Mi K’amcha Yisrael – Dancing in the Mamad

By Dr. Chaim Y. Botwinick |

A safe room in Hebrew is called a Mamad, an acronym for Merkav Mugan Dirati, meaning a protected space within one’s home. Since the outbreak of the Israel-Iran war, which began on Shabbat Zachor, families across Israel have been forced to spend extended time in these shelters as ballistic missiles target civilian areas.

With each siren, families rush into their mamad—hearts pounding, minds racing, and prayers rising. In those moments, Israelis turn to faith, hoping the missiles will be intercepted or land in unpopulated areas.

Yet, amid this harsh reality, a remarkable and deeply moving scene unfolded during Purim.

As millions sought safety in shelters, social media revealed powerful images: Israelis gathered in crowded mamad rooms listening to the reading of Megillat Esther. Even more striking—many were dressed in Purim costumes, singing and dancing shoulder to shoulder.

This extraordinary display of resilience captured the essence of Am Yisrael. It reflected unwavering faith (emunah), unity (achdut), and commitment to Jewish tradition—even in the face of danger.

Faith and Celebration in the Midst of War

Across Israel, Purim celebrations took on new forms. Families, children, and the elderly gathered in shelters and underground parking garages transformed into spaces of joy.

In Tel Aviv, a mall’s underground parking lot became a vibrant celebration venue filled with music and dancing. Families decorated shelters with costumes and play areas for children. In Jerusalem, musicians performed from balconies, and street celebrations continued between missile sirens.

These moments are more than inspiring—they are a testament to the unbreakable Israeli spirit. Even under constant threat, the commitment to mitzvot, joy, and community remained unwavering.

The Meaning of “Mi K’amcha Yisrael”

The phrase Mi K’amcha Yisrael—“Who is like your nation, Israel?”—captures this spirit perfectly.

Rooted in Torah sources (Deuteronomy 33:29 and Isaiah 44:7), it reflects the unique bond between Am Yisrael and HaShem. It is a declaration of identity, pride, and divine connection, often recited in tefillot and embedded in Jewish consciousness.

During these difficult times, the phrase takes on renewed meaning. It is no longer just a declaration—it is a lived reality.

Dancing in the Mamad: A Symbol of Strength

The image of Israelis dancing in a mamad during missile attacks is a powerful paradox—war and joy intertwined. Yet it reflects a profound truth: Jewish resilience is not just about survival, but about maintaining joy, faith, and identity even in the darkest moments.

“Dancing in the mamad” has become more than a moment—it is a metaphor for how the Jewish people respond to adversity.

Throughout history, Am Yisrael has faced overwhelming challenges. Yet, as a mamlechet kohanim v’am kadosh, the Jewish people have always drawn on inner strength, faith, and unity to persevere.

Looking Ahead with Faith and Unity

While the United States and the IDF have made progress in weakening Iran’s military capabilities, the threat remains ongoing. Missile attacks continue, and regional tensions persist.

Despite this, the message from Israel is clear: resilience, faith, and unity will prevail.

As we reflect on the powerful image of dancing in the mamad during Purim, we are reminded of the enduring strength of the Jewish people. It is a call to remain hopeful, to stay united, and to continue living with purpose and faith—even in times of uncertainty.

May we soon witness a future where mamad shelters are no longer needed, and where peace replaces fear.

Am Yisrael Chai.


About the Author
Dr. Chaim Y. Botwinick is a senior executive coach and educational consultant. He has served as President and CEO of central Jewish education agencies in Baltimore and Miami, as well as head of school and principal in several Jewish day schools and yeshivot. Dr. Botwinick is co-founder of LEV Consulting Associates and host of the Chinuch Horizons podcast. He is the author of Think Excellence (2011).


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