The Plum Street Temple or the Isaac M. Wise Temple is one of the most inspiring landmarks and active places of worship in Cincinnati, Ohio. Influenced by the architectural design of the Alhambra at Granada, it reflects the Byzantine-Moorish synagogue style that first emerged in Germany in the 19th century. None of these types of synagogues exist in Germany anymore - all destroyed under the Nazi rule - leaving this particular temple as one of the very few in existence today. What is unique about this temple is its cultural diversity and a mix of Gothic, Islamic and Moorish styles of design.
Gorgeous in and out, bathed in the early afternoon sunlight, bright, colorful, and ornately designed, this temple was a feast to my eyes and soul (see pictures above). The feast continued when I heard the sounds of the organ prelude, followed by the exquisite Spivey Hall Children's Choir and the full congregation exchanging beautiful anthems one after another. An important note to make: this particular congregation consisted of approximately 200 choral conductors. This is unlike any other congregation, and only comparable to a group of organists or church musicians which I have had experienced singing with before. With Dan Forrest at the piano, Michael Unger at the organ, Martha Shaw and Stephanie Nash conducting, and Rabbi Zachary Goodman sharing reflections, it was one of the highlights of this trip for me. The overall experience and sheer power of the beauty of the music made by professionals was giving me goosebumps every minute. I was singing my heart out with all gathered in the room, and I felt that the roof was being raised and God was present!
The event was called “How Good and Pleasant - The Song of Belonging,” and was organized by the Music in Worship section at the ACDA National Conference. I have been to quite a few worship, church music and organ conferences before, but this was my first ACDA national conference. ACDA stands for the American Choral Directors Association which I have been a member of for a few years. The conference spanned 6 days: February 21-26, 2023.
I participated in many fascinating lectures, interest sessions, forums, reading sessions and concerts, and brought back a plethora of resources and fresh ideas. Two experiences stood out to me the most - two types of immersion choirs I participated in. Immersion choirs were designed to provide artistic, cultural, and educational experience, and allow the participants to immerse themselves in a wealth of literature, styles, and rehearsal techniques.
The first immersion choir I joined was the Black Diaspora Choir led by J. Donald Dumpson. Dr. Dumpson is the Minister of Music and Arts at the Arch Street Presbyterian Church in Philadelphia, PA. Apart from singing some wonderful selections from the Black Diaspora tradition, I learned that in order to avoid cultural appropriation and not fear performing this music in predominantly white churches there are a few points to be met:
we need to research thoroughly the history and the origins of the music
to the best of our ability, we need to use empathy and our own experiences and emotions to put ourselves in the shoes of those who created the music or those whose experiences inspired the music to be composed,
we need to deliver it with genuine care, passion, emotion and understanding
In a couple sessions Dr. Dumpson took us from the European-influenced choral singing to, as he described himself, the “moans and groans” of soulful music. He let us experiment with our own voices and expressions in order to create a powerful communal experience.
I found my soulmate in María Guinand, a famous conductor from Caracas in Venezuela, who led the Latinoamérica Immersion Choir. We were introduced to a variety of choral songs which represented numerous Latin American styles of music. Every song was accompanied by representative percussion instruments and piano, and included dance moves and rhythms for all involved to execute. The dancing elevated our spirits and made the music instinctively easier to perform. I loved how much the way we sang was originating from body movements and dance. I am sure that you all have figured out by now that for me body movement and dance are vital and indispensable elements in delivering music which exudes passion. That’s why my loving admiration towards Maestra Guinand.
I went to this conference grieving. In the span of a couple days I experienced a sudden loss of two very dear choir members - one from Pinnacle Chancel Choir and one from my former choir at an Episcopal Church. The process of grieving after the death of a choir member, especially unexpected, is something hard to explain unless you are a choir director yourself. Being a music director is my job. But choir members cross the line of work and family. The reason for it is the sheer power of Music. It’s exactly why my experience at the temple was so transformative. Communal singing has power like no other - we connect on levels which are beyond our understanding. I will leave the explanations of why it is so to God.
Meanwhile, I will encourage all of you to consider joining a choir. Any choir. It will provide you with wonderful tools to express yourself, your love of God and of your neighbor, and it will give you a sense of belonging that, in my opinion, can’t be matched in any other setting.
