cool way to experience Shabbat with my friends in a low-pressure environment,” and described the experience as “innovative,” and “fun.” We’re looking forward to learning more about what Jewish young adults are looking for as this program continues to grow.

Will the idea of ‘Shabbat in a bar’ appeal to everyone? Of course not. There are obviously those who are attracted to more traditional programming, and they are also more likely to seek out (or create) Jewish communal opportunities on their own. TheWarehouse is intended to meet disconnected, under-engaged young Jews on their own terms – to literally bring Shabbat to them – and to offer them a new access point to the daily, weekly and yearly holy moments of our tradition. All are welcome to join us for the next Warehouse Shabbat on Friday, March 16 at Tammany Hall on New York’s Lower East Side. Details can be found at www.thewarehousenyc.org or facebook.com/thewarehousenyc.

Over Presidents day weekend, I had the privilege to return to the Songleader Boot Camp National Convention. I was again inspired by the many participants who engage their communities through the medium of music.  It was an exciting, exhausting, and exhilarating immersive 3 days of Jewish music and ruach.

One of the many new pieces this year at SLBC was a focus on tefillah (prayer) and how a SLBC trained music educator can infuse moments of prayer with excitement, fun and meaning. I had the honor of facilitating some of the pieces at the convention that focused on these prayer techniques.

My first session was for Ramahnicks – as a lifelong Ramah Poconos camper and then Ramah Day Camp staffer, this was very exciting! I began the discussion by asking the group two questions: “What does tefillah do?” and then  “List reasons why a prayer service doesn’t do what you think prayer should do.”

The ideas came fast and furious – prayer should inspire, congregate, challenge, engage, motivate, comfort, connect with God, focus – just to name some of the suggestions. Our Ramahnicks reflected on prayer services not always achieving this because of the language, repetition, environment, one’s familiarity with the text, access to prayer ideas, and other factors.

After making our list of challenges and opportunities, we began to explore some of the ways to address these issues. We focused on how prayer needs context and accessible vocabulary . It needs to be a blend of the familiar and new, it needs to be presented in a way that inspires the participant through music, and most importantly (especially for young students), it needs to be real for the participant. We then explored some actual examples that demonstrate theses ideas.

In our short time together, we couldn’t possibly address all of the factors that lead to prayer being a challenge in our community, but we did start to form the foundations for addressing the issues. However, what was so exciting for me as a professional Jewish educator was to watch rooms full of passionate Jewish professionals thinking about prayer and beginning to plan how they will address these challenges. We began a conversation that I look forward to continuing with all of the SLBC’ers.  Prayer is too important to not address, and who better to change the way the American Jewish community engages in prayer than the exciting and super talented music educators of SLBC.

Waiting for President Obama to come onstage and address our crowd of 7,000 Biennial attendees could have provoked a riot. Not since waiting in line for a general admissions Grateful Dead concert in 1976 had I felt this kind of anticipatory build up.

We were all so psyched to hear our President speak. Meantime, a guy with funny, red, teased-up hair comes onstage in the unenviable position of warming up the crowd.
That guy? Josh Nelson.

I’d seen and heard Josh before and was always super impressed by him. It’s not that I wasn’t happy to have the experience.  But c’mon – Josh or the Prez? Sorry Josh. Mr. Obama is my guy.

So, what does Josh do?

First, he gets onstage with an awesome band, a gospel choir and what seems to be supreme confidence . And, he blows the roof off of the room.   NFTY goes wild, screaming out requests, and Josh teases them along, not giving in, not just yet.

And we love it. We love him. Jewish souls are filled.  We’re clapping and – even us “Deadheads” – are dancing through the aisles. We’re all proud to be Jewish, we are all musical, we are Reform Judaism at its best.  Kol ha kavod, Josh.

Now we’re warmed up. Mr. President?…….

OMG. Someone gives Josh the animated sign for “Keep going, the President is running late”, circle fingers thing.  On a huge screen, we see Josh’s face, processing what he’s being asked – nay TOLD to do.   Every actor’s dream/nightmare – improvise and stretch.

And he does. The crowd goes wild. We’re all sending him our love, our support. Go Josh, go! We’ll sing if you play.

NFTY keeps yelling for their song. Josh keeps saying no.  Again he finishes. Again the silly-finger-circle message. Not so fast, Josh. You’re doing great, and the President is busy with Ehud Barak.  This isn’t just keeping a crowd of Jews entertained. This is world peace!

Josh pulls Great Balls of Fire out and most of us know the song (oy, youth). We’re laughing. We’re singing. This is amazing!

Finally, NFTY wins and Josh leads us all in a gorgeous, raucous, moving Hava Nashira.

Click here to view the embedded video.

Josh’s name is on everyone’s lips. If he wasn’t before, he’s now a legend.

And he’s coming to my synagogue for Shabbat Shira.   The turnout was excellent and though most in the congregation haven’t yet experienced Josh, he wins them over.  His ritual music is gorgeous, and we are all moved. When our youth and adult choirs sing with him, I’m in tears.

Josh Nelson is another reason why Jewish music is such an integral part of the Barnert Temple experience. As the director of lifelong learning, I’m proud that Sheldon Low is our in-house rock star. Though we’re spoiled by having Sheldon here every week, and our expectations for Jewish musicians are very high, we were proud to have Josh Nelson raise our spirits both at Biennial and at home for Shabbat Shira.

I like to joke that it may be the altitude, but I feel closer to God in the mountains.  When I am not touring with my Sababa bandmates, Steve Brodsky and Scott Leader, I am the cantor & spiritual leader of a phenomenal congregation in Crested Butte, Colorado, and an artist/cantor/scholar-in-residence specializing in retreats and congregational songwriting. Being a Colorado cantor affords me amazing opportunities to make music in God’s country. I lead services on skis on a regular basis (at 10,000 feet!), hike mountain passes, read Torah and blow shofar in the golden shimmering aspens.  It’s truly living a Rocky Mountain chai – always with a guitar or mandolin in hand.

Last summer, I rafted the Rogue River in Oregon with a  group of ladies – all Jewish professionals (Rabbis, educators and attorneys) from five states and three countries.  I was terrified. It was the 10^th anniversary of my whitewater drowning accident on the Cache de la Poudre River in Colorado.

In August 2001, I was on a half-day rafting trip (insert Gilligan’s Island theme here: “a three-hour tour…”) with a group of Jewish contemporary musicians who were attending the CAJE (Conference for Alternatives in Jewish Education) in Ft. Collins, Colorado.  Many of these musicians are featured on Jewish Rock Radio: Sam Glaser, Josh Nelson, Yom Hadash, and Rebbe Soul (Bruce Burger) to name a few. About 15 minutes into the trip, our raft hit a “high side” in some serious boulders and I was unceremoniously dumped backwards into the very cold river.  My left leg was stuck in the rocks, and the raft, which had five people in it, was on top of my head.  They couldn’t find me since most people who fall out go shooting down the river.  I couldn’t get out from under the raft.  I panicked. The water was freezing my lungs. Then, calm.

I remember thinking two things before my heart stopped, and I lost consciousness:

1.    This is not such a bad way to die – with people I love  – in a place I love; and

2.    I am not going to be able to say goodbye to my family.

Then, the bright warm, yellow light beckoned. The sky was grey and the water was grayer. My deceased relatives weren’t beckoning to me as I tried to go to the light, but I knew it was a safe place.  I felt like God Herself was reaching for me.

I saw my rescue from up above in what could only be called an “out-of-body” experience.  I was on the side of the canyon looking down as I saw the guide discovering my helmeted head poking up on the bottom of the raft.  I marveled at how he jumped on top of my head to release the boat from me. I saw everyone paddling like crazy to keep the boat steady in a raging rapid so they could haul me in.  I saw the guide hovering over me as I lay on the bottom of the raft.  We zipped down the canyon, and I was taken to the hospital by ambulance, where I had a major concussion, collapsed lungs and a very messed-up knee that had been shattered by the rocks. I was unconscious the entire time.

Sam Glaser was the first completely terrified face I saw when I came to. As I lay on the floor of the raft, coughing up the water in my lungs, I managed to sputter: “Sam, God drew me from the water today.” Sam cocked his head, smiled slightly and said “She threw you in there, too – you think about THAT!”

I have spent years thinking about that…

For many months after, I was not really myself. My touring – a huge part of my identity – had come to an abrupt end. I was terrified, in a full leg brace, unable to travel or even to sing. I had to stay in Colorado two more weeks until the doctors said my lungs had recovered enough to fly. When I got home to Austin, I relied on my family (I had three young kids) and my community to get me through the emotional and physical disabilities that resulted from this accident.

I yelled at God a lot.  I sobbed uncontrollably and had day terrors in which I was drowning. During the time, I created a lot of artwork and wrote a lot of songs with the hopes that I could release another album soon. My producers, the amazing Scott Leader and Herb Belofsky, in their infinite wisdom, would not allow me to put a single song about the accident on my second album, Aish Hakodesh.  But, they recognized that drowning  “grew” me as a songwriter. The Rock soothed my soul and the Roll taught me balance.  Mere words were so inadequate – recreating my life required the music. I needed both to help me on my path towards healing. This is why I make Jewish rock music.

Ten years later, it was time to dance with a river again. After that initial fear, dance I did – spending five days swimming in the very fast current through the rapids, kayaking and paddling the entire 45 miles of one of the last “Wild and Scenic” designated rivers in the U.S. And yes, I had a guitar with me the entire trip.  The mantra that I repeated as I rhythmically dug the paddle hard into those Class 4 rapids was “No fear. Never again!”

When this same group rafts Cataract Canyon in July 2012, I will no longer be the terrified one who drowned 11 years ago. She doesn’t exist anymore.

As they say in the insurance company commercial: “Life can come at you fast.” May 2012 be a year that we all catch the fast current, hold on and paddle forward.

~ Robbi Sherwin (Austin, TX)