The Moses Cup
The Moses Cup by Ghiora Aharoni
Dear friends,
More than anyone else I know, the person most brilliantly engaged with the story of the Golden Calf, which appears in this week's parashah is my friend and teacher, artist Ghiora Aharoni. Recently he's been working on The Moses Cup, a series of sculptures that imagine an object used to perform one of the obscure but important moments in the story. After Moses comes down the mountain, sees the calf and breaks the tablets, he does this:
"He took the calf that they had made and burned it; he ground it to powder and strewed it upon the water and so made the Israelites drink it."
The Moses Cup is Ghiora's imagining of which vessel Moses might have used to feed the golden liquid to the Israelites.I asked Ghiora a series of questions about this story and the art he made out of it.
Rabbi Misha (RM): The Moses Cup is far from the only reference in your work to the Golden Calf. I've seen bulls and calves and gold in your work, broken shards that call to mind the tablets Moses broke. It seems to me that the story of the Golden Calf performs a unique function in your spiritual world view. What is that function or role it plays?
Ghiora Aharoni (GA): I would call The Golden Calf one of the lightning rods of my spiritual worldview. It's one of the fundamental stories of Judaism, and it's considered one of the Israelites greatest sins, as well as a pivotal moment in the biblical narrative. So when I first came across Rashi's writings about The Golden Calf, it was a revelation—one that completely shifted my thinking about The Golden Calf, and it also shifted my thinking about how one reads sacred text. Rashi wrote that the Israelites, who had just been liberated from slavery, were left by Moses and were alone in the desert, and that אֱלוֹהוֹת הַרְבֵּה אִוּוּ לָהֶם : that the Israelites were "lusting for divinity." With that phrase, Rashi took what is historically one of the biggest taboos in Judaism—and an epic narrative—and completely turned it on its head. A simple shift in perspective can allow you to see things in an entirely different light.
RM: Let's talk about that Rashi for a minute.
Rashi says:
"They lusted after lots of divinity." I agree that he sees a divine quest in what they did. But do you see a judgement here too? Maybe they were wanting too much god? Is there such a thing as being too desirous of God?
GA: I don't see it as them wanting too much God at all. Let’s remind ourselves that they are former slaves that never had a sense of agency. And I find it incredibly moving that they wanted “lots of divinity”…for 400 years they had no guidance and suddenly they experience the awe of these extraordinary miracles and having someone fighting in their name, and liberating them. But then, in the middle of the desert, Moses, their conduit to God, leaves them alone for an unspecified amount of time. Who leaves their children alone in the desert?
I think we need to read this in the context of the intensity of that moment: just before it, they were receiving an enormous amount of attention from God, and then suddenly, there is an inexplicable pause. So I think Rashi is showing compassion for the Israelites, in a situation where they’ve been judged, and what they’ve done is perceived as a great sin.
And to answer your question about being too desirous of God, I think desire is essential, though too much desire is a sign of lack—and that needs to be investigated. As a believer that the divine manifests itself within each of us, the experience of being too desirous of God is a sign of lack of self...of a void one is trying to fill.
RM: The acute sense of lack, as you call it, that the Hebrews are expressing here is the grounds for the surprisingly forgiving attitude that the rabbis display toward them, especially in the Talmud.
There's a midrash from Brachot tractate that describes the sin of the golden calf as akin to a father who washes and perfumes his teenager son, stuffs a bunch of cash in his pocket and drops him off in front of a brothel. Rashi is in good company.
So let's turn to Moses now. Why do you think he is making the Hebrews drink the golden calf? What's that about?
GA: This is the most brilliant question—and to rephrase that: What are the Israelites drinking when they drink the ground gold of the calf mixed with water?
When we ask that question we need to pause...a long pause. Because perhaps the answer is the question.
The way I see it is this: we need to own our sins. And in this case, Moses is not receiving orders from God—it is an independent act of Moses. And in the same way that we're proud of our virtues and because of that we sometimes externalize them, what Moses is teaching us is that sins need to be internalized. And the physicality of consuming that sin in the physical form of gold—and letting it move through your system—is a shock to the system. It is the shocking act of consuming your sin. And may I add another level of complexity to that? How did former slaves have that much gold? Remember… they "borrowed” that gold from the Egyptians, with the intention of never returning it, so might this be another “sin” that needs to be cleansed? And I think this might be a good place to remind myself that I began by saying that this is a question that perhaps should go unanswered….
RM: Do we have to eat our sins in order to get over them? Transform them? Contain them? What's the desired outcome of this shock to our system?
GA: I see that experience of internalizing as a metaphor for acknowledging, reflecting and taking responsibility for what we’ve done—while what Moses had the Israelites do was a physical internalization, and it was a shock, in certain instances we need to create a pause—which is what a shock does—and really contemplate what we’ve done to let it sink in.
RM: Why make Moses' Cup as an art piece? What role can art play in helping us make meaning of our (sometimes awful) ancient stories?
GA: Art pulls things from the subconscious for the conscious mind to consider, and it can also create a different lens, or an alternative perspective for a story. In this case, think of monuments, houses of worship and icons—which embody the narratives of our cultural history—that have been destroyed or lost throughout time. They retain a resonance even though they’ve vanished. The Moses Cup responds to that metaphysical void, expressing the transcendent energy that can be evoked by an absent icon (either disappeared or imagined). Here, it is the vessel the Israelites drank from, which is never described, and it embodies the metaphorical narrative of the their journey from slavery to the Promised Land.
RM: Thank you much Ghiora. Always a great pleasure talking Torah with you.
This coming May at the Kumah Festival we will have a chance to see The Moses Cup in person, when we gather at Ghiora's incredible studio for an evening of storytelling, music, art and discussion. Below you can see a short video piece about The Moses Cup.
Shabbat shalom,
Rabbi Misha