‘A modern camp with an old soul’ celebrates its bar mitzvah

Camp JORI is celebrating its bar mitzvah this summer. It’s hard to believe that Rhode Island’s only Jewish overnight camp has been at the Worden’s Pond location in Wakefield for 13 years already. Ronni Saltzman Guttin, director, shares that the transition from Clarke Road in Narragansett to the current site was a smooth one since the camp’s core values and traditions remained the same, despite the technological advances and enhancements to accommodations.
The biggest draw is JORI’s ability to unite the campers, who relish taking care of one another, the way they care for family members. After all, once the kids get to camp, they’re all part of one big family. As Guttin puts it, “Camp is a great equalizer.” She means that no one has to worry about being of a different affiliation or belonging to an interfaith family. JORI doesn’t discriminate. Instead, it creates an environment where children have the same appreciation for Jewish life.
Guttin and Rachel Mersky Woda, assistant director, accomplish this feat through meaningful, fun-loving Shabbat celebrations, activities focused on Israel, Israeli counselors, music, sports, art and language. Modeling their programs after those of other camps, JORI takes advantage of proven techniques to ensure that the camp provides a memorable summer experience.
In light of contemporary time and money challenges, Guttin and Mersky Woda work hard to fit camp into families’ decision-making equation. Because Guttin believes that the Jewish camp experience is paramount for children, she says, “We take pride in providing financial aid. Finances shouldn’t be the reason a family doesn’t choose JORI.” They point out that BunkConnect, an affordability initiative built on the success of the Foundation for Jewish Camp’s One Happy Camper program, makes it easier to ask for financial aid. Mersky Woda encourages it, “If you don’t ask, you don’t get.” Guttin says that not too many people realize that their family income can be as high as $125,000 to be eligible to apply.
Similarly, the directors rely on BBYO Passport – BBYO’s worldwide summer travel program for Jewish teens and their families – to handle all of the logistics regarding the CIT’s (Counselors in Training) four-week trip to Israel. For instance, Mersky Woda says that, last year – with the war raging on – they found it a relief to not worry about the itinerary and other day-to-day concerns; “BBYO Passport saves us time and energy.” Guttin and Mersky Woda knew that their kids were safe and secure. Providing additional comfort, BBYO Passport even hires past JORI staff to run the trip as group leaders.
The continuity is also evident in the effect the trip has on the campers back home; they are inspired by their peers’ adventures. Those on Worden’s Pond love watching the slides the travelers send to Rhode Island for the rest of the camp to enjoy on Shabbat. When the CITs return to JORI for the remaining 12 days of the summer, they bring their newly acquired knowledge with them. Mersky Woda says, “It’s a game-changer for how they see Israel.” Many become counselors the following year.
Guttin recently returned from Israel, where she traveled courtesy of Lekhu Lakhem Fellowship, an educational program for Jewish camp directors developed by the Foundation for Jewish Camp and JCC Association. Guttin loved having an opportunity to see Israel through the eyes of camp directors and to talk to them about their experiences.
In addition to discussing their daily activities, the group considered possible ways to improve camp. Asked to choose a project, Guttin decided to focus on music as a way to increase camp spirit. She says that she loves traditional American camp music, folk songs from the 1960s and ’70s, as well as contemporary Israeli music. Because the camp celebrates Shabbat through music, Guttin would like to encourage further exploration and musical experimentation within camp, whether through song or instruments the kids bring from home, including guitars, drums and keyboards.
Another takeaway Guttin brought from the trip is the realization that there are many additional ways to create connections to Israel. She’d like to incorporate the country’s events as a way to tie together information about Israel and the camp’s activities.
For instance, Guttin was amazed by the railroad system through the Izre’el Valley. The tracks run along the same path as they did during the Ottoman Empire. Since Guttin is a huge train fan, she came up with the idea to use train stop locations to discuss cultural differences, terrain and area growth. She’s thinking about creating activities around Israel Day, with each station representing a different town on the line.
Guttin’s new inspirations will be in concert with JORI’s ongoing improvements. Those who send their kids to the camp might have noticed the latest facility and technological enhancements that have helped bring JORI into its prime. The gorgeous waterfront, with its recently built pavilion, is undergoing additional work to make the best use of the land. Roadwork is under way to reduce runoff to the pond. It’s important to the camp to protect resources and remain environmentally conscious. An additional waterfront building is planned for storage and staff living space. Also, this summer, a picnic grove will be created using some grant funding, and the kids will enjoy a new ropes course.
While the camp boasts various upgrades, such as the website Mersky Woda redesigned with the assistance of the Foundation for Jewish Camp, its mission remains the same. Guttin emphasizes that JORI stays true to its origins. Mersky Woda chimes in, saying that she wishes more people would be aware of the camp’s history and how much it has informed their operations. Guttin agrees, clarifying that their aim is to take the legacy that has guided the camp since 1937 and apply it to modern life. She says, “Someone called JORI a modern camp with an old soul,” a description that’s proven apt.
In the early 1900s, JORI was built to offer a great summer experience to the residents of the Jewish Orphanage of Rhode Island. Of course, now, its state-of-the art accommodations differ greatly from the modest facility it once was. JORI’s website reminds us how much time has passed, “If the walls of Camp JORI could talk, they would tell the story of four generations of campers coming into our door as wide-eyed youngsters, enjoying fun-filled summers.” The kids have changed, as have the families’ needs. Yet, the camp’s strong values uphold. JORI retains its goodness and warmth that attract the campers year after year.
Guttin concedes that certain elements remain traditional, while they embrace new ideas to attract today’s kids. A parent of a JORI camper sums it up, “JORI’s major strength is creating a camp community with Jewish values where kids can make friends, develop close connections with counselors, and develop important life skills such as independence, self advocacy and solving problems.”
To provide the most flexibility, JORI offers many ways to experience summer camp, including day camp, a weekend-long trial program and sessions of different lengths. As Mersky Woda’s card reads, “We strive to provide a safe and supportive setting for campers to create life-long connections with the Jewish community.”

IRINA MISSIURO is a writer and editorial consultant for The Jewish Voice.

NaBSco performs at the Dwares JCC

Many of us are passionate about our craft, but musicians are some of the luckiest people because they are entirely enchanted by their noble pursuit. The members of the Narragansett Bay Symphony Community Orchestra have chosen a field that evokes much pleasure, which they would like to share with you, their audience. The community-based orchestra is excited to perform “French Impression” on March 8 at 3 p.m. at the Dwares JCC.
Gail Agronick, a founding and board member of the orchestra, has played the violin since she was in the fourth grade, growing up in the Rhode Island Philharmonic Youth Orchestras. She says, “I really enjoy our performances at the JCC because our family spent a lot of time there as members of The Friday School. … It is quite rewarding to play in the same space that my husband, girls and I celebrated many Shabbats.”
Amy Goldstein, also a founding and board member – along with her husband Bruce Goldstein – plays the flute. She met her husband in the orchestra at Brown. Goldstein admits, “Playing in an orchestra again with him is very nostalgic.”
Saul Woythaler is a bassoon player and a board member. A retired principal electrical engineer, he’s also a co-president of Touro Synagogue in Newport. Woythaler has been involved in music since the 6th grade; he says that it is his passion. “NaBSco provides [the opportunity to make music] to a unique group of skilled, dedicated, high-level amateur musicians who wish to continue to perform and learn.”
In 2014, NaBSco (previously known as the Rhode Island Philharmonic Community Orchestra) became a nonprofit 501c(3) group. Their move toward independence began when they formed a board, codified bylaws and found a new conductor and music director, Benjamin Vickers. Woythaler considers the organization to be fortunate to have Vickers as its leader. He says, “Ben is a skilled conductor who has the ability to extract the best from our group, making the whole greater than the sum of the parts.”
Vickers took the time to respond to some questions about the pieces they will play, including “Prelude to the Afternoon of a Faun” by Claude Debussy, “Noble and Sentimental Waltzes” by Maurice Ravel and “Symphony in D Minor” by César Franck. Here are some of his replies.

Prelude to the Afternoon of a Faun:

In your opinion, does Claude Debussy do justice to Stéphane Mallarmé’s poem?
I do. Reading and experiencing the poem creates a remarkably similar psychological impression as being with the music does.
What evidence of symbolism do you see in the musical piece? How did the movement influence Debussy’s composition?
The symbolist movement’s dream-like and bizarre imagery is reflected in the music – even not knowing that the piece is about a faun chasing nymphs and his feelings and desires for them on an oppressively hot afternoon, one can get a great deal of that from the music. … The flute solo comes from nothing, just as one’s awareness comes gradually from darkness after waking – the piece and the poem both continue in this quasi-waking state, and one feels the free flowing of thoughts and images without particularly attaching any significance to them, just as when one is in that state.
Debussy was known for his defiance of the norm during his student days. Did he reject the rules in his creation of the Prelude as well?
In the Prelude, he’s not rejecting rules for its own sake certainly; I think it is more that this piece has its own rules, which it actually follows pretty strictly. Its apparently very free and effortless existence is a result of careful construction. The piece is really spun out from a few very short, simple ideas – most of which derive in some way or other from the very opening flute solo.

Why do you think Debussy chose the flute to represent the faun?
I think it is a natural choice, because of the poem’s opening lines. … The completely unaccompanied flute solo at the Prelude’s beginning is a quiet and gentle revolution as well – nothing quite like it had been done in symphonic music. Pierre Boulez wrote that this flute solo breathed life into modern music, awakening it.

Does the omission of brass and percussion from the piece work in its favor?
Well, there are horns, blended and used like woodwind instruments though. And at the end there are “antique cymbals” which we would call crotales. However, the omission of the other brasses and percussion absolutely works in favor of all that the piece is. That too is a quiet revolution of sorts; in 1894 late romantic, huge orchestras were rather the norm and expression on the grandest scale as well. Debussy really elevated the importance of instrumental color and timbre as an element of composition in the Prelude. The prominent roles played by the wind instruments and their careful combinations and blend create the piece’s famous atmosphere.

Noble and Sentimental Waltzes, Ravel:

How is Ravel’s impressionist style different from that of Debussy?
To me they are very, very unlike. … Ravel was a complete classicist. He valued formal clarity and precision in all details. His scores have the meticulous touch of the gears in a Swiss watch. … In a sense, Debussy and Ravel share a great attachment to the importance of orchestral color and timbre as a primary feature in their works. I virtually don’t consider Ravel an Impressionist, but that is a little extreme point of view.

What challenges do you face when performing the Waltzes?
Like all Ravel’s music, they are very difficult to play. They demand virtuoso techniques of all the players – woodwind and brass challenges of balance, blend, finger work and rapid articulation – lots of percussion, which is great for us, and string techniques which divide the sections, who normally play one line all together or sometimes divide between two, into several more groups playing different music at once. The strings also have rapid changes in bowing style called for, and both natural and artificial harmonics very frequently. … We hope that a listener won’t be preoccupied with these difficulties because Ravel’s orchestration is so precisely calculated that it should sound like the most brilliant and lyrical set of waltzes you could imagine Ravel writing – with, of course, his ironic touches.

Symphony in D Minor, Franck:

Does the influence of Wagner and Liszt enhance Franck’s composition or hinder it, considering the difference between the French cyclic and the German romantic forms?
In an altogether different way, the Franck and Debussy have a great deal in common. This is not very evident on the surface, and in fact, the Franck reveals this connection quickly, with a little study or even just a few hearings. What the ‘this’ is, is motivic derivation. In the Debussy, it is not simple to find or to hear the connections between the whole and the part from which the whole is derived, namely the opening flute solo. That is because the derivation is all very much in the background, in the very slow moving structures and harmonic relationships that require searching out – but, they are there.
The piece is very Wagnerian. The pace at which it unfolds and develops is very similar and influenced by Wagner’s music dramas. Wagner and Liszt were both very interested in creating psychological meaning through taking a theme or a motive and developing it into recognizable, although distinct, forms.
Franck’s distinct fingerprint is in evidence strongly in several ways. The ease with which he develops his motives in mostly traditional, functional harmonic situations, and yet manages to go to very remotely related harmonic situations while doing so, is amazing. Franck was one of the great organists of his time, and the sound of the organ, its voicing, characteristically abrupt changes in registration and massive resonant sound are all in the symphony.
It was actually Franck who devised the novel three-movement form that the symphony uses, based on its particular sense of musical balance. The first movement is a significantly modified, but recognizable sonata form. The last movement is a conventional enough rondo-esque finale with the episodes one would expect – here, incidentally and naturally, is where the ‘cyclicism’ shows up. The slow movement and scherzo are where the formal modification is – the two are fused into one; an A-B-A form based on the same musical materials (the gorgeous, famous English horn solo), with the A’s being the slow movement and the B being the scherzo.

What made you choose this musical piece, in view of how rarely it’s performed lately?
I have always loved the Franck Symphony and wanted to work on it and perform it. It used to be performed very frequently and to be very popular, but it is not often performed anymore. I think it is a difficult piece to play well and to pace correctly.
If all of its interconnections are not clearly brought out, it has the potential to become a not-good performance, and not to strike a listener as a profound journey of the spirit. It has a great finale, a massively impressive first movement, and one of the most touching, nostalgic and songful slow movements there are in the repertoire. You can actually leave the hall humming the English horn tune.

The adventures of Tom Sawyer, whoever he may be

Hi, my name is Tom Sawyer, and I’m having an identity crisis. My mom was feral, according to those who knew her, but I don’t like to judge. After she abandoned me, I left the farm with a woman whose hair matched my fur. Maybe we were related? It’s not important though; the love I felt for her was unconditional. The woman was good to me, teaching me how to behave like a proper gentleman and feeding me wet food twice a day. Her husband was the best thing about her, though. He had the most comfortable stomach and always let me lie on it while he stared at the TV. Now that I’m with this other family, I miss that stomach! But I’m getting ahead of myself.
I don’t know who I am. If I come from feral stock, why am I not living in the wild? And if I’m domesticated, why do I frequently get the urge to go beyond the French doors and run around, dipping my paws into the wet white stuff that I like to lick off the shoes? It’s not as filling as giblets in gravy, but it’s still delectable. You have to be quick, though, because it doesn’t taste as good from a puddle on the floor.
So, back to the crisis. The old couple used to call me Tom Sawyer. Personally, I always felt that the name was a bit long. Now, these new owners think they can do what they like. They showed up at Petco, removed me from my cage and placed me on the boy’s lap. I attempted an escape, but they caught me. I was humiliated as they took turns holding me, as if I were some sort of a delicious tuna fish. When they signed the papers, I knew I passed the cuteness test. I’m not saying this to brag, simply stating the obvious. After all, there were other cages there on the table.
That daring boy was the one who triggered the crisis. He was too lazy to pronounce my full name and kept calling me Sawyer. Then, the rest of them chimed in with their own versions. If these humans can’t make up their minds who I am, how am I supposed to? Am I Tom? Tom Sawyer? Sawyer? TomCat? Tomichka? Tomchik? Wait, am I Russian?! You see what I mean – it’s enough to send one to the catnip shop.
Don’t get the wrong idea, please. I did try the stuff a couple of times, but I don’t indulge. Too much of a good thing; no need to mess with your head like that. There are other ways to find happiness. I prefer to look for spontaneous opportunities to amuse myself. For instance, I like to pretend that I’m a scarf when the mom is reading in bed. When I do that, she can no longer see the book and is forced to pet me. Let her think I wrap myself around her neck out of love. On the night she doesn’t give me enough attention, I jump onto the bed once she falls asleep; one has to stand up for himself … sleeping comfortably on a mattress doesn’t hurt either. Also, when the family is watching an Italian movie, I enjoy resting on the TV stand, so that the subtitles are out of view. It’s time to learn a new language, folks!
But life’s not all fun and games. I do help around the house quite a bit. Whenever the mom is cutting up a roast chicken, I’m standing nearby, waiting to gather all the bits she doesn’t want. I don’t even mind eating the fatty skin – the sacrifices I make for this family! Not to mention my work on their furniture – what a difference I’ve made! Before, all their barstools were smooth and boring, just like their dining chairs. Now, they all have beautiful texture. You’d think the people would appreciate the effort I’ve put into adding distinguishing characteristics to their surroundings. You’d be wrong. The same goes for my typing assistance. When the mom is beginning to look as if she doesn’t know what to write, I sometimes offer help by climbing on top of her keyboard and typing for a bit. Do I hear thanks in return? Not unless “hooligan” is Russian for thank you.
I’m not bitter though, just sad. Whenever I feel unappreciated, I like to sit on a windowsill and watch humans pass by. They too look like they don’t know who they are. Maybe I’m not having an identity crisis – maybe it’s our permanent state on this planet – to wonder and to question and to discover? Now I’m all verklempt. Wait, am I Jewish?!

Editor’s note: Tom Sawyer is a Providence resident. He has two siblings – Andrew and Sasha. Tom works as manager of the Missiuro household.

Jane Linden, Providence River Animal Hospital owner, talks pets

If you ask Dr. Jane Linden, the owner of Providence River Animal Hospital, how her family of four manages to take care of their four dogs and two cats, she’ll shrug, “We just do. We have a routine down.” When you love animals as much as Linden does, you make it work – they are worth the trouble.
For Linden, four-legged friends have always been more than pets. When she was still in elementary school, her family welcomed a Labrador named Tara, a dog that not only helped Linden cope with her father’s death, but also inspired her to eventually become a veterinarian.
While Linden has been passionate about animals since the age of 9, when she met Tara, she hasn’t always known that they would guide her career choice. In 1981, the New Jersey native arrived in Providence to study Judaic studies at Brown University. She continued her education at Boston University, where she concentrated on social work for nine years. After receiving a master’s degree and witnessing insurance cutbacks, as well as little growth development in patients with chronic mental illness, Linden became disenchanted with the milieu of constant distress.
She went back to school once again, taking pre-vet classes at the University of Rhode Island and ultimately attending Tufts University School of Veterinary Medicine, where she studied for four years. After her 1999 graduation, Linden trained for a year in small animal medicine and surgery at Rowley Memorial Animal Hospital in Springfield, Mass. For the next five years, she worked in a private practice in Norton, Mass.
Forced to wear a white coat, Linden felt she was asked to follow someone else’s idea of what an animal hospital should be. Determined to remain true to herself, Linden knew that she couldn’t be the kind of a veterinarian that she hoped to be in this clinic. She wanted to sit on the floor with her patients, to maintain a relaxed and comfortable atmosphere not only for the pets, but also for their owners. Linden yearned to open a calmness-inducing place that would beguile with care, knowledge and warmth.
She also knew where she wanted to open her dream hospital – Providence; “I love this city.” Saddened that young people are beginning to leave due to a struggling economy, Linden is hopeful that the capital city will be great once again. Ten years ago, she saw a need for an animal hospital and, knowing that she was the type of person who wanted to own one, established Providence River Animal Hospital (PRAH). Now she gets to wear fleece, khakis and colored jeans to work. No more sterile scrubs!
She believes that her practice differs from others. “It’s the kind of place where people know that, when they bring their pet, we’re there to hear what they have to say.” Linden explains that they serve clients from every area of the city, and not everyone can afford all kinds of treatment. That’s why they offer a variety of options. The staff listens to the concerns their clients voice and fulfills those needs accordingly.
Linden says that even though it’s an animal hospital, 90 percent of her job involves dealing with people. She considers the nurses to be the lucky ones – they’re performing patient care, while she is consoling the owners – people who have sick pets. They’re scared, anxious and upset, requiring a gentle approach. Linden admits, “Being able to help them through [their ordeal] is my favorite part of the job.”
She feels that her experience as social worker benefits her daily interactions with clients. Linden guides owners’ choices regarding the type of care their pet needs, whether or not to put a pet to sleep. “All those conversations are hard and challenging, but it’s one of the things I’m good at – helping people make decisions they’re comfortable with,” she sums up.
One way PRAH is able to get to the core of the clients’ needs is by booking longer-than-average appointments. Linden believes that people need time to talk about what’s happening with their pets. She laments the fact that hospitals lose their soul after they are acquired by large corporations. At PRAH, Linden tries to hold onto the raison d’être. “We don’t want people to feel like they’re going to a factory.” Linden takes the time to learn about her patient. Only then does she advise certain measures, such as the Lyme vaccine – an unnecessary treatment for dogs that are not running around in an area with ticks.
The extra appointment time comes in handy when Linden sees the need to dissuade her clients from blindly adhering to a breeder’s advice. This is her only gripe with pet owners, most of whom are well-informed about the best care for their pet, thanks to information available on the Internet. Linden wishes clients would realize that breeders’ recommendations are general, while her staff’s suggestions are personalized and backed by scientific evidence and years of study. She brings up the example of a client who put his dog on a specific diet that clearly was not working for the dog, despite the recommendation of the breeder. The situation calls for flexibility.
The same goes for clients’ refusal to vaccinate their dogs against rabies until the dogs turn one. While breeders recommend such a course, she thinks that sometimes it’s best to vaccinate as early as 12 weeks.
In addition to her extensive education, Linden continues to learn about the pet world by attending conferences. Twice a year, she joins other hospital owners at VSG – Veterinary Study Groups – as they get together to focus on client care, latest medical developments, management issues, as well as veterinary hospital and medicine trends. The organization’s website reads, “Coming together to help each other succeed.”
Considering how busy PRAH is, and Linden says they regularly get swamped, the conferences – and her vision – are working.

Irina Missiuro is a writer and editorial consultant for The Jewish Voice.

Take care of pets this winter, keeping them safe in the cold

You love New England for all the beauty the region offers. However, living here entails withstanding its less-than-pleasant winters. And if you, the owner of multiple parkas, hats and scarves, are complaining, can you imagine what your pets would say, were they able to talk? Make their lives easier by anticipating their challenges during frigid weather.
Skin care
Start with preventing chapped paws and flaking skin by humidifying your home. If your dog is long-haired, trim its fur to avoid the formation of ice balls. However, to keep them warm don’t shave your pets down to the skin.
Before a walk, massage petroleum jelly into your pet’s paw pads; repeat the process after toweling-off. If your pet’s paws get irritated, wipe them during walks. Afterward, wash and dry their feet.
Steer clear of bathing your pet too often during the cold months. When your pet must be bathed, use a moisturizing shampoo.
Brush your pet often to get rid of dead hair, improve skin and stimulate blood circulation.
Outside care
During below-freezing temperatures, keep your pets inside to prevent frostbite and hypothermia. If you must take your pet outside, help short-haired ones retain body heat by dressing them in a sweater.
De-icers are full of dangerous chemicals that can cause toxicity. Minimize pain from salt crystals and prevent poisoning via antifreeze and melting agents by putting booties on your pet’s feet. Better yet, invest in pet-friendly ice melt.
Never leave your pet alone in the car during cold weather. Also, if you have an outdoor cat, chances are it’s sleeping under your car’s hood. If you start the motor, you can kill the cat with the fan belt. Bang on the hood loudly before turning on the engine.
Keep pets away from the garage and immediately clean up any leaks from your car’s radiator.
Avoid ponds and lakes when walking dogs as the ice can be too thin to support their weight.
Since snow and ice hide recognizable scents, your dog or cat may get lost easily. Don’t let your pet off the leash and ensure that it is always wearing ID tags. If you come across a lost pet, document all the relevant details and contact an animal control agency.
Everyday care
In the beginning of winter, take your pet to a veterinarian for an exam.
Prepare an emergency/disaster kit in case of a power outage. Stock up on enough food and water to last five days.
Pet-proof your house by ensuring that your furnace is efficient and installing carbon monoxide detectors. If using space heaters, check on them once in a while to make sure that they haven’t been knocked down.
If you have a puppy, paper-train it inside.
Slightly increase your pet’s food and water intake to account for the extra energy pets burn to stay warm.
Offer your pet a draft-free, above-the-floor place to sleep.

Consulted sources: aspca.org, avma.org, humanesociety.org.