מדד המדינות המושחתות בעולם: קנדה במקום השמיני וישראל רק במקום השלושים ושתיים. (צילום: Cynthia Ramsay)
בימים האחרונים התפרסם מדד המדינות המושחתות בעולם לשנת 2017. המדד כולל מאה ושמונים מדינות שנסקרו, ומיקומן נקבע על פי השחיתות במגזר הציבורי, באמצעות שלושה עשר מקורות מידע משנים עשר מכוני מחקר עצמאיים ובלתי תלויים.
מהתוצאות עולה כי קנדה נמצאת במקום השמיני והגבוה בקרב המדינות הכי פחות מושחתות. ואילו ישראל איך לא לאור פרשות השחיתות הרבות שמאפיינות אותה, ובעיקר את ראש הממשלה, בנימין נתניהו, נמצאת מאחור במקום השלושים ושתיים.
להלן העשירייה הראשונה של המדינות הכי פחות מושחתות: ראשונה – ניו זילנד, שנייה – דנמרק, שלישית – פינלנד, רביעית – נורבגיה, חמישית – שוויץ, שישית – סינגפור, שביעית – שבדיה, שמינית – קנדה, תשיעית – לוקסמבורג ועשירית – הולנד.
העשירייה השנייה: אחד עשרה – בריטניה, שתיים עשרה – גרמניה, שלוש עשרה – אוסטרליה, ארבע עשרה – הונג קונג, חמש עשרה – איסלנד, שש עשרה – אוסטריה, שבעה עשרה – בלגיה, שמונה עשרה- ארצות הברית, תשעה עשרה – אירלנד ועשרים – יפן.
העשירייה השלישית: עשרים ואחד – אסטוניה, עשרים ושתיים – איחוד האמירויות הערביות, עשרים ושלושה – צרפת, עשרים וארבעה – אורגוואי, עשרים וחמשה – ברבדוס, עשרים וששה – בהוטן, עשרים ושבעה – צ’ילה, עשרים ושמונה – איי בהאמה, עשרים ותשעה – פורטוגל ושלושים – קטאר.
אחריהן במקום השלושים ואחד טיוואן, במקום השלושים ושתיים ישראל, במקום השלושים ושלושה ברוניי, במקום השלושים וארבעה בוטסואנה ובמקום השלושים וחמשה פולין.
ערים מתקדמות הופכות אשפה למשאב: ונקובר פועלת להיות העיר הירוקה בעולם
ערים רבות בעולם פועלות בשנים האחרונות לחסוך את העלות הגבוהה של סילוק פוסלת האשפה, הנוצרת בהן מדי יום בכמויות ענק. הן פועלות להפחית את כל צורות הפסולת שלהן, ולהשתמש בפסולת עד כמה שאפשר כמאשב, כך שהיא תהפוך לחומר גלם אחר. כך מדווח אתר הידען מישראל המפרסם מידע בתחום המדע והטכנולוגיה.
הערים בעולם הופכות למאוכלסות יותר וראשי הערים מחוייבים לשאת באחריות למצוא ולפתח פתרונות להרי הזבל שנוצרים בהן. הנוף העירוני הוא כיום הסביבה, שבה מתרכזים האתגרים הכרוכים בניהול חיים אנושיים מורכבים. בערים מתבזבות כמויות גדולות של אנרגיה, פחמן דו-חמצני, מזון, מים, מרחב וזמן. העירייות יכולות לפתור מספר בעיות בעת ובעונה אחת, ולהבטיח לתושבים, הפחתה משמעותית של חלק מהפסולת, תוך הפיכתה למשאב בעל יתרונות כלכליים.
כיום אין בהזרמת הפסולת למי הביוב פתרון סופי ויש להפחית מראש את הפסולת שנוצרת בערים, ולהשתמש בחלק גדול ממנה, לשימושים יעילים יותר. פעילות זו נקראת “כלכלה מעגלית”.
באתרי הטמנה האשפה של ונקובר לוכדים את גז המתאן הנפלט מהאשפה הרבה, ובחום שנוצר משריפתו משתמשים לחימום חממות בסמוך להם, בהן גדלות עגבניות. זו דוגמא טובה של יצור אררגיה חיובית מאשפה.
ונקובר שפועלת להיות העיר הירוקה ביותר בעולם, מחלקת לתושבים מיכלים נפרדים לאשפה רגילה, לפסולת אורגנית (כמו שאריות מזון, ענפים וגזם), לפסולת זכוכית, פסולת נייר, פסולת פלסתיק ועוד. עיריית ונקובר שמצפה מאזרחי העיר שיפעלו בהתאם עם הפסולת לסוגייה כמתבקש, שולחת מעת לעת פקחים לבדוק שזה אכן נעשה.
מן הפסולת האורגנית העירייה מפיקה את גז המתאן, וכן מוצרים מוצקים שיכולים לשמש לדישון הקרקע. לפתרונות אלה מספר יתרונות בעת ובעונה אחת: הם חוסכים לעיר הוצאות על אנרגיה, הם מפחתים משמעותית את הצורך בהטמנת פסולת באתרי האשפה וכן הם מועילים לענף החקלאות.
Samara Carroll, second from the left, with Dawit Demoz, right, and members of his host family – Sunita and her daughter Persia. (photo from Samara Carroll)
Soon after Samara Carroll returned from a yearlong program in Israel, she took action to help African asylum seekers in Israel come to Canada.
Carroll grew up in Winnipeg, went to Talmud Torah and then to Gray Academy. She was involved in many aspects of the Jewish community growing up, including with B’nai B’rith Youth Organization, leading trips to Israel, and attending Camp Massad for 17 years (for two of which she was the camp director).
In 2012, Carroll was accepted to be the first Canadian participant of the New Israel Fund Social Justice Fellowship. “This fellowship gives you the opportunity to choose an Israeli nonprofit and work there for a year,” Carroll told the Independent.
“I chose ASSAF – Aid Organization for Asylum Seekers and Refugees – located in south Tel Aviv. I worked as a community organizer, activist and counselor, supporting families who had fled, mostly from Eritrea and Sudan, and were dealing with the trauma related to their past experiences and the ongoing challenges of being in Israeli society.”
During her time at ASSAF, Carroll heard hundreds of gut-wrenching stories, but also learned many things from the asylum seekers with whom she worked.
“The Israeli government does not have a proper process to assess whether or not someone is an asylum seeker,” said Carroll. “So, instead of creating a system, they have created policies that make life extremely difficult for asylum seekers…. They do not have basic access to healthcare, proper housing, employment or education. And, they face significant racism, directly from the Israeli government. They have been referred to as a ‘cancer.’
“The Netanyahu government claims that the asylum seekers have come to Israel for employment opportunities, but you only have to hear one story from an asylum seeker about their experience facing genocide and dictatorship in their country of origin – leaving behind everything they knew, being smuggled, human trafficked and tortured by smugglers in Sinai and then arriving in a foreign country – to understand that they are fleeing desperate situations.
“When you ask many asylum seekers where they’d want to be, they say ‘back home,’ but they cannot go back home,” Carroll said, summing up her belief using a quote from writer Warsan Shire: “You have to understand no one puts their children in a boat unless the water is safer than the land.”
After her year in Israel, Carroll decided to pursue a master of social work degree at the University of Toronto. About six months after she had arrived in Toronto, she was approached by Dawit Demoz, an Eritrean asylum-seeking man who was an activist in Israel, about giving asylum seekers more rights in Israel.
“He approached me, asking if I would sponsor him to Canada,” explained Carroll. “He felt that, although he loved the community he had established in Israel – his Israeli friends, the food and the culture – the policies of the Israeli government were just getting worse and he knew he had to try to leave the country if he ever wanted freedom.
“I agreed to sponsor him and did so through a SAH (Sponsorship Agreement Holder). The sponsorship process is detailed, but is very manageable and I believe more people would be open to sponsoring asylum seekers if they understood this.”
Samara Carroll and Dawit Demoz. (photo from Samara Carroll)
Demoz arrived in Toronto in March 2016. “He says this is the first time in his life he has felt free,” said Carroll. “He studies psychology at York University, works as an interpreter for a refugee organization, led canoe trips through Algonquin Park as a counselor last summer, and worked as a counselor at the Heart to Heart Program through Camp Shomria. He also plays soccer on a team, hosts Eritrean dinners for his many Jewish friends, and enjoys life.
“Five of our friends have submitted a Group of Five sponsorship to bring his mother [who he hasn’t seen in 10 years] to join him in Toronto,” said Carroll.
Following her example, Carroll’s parents, Sharon Chisvin and Marshall Carroll, have sponsored an Eritrean couple with the support of a local church-based sponsorship agreement agency, Jewish Child and Family Service Winnipeg and donations from friends, family and community members. The couple – Tsege and Kidane – arrived in Winnipeg in May 2016.
“They are generous, wonderful people and have created a strong community for themselves in Winnipeg, and they also support other newly arrived asylum seekers,” said Carroll. “While it is clear that you can positively shape someone’s life who has never experienced freedom before, you do not know how much they will positively impact your life.”
According to Carroll, the situation for asylum seekers in Israel has worsened since 2016. Prime Minister Binyamin Netanyahu has signed an order to deport asylum seekers from Israel to third-party countries, such as Uganda and Rwanda, she said. “This is a human rights violation, as we do not know what is waiting for them in these new countries – countries they have no connection to. Men who have already been deported there have been given no status or rights.”
For her part, Chisvin has started working with Canadians Helping Asylum Seekers in Israel (CHAI), which she described as “a grassroots group formed in Toronto in response to Netanyahu’s deportation order. It is primarily made up of Toronto Jewish activists who feel deeply that Israel’s intent to deport 38,000 African asylum seekers to third countries – and to certain suffering – is a strict violation of Jewish values, history and memory. This sentiment has been shared by 20,000 Israelis who protested against the deportation in Tel Aviv [recently], myriad Israeli rabbis, teachers, psychiatrists, El Al pilots and authors, as well as Irwin Cotler, Alan Dershowitz, the ADL [Anti-Defamation League], HIAS [Hebrew Immigrant Aid Society] and many other individuals and agencies.”
In Toronto, there is growing group of support for CHAI, and Chisvin is working to create a similar group in Winnipeg and beyond. Its goals, she explained, include raising awareness within the Jewish community about the deportation; encouraging people to ask the Israeli government to rescind its deportation order and implement a humane strategy for refugees and asylum seekers; appealing to the Canadian government to pressure the Israeli government to rescind the deportation order and work together on a solution; and encouraging people to commit to private refugee sponsorships.
“I have been assisted in my efforts, helped by a handful of people here in Winnipeg, who are helping me raise awareness in the community about the issue – urging others to speak up and fundraise for the refugees I have, and am in the process of sponsoring,” said Chisvin.
Further to that, Chisvin is in the early stages of organizing a community event to raise awareness about the issue and to explain how and why Canadian Jews should be moved by the plight of African asylum seekers who are at risk of being deported or indefinitely detained, and how and why they should commit to help sponsor some of them to Canada as refugees.
“The best solution, of course, is for Israel to rescind its deportation order, properly process the refugee claims of the asylum seekers, grant them refugee status, and all the rights inherent in that status,” said Chisvin. “But, if Israel doesn’t rescind the order, it is incumbent on Canadian Jews to lobby their government to increase the number of African asylum seekers it brings to Canada and to commit to privately sponsor African asylum seekers to Canada.”
“Israel needs to deal with the asylum seeker situation in their country and not force out people who have already experienced unspeakable trauma to a third country that will again violate their human rights,” said Carroll. “Our message and the message of many Jewish communities now is, ‘Do not deport. Let us help.’”
Left to right: Yoo Ra Kang (Asaka, Mother of the Earth), Ricardo Pequenino (Agwe, God of Water), Alexandra Quispe (Erzulie, Goddess of Love) and Sari Rosofsky (Papa Ge, Sly Demon of Death) in Fabulist Theatre’s production of Once On This Island, which opens April 6. (photo by Tina Clelland)
None of us mere mortals is a god. But some of us get to play one on the stage.
Sari Rosofsky takes on the role of Papa Ge in Fabulist Theatre’s upcoming production of Once On This Island. Papa Ge is one of four gods who affect – for better and for worse – the life of the main character, Ti Moune, a peasant girl living on an island in the French Antilles.
“What I love about Papa Ge is she’s the evil one!” said Rosofsky. “Ever since I was a child, I’ve always loved the bad guys more than the good because I felt they had more depth and dimension to them, and they always had the cooler songs. I think what is the most challenging part of this character is how to be a villain without being crazy – while I still want to portray the darkness and depth Papa Ge has to offer, I want audience members to be drawn to her despite her being the bad guy. It’s a delicate balance for sure, but I’m certainly up for the challenge.”
Based on the novel My Love, My Love; or the Peasant Girl by Rosa Guy, the one-act musical (with book and lyrics by Lynn Ahrens and music by Stephen Flaherty) “includes elements of Romeo and Juliet and Hans Christian Andersen’s The Little Mermaid,” explains the press material. Ti Moune “uses the power of love to bring together the different social classes living on her island.”
“Right now, I’m auditioning for a wide variety of shows, as I want to do as much theatre as possible to gain experience,” Rosofsky told the Independent about how she landed her role. “I saw the call [for Once On This Island] and saw that the production team had some familiar names, and knew I wanted to work with them – the music director, Amy Gartner, was actually in a show with me at the time I saw this call. I approached her and asked about the auditions and she strongly encouraged me to submit. So, I did, but, sadly, the auditions were during a time when my show had some important rehearsals. Thankfully, the production team decided to have me audition during the callbacks when I was available, and had me sing for multiple roles, Papa Ge included. And the rest, you can say, is history!”
Traditionally, director Damon Jang told the Independent in an email, the role of Papa Ge is played “by a man, but portrayed by a woman in the Broadway revival version.” Rosofsky, he said, “was the best person for the part, so we cast her.”
According to her bio, Rosofsky has “a passion for the arts, whether that be in singing, acting or modeling.” In addition to starting voice lessons at age 12, she started auditioning for school plays. She won her first role in Grade 8 – as a sailor in Shakespeare’s Twelfth Night. Her first musical came the next year, when she was part of the ensemble of Kiss Me Kate. She continued singing and acting through university, but did her degree in earth and ocean sciences.
Starting her sciences degree at the University of Waterloo, she finished it at the University of British Columbia. “While at UBC,” notes her bio, “she rediscovered her passion for musical theatre with the show Guys and Dolls, where she played Big Julie.”
Rosofsky has released two songs – “Save Me” and “Turn Around” – under the name Sari Rose. In her everyday life, she goes by the name Sari Chava Rosove. Rosofsky is her stage name, she said.
“My name alone is very difficult to pronounce for most people so I wanted to change it to something that rolls off the tongue slightly easier, but still maintain the uniqueness,” she explained. “It turns out my family already had this one taken care of for me – while Rosove is my legal last name, Rosofsky was the original family last name before they immigrated from Russia in 1901. They changed it to Rosove, as they were Jewish refugees and wanted to avoid antisemitism when they came to Canada. And so that’s where my stage name comes from, by paying homage to my roots.”
Rosofsky grew up in Seattle, where, she said, she spent most of her Jewish childhood at Herzl-Ner Tamid. “I went to Sunday school, along with additional after-school classes to prepare for my bat mitzvah, and, after that, I just kept going!” she said. “One of the most memorable things I did growing up at this synagogue was a program my mother actually ran, where a group of us would get together and make sandwiches that would be donated to a group that would hand out paper bag lunches to the homeless in Seattle. Of course, I also attended summer camp for a few summers at Camp Solomon Schechter.”
Rosofsky graduated from UBC in 2013, and then studied musical theatre at Capilano University.
“It’s a three-year, full-time program – and they truly keep you very busy,” she said. She attended Capilano from September 2014 to April 2017. “The entire program was so much fun. I learned a lot not only about the industry but about myself as a performer from some truly inspiring instructors.”
Recently, Rosofsky was in the ensemble for Merrily We Roll Along, put on by United Players, and played the wife in Draining the Swamp, by Curious Creations Theatre. “In between all of my endeavours in theatre,” she said, “I also dabble in competitive pole dancing which, in actuality, can be quite a performance! I competed and placed in my division back in October and will be training at Tantra Fitness for the upcoming competition in September, in between my other projects.”
Once On This Island is at the Red Gate Revue Stage on Granville Island April 6-14, 8 p.m. The show is approximately 90 minutes with no intermission.
The production is Vancouver’s first semi-professional cast of Once On This Island, according to the press release. Added Jang, “We wanted to cast based on the culturally diverse community of performers who make up Greater Vancouver and might otherwise be underrepresented in the city. We fully acknowledge that the story is a largely set in Haiti, but we wanted to use the story as a platform to address the more universal themes of love, death, and fighting against the class system. At the end of the day, these are storytellers telling a story.”
For a people who make up a fraction of one percent of the world’s population, Jews sure do gather a lot of attention and get credit for an extraordinary amount of bad doings on the planet.
Last week, Russian President Vladimir Putin, who evidence suggests directly meddled in American politics and is partly (if not entirely) responsible for Donald Trump’s election, said maybe it was “Jews” who meddled in the election.
Why wouldn’t he? It’s a strategy that has worked in Europe for centuries. In trouble? Look around. Find a Jew. Blame them.
About the same time, Trump was giving a farewell address to Gary Cohn, his erstwhile chief economic adviser, who resigned last week because of disagreements over tariff policy.
In his toast to Cohn, Trump said: “He may be a globalist but I still like him.” An untrained ear could hear the president’s remarks and assume Cohn is a free trade proponent in an administration filled with economic protectionists. But anyone familiar with alt-right radio broadcasts and white supremacist dialectics knows exactly what it means: Jew.
Jonathan Greenblatt, national director of the Anti-Defamation League, says the term was adopted in extremist and white supremacist circles as a euphemism for a stereotype of someone engaged in a global conspiracy. And the president of the United States feels confident he can use it with impunity.
Also at the same time – because fighting antisemitism these days is rather like the carnival game Whack-a-Mole – the leader of the United Kingdom’s Labour Party, Jeremy Corbyn, was found to have been an active participant on a hidden Facebook page called Palestine Live, where overt antisemitism, Holocaust denial and white supremacism were rampant. He even hosted an event at Westminster for the leaders of the secret group. Now, confronted with his past association with it, Corbyn’s response is, essentially, “What? I didn’t see any antisemitism. I don’t spend all day reading social media.” This comes as Corbyn’s supporters are being investigated for and purged from his party by the head office over seemingly incessant expressions of Jew-hatred and repetition of classical antisemitism. A glance at the evidence being presented online by anti-hate wings of the Labour party include every imaginable accusation against Jews – and plenty more that are beyond the imaginings of a healthy mind.
Then there is Louis Farrakhan. The head of the American-based Nation of Islam held his annual Saviour’s Day event in late February. There, Farrakhan declared Jews his enemy, “the mother and father of apartheid,” claimed that Jews have chemically induced homosexuality in black men through marijuana and are “responsible for all of this filth and degenerate behaviour that Hollywood is putting out, turning men into women and women into men.” He added: “When you want something in this world, the Jew holds the door.” Most chilling, and self-aggrandizingly, he declared: “Farrakhan … has pulled the cover off the eyes of that Satanic Jew, and I’m here to say your time is up, your world is through.”
Oddly, rather than holding Farrakhan to account for his words, perhaps because that is deemed a futile endeavour, most of the fallout has been around the association leaders of the Women’s March have with Farrakhan. Individuals like Linda Sarsour and Tamika Mallory have attended Saviour’s Day events and refused to condemn Farrakhan’s latest broadside on Jews. The march organization issued a statement, saying that his words were “not aligned with the Women’s March Unity Principles.” (By contrast, organizers of the Women’s March in Canada issued an unequivocal repudiation of Farrakhan and his remarks.)
Yet another notable incident happened recently. Residents of the Montreal borough of Outremont attended a public meeting to complain about a network of buses used by their Chassidic neighbours. Some of their complaints seemed justified. It appears the buses cause congestion on neighbourhood streets. But some of the residents appeared at the meeting wearing strips of yellow tape on their clothing. The allusion was obvious to anyone. This was meant to invoke the Nazi “Jude” star.
Some residents defended their choice, saying, effectively, “What? No! The yellow tape represents the buses that are disturbing our neighbourhood.” But one forgot to follow the script. “[The Jews] always bring up their painful past,” Ginette Chartre said. “They do it to muzzle us.”
In this month’s issue of The Atlantic, Armando Iannucci, an acute political observer who created the satirical TV program Veep and the recent film The Death of Stalin, noted: “Things are being said now that you wouldn’t have tolerated 10 year ago.”
As we approach Passover, we reflect on our history and celebrate our freedom. It is simplistic and insufficient to say that history and freedom have seen their ups and downs. But this time of year does invite us to put today’s events in a broader context. As much as the situation has worsened for us, we are not the only targeted minority, and oppressors to rival Pharaoh still abound. When we toast to next year in Jerusalem, we might also add wishes for the strength and wisdom to help bring about a tipping point at which people of goodwill say “Enough!” – and work even harder to ensure that our better natures win out.
“It’s not for me.” “I’m too busy.” “I’ll volunteer when I’m retired.” All of these responses (excuses?) are familiar to me. Because, at one time or another, I hid behind each one of them.
I never felt I was good at time management, so how could I possibly take on volunteering when I was working full-time? Sure, I could multitask at work, because I had to. But did I enjoy working that way? Not even a little.
To me, time management meant working eight hours a day, worrying about work for the next eight hours, sleeping and dreaming about work for the following six hours, spending the next two hours showering, eating breakfast and reading the newspaper, then repeating the process. For decades, I functioned – notice I didn’t say lived – this way. I had tunnel vision of the worst variety.
Then I retired.
The novelty of not having to rise at a particular hour is intoxicating. Not that I indulge myself very often. After all, I had 34 years of 6 a.m. alarm clock reminders that had trained my body to get up with the sun. I confess that now, after two years of retirement, I occasionally sleep till 8:30 or even 9 a.m. But then, of course, I feel guilty. I’m Jewish after all.
Not long after I retired, I got an email from Rabbi Yechiel Baitelman of Chabad Richmond notifying me about an upcoming six-week Jewish Learning Institute course. I think it was called The Jewish Course of Why. Since I’m an inveterate question-asker and perpetually curious, I took the bait. And I was hooked.
Somewhere between the questions and the answers, the good rabbi saw an opportunity to recruit me for some volunteering. I may have casually mentioned that I’d just taught myself to bake challah using YouTube. Next thing I know, I get a call from Grace Jampolsky (“the Challah Whisperer,” as I call her), asking if I’d like to help bake challah for the bi-weekly Light of Shabbat meals that Chabad Richmond delivers to the elderly in Richmond. Sounded like a good thing to do. And who doesn’t love the smell of freshly baked bread?
From there, I volunteered to help pack the Light of Shabbat boxes and occasionally deliver them. This gave me the opportunity to visit and shmooze with some seniors, some of whom I already knew through my parents. We talked about family and books, everything and anything. It was a blessing for both of us.
About six months into retirement, I realized I still had way too much free time on my hands, and needed to do something useful. Something outside myself. So, I contacted B.C. Children’s Hospital, hoping to volunteer as a “baby cuddler,” not realizing that there’s a long waitlist to do that. But, as soon as the hospital’s volunteer coordinator saw my resumé, she offered me a volunteer position in the Family Support and Resource Centre. After all, what else would a librarian want to do in retirement, but jump right back into working in a library! Naively, I didn’t think to mention in my interview that I’d like anything but a library position. Nevertheless, I gave them the year’s commitment that they asked for and then resigned. Being an infrequently used part of the hospital, the centre didn’t provide the stimulation I was hoping for. I wanted to make more of an impact in my volunteering.
Soon after, Rabbi Baitelman asked if I’d be interested in volunteering with Chabad Richmond’s Israel Connect program, in which local retirees tutor Israeli high school students in English once a week, via Skype. It sounded like fun, so naturally I said yes. If memory serves me correctly, it was about two-and-a-half minutes later that he asked me if I would consider coordinating the Israel Connect program in Richmond. He had me at “Would you be interested….”
The rabbi knows that I have a background in writing and editing, so it wasn’t long before he asked for my help writing press releases and marketing pieces for Chabad Richmond. Writing is my happy place, so I was delighted to pitch in. It has only snowballed since then, and I’m thrilled to report that I love my volunteer activities, and I’m always open to considering new ones.
All of this is to say that there is life after retirement – volunteering has been enormously rewarding.
At its essence, volunteering is about saying yes to what you want to do, and saying no to the rest. And the yes, well, it’s just so darn sweet! Knowing that Jewish seniors are enjoying the challah I bake, and that the short visits we have might be the only human interaction they encounter in a week – that’s why my heart is drawn to do these things. Believe me, as a volunteer, working with people, you get way more than you give.
And Israel Connect? It’s the best spent 30 to 45 minutes of my week. Helping an Israeli teen improve their English so they can get into university or pursue a career that requires English proficiency – that makes my heart sing. And, we have fun. With each different student (all girls, so far), I’ve managed to make a connection and form a bond. After each week’s official tutoring is finished, we talk: about their hobbies, plans for the future, our families, travel, everything. From week to week, I notice not only improvements in their English, but a relaxation that comes from forming a real intergenerational friendship. I hope to visit my students when we travel to Israel soon.
I’d be remiss if I didn’t include the bits and pieces of volunteering I did while I was still working full-time as a librarian and communications officer at Richmond Public Library. I did manage to squeeze in some fundraising and communications work to help promote the Crohn’s and Colitis Foundation of Canada’s annual Gutsy Walk fundraiser.
In a much more humbling capacity, I was also part of a program about eight years ago, called Feed the Hungry, in which a bunch of volunteers from Ahavat Olam made and served lunch to Downtown Eastside (DTES) residents on a regular basis. And, for several years, I volunteered, along with my husband, brother-in-law and/or friends, serving Christmas lunch at the Salvation Army Harbour Light Mission in the DTES.
For a couple of years, I was a volunteer board member with the Isaac Waldman Jewish Public Library, as well as being the B.C. Library Association representative for the West Coast Book Award Prize Society. All of them together were growing and learning experiences of the highest order.
We guard our free time so rabidly, we forget that part of why we’re put on this earth is to help others. The satisfaction and joy that comes from doing something outside ourselves, something for a higher purpose, is indescribable. Believing is seeing. But don’t just take my word for it.
Shelley Civkinis a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review, and currently writes a bi-weekly column about retirement for the Richmond News.
Itay Exlroad as Dancer Soldier. (photo by Giora Bejach, Courtesy Sony Pictures Classics)
An audacious work of art that melds raw emotion and absurdist allegory into a blistering assessment of contemporary Israel, Samuel Maoz’s Foxtrot deserves to be seen and demands to be discussed.
Winner of the Silver Lion at the Venice Film Festival – where Maoz’s taut debut, Lebanon, won the Golden Lion in 2009 – and eight Ophir Awards (Israel’s Oscars), including best film, director and actor, Foxtrot uses a small-scale story to examine some of Israel’s deepest issues: the concept of military sacrifice, the oppression of Palestinians and the legacy of the Holocaust.
Skilfully strewn with ironies all the way to the final shot, Foxtrot was shortlisted for the Academy Award for best foreign language film but did not receive a nomination.
The film begins with a middle-aged man (the sublime Lior Ashkenazi, who played a fictitious prime minister last year in Norman and Yitzhak Rabin in this month’s 7 Days in Entebbe) opening his door to the worst possible news for a father with a son in the army. Even as the gravity of the situation and the intensity of his response wallops us in the face and grabs us by the collar, Maoz counter-intuitively undercuts the emotional naturalism with precision camerawork and a stylized set design.
It appears, at first, that the filmmaker is evoking the surreal, detached and alienating experience of being struck with a life-changing bulletin. But we get the nagging feeling, from Ashkenazi’s character’s black-humour interactions with the army representatives to the off-centre introductions of his wife and daughter, that there’s more on tap than the melodrama of domestic tragedy.
Indeed, Maoz pulls the rug out from under us, then cuts from the climate-controlled setting of a high-in-the-sky condo to an isolated checkpoint in the barren, forgotten north of Israel. This is where the son, Yonatan, is assigned the “mission” of guarding a remote, nonessential road with a handful of other bored young men.
The tilted shipping container that comprises the soldiers’ base and barracks fronts on a puddle-strewn mudfield, which they must trudge across to the checkpoint. The roadblock itself is cartoonishly minimalist, resembling a set you’d see onstage more than a military installation, and putting us in mind of surrealist (anti-)war films like Apocalypse Now and Catch-22.
Nothing happens in this God-forsaken spot, and everything happens here. Each detail has significance, though one must pay close attention because it may not be clear until events play out. In fact, the meaning of a close-up or sound cue often remains obscure until the movie is over, at which point the viewer is required to arrive at his or her interpretation.
Two key events occur at Yonatan’s base: one at the checkpoint involving a carload of Palestinians heading home from a party and the other in the barracks when the soldiers are killing lonely downtime. The latter scene, in which Yonatan relates an anecdote from his father’s youth, is the most astonishing passage in this taboo-trampling movie.
Left to right: Danny Isserles as Official Military Officer, Yehuda Almagor as Avigdor, Michael’s brother, and Lior Ashkenazi as Michael. (photo by Giora Bejach, Courtesy Sony Pictures Classics)
Yonatan has rendered his memory into a graphic novel, and Maoz brings it to life in the form of animation. This harrowing episode connects the Holocaust – and the self-reliance, persistence, shared sacrifice and residual faith that survivors applied to building the Jewish state – to a modern Israel, where idealism has curdled into a pursuit of temporary pleasures, and worse offences.
To be sure, in every land and every age, older generations castigate young people for ignoring tradition and abandoning their core values. But this parable takes place in Israel, so Yonatan’s father’s hormone-driven rashness hearkens to Esau swapping his birthright for a bowl of stew.
Threaded through Foxtrot is a critique of Israel’s leaders for maintaining a culture of cynicism and corruption that results in the unnecessary deaths of young soldiers. Furthermore, each loss is described as heroic regardless of the circumstances.
This is not unique to Israel, of course, but it’s harder to push back against the military spin when you’re a small country surrounded by enemies than a superpower. Maoz satirizes PR functionaries in the opening scene, in fact, and never stops spearing sacred cows.
Maoz’s triumph, finally, thanks in large measure to Ashkenazi’s unexpectedly vulnerable performance, is tracking the human cost amid the not-quite-real scenarios and sociopolitical commentary. Foxtrot is an altogether remarkable work, not least because it is a beautiful film about ugly truths.
Foxtrot is in Hebrew with English subtitles, runs 113 minutes and is rated R for some sexual content, including graphic images and brief drug use. It opens at Vancity Theatre on March 23, and runs to April 1.
Michael Foxis a writer and film critic living in San Francisco.
Jerusalem Marathon winner Kipkogey Shadrack (No. 1) led the field from the start. (photo from Ashernet)
The half-marathon gets underway. (photo from Ashernet)
More than 35,000 runners, including some 4,000 from 72 countries outside Israel, participated March 8 in this year’s Jerusalem Marathon – the largest to date. The winner of the main event was 27-year-old Kenyan runner Kipkogey Shadrack, who completed the course in 2:21.26. Participants set off opposite the Israel Museum in slightly overcast, but dry, weather. Many of the city’s streets were closed from 5:30 a.m. and scheduled to reopen at 2:30 p.m. There were five other courses apart from the 42.2-kilometre main event: a half-marathon, a 10k, a 5k, a family race (1.7 km) and a community race (800 metres) for people with special needs.
האם קנדה עומדת לפני משבר כלכלי גדול לאור מה שמתרחש בענף הנדל”ן? (צילום: Cynthia Ramsay)
יש סיכוי סביר שקנדה תתמודד עם משבר כלכלי חריף בקרוב לאור מה שמתרחש בענף הנדל”ן המקומי. כך מעריכים אנליסטים שעוקבים מקרוב אחר מה שקורה בכלכלה הקנדית. הם מציינים כי לאור החוב הגדול של משקי הבית בקנדה, המדינה הצפונית בפתחו של משבר נדל”ן גדול. זאת לפני שאר קבוצת המדינות בעולם המפותח.
האנליסטים מסבירים כי מחירי הנדל”ן לא מפסיקים לעלות בשנים האחרונות, בעיקר באזורים החמים – שהם ונקובר וטורונטו. גם צינון המחירים שעובר לאחרונה על בתים בשתי הערים המובילות בקנדה, לא משנה את המגמה המסוכנת.
אך יש לזכור כי מחירי הנדל”ן בקנדה עלו בשיעור הרבה יותר גבוה מהעלייה בשכר העובדים, כך שהפער להשגת בתים ודירות הלך וגדל. במקביל לאור הריבית הנמוכה במשק מחירו של האשראי נמוך במיוחד, והיה קל להשיג משכנתאות נושאות ריביות נמוכות לרכישת נדל”ן. זאת ועוד: לא היה עד כה פיקוח על כסף זר המגיע לקנדה עבור רכישת נדל”ן. כך שתושבים זרים ומטבע הדברים ברובם סינים, רכשו נדל”ן בכמויות גדולות וכמעט בכל מחיר. הסינים מאמינים כי השקעה בנדל”ן בקנדה ובעיקר בוונקובר – היא המקום הבטוח “להחנות” בו את כספם, ועדיף לאין שיעור על ביצוע השקעות בסין. אין זה מפתיע לכן שוונקובר נחשבת לעיר השניה בעולם בחוסר האפשרות לרכוש נדל”ן בהשוואה לשכר העובדים. הראשונה איך לא היא הונג קונג.
אך כעת לאור עלייה ולו הקטנה במחירי האשראי במשק הקנדי (מאז חודש יולי אשתקד הריבית במשק עלתה ל-1.25%), מתחיל הלחץ על רוכשי המשכנתאות לעשות את שלו. והיקף האשראי הזמין במשק הולך וקטן. כבר ידוע כי בטורונטו נרשמה בחודשים האחרונים ירידה משמעותית במחירי הנדל”ן, ובביקושים לרכישת נדל”ן. למשל בחודש ינואר נרשמה ירידה של כ-22% במחירות, לעומת אשתקד. מדובר בירידה החדה ביותר מזה תשע שנים.
האנליסטים מציינים עוד כי משכנתאות רבות בקנדה אינן מבוטחות בחברות הביטוח, כך שהסיכון להתמוטטות ענף הנדל”ן ועימו הכלכלה המקומית, הולך וגדל. אם בשנת 2014 כ-60% מהמשכנתאות שבידי הציבור לא היו מבוטחות, אשתקד גדל היקפן כבר לכ-75%. בוונקובר עצמה אחוז המשכנתאות הלא מבוטחות אף גבוה יותר ועומד כיום על לא פחות מכ-90%!
מה שמדאיג במיוחד הוא שיותר ויותר נשמעים באוויר מושגים של מכירות משכנתאות לצד שלישי, ו”משכנתאות שקריות”, מושגים שהובילו את המשבר הנדל”ן הגדול של ארה”ב בשנת 2008. וזה גרר את כל העולם למשבר פיננסי החריף ביותר מאז שנת 1929.
עוד סממן למשבר אפשרי בקנדה הוא מצבה של חברת המשכנתאות בסאב-פריים ‘הום קפיטל’. החברה נקלעה למצב כספי קשה בקיץ אשתקד. רק המיליארדר האמריקני וורן באפט, נחלץ להצילה לאחר שהעביר לה מימון גבוה בהיקף 2.4 מיליארד דולר.
בראשית השנה הממשלה הקנדית החליטה על הנהגת חוק פדרלי חדש, שמקשיח שוב את התנאים לקבלת משכנתאות. מעתה על רוכשי המשכנתאות להוכיח כי הם יכולים לעמוד בתשלומים – גם עם הרבית במשק תמשיך לעלות. הפעם מדובר בתנאי שיקשה מאוד על רבים לזכות במשכנתאות. גם זה לא מבשר טובות ויתכן והביקושים לנדל”ן יחלשו ברחבי המדינה. לאור החוק החדש רבים ניסו לרכוש נדל”ן אשתקד עם משכנתאות זולות וללא מגבלות. לכן שנת 2017 הייתה השנייה החזקה ביותר מבחינת היקף מכירות הנדל”ן בקנדה, וגם המחירים לא הפסיקו לעלות. ודצמבר יצויין כי רמת המכירות הגיע לשיא. כך יש שרואים משבר בפתח ויש שטוענים לא יהיה.
Amy Amantea and Jake Anthony in Sequence, which runs March 14-24 at Presentation House Theatre. (photo by Tim Matheson)
“To direct this play requires a willingness to grapple with the concepts, to accept that sometimes questions are more important than answers, not everything is answerable, and to be committed to entertaining possibilities. It’s heady stuff,” director Rena Cohen told the Independent about Sequence, which opens next week at Presentation House in North Vancouver.
Describing the play as “a science thriller that will challenge as much as it entertains,” Cohen, who is also managing artistic director of Realwheels Theatre, explained, “In Sequence, we follow two absorbing stories. In one, a professor confronts a student who’s defied probability by taking a multiple-choice exam only to get every answer – 150 of them – wrong (the chance of achieving this is one in a pentillion). In the second story, the ‘Luckiest Man Alive’ – his status cemented by his uncanny ability to predict the winner of the Super Bowl coin toss for 20 years running – is confronted by a young woman who claims to know his secret.
“Each of these narratives is presented coherently, cleverly and simultaneously, and it’s how they intertwine through ‘wormholes’ in the dialogue that makes the play fascinating, and mystifying. Playwright Arun Lakra compares the structure of the play to two strands of intertwining DNA. You could argue it’s comparable to a Möbius strip-like dramatic encounter. You’re following two narratives, only to have the carpet swept out from under you.”
For readers who don’t have Wikipedia or a dictionary handy, a Möbius strip, or band, is “a surface with only one side and only one edge. It can be made using a strip of paper by gluing the two ends together with a half-twist.” It’s a non-orientable surface, which means it “cannot be moved around the surface and back to where it started so that it looks like its own mirror image.” The example given for further explanation, is that “no matter what, a human right hand, cannot be rotated in such a way that it becomes a human left hand. The right hand is, therefore, orientable.”
How does one direct a play like Sequence so that it’s enjoyable and comprehensible?
“There are ways we harness the ‘language of theatre’ to capture audiences’ attention, to heighten a moment,” said Cohen. “Sometimes, it’s in the way an actor delivers a line, the way they land on a phrase containing important information. We also signal key moments using lighting and/or sound, so even if, when information doesn’t necessarily register on a conscious level, you absorb it.’”
The material of the play – “Wading into new intellectual territory, learning the mathematical concepts used to understand randomness and probability” – was initially a challenge for Cohen.
“My last physics course was in high school, the last time I studied math was in CEGEP [a post-secondary school program in Quebec] and I’ve never taken a biology course,” she said, “so some of the references in the play – regarding genetics, for example – may not be complicated to a Grade 10 biology student, but they’ve been a challenge to me.
“Sequence is also very fast-paced, and there’s a ton of stage business, most of which is – incidentally – performed by Amy Amantea, our actor who lives with blindness. She’s fearless.”
And, added Cohen, “Working with an integrated cast of performing artists with disabilities and able-bodied artists means there’s a wider range of experience, and we’re challenged to become an ensemble in a few short weeks.”
Krista Skwarok and Byron Noble. (photo by Tim Matheson)
Amantea (as the professor) will be joined in the performance by actors Jake Anthony (the student), Byron Noble (the “luckiest man”) and Krista Skwarok (the woman who purports to know his secret).
“Two members of the cast live with disability: Amy is legally blind and Jake lives with autism,” said Cohen. “The casting speaks to our (Realwheels’) commitment to fostering interchange between mainstream and disability arts sectors. That means interchange between artists, and we’re all learning from each other.
“Amy Amantea has such a generous spirit, so much heart and decency and, in Sequence, she’s playing a dark, angry character. Her character is also very funny and over-the-top, and this is new territory for Amy, who left the performing arts after she lost her sight 11 years ago. Furthermore, Amy’s character lives with severe sight loss, but of a type that’s different from her own, so there’s a whole other layer of challenge. She also has the most ‘stage business.’
“Jake Anthony is a sensitive actor, and an incredible advocate for persons with autism; getting to know him means gaining appreciation for the gifts that accompany autism,” continued Cohen. “Jake is a decisive and determined individual, very focused, so lovely and respectful to everyone, and he’s bringing tremendous insight into his character, a young man of faith, and an inveterate optimist.”
Skwarok is a recent graduate of Langara College’s Studio 58 theatre program, said Cohen, “and this is her first professional gig. Such bright energy, she’s super-smart and quick and creative and game. Expect to see a lot more of her – Krista’s talent is explosive.”
As for Noble, Cohen said he “is loaded with charm.” In Sequence, she said, his character “is slick, playful and, yes, he’s a charmer – and we get to see his character grow and other unexpected qualities emerge. It’s beautiful to watch. Byron is the most seasoned actor in the Sequence company, and we’re all benefiting from his experience and generosity.”
She said this play feels made for Realwheels “because it isn’t about disability, yet disability forms the landscape against which universal issues are debated onstage.”
She explained, “The four characters in Sequence are attached to their individual frameworks of the world: faith versus science, fate versus DNA. Did God use evolution as a means of creation? If something isn’t testable, how do you justify believing it? Is there an innate rightness to biological outcomes rooted in our fundamental DNA?”
Sequence has won several awards. The playwright, Lakra, is an ophthalmologist in Calgary, where he splits his time between practising medicine and writing, said Cohen. “This is the first time,” she said, “the play is being produced with an integrated cast – professional actors with disabilities playing alongside able-bodied actors.”
Sequence runs 80 minutes with no intermission, and is not suitable for children. It is at Presentation House Theatre March 14-24 (except March 19), with proceeds from the March 14 preview going to Realwheels Society to cover production costs. For tickets ($28-$10), call 604-990-3474 or visit phtheatre.org.
Ava Lee Millman Fisher at the opening of her solo exhibit, I See Music, on March 1. (photo by Olga Livshin)
The new solo exhibit by Ava Lee Millman Fisher, which opened at the Sidney and Gertrude Zack Gallery on March 1, seems eclectic at first glance. It includes landscapes and floral compositions, Judaica and symbolism. But all the paintings are united by the theme and name of the show: I See Music. That’s how the artist perceives the world around her.
“I see music and I hear colours,” said Millman Fisher in an interview with the Independent. “It’s what my art is all about. I have synesthesia.”
According to a dictionary, “Synesthesia is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes.”
Every one of Millman Fisher’s images includes musical notations, and the compositions’ colours flow like notes in a symphony. “I’ve always loved both music and art, since I was a child,” said the artist. “I had trouble choosing what I wanted to do professionally, until life interfered. After high school, I won a vocal scholarship to McGill University. But I never stopped painting.”
Millman Fisher specialized in classical opera and lieder (songs for solo voice, with piano). She sang a lot and taught music for awhile. Later, she went back to school to become a licensed music therapist. Throughout her entire career in music and mental health, she painted. “I love painting,” she said. “It is my visual voice. I often think in musical terms when I paint.”
She has been fortunate as a commercial artist. “I started selling my works when still at university,” she said. “Friends saw my paintings. They liked them. Someone wanted to buy. The word-of-mouth spread.”
From the beginning, Millman Fisher has painted in watercolours and created works with Jewish themes and images. “My paintings could be subdivided into two categories,” she said, “both well-represented in this show: secular art and Judaica. My Judaic pieces are very important to me. Unfortunately, there are not many places in Vancouver to showcase them. On the other hand, people from all over the world buy them. I have a Facebook page, and it helps a lot with promotion. By now, my Judaica paintings have found homes in Canada, Israel, the United States. Imagine: they want to buy my paintings in Israel, despite there being such a wide selection [of Jewish-themed work] inside the country. And, of course, I’m willing to ship anywhere.”
Millman Fisher recently sold a large Judaic painting to a client in New York. She couldn’t hide her joy as she told the story. “That lady from New York has been following my Facebook page for years,” explained Millman Fisher. “She said she loved my art but had no space in her home. When she moved to a larger home, she bought one of my paintings.”
The Zack Gallery show includes Ava Lee Millman Fisher’s piece “Libretto of the Lilies.”
But Millman Fisher doesn’t only sell her art. “I’m always happy to share, to give them away,” she said. “I like donating my paintings to Jewish causes and organizations. Some of my pieces hang in Vancouver Talmud Torah and in the Louis Brier Home.”
One of her most interesting Judaic pieces in the show is a large painting called “Miriam,” which also has a long subtitle. Its visual structure is no less complex. “I needed to tell Miriam’s story,” Millman Fisher said. “She was the first music therapist in history. She always brought her tambourine to the gatherings and employed music to calm people.”
The artist pointed to a dense flock of birds framing the painting. “Each bird is individually made from rice paper, cut and glued to the painting,” she explained. “There are dozens of them, and they are all different.”
The musical snippets written inside each bird are also different but, together, they could be built into a song of Miriam. The painting is representative of Millman Fisher’s mixed media work.
“Originally, I painted in watercolours,” she said. “I still do and I love watercolours, but, about 15 years ago, I began experimenting with mixed media. At first, I saw the technique in other artists’ works and liked it. They would put anything into their paintings: coins, fabrics, souvenirs. Then I became a friend with a Jewish lady from Iraq. She passed away some time ago but, before that, we were good friends for years. When she escaped Iraq, she brought some golden chains with her, concealed in her clothing. She gave them to me and urged me to include them in my paintings. That was the first mixed media I did. Those paintings are almost all sold by now, and the chains practically gone. I have only a few fragments left. I used some of them in the ‘Miriam’ painting.”
Millman Fisher creates her mixed media on wood panels, and the works consist of many layers and involve a number of materials, including crystals and rice paper, metal and ribbons. “Sometimes, I cover the paintings with lacquer to make them shiny, but it doesn’t always work,” she said. “I would have an idea when I start a piece, but then it might change as I keep painting. The images have a life and will of their own. They often depend on the music I listen to when I paint. The pieces dictate, and I follow.”
Like everything else she does, Millman Fisher signs her name in a unique way. Her signature is her first name, Ava Lee, followed by a treble clef below. “My favourite moment is when I finish a painting and sign my name,” she joked. “The treble clef denotes my connection to music. It shows my double nature: a musician and an artist.”
I See Music is on display at the Zack until April 7, and there is an exhibit-inspired poetry night on March 15 at the gallery. For more information on Millman Fisher’s art, check out her website, creatavalee.net.
Olga Livshinis a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
