Blessings to all our Jewish friends, in Israel and beyond.
Shana Tova,
Steve & Laurie Martin
Co-Founders
Love For His People
Standing in support of Israel, Jews, and believers in all the nations, in the name of Jesus (Yeshua). Sharing biblical truth, encouragement, news and prophecy.
Showing posts with label Rosh Hashanna. Show all posts
Showing posts with label Rosh Hashanna. Show all posts
Sunday, October 2, 2016
Tuesday, September 22, 2015
"Prophetic Insights and Celebrating the Hebrew New Year 5776" - James W. Goll
"Prophetic Insights and Celebrating the
Hebrew New Year 5776"
Hebrew New Year 5776"
James W. Goll, Franklin, TN
The Elijah List
We have now entered into the Hebrew New Year of 5776! The Ten Days of Awe is a time when many prophetic Believers receive revelation for the new year. Below I highlight some of the things the Lord has been speaking to me – including the coming harvest, increased hunger for the Word, dreams fulfilled, and harvesters released.
Significance of the Jewish New Year
Sunday, September 13 at sundown, marked the beginning of Rosh Hashanah and we are now in the midst of the Ten Days of Awe. This leads up to the Day of Atonement, which this year is celebrated on the evening of September 22nd through sunset on the 23rd. So Happy New Year from myself and staff and team at Encounters Network!
Rosh Hashanah, also known as Yom ha-Din (Day of Judgement), begins the "Ten Days of Awe" (Yomin Noraim), the "Ten Days of Turning or Repentance" or "the High Holy Days" which conclude with Yom Kippur, the Day of Atonement. During this period, it is customary to greet one another with the phrase, "L'Shanah Tovah Tikateyvu" meaning "May you be inscribed in the Book of Life."
This holiday is both solemn and joyous since it is both the Day of Repentance and the Day of Judgement. It is celebrated for two days. On the first day, some Orthodox Jews practice a custom called "tashlich", which involves going to a body of water and emptying one's pockets or casting bread crumbs into the water. This is symbolic ofMicah 7:19, "And you will cast all our sins into the depths of the sea." (Photo by James Goll)
A family meal is celebrated which includes honey cake, wine, and apples dipped in honey to symbolize hope for a sweet and happy year. On the second night, a fruit not yet eaten that season is served. Hallah bread, in a round loaf, symbolizing a crown, is another traditional food. It is both a time of seeking the Lord and feasting in His goodness.
In Jesus, we believe He is the promised Messiah; He has made atonement for our sins and He is the way to the Father for each of us. Every day is a new day in Christ. He is the "Bread of Heaven" which has come down for us. Yet as New Covenant Believers we honor the Hebrew calendar and we are invited to celebrate the Feasts of the Lord.
This Jewish New Year is particularly special because it is the Year of Jubilee! On the Jewish calendar, years are observed in seven-year cycles, with a sabbatical year on the seventh year. Then at the culmination of every seven cycles (a total of 49 years) comes the 50th year: the Year of Jubilee, when all agricultural work ceased, all land was returned to its original owner and all slaves were released into freedom! (See Leviticus 25:8-24.)
God wants to unload His immeasurable blessings on you in this new year!
My Prophetic Insights for 5776
During the 10 Days of Awe, many prophetic Believers receive revelatory dreams and visions from the Lord as they consecrate themselves to seeking the face of God. For my own life, this has annually been a special time during which the Spirit of Revelation has seemed to be greater upon my life. So what should we expect in 5776 (at the Head of the New Year)?
Here are some of the things that the Lord has been highlighting to me for this year:
• An unusual movement of the Holy Spirit is beginning among nomads or the displaced people of the earth seeking refuge in the natural – but they will find it in the Lord Himself. Tens of thousands of Muslims will come to faith in Jesus as their one true God!
• The Word of God will be "alive and active" and we will learn to meditate, speak and declare the Word of Life. There will be a revival of the Word of God!
• A fresh wave of equipping the saints will crash in upon the shores of the Church empowering Believers to be "sent ones" into the fields of Harvest.(Photo by Robert Bartow "Harvest" viaelijahshopper.com)
• A reset button will be pushed for many people's lives, marriages, families, economics and a time of dreams being fulfilled. It's time to dream again!
• It's a time of reaping the seed sown in previous seasons. God remembers your prayers, labors and tears and He will reward you.
James W. Goll
Founder of Encounters Network • Prayer Storm • God Encounters Training e-School
Founder of Encounters Network • Prayer Storm • God Encounters Training e-School
Dr. James W. Goll is the president of Encounters Network, director of Prayer Storm, and coordinates Encounters Alliance, a coalition of leaders. He is director of God Encounters Training – an e-school of the heart, and is a member of the Harvest International Ministries apostolic team. He has shared Jesus in more than 50 nations worldwide, teaching and imparting the power of intercession, prophetic ministry, and life in the Spirit.
James is the prolific author of numerous books and has also produced multiple study guides and hundreds of audio and video messages. James was married to Michal Ann for 32 years before her graduation to Heaven in the fall of 2008. James has four adult children who all love Jesus, and continues to make his home in Franklin, Tennessee.
To subscribe to The Elijah List go to:http://elijahlist.com/
Wednesday, September 9, 2015
Pro-Palestinian Rallies Await Israeli PM in London
Pro-Palestinian Rallies Await Israeli PM in London
Wednesday, September 09, 2015
JERUSALEM, Israel – Israeli Prime Minister Benjamin Netanyahu and his wife, Sara, left for a two-day state visit to England Wednesday, where British Prime Minister David Cameron awaits them, along with pro-Palestinian demonstrators.
Demonstrations are less than what 107,000 signatories of a petition to arrest Netanyahu for alleged war crimes wanted, referring to theIDF's military incursion in the Gaza Strip last summer in response to Palestinian rocket fire and terror tunnels dug under Israel's border.
Earlier Wednesday, terrorists opened fire on an Israeli woman near the Tapuach Junction, not far from Nablus (biblical Shechem).
Miraculously, she was unhurt, though shaken up by the attack and the bullets that penetrated her car. The IDF dispatched soldiers to search for the shooter.
A few days ago, the European Union announced it was putting the finishing touches on its Boycott, Divestment and Sanctions (BDS) package, the same week the SodaStream factory in Samaria gets ready to close and move to its new location in the Negev.
SodaStream CEO Daniel Birnbaum says BDS supporters just don't get it.
"It's propaganda. It's politics. It's hate. It's anti-Semitism," Birnbaum said. "It's all the bad stuff we don't want to be part of."
Meanwhile, skies remained hazy Wednesday, following Tuesday's massive sandstorm that blanketed Israel from north to south, as well as Syria, in a thick yellow, sand-filled haze. Israeli media reported it was the most massive sandstorm in 15 years.
Environmental Protection Ministry warned people with heart or lung problems to stay indoors. Domestic flights were cancelled and many people held scarves to their faces as they walked the streets.
Sweltering temperatures that accompanied the sandstorm are expected to last through the start of Rosh Hashanah, literally "head of the year," which begins Sunday at sunset.
Meanwhile in Jerusalem, light-rail construction to outlying neighborhoods, along with school and holiday traffic, snarled city streets.
But despite boycotts, sandstorms, terror attacks, traffic jams and anti-Israel protests, there's a pervasive and undeniable optimism as Israelis prepare to celebrate the New Year. Everywhere people wish one another Shana tova u'metuka, a good and sweet New Year.
Tuesday, September 3, 2013
Happy New Year! Jews Will Blow the Shofar (Ram's Horn) in Synagogues
Israel's History - a Picture a Day (Beta) |
|
Posted: 02 Sep 2013 03:41 AM PDT
Jews around the world prepare for Rosh Hashanna this week, the festive New Year holiday when the shofar -- ram's horn -- is blown in synagogues. The American Colony photographers recorded a dozen pictures of Jewish elders blowing the shofar in Jerusalem some 80 years ago. The horn was also blown in Jerusalem to announce the commencement of the Sabbath. During the month prior to Rosh Hashana, the shofar was blown at daily morning prayers to encourage piety before the High Holidays.
View the American Colony Photographers' collection of shofar blowers in Jerusalem here. Click on the pictures to enlarge.
Click on captions to view the original picture.
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Tuesday, September 11, 2012
Blowing the Shofar on the New Year 80 Years Ago
Blowing the Shofar on the New Year 80 Years Ago
- Israel Daily Picture
"Blow the
Shofar at the New Moon...Because It Is a Decree for Israel, a Judgment Day for
the God of Jacob" - Psalms
81
Jews around the world prepare for Rosh Hashanna next week, the festive New Year holiday when the shofar -- ram's horn -- is blown in synagogues.
The American Colony photographers recorded a dozen pictures of Jewish elders blowing the shofar in Jerusalem some 80 years ago. The horn was also blown in Jerusalem to announce the commencement of the Sabbath. During the month prior to Rosh Hashana, the shofar was blown at daily morning prayers to encourage piety before the High Holidays.
 |
| Yemenite Jew blowing the shofar (circa 1935) |
Jews around the world prepare for Rosh Hashanna next week, the festive New Year holiday when the shofar -- ram's horn -- is blown in synagogues.
The American Colony photographers recorded a dozen pictures of Jewish elders blowing the shofar in Jerusalem some 80 years ago. The horn was also blown in Jerusalem to announce the commencement of the Sabbath. During the month prior to Rosh Hashana, the shofar was blown at daily morning prayers to encourage piety before the High Holidays.
 |
| Ashkenazi Jew blowing the shofar to announce the Sabbath |
 |
| Yemenite Rabbi Avram, donning
tfillin for his daily prayers, blowing the shofar |
Monday, September 10, 2012
The High Holy Days in Jewish cinema
The High Holy Days in Jewish cinema
Photo: Courtesy of The National Center for Jewish Film
When cinema was still in its youth, Hollywood built a story around the High Holidays. Its tale was a measure of Jewry’s ties to tradition, but also a gentle sign of its loss.
In The Jazz Singer (1927), America’s first feature-length sound film, Jakie Rabinowitz is a cantor’s son whose father expects him to follow tradition and stand by his side in the synagogue to chant Kol Nidre, the prayer that opens the Yom Kippur service. But as the eve of the holiday approaches, the father is told that 12-year-old Jakie is singing in a saloon. The cantor angrily fetches him home and gives him a thrashing. Jakie vows to leave home for good. As the father chants Kol Nidre at shul, the son takes to the streets and embarks on a life singing jazz.
Years later, his career on the rise, his name now changed to Jack Robin (played here by the great Al Jolson, whose life had inspired the story), he visits his parents on his papa’s 60th birthday, announces he’ll soon be starring on Broadway, and hopes to make peace with his folks. Jack’s mama welcomes him back eagerly, but the father orders him to leave. Soon after, the cantor grows ill and hovers between life and death. Jack’s mother appears at the Broadway rehearsals and begs him to sing Kol Nidre in place of his father. But Yom Kippur is also the show’s opening night. The film constructs a virtual morality play around this dilemma.
The film would be incomplete without a Jolson version of Kol Nidre. Or at least it sounds like Kol Nidre—but in Jolson’s handling, the Aramaic-language lines are radically abridged and repeated, over and over, in a reverie of improvisation. In effect, Kol Nidre as jazz. The film here subtly portrays the passing of tradition into a creatively eroded form—symbolic of what New World Jews have done with the old.
In 1937, Jews in Poland did a film version of S. An-sky’s acclaimed Yiddish play, The Dybbuk. In the film, two Hasidic Jews, Sender and Nisn, are longtime friends who meet up only infrequently during holiday pilgrimages to the Rebbe of Miropolye. One such time, they pledge their yet-unborn children in marriage. Soon after, Nisn is drowned and Sender, preoccupied with money, forgets his promise to his friend.
Years later, an impoverished scholar named named Khonen makes his way to Brinitz, Sender’s town, where, as a Sabbath guest at Sender’s, he instantly falls in love with Sender’s daughter Leah, who loves him in return. The father, unaware that Khonon is the son of his long-departed friend, is determined to betroth Leah to the richest suitor he can find. Desperate to win Leah’s hand, Khonen immerses himself in kabbalistic magic so he can conjure up barrels of gold. Intensely ascetic, Khonen grows ever more unbalanced, and when Leah’s engagement to a rich man’s son is announced, he calls on Satan for help, then keels over and dies. When Leah is later about to be married, she becomes possessed by her dead lover’s spirit. Her father then takes her to Miropolye, where he petitions the Rebbe to exorcise the wayward soul.
The film, one of the last great cultural products of Polish Jewry, is a rich portrait of pre-modern Jewish life and custom. Unlike the play, it opens with an impassioned table sermon by the Rebbe on the youthful days of the fathers-to-be. The sermon deals with the Yom Kippur ministrations of the High Priest in ancient times—if an impure thought were to enter his mind in the Holy of Holies, “the entire world would be destroyed.” The Rebbe compares this to the precarious journey of some unfortunate souls, who pass through several lifetimes (these Jews believed in reincarnation) in striving toward their source, the Throne of Glory—only to be cast down, just as they reach celestial heights. As this point in the Rebbe’s sermon, Sender and Nisn inopportunely try to inform him of their pact.
When, a generation later, Khonon fantasizes union with his beloved Leah, he refers to it as “the Holy of Holies.” In retrospect, the Rebbe’s sermon becomes a prophecy of Khonon’s disastrous fall. But The Dybbuk never ceases to exalt the lovers’ bond, though the Rebbe and his court try their best to undo it. The holiest moment of Yom Kippur, though fraught with catastrophe, remains a symbol for the resistance of these lovers to a world enslaved by money and class.
A third film, Barry Levinson’s Liberty Heights (1999), is a nostalgic comedy about growing up Jewish in 1950s Baltimore.
It both opens and closes on Rosh Hashana, when the Kurtzman family customarily attend synagogue. Nate Kurtzman (Joe Mantegna) has his own New Year custom of exiting early from synagogue to stroll to the nearby Cadillac showroom, where the coming year’s models are on display. Each year, Nate trades in his Caddy for a spiffy new one, which he can afford—not from fading profits of the burlesque house he owns but because of his thriving illegal numbers racket. Nate is otherwise a solid citizen, a devoted husband and father, who has raised himself up from humble origins, and had often, in his youth, proven himself a scrappy street fighter against neighborhood anti-Semites.
Most of the film deals with the adventures of Nate’s sons, Van and Ben (Adrien Brody and Ben Foster) and and their relations with gentile girls—Van’s pursuit of a beautiful, Old-Money debutante named Dubbie, whom he met at a party; and Ben’s friendship with Sylvia, a black classmate.
Levinson’s framing the story inside the Jewish New Year and Nate’s Cadillac ritual is important. The Kurtzmans are nominally observant Jews—perhaps even Orthodox, but in a laid-back, assimilated way. Though Nate’s wife shows remnants of clannishness, the Kurtzmans are open to the winds of change. While both the New Year and the “new car year” are equally important to Nate, their overlap seems a portrait of the tradition’s loosening grip since the days of The Jazz Singer.
Even The Dybbuk, flawless as its command of pre-modern tradition had been, was the creation of Jewish moderns: playwright An-sky had been a secularist and socialist revolutionary, folklorist, and humanitarian activist. The film’s creators were immersed in avant-garde theater and Expressionist idioms, and director Mihał Waszyński was a gay man who had left behind his orthodox background and pretended he knew no Yiddish. But what unites these three films is not just their deep awareness (hidden in The Dybbuk) of the secular world, but also their willingness to invoke tradition as a yardstick. The High Holidays might be a site of fading cultural memory, but the theme still strikes a responsive chord among film goers, Jewish and gentile alike.
Joel Rosenberg teaches film and Judaic studies at Tufts University. His articles on the cinema of Jewish experience have appeared in various journals and collections, and he has recently completed a book, Crisis in Disguise: Some Cinema of Jewish Experience from the Era of Catastrophe (1914-47).
http://www.jpost.com/JewishWorld/JewishFeatures/Article.aspx?id=281688
08/18/2012, Jerusalem Post
Photo: Courtesy of The National Center for Jewish Film
When cinema was still in its youth, Hollywood built a story around the High Holidays. Its tale was a measure of Jewry’s ties to tradition, but also a gentle sign of its loss.
In The Jazz Singer (1927), America’s first feature-length sound film, Jakie Rabinowitz is a cantor’s son whose father expects him to follow tradition and stand by his side in the synagogue to chant Kol Nidre, the prayer that opens the Yom Kippur service. But as the eve of the holiday approaches, the father is told that 12-year-old Jakie is singing in a saloon. The cantor angrily fetches him home and gives him a thrashing. Jakie vows to leave home for good. As the father chants Kol Nidre at shul, the son takes to the streets and embarks on a life singing jazz.
Years later, his career on the rise, his name now changed to Jack Robin (played here by the great Al Jolson, whose life had inspired the story), he visits his parents on his papa’s 60th birthday, announces he’ll soon be starring on Broadway, and hopes to make peace with his folks. Jack’s mama welcomes him back eagerly, but the father orders him to leave. Soon after, the cantor grows ill and hovers between life and death. Jack’s mother appears at the Broadway rehearsals and begs him to sing Kol Nidre in place of his father. But Yom Kippur is also the show’s opening night. The film constructs a virtual morality play around this dilemma.
The film would be incomplete without a Jolson version of Kol Nidre. Or at least it sounds like Kol Nidre—but in Jolson’s handling, the Aramaic-language lines are radically abridged and repeated, over and over, in a reverie of improvisation. In effect, Kol Nidre as jazz. The film here subtly portrays the passing of tradition into a creatively eroded form—symbolic of what New World Jews have done with the old.
In 1937, Jews in Poland did a film version of S. An-sky’s acclaimed Yiddish play, The Dybbuk. In the film, two Hasidic Jews, Sender and Nisn, are longtime friends who meet up only infrequently during holiday pilgrimages to the Rebbe of Miropolye. One such time, they pledge their yet-unborn children in marriage. Soon after, Nisn is drowned and Sender, preoccupied with money, forgets his promise to his friend.
Years later, an impoverished scholar named named Khonen makes his way to Brinitz, Sender’s town, where, as a Sabbath guest at Sender’s, he instantly falls in love with Sender’s daughter Leah, who loves him in return. The father, unaware that Khonon is the son of his long-departed friend, is determined to betroth Leah to the richest suitor he can find. Desperate to win Leah’s hand, Khonen immerses himself in kabbalistic magic so he can conjure up barrels of gold. Intensely ascetic, Khonen grows ever more unbalanced, and when Leah’s engagement to a rich man’s son is announced, he calls on Satan for help, then keels over and dies. When Leah is later about to be married, she becomes possessed by her dead lover’s spirit. Her father then takes her to Miropolye, where he petitions the Rebbe to exorcise the wayward soul.
The film, one of the last great cultural products of Polish Jewry, is a rich portrait of pre-modern Jewish life and custom. Unlike the play, it opens with an impassioned table sermon by the Rebbe on the youthful days of the fathers-to-be. The sermon deals with the Yom Kippur ministrations of the High Priest in ancient times—if an impure thought were to enter his mind in the Holy of Holies, “the entire world would be destroyed.” The Rebbe compares this to the precarious journey of some unfortunate souls, who pass through several lifetimes (these Jews believed in reincarnation) in striving toward their source, the Throne of Glory—only to be cast down, just as they reach celestial heights. As this point in the Rebbe’s sermon, Sender and Nisn inopportunely try to inform him of their pact.
When, a generation later, Khonon fantasizes union with his beloved Leah, he refers to it as “the Holy of Holies.” In retrospect, the Rebbe’s sermon becomes a prophecy of Khonon’s disastrous fall. But The Dybbuk never ceases to exalt the lovers’ bond, though the Rebbe and his court try their best to undo it. The holiest moment of Yom Kippur, though fraught with catastrophe, remains a symbol for the resistance of these lovers to a world enslaved by money and class.
A third film, Barry Levinson’s Liberty Heights (1999), is a nostalgic comedy about growing up Jewish in 1950s Baltimore.
It both opens and closes on Rosh Hashana, when the Kurtzman family customarily attend synagogue. Nate Kurtzman (Joe Mantegna) has his own New Year custom of exiting early from synagogue to stroll to the nearby Cadillac showroom, where the coming year’s models are on display. Each year, Nate trades in his Caddy for a spiffy new one, which he can afford—not from fading profits of the burlesque house he owns but because of his thriving illegal numbers racket. Nate is otherwise a solid citizen, a devoted husband and father, who has raised himself up from humble origins, and had often, in his youth, proven himself a scrappy street fighter against neighborhood anti-Semites.
Most of the film deals with the adventures of Nate’s sons, Van and Ben (Adrien Brody and Ben Foster) and and their relations with gentile girls—Van’s pursuit of a beautiful, Old-Money debutante named Dubbie, whom he met at a party; and Ben’s friendship with Sylvia, a black classmate.
Levinson’s framing the story inside the Jewish New Year and Nate’s Cadillac ritual is important. The Kurtzmans are nominally observant Jews—perhaps even Orthodox, but in a laid-back, assimilated way. Though Nate’s wife shows remnants of clannishness, the Kurtzmans are open to the winds of change. While both the New Year and the “new car year” are equally important to Nate, their overlap seems a portrait of the tradition’s loosening grip since the days of The Jazz Singer.
Even The Dybbuk, flawless as its command of pre-modern tradition had been, was the creation of Jewish moderns: playwright An-sky had been a secularist and socialist revolutionary, folklorist, and humanitarian activist. The film’s creators were immersed in avant-garde theater and Expressionist idioms, and director Mihał Waszyński was a gay man who had left behind his orthodox background and pretended he knew no Yiddish. But what unites these three films is not just their deep awareness (hidden in The Dybbuk) of the secular world, but also their willingness to invoke tradition as a yardstick. The High Holidays might be a site of fading cultural memory, but the theme still strikes a responsive chord among film goers, Jewish and gentile alike.
Joel Rosenberg teaches film and Judaic studies at Tufts University. His articles on the cinema of Jewish experience have appeared in various journals and collections, and he has recently completed a book, Crisis in Disguise: Some Cinema of Jewish Experience from the Era of Catastrophe (1914-47).
http://www.jpost.com/JewishWorld/JewishFeatures/Article.aspx?id=281688
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