בחודש פברואר ימלאו עשרים ואחת שנים לחיי בוונקובר. במקביל, המרחק שלי מישראל רק הולך וגדל
הזמן אץ לו רץ לו והשנים בהן אני נמצא כאן בוונקובר עברו כל כך מהר. אני זוכר את ההתחלה הקשה כאשר לא הייתה לי עבודה במשך שבעת החודשים הראשונים. באותה עת התחלתי ללכת ברחבי העיר ולהכיר מקרוב את הבית החדש שלי. בוונקובר ויתרתי על נהיגה כיוון שאני גר באזור הדאון טאון ואפשר להסתדר טוב ללא רכב
בהתחלה עבדתי בעבודה מזדמנת אצל חבר ולאחר מכן עבדתי בחברת גביה גדולה בתפקיד מחפש מידע לאור הרקע שלי בעיתונות. אחרי כשבע שנים ויותר עברתי לחברה פיננסית המספקת הלוואות ללקוחות שלא יכולים לקבל הלוואות מהבנק. עד היום אני עובד באותה חברה – למעלה מאחת עשרה שנים וחצי, ומשמש מבקר החברה בדרגת מנהל
בתחילת חיי כאן בוודאי שהרגשתי זר בוונקובר אך לשמחתי מהר מאוד מצאתי את מקומי, בתחום המקצועי והחברתי ובכלל. השתלבתי לא רע בחיי העיר, הכרתי מקומיים ולא רק ישראלים ולא חיפשתי להתחבר אל חיי הקהילה היהודית כאן. אני לא דתי ואינני שומר מסורת ואינני אף מרגיש את הצורך להדגיש את יהדותי או היותי ישראלי לשעבר. כל אלה עזרו לי בהשתלבות בחיים המקומיים. מרבית שנותי בוונקובר לא הרגשתי זר והחיים בקנדה בכלל הרבה יותר מתאימים לי מאשר בישראל
למען האמת התחלתי להרגיש כשגרתי בארץ כיוון שראיתי שהמדינה צועדת לכיוונים שאינם מתאימים לי ולהשקפת חיי. זה מאוד עצוב להרגיש כך במדינה בה נולדת כאשר את מרבית חייך עשיתה בה. ישראל הייתה מקום נפלא הצעירותי והחל משנות השמונים המאוחרות התחלתי להרגיש בשינוי לרעה. בסוף אלף תשע מאות שמונים ושמונה עברתי לתל אביב ובשנים הראשונות הרגשתי טוב ומחובר יותר. אך לאחר מספר שנים הרגשתי שוב שאני הופך יותר ויותר לזר ולא מסוגל להתחבר לתפיסת העולם הישראלית הבסיסית, להתנהגות של הישראלי הממוצע, לתזוזה ימינה ואל הדת ועוד. הנסיעות הרבות שלי לחוץ לארץ ובעיקר לאירופה רק החריפו את הפער ביני לבין ישראל
למרות שהייתה לי עבודה מעולה בתחום המדיה הבנתי שעלי לעזוב ולחפש עתיד טוב יותר מחוץ לישראל. לצערי רק בראשית אלפיים וחמש עזבתי את ישראל למרות שכבר שנים רבות קודם לכן רציתי לעשות זאת. המעבר רק היטיב עם חיי והפכתי להיות יותר מאושר ושלו. כואב לי מאוד על מה שקורה בישראל והמציאות הרבה יותר גרועה ממה שחזיתי. הקשר היחידי שלי עם ישראל נובע מהעובדה שיש לי משפחה וחברים שם. חלקם מיואשים והחלק האחר מתעלם מהמציאות הקשה ומנהל את חייו כאילו הכל בסדר. אני מבין את כולם ומאחל למציאות טובה יותר בישראל, אם כי אינני חושב שזה מה שהולך לקרות
באופן אישי היום אני מודאג מאוד ממה שקורה מעבר לגבול מדרום לאור השליט המטורף שמנהל את ארצות הברית, דונלד טראמפ. הוא גורם נזק גדול למדינתו, לקנדה ולמערב כולו. טראמפ מעולם לא חשב על תוצאות מעשיו והתנהגותו החמורה, גם בעת היה איש עסקים וכמובן מאז נכנס לבית לבן. קנדה התרגלה להיות תלויה בארה”ב ולסמוך עליה, עת שתי המדינות האלה היו קרובות מאוד בכל. כיום המציאות שונה לחלוטין בעידן טראמפ, והקנדים מתחילים להבין שקנדה צריכה להיות עצמאית ולהעמיק את הקשרים עם אירופה. במקביל יש להזיז את החסמים בין הפרובינציות ולאפשר חופש מסחר מקסימלי ביניהן
A huge demonstration filled the blocks around the Vancouver Art Gallery last weekend, part of a weekly presence of Persian and other Vancouverites calling for regime change and democracy for Iran. (photo by Richard K. Lowy)
As the street protests in Iran grow – and the death toll caused by the regime’s police and military crackdown increases – so do solidarity rallies worldwide.
A huge demonstration consumed the blocks around the Vancouver Art Gallery last weekend, part of a weekly presence of Persian and other Vancouverites calling for regime change and democracy for Iran.
The global movement against the Islamic regime has coalesced around Reza Pahlavi, son of the late shah who was deposed in the 1979 revolution. Posters of the crown prince fluttered among hundreds of pre-revolutionary Iranian flags amid chants of “javid shah,” long live the shah.
“I am Stephen and I am Jewish,” said one of the speakers at the rally a week earlier, on Jan. 10, who preferred not to use his surname.
“I have attended almost all the Iranian rallies in recent years for one reason and one reason only: to tell the Iranian people loudly and clearly you are not alone,” he said. ”Anyone who knows what the Iranian people have suffered over the past 47 years can empathize, especially now.”
He emphasized the ancient and contemporary relationship between Jewish and Persian peoples.
“When Israel was attacked on Oct. 7, 2023, the Iranian people came out in bad weather, in the rain and the cold and the snow, to march side by side with Jews all over the world. Why? Because they understand our pain, because it is their pain,” he said. “It is the collective pain of peoples who want what everyone wants: to live in peace and unmolested by those who want to control the world, who tell you what to think, what to wear, what to do, what to believe in.
Several people at the rally carried an Israeli flag. (photo by Richard K. Lowy)
“Persia was the first empire in the world, under Cyrus the Great, that brought people together and did not, did not oppress them,” he continued. “This is part of the Iranian historical identity. You can have all the Islamic revolutions you want. You will never erase this historical identity, with its great, great culture.”
He commended Iranian Canadians for their contributions to Canada and their devotion to democracy in their homeland.
“You here are Iranians who know what I talk about because you have been living in freedom in Canada and look how you’ve flourished. When people speak of Canadian Iranians, they do so with respect for a people that knows how to work hard and how to contribute to society, to give back, to become productive citizens of a free and open society,” he said. “Is that so much to ask for your brothers and sisters, mothers and fathers, sons and daughters in Iran?And it is a blessing that, when Iran is finally free, many of you will return to Iran to help rebuild.”
He called Pahlavi “a man who understands the world.”
“He knows the Iranian people inside Iran and outside Iran. Anyone who questions his commitment to his people can read about how he has worked tirelessly throughout his life to pursue a free Iran and return independence to Iranian people.”
Hundreds are dying in the name of freedom, Stephen said.
“The crackdown is brutal,” he said. “Many of us have seen the image of the older white-haired Iranian woman on the streets of Iran, bleeding from the mouth, her fist raised in defiance: ‘I am not afraid. I am not afraid. I have been dead for 47 years.’”
He commended US President Donald Trump and Israeli Prime Minister Binyamin Netanyahu for forcefully supporting the Iranian protests, and called for the leaders of Canada and other Western countries to express their support as forcefully.
David Zacks was one of several people at the rally carrying an Israeli flag. The response, he said, was“a hundred percent positive.” People were asking to take photos with him and thanking him for his presence.
“Iranians and Jews have been great friends for thousands of years,” said Zacks. “Everybody I talk to says, once the regime falls, they’ll be great friends again.”
One of the JCC Jewish Book Festival pre-festival events holds special meaning for the Jewish Independent. Photographer Dina Goldstein, whose artistry has focused on large-scale narrative tableaux the last many years, began her career with the JI’s predecessor, the Jewish Western Bulletin. She has compiled thousands of images from her work over the last three decades – as a photojournalist, editorial photographer, traveler and artist – for the recently published 400-page hard-cover The XXX Archive, which she will share with the community on Feb. 12, 7 p.m.
“I spent the pandemic going through containers of binders filled with negatives. Many of the images I remember snapping, but others that I found surprised me,” Goldstein told the Independent. “Editing the lot after 30 years of shooting was overwhelming at first. The process of archiving is slow and fastidious, often challenging my expeditious nature. I leaned in, not knowing how long or how many images I would be working with. Within two years, I scanned, photographed, numbered, printed and added over 3,000 images to a boxed and digital archive. The result left me relieved that my life’s work was now organized in a way that was documented and accessible.”
The word “herculean” is used in The Archive XXX to describe the task of creating the archive. Goldstein worked by year of creation, grouping the images by decades.
“I started with the early ’90s, when I first started my career and shot with black-and-white film,” she said. “Many of those images I had photographed for the Jewish Western Bulletin, my first job as an editorial shooter. I had special opportunities to meet and photograph many great people, like Elie Wiesel, Seth Rogen, Liz Taylor, Ruth Westheimer, Mordecai Richler, Jackie Mason, Bill Clinton.
“In the 2000s, I was working as a commercial and editorial photographer. I photographed mostly in colour and did some experimentation with processes. This is when I began crafting series of photographs. I spent two years at Hastings Racetrack and created Trackrecord. I expanded on my staged portraits with DAVID.
“By 2006, digital photography was introduced as consumer cameras. Art directors were passing along assignments to less-qualified shooters and/or having the writer also take the pictures. I felt that I needed to pivot,” Goldstein said, adding that, by then, she was also a new mother and things in general were shifting.
“In 2007,” she said, “I began to focus on a new series inspired by my toddler daughter, who suddenly became obsessed with Disney princesses. This was a new way of creating narrative within my imagery. The series was a critical success, giving me the confidence to continue with this methodology.”
Although Goldstein mentions the making of her tableaux projects in The Archive XXX, she decided not to include the staged works within the compilation. “This is also because I continued enthusiastically photographing street, documentary and portraiture,” she said.
Over the 2010s, Goldstein was invited to show her work internationally at galleries, photo festivals and museums, and traveled extensively – to Europe, India, China, Korea, Taiwan, New Zealand and Australia. “So many of The Archive images come from my travels around the world,” she said.
The Archive XXX ends at the start of the pandemic, in the early 2020s. Of course, she has continued to create. Last fall, she presented a new staged photography series: Mistresspieces. Each of the 10 works features a famous female portrait from history placed in a modern-day challenge. For example, the goddess of Sandro Botticelli’s “The Birth of Venus” floats alongside a beach piled with the life jackets of those who have fled to European shores and Salvador Dalí’s “Galatea at the Moment of Creation” has Galatea surrounded by Amazon packages and melting icebergs in Goldstein’s reimagining.
Mistresspieces is Goldstein’s eighth tableaux series, including Fallen Princesses.
“The idea for Fallen Princesses came to me intuitively, when I realized the way that Disney was influencing my daughter,” she explained. “I decided to select well-known female fairytale characters and parachute them into modernity. I gave them all relatable challenges that play out within a familiar location. The methodology, production-based, was novel, as I no longer just depended on myself and my camera. This format is more collaborative and filmic, with lighting as an intricate skill. Thankfully, the project was successful online, in the media and in education. So, I discovered that I could still create critical work, with specific messaging amplifying my voice in the form of visual social commentary…. Now, in light of AI and the quick accessibility of image-making, I am looking to the future, making some tough decisions.”
Goldstein recognized the power of images at a young age.
“As a child, I would go through my grandmother’s photographs for hours at a time,” she said. “The postcard-like black-and-white photos of her, as a young woman in Romania, were not only beautiful but a window into her life. I would stare at an image and take it all in, her outfit, her shoes, the people she was with, the buildings behind her. Within these images, I discovered people and places throughout the decades of her life. As an adult, I have kept my camera beside me, just in case, it was a compulsion of sorts. I wanted to make pictures that would tell the story of my life as well. Perhaps not as the subject, but as the narrator. Today, mostly everyone suffers from the same need, with the readiness and ease of using a smartphone camera to document or to create an image.”
In The Archive XXX, there are photographs of such a diverse range of people, from presidents to Pride paraders, the famous and the often-overlooked. That Goldstein is comfortable around people, no matter who they are, is partly because of her father.
“My father was a very charismatic figure,” she said. “He was a product of the Second World War, uneducated but street smart. He was able to connect with people, all sorts of people. I understood that there is always something that you may have in common with another person. That’s a good starting point.”
Travel has also contributed to Goldstein’s ease around almost everyone in almost every situation.
“Traveling as a young person allowed me to open up to others, and trust that most folks are good people,” she explained. “My positive experiences as a young photographer were foundational for what the next three decades would bring, working with various diverse personalities. Becoming a mother made me more cautious with my assignments and travel. I certainly didn’t take as many chances or put myself in danger while my girls were little. I remember traveling in India and Colombia, both places I had to be extra aware.
“In general, I find that society is complex and divided. This became super-evident during the pandemic, and recently after Oct. 7, 2023. I was able to photograph the anti-vaxxer gang, where bizarre people came out of the woodwork. The Free Palestine bunch includes some of these types, and also an element of proud antisemites. When they first rallied, in big crowds, holding up signs ‘From the River to the Sea’ down Commercial Drive, I photographed it, slightly shocked, slightly sickened. I decided then that I could not personally or professionally continue to be there as a witness to this open hatred.”
A lot changed for Goldstein after Oct. 7, she said. “Losing friends that were once close, making new friends (mostly Jewish), actively fighting against anti-Jewish/Israel sentiment in my East Van neighbourhood and within the Vancouver arts community. This leads to the next chapter of my career, where I will focus more on my Jewish/Israeli identity and Ashkenazi Jewish heritage.”
Goldstein has written a TV series called Grimm Lane, which is based on Fallen Princesses. She is creating a new book with her narrative series Storyography and is also working on the TV series The Tribe, which is based on three Jewish families living in Toronto.
A massive 94% of Canadian Jews support the right of Israel to exist as a Jewishstate. However, according to University of Toronto sociologist Robert Brym, who conducted the survey of 600 respondents, only 51% of those call themselves “Zionists.”
In the National Post this month, Brym took aim at those he says have weaponized his work, including the group Independent Jewish Voices and Avi Lewis, who is running for the leadership of the federal New Democratic Party. Lewis and IJV have claimed, based on an apparent deliberate misreading of Brym’s study, that 49% of Canadian Jews are not Zionists.
Brym calls that “gaslighting.”
When asked “Do you support the right of Israel to exist as a Jewish state?” 94% of respondents answered “yes” – in a word, they are Zionist. However, in another question, about how they personally identified, 51% of Jewish Canadians affirm they are Zionist, 15% “express ambivalence” about referring to themselves as Zionist, 7% say they “don’t know” and 27% say they are not Zionist. Just 1% describe themselves as “anti-Zionist.”
Intellectually honest politicians and organizations should not engage in misrepresenting Jewish Canadians’ actual views and the diminishment of their overwhelming emotional, spiritual, familial and other connections to Israel and its right to exist.
Here is something we should be pondering: How has a word and an idea that reflects the manifestation of Jewish self-determination, freedom, actualization and civilizational achievement become so sullied that almost half of Jews hesitate or refuse to identify with it?
In some ways, it is understandable. Before Israel became a state in 1948, Zionism as a contemporary political movement was the outgrowth of Theodor Herzl’s late-19th-century idea of a separate Jewish homeland. Since 1948, and the existence of Israel as a nation-state, the term Zionism has been associated with a tangible country, with a military, a government, and the flaws and foibles that accompany all nation-states. Zionism has come to mean, in some eyes, a vast range of concepts, including actions, good or bad (but, for the purposes of Lewis and groups like IJV, almost always bad), of the government of Israel.
This contradiction between the strict meaning of the term as it is defined in the political sphere and the broad application of it by bad actors is part of the reason many Jews are hesitant to adopt the descriptor “Zionist.” Jews themselves may have limited knowledge around other forms and visions of Zionism that have existed, making it difficult for the average Jew to engage in a discussion that contextualizes modern-day Zionism and the fuller arc of Jewish history.
Giventhe challenges and anxieties around being Jewish in Canada (and everywhere else in the world) right now, perhaps it is unwise to criticize the hesitancy of half of Canadian Jews to self-identify with an unpopular term. This is especially the case when faced with nefarious discourses that align Zionism with racism, white supremacy and Naziism, and a lack of knowledge of how to respond to those charges.
This survey’s misuse seems like a line in the sand, though.
The defilement of the term “Zionist” to mean things it doesn’t mean is part of a larger trend to score political victories by moving goalposts and using language to obscure truth.
Generally, the anti-Israel narrative is founded on a sort of postmodern rejection of objective definitions and terminology. Terms like “apartheid,” “settler-colonialism,” “ethnic cleansing” and “genocide” are redefined to encompass whatever those who weaponize the terms want them to mean.
When Jews, in the form of the Jewish state, are accused of genocide, a term that had to be invented to describe the Jewish experience of mass death, it makes arguing over the adoption of the label “Zionist” seem petty. But, if there is no consensus on something so foundational to the way many Jews define ourselves and our values, we put ourselves at a disadvantage in combating an abuse of language that reduces the human dignity of the Jewish people and, worse, can have literal life-and-death consequences.
If we are going to reverse this trajectory, which threatens not just Jews but truth itself, we need to contest the manipulation of language. By proudly reclaiming the term “Zionist,” which, apparently, 94% of Canadian Jews are but either don’t know it or won’t admit it, perhaps we can build some of the resilience and strength needed to combat the fight against more destructive and deceitful redefinitions of terms.
If we are going to defend the definition of the words we use to discuss the most vital issues of our time, “Zionism” seems like a good place to start.
The beginning of January has not been easy in Winnipeg. We’ve dealt with hate crime graffiti, including swastikas, on Shaarey Zedek Synagogue, Kelvin High School, the Abu Bakr Al-Siddique Mosque, as well as a hookah café, residential properties and street signs. For my household, it was personal. It hit our congregation and my kids’ school. It marred street signs near where we live. It defaced a mosque where I know one of the members. This is a lot to deal with. The police triumphantly made an arrest, but, from what I’ve heard, it seems unlikely that this individual did all these crimes. The story is familiar to Canadians at this point. Here it is.
Hate crimes happen. “Oh!” our leaders say. “Hate crimes are horrible. This isn’t Canadian. We will seek justice!” Then, an intermittent flow of outrage and misinformation follows. Suddenly, there’s an arrest. Everything’s solved. Canadians live happily ever after.
That is, until a new crime pops up. When that’s reported, the response sometimes is, “Well, this isn’t fitting into our narrative. We don’t know how this happened.” It even extends to, “Oh, we (police or officials) don’t clean up graffiti, so you can go ahead and do this yourself.” Essentially, another episode is swept under the rug as inconvenient.
I learned about the Overton Window in a social science class years ago. However, when it came up in reference to societal change and antisemitism, I had to review its meaning. The term is neither positive nor negative. It defines something that we have all experienced. Imagine you have a spectrum of beliefs: about school choice, disabilities, tolerance and diversity, human rights, whatever. The term was originally designed to describe how a politician might use a “window” to define policies on this spectrum. Occasionally, it’s used to say where someone’s beliefs fall on the political spectrum. We can shift the Overton Window; for instance, towards increased accessibility for those with disabilities. Some shifts are good, some are not. This term helps describe what’s happening with respect to antisemitism.
As the police described their arrest of the suspect in this recent series of hate graffiti, they said something like they “would have to examine the motive behind the crimes.” I was flummoxed. How could a swastika on a minority’s place of worship or a public school be anything other than an act of hate? Discussion followed about the suspect’s mental health situation, as he is unwell. Soon after he was released from custody, he was arrested again, for breaking into a home and violating the conditions of his release.
Many people have mental health issues, but going out in the dark at 4 a.m. to paint swastikas isn’t a normal, common expression of those challenges. People who perform hateful acts should face consequences. The Overton Window of what is considered “acceptable” antisemitism seems to have shifted.
I’m guessing there are multiple people committing this hate in our city. Yet the narrative here indicates that “Hurray! We’ve got the culprit” and no more effort is being made to resolve the bigger issues.
Meanwhile, I concluded my Daf Yomi (daily page of Talmud study) of Tractate Zevachim, on how sacrifices worked in the days of the Temple in Jerusalem. I’m lucky I didn’t start my learning with this – it felt like a slog. However, I continued studying the tractate, even while I found it somewhat dry and lacking in fun aggadah (stories).
Zevachim examines questions like when is a religious ritual sacrifice acceptable? What is the right physical and mental space for doing these holy rituals? When is it considered transgressive because it’s done wrong? When is it accepted even if it is not done in quite the right time or place? What rituals are exempt from repercussions, even if they are not done exactly right or considered acceptable practices?
These questions are intellectual exercises. We have no Temple in Jerusalem. The rabbis quoted in this approximately 1,500-year-old text didn’t have a Temple anymore. We Jews in modernity don’t do ritual sacrifice. Still, questions about what feels acceptable or forbidden, exempt or meaningful, have real-life repercussions. When the rabbis discussed different parts of ritual, they considered shifting their Overton Window about what they could see as correct, acceptable, exempt from punishment, or such a violation that one was cut off from the Jewish people.
Historically, the Overton Window about what’s considered appropriate discourse or hate speech has also shifted – multiple times. Slurs and crimes against Jews are commonplace throughout millennia. We’ve also had some golden eras, when things felt safe.
This January was another shift in Winnipeg. It’s been horrible, but we knew it was coming. It’s part of a worldwide shift of what’s considered “acceptable” antisemitism. I’ve been asked what can be done. I suggested giving this hate a broad, inclusive definition. Re-read the International Holocaust Remembrance Alliance definition. Nothing good is intended when someone spray paints a swastika on a synagogue door. It’s even more of a threat when it’s on a classroom whiteboard or hidden in a Jewish kid’s locker, as was the recent case.
We must educate people about history, including how to avoid antisemitic hate. Make that education required. With definitions and education, our window of what’s acceptable or a crime firms up.
These experiences have felt like a terrible personal violation. It feels threatening and unsafe. Yet, our congregation responded with courage and love. We welcomed many non-Jewish supporters at our Shabbat services afterwards. We responded with pride and inclusivity.
The kid was so brave. He took a photo of the graffiti on his locker, asked a parent for help, went to the school office. Now, there’s a police report, all his classmates know what happened.
The kid also faced extended questioning from administrators about “if he’d told the whole story.” He was told that “everyone makes mistakes.” One lesson the kid learned is that maybe reporting the hate crime itself was a mistake, because, instead of supporting him, the approach involved the suggestion that the victim did the graffiti to begin with. This is bad news, and a familiar type of antisemitism, where Jewish victims are blamed for having “brought it on themselves.” We shouldn’t say this to any victim. It’s not OK. If this is treated as being OK, it means that victims may trust institutions less, and report less often.
Sunshine is the best disinfectant. Actions like education and transparency can clean up and eradicate hate. We don’t know who did this, but we know who we are. We’re Jewish. We’ve been here before. We’re made of stern, proud stuff. The Overton Window has shifted. It’s time to ask our allies to all lean in to help shove it back again.
Joanne Seiff has written regularly for the Winnipeg Free Press and various Jewish publications. She is the author of three books, including From the Outside In: Jewish Post Columns 2015-2016, a collection of essays available for digital download or as a paperback from Amazon. Check her out on Instagram @yrnspinner or at joanneseiff.blogspot.com.
Itamar Erez performs with three other leading musicians on Feb. 1, 7:30 p.m., at Massey Theatre, as part of International Guitar Night. (photo from itamarerez.com)
International Guitar Night takes place on Feb. 1 at Massey Theatre. Once again, Jewish community member Itamar Erez, whose styles range from Middle Eastern, to jazz improv, to world music, is taking part.
“This unique project started with Brian Gore many years ago, when he had the vision to create these unique guitar tours. It’s been going on for over 20 years, with some of the best guitarists in the world,” Erez told the Independent.
“The idea is to put four guitarists on stage with a totally different style and sound,” he explained. “Each plays a solo set and introduces the next player – and, eventually, all four guitarists are playing together in duets and quartets. The audience loves the variety in the music and personalities and, often, there are interesting and funny stories that go with the music.”
Erez will be joined by Jocelyn Gould, a traditional jazz player and singer, Caroline Plante, who comes from the flamenco tradition, and Jamie Dupuis, who brings his harp guitar and Roma jazz influences.
“I’m playing my own mixture of Middle Eastern/Brazilian sounds,” said Erez, whose recent albums include Mi Alegria (2019), May Song (2022; for a review, go to jewishindependent.ca/erezs-new-cd-shows-mastery) and Migrant Voices (2024, with Hamin Honari).
“Migrant Voices was a unique album for me,” Erez said. “I had worked with Hamin for a few years already and we became really good friends. We worked on developing new material for the duet and, towards the recording date, we realized that this album will be mostly based on free improvisation. It just felt like the best approach and most authentic for us. Apart from the album title (Migrant Voices), that was composed by myself, all the tunes were basically improvised right there at the studio.
“In 2024,” he continued, “I also went to the studio with my piano trio (Jeff Gammon on bass and Kevin Romain, drums, and myself on piano) and we recorded in one afternoon a bunch of instrumental covers to tunes – this is something I never had done before, as I always was creating new original material. Among these tracks were Marina Maximilian’s beautiful song ‘Amok Batal,’ three Hanukkah tunes (‘Maoz Tzur,’ ‘Banu Hoshech,’ ‘Kad Katan’) and several other tunes, such as ‘Blue Bossa’ … all done with a very personal approach.
“Over the past year, I have released these tunes slowly as singles – and was overwhelmed with the warm response of audiences for these tracks.”
International Guitar Night is a touring festival, which has three iterations: Canadian, American and European.
“I did one full tour many years ago, in 2009/10, with many concerts in the US, Canada and Scotland,” said Erez. “I did the European version of the tour (Gitarren Nacht) a few years ago, with shows in Germany, Austria and France, and one more time in BC quite recently (2023), where I played for the first time with Jocelyn Gould…. My favourite part of these tours is making friendships with these musicians, some of them are friends for life. And making music with players that come from a totally different background is always fun and exciting.”
This year’s Canadian tour centred on British Columbia, with stops in Oliver, Campbell River, Duncan, Nanaimo and Victoria. The Feb. 1 performance at the 1,260-seat Massey Theatre in New Westminster caps it off.For tickets, go to masseytheatre.com/event/ign-2026.
The current show at the Zack Gallery – Finding Home – unites three very different artists: Jeannette Bittman, Andrea Dillingham-Lacoursiere and Eri Ishii. Sarah Dobbs, the gallery curator, told the Independent how the show came together.
“All three artists submitted independent proposals for solo exhibitions,” said Dobbs, adding that, in their own unique way, all three artists “engaged the ideas of place, displacement, immigration and the evolving notion of home.… Their works differ significantly in style and approach, but their practices intersect conceptually. Andrea’s work is rooted in a specific geographic place. Eri’s practice explores internal and emotional landscapes. Jeannette’s work centres on the table as a focal point of Jewish life and tradition, and as a site that reflects the dynamics, rituals and emotional complexities of gathering. Together, their works expand and complicate the idea of home, from the physical to the psychological and to the communal.”
“At Work” by Jeannette Bittman. (photo by Olga Livshin)
Bittman’s images are all domestic scenes. People, young and old, gather around a table, eating and chatting. The colours are muted, the faces indistinct, less important. The table and the food are the points of connection, the common joy and purpose.
“A table is of great significance in everyone’s life,” Bittman told the JI. “It is the place where we eat, but, maybe more importantly, where we meet others and ourselves. The table and gathering around it are critical to Jewish life and culture. Family meals are crucial for family and child growth. Gathering with friends often occurs around a table. Self-reflection, recollection and reminiscence, as well as dreams, occur around a table.” For her, a table is the essence of home.
Jeannette Bittman (photo courtesy)
“As an artist, I’m intrigued by human emotions and want to represent them through my art,” she said. “Initially, I focus on the realistic expressions of the models. Then, I explore, using colour, shade and form to go deeper. I try to capture the feeling rather than reality … I search for the mood. I rarely have a finished product in mind and become fascinated with the multitude of possibilities. It’s often challenging for me to stop at one.”
Ishii, meanwhile, ponders the outdoors in her paintings. A girl is running along a forest trail in “Runner.” Three girls are gazing across a river in “Three.” A young woman contemplates a peaceful pond in “Bridge,” while dappled sunlight plays all around her, and water ripples beneath the pilings of a little bridge.
All of Ishii’s images are quiet and introspective, uplifting in their tranquil greenery. One could almost hear the breeze whispering in the boughs and the wavelets muttering at the shore. “I am essentially a figurative painter,” said the artist. “My main interest is the inner world of my figures. I want to create works that have emotional resonance.”
For Ishii, home is a complex concept, an inner rapport rather than a particular geographic region. “To me, home means belonging, community and a sense of identity. As an immigrant, I have experienced that these things are fluid and shifting. I have two homes: the place where I spent my formative years – Japan – and the place where I chose to build my life – Canada.”
“Runner” by Eri Ishii. (photo by Olga Livshin)
About her pieces in the Zack show, she said, “I made them at different points of my life. ‘Bridge’ and ‘Three’ are parts of a series that explores storytelling in paintings. They were inspired by film stills from a British mystery. ‘Runner’ and ‘Picnic’ are made more recently. ‘Runner’ revisits the running series from 20 years ago. The series investigated the transient nature of life and posed questions concerning where we are running to, as well as what we are running from. ‘Picnic’ is the most recent of my works. It explores family relationships. It was inspired by a photo I saw in a recipe book that showed a family enjoying a feast.”
Eri Ishii (photo courtesy)
Like many artists, Ishii is fond of mentoring others. “Teaching is rewarding in more external ways, as opposed to painting,” she said. “I love being part of people’s journeys, as they tackle challenges of making paintings. It is my way of giving back what I learnt, whereas painting is more internal, as I try to explore what is going on inside of me.”
Ishii’s creative explorations could happen anywhere in the world. “I deliberately made them non-specific,” she said. “I wanted to keep them open to viewers’ imagination.”
Dillingham-Lacoursiere, on the other hand, dedicates her landscapes to one very specific location: Lasqueti Island in the Strait of Georgia, an off-grid, ecologically conscious community, and her home. Her panoramic vistas are bright and intense. The sharp colours of land, ocean and sky echo the lines of nature and emphasize the artist’s fierce emotional link to the place. While Ishii’s paintings are murmurs of lyrical fulfilment and Bittman’s delve into the kernel of her Jewishness, Dillingham-Lacoursiere’s paintings are screams of defiance, a rebellious statement of the artist’s soul.
“I used to equate home with a soft place to land, with treasured collections and memories that serve as reminders of our lives, our ancestors,” she said. “When I moved from Alberta, I left a five-bedroom house, my family, most of my friends, a community that had taken me a lifetime to build, but it wasn’t easy [there]. Reconciling the beauty of the prairies with a mindset and values that never fit meant it was an uphill battle. I was tired of trying to make myself fit into the place I called home but had never felt like it.”
“Home” by Andrea Dillingham-Lacoursiere. (photo by Olga Livshin)
Here, in British Columbia, she said, “Now, home for me exists in small ways. It’s my favourite tree. It’s reading poetry on a Sunday morning, with coffee in my favourite mug…. I’ve worked with First Nations communities for over a decade, and it was in those circles, around those fires and in those sweat lodges, that I learned women are the keepers of the home. In that sense, I am my home, and I can offer refuge, perhaps especially to myself.”
Andrea Dillingham-Lacoursiere (photo courtesy)
Dillingham-Lacoursiere has been painting landscapes for about 10 years. “I had avoided painting landscapes my whole life, until 2016. At the time, I was in the throes of a crisis of conscience, at the confluence of my job and my community,” she shared. “I had spent a year at the helm of a project that was deeply honouring the unfinished lives of the missing and murdered Indigenous women and girls of this country. The next project I was asked to lead at the museum and art gallery where I worked was the Canada 125 celebrations. The cognitive dissonance I felt pulled me in ways I could not have expected.”
Her response was artistic.
“It led me to an exhibit focused on landscapes of our national parks system. It is a system constructed to outwardly give a sense of national pride, but, at the same time, to commodify some of the most beautiful natural spaces … as escapes for those that could afford it,” she said. “That exhibit was called Reflections on My Reconciliation. People really connected with my art and my message. And it began the unravelling of what I thought it meant to be Canadian for me.”
Finding Home opened Jan. 7 and runs until Feb. 2. Every visitor will be confronted with the question, “What does home mean to you?”
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
David Benkof, the Broadway Maven, spoke on Jan. 11 as part of Kolot Mayim Reform Temple’s 2025-26 Voices of Jewish Music series. (photo from David Benkof)
David Benkof, the Broadway Maven, visited Victoria recently, to give a talk titled Spotlight on Jewish Broadway, on Jan. 11. He began with a clip from the musical Spamalot, which, in a tongue-in-cheek manner, asserts that a potential show may have the finest sets, the loveliest costumes and the best shoes, yet it “won’t succeed on Broadway if you don’t have any Jews.”
“The joke is that Jews wrote Broadway, Jews perform Broadway, Jews produce Broadway – and that’s true. It’s historically true, it’s statistically true, and it’s been said so many times that it barely counts as an insight anymore,” Benkof said.
Although seemingly innumerable Jews – Irving Berlin, Jerome Kern, Barbra Streisand, to name a mere few – may be associated with Broadway, Benkof encouraged the audience to consider the meaning of “Jewish Broadway” as something beyond the names of those who created and performed in well-known shows. Rather, he asked those attending in person and on Zoom to think in terms of Jewish-related themes: assimilation, reinvention, insecurity, exile, visibility and ambivalence.
“I want to go a step further,” he said, “and argue that Broadway isn’t primarily Jewish because of the people involved, but because of the very sensibility of the art form. Broadway is Jewish because its plots, themes and character arcs reflect the Jewish experience in North America.”
With clips from Hairspray, Hello, Dolly, A Chorus Line and Chicago, Benkof demonstrated that, while characters and plots were not overtly Jewish, or Jewish at all, there are invariably elements – such as restlessness, striving and defensiveness – that make them feel deeply Jewish.
“It grows out of histories of conditional welcome, where excellence becomes a survival strategy andvisibility is both opportunity and danger,” said Benkof. “Broadway characters don’t assume that the room loves them. They hustle to make the room need them. That’s why Broadway feels Jewish even when Jews are nowhere in sight.”
Hairspray, for example, makes no claim that the characters are Jewish. It is method, not identity, according to Benkof, that makes it Jewish. The lead character does not want to tear down the system; she seeks to join it, he pointed out.
“The belief that assimilation is both a strategy and an ethical good is deeply Jewish in a North American context,” Benkof said.
“The combination of idealism, anxiety, and faith that the system can be nudged towards justice if you appeal to its conscience is not universal,” he argued. “It’s a Jewish sensibility operating inside a story that never needs to say the word Jewish out loud, which makes Hairspray slightly subversive, like quite a bit of postwar Jewish art.”
By the end of his Victoria lecture, audience members were able to find Jewish themes in musicals that, on the surface, seem far removed from the Jewish experience: The Lion King, The Phantom of the Opera, The Sound of Music, even The Book of Mormon (think reinvention).
In the example of The Sound of Music, audience members found that its themes of escape, persecution and fear were elements that could be perceived as related to the Jewish experience.
Congratulating the audience, Benkof said, “We could have said, Richard Rodgers was Jewish and, therefore, The Sound of Music is Jewish. That is true and boring. What we have been able to do here today is think about how you won’t succeed on Broadway if you don’t have any Jewishness, as opposed to just Jews.”
Benkof also discussed a Canadian connection to Jewish Broadway, Come from Away, a musical about the care of thousands of travelers, who, after Sept. 11, 2001, had their flights diverted to Gander, Nfld.
In 2024, Benkof made a trip to Gander to see a performance of the show, written by Canadians David Hein and Irene Sankoff.
“I got to go and meet some of the people who had done it,” he said. “They welcomed people into their home and their community, and that, I think, is a very Jewish theme.”
Benkof’s website, broadwaymaven.com, offers five to 15 classes every month. In January, for example, the online educational community had classes on the musicals of Howard Ashman and Alan Menken, on Pal Joey, and a 50th anniversary roundtable on Pacific Overtures by Stephen Sondheim and John Weidman. Upcoming events include classes on Sweeney Todd, Evita, Kiss Me, Kate and Cats, among others. Benkof also posts weekly about Broadway on Substack: substack.com/@thebroadwaymaven.
Benkof’s talk was the third lecture in Kolot Mayim Reform Temple’s 2025-26 Voices of Jewish Music series, part of the Vancouver Island shul’s annual Building Bridges program. The next in the series will be from Naomi Cohn Zentner, an ethno-musicologist at Israel’s Bar-Ilan University, on Feb. 8. Her talk – Music and War: An Optimistic View – will examine how Israeli musicians have responded to recent historic events and explore music’s role in processing grief, inspiring resilience and connecting community in times of crisis. Visit kolotmayimreformtemple.com.
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
I made my wife a rockstar carrot cake for her birthday last week. Thanks to the JCC Jewish Book Festival, I received a review copy of Sesame: Global Recipes & Stories of an Ancient Seed by Rachel Simons, which features a unique take on one of my wife’s favourite desserts. The Tahini Cream Cheese Frosting with Carrot Cake & Seed Brittle was a hit – as was every other recipe I tried from the book. Everything I made looked beautiful and tasted great.
New York-based Simons, founder of Seed + Mill, the first store in the United States to focus solely on sesame products, will be in Vancouver for a JBF pre-festival event Feb. 8, 7 p.m. Tickets are $20. (Go to jccgv.com/jewish-book-festival.)
Simons seems delightful, with a passion for gardening, family, travel and being an entrepreneur. In Sesame, she shares some of her background, what led her to become an expert in all things sesame – the seed, oil and paste (tahini). We also learn a bit about the history of sesame and tahini. There are 80-plus recipes, ranging in complexity, most accompanied by a brief introduction. The whole presentation is appealing: the book’s layout, the feel of its pages, the photography by Alan Benson and illustrations by Evelina Edens; credit is given to Maren Ellingboe King for some of the text.
Just before the recipe section, Simons notes how hard it was for her to write many of the recipes, as she tends not to follow recipes herself, and cooks more “by instinct and with lots of practice.” This is an important note because newbie cooks might have to Google pieces of information like how long it takes to bake a cake at 350˚F, because Simons doesn’t give any baseline, just writes “bake until a skewer … comes out clean.” Even with Google and Simons’ advice, I slightly undercooked my cakes. Yes, cakes. Somehow, though I’m positive I followed the recipe to a tee and the cake we ate tasted amazing, I had twice as much batter as I was supposed to have. (I froze the second cake.)
There were other, smaller surprises with each recipe. And every recipe took me longer to make than indicated. Ioften find that with cookbooks though – if I were to rinse and de-leaf my cilantro, parsley, etc., chop all the nuts, etc., in advance, then maybe I could make something within the allotted time, but instead I plan for it to take two to three times as long as suggested.
On the day I made the carrot cake, I wanted to leave as much guilt-free room as possible, so made the Thai-Inspired Tahini, Lime & Broccoli Salad. It was full of flavour, seasoned with tahini and lime, as per its name, as well as soy sauce, hot honey for a bit of bite, garlic, lots of cilantro and mint for freshness, peanuts and sesame seeds for protein and texture.
The next day, we had friends over and served Pistachio and Whipped Feta, with veggies and pita bread, as an appy. A couple of tablespoons of tahini, a bunch of cilantro, plus lemon juice and, especially, lemon zest made this dip disappear quickly.
Birthday day started with An Indulgent Middle Eastern Breakfast Toast, which was all its name promised. I couldn’t find labneh, so substituted in pressed yogurt. While the recipe said the sprinkle of Sweet Dukkah was optional, I’d argue it’s essential. All together, this rich, tangy, toasted, sweet treat demanded a second serving.
In all this cooking, I’ve stained several pages of Sesame and will, no doubt, stain others, as this book becomes one of my staples. I’ve already made a few other things that are not included here for space reasons, not taste reasons. It’s all yum.
AN INDULGENT MIDDLE EASTERN BREAKFAST TOAST (serves one)
1 thick slice sourdough bread 1 tbsp labneh 1 to 2 tbsp tahini 1 tbsp honey or date syrup 1/8 tsp flaky salt Shake of Sweet Dukkah (recipe below)
Toast the bread or leave it fresh, depending on your preference. Spread the labneh on the bread, then drizzle with the tahini and honey and finish with the flaky salt and Sweet Dukkah (if using). Serve immediately.
SWEET DUKKAH (makes about 2.5 cups)
1 cup sesame seeds 1/2 cup pistachios, coarsely chopped 1/2 cup almonds, coarsely chopped 1/2 tsp ground cinnamon 1/2 tsp ground cardamom 1/2 tsp flaky salt 1/2 cup unsweetened coconut flakes 2 tbsp edible dried rose petals (optional)
1. Preheat the oven to 375˚F. Line a rimmed baking sheet with parchment paper.
2. Spread the sesame seeds, pistachios and almonds on the baking sheet. Sprinkle with the cinnamon, cardamom and salt and toss to evenly combine.
3. Bake for 6 minutes, then give the baking sheet a vigorous shake to move the nuts and seeds around. Add the coconut and shake the sheet again. Return the mixture to the oven and bake until the coconut has turned golden brown, 4 to 6 minutes. Check regularly to make sure the dukkah isn’t burning.
4. Cool the dukkah completely on the pan before adding the rose petals (if using). Store in an airtight container in the pantry for up to two months.
Jewpanese comedian Dylan Akira Adler performs Feb. 18-19 at Revue Stage. (photo from Jewpanese Project)
“Soy vey” and “mazel tofu” are just two of the word mashups created by Jewpanese comedian Dylan Akira Adler, who is coming to Vancouver’s Just for Laughs with his show Haus of Dy-Lan, Feb. 18-19 at Revue Stage. He will likely open for Atsuko Okatsuka’s Feb. 21 performances at Queen Elizabeth Theatre as well, also part of JFL, which runs Feb. 12-22.
Born in 1996, Dylan grew up in a predominantly white San Francisco neighbourhood, where both he and his identical twin brother thought they were Asian Buddhists, until his mom explained they were also Jewish, like their dad.
Adler’s obaachan (Japanese grandmother) didn’t experience incarceration during the Second World War, but her uncle’s family was sent to Heart Mountain in Wyoming. At 14, Adler’s ojiichan (Japanese grandfather) had signed up to be a kamikaze pilot, but the war ended a month before he was old enough to enlist.
Adler’s mom was born in Tokyo, but, because of the air pollution, the family moved to California, where they grew carnations. Meanwhile, his dad was born in Los Angeles into a Polish and Ukrainian Jewish family that fled the 1800s pogroms. His parents met at University of California, Berkeley, “where Jews and Asians procreate to make kids who put on one-man shows about being biracial,” as Adler jokes.
Adler was interviewed for the Jewpanese Project in October 2022. At the time, he was a writer on James Corden’s show, where he also had his late-night stand-up debut. Since then, he has been touring as the opening act for Okatsuka, as well as with his own show. The Canadian tour of Haus of Dy-Lan includes stops in Toronto, Ottawa and Montreal. I caught up with Adler this month, in anticipation of his Vancouver visit.
CT: On Dec. 1, 2025, I dropped a 68-page report on the Jewpanese American experience, one finding of which was: “The two most common ways for Jewpanese couples to meet were through either academic settings or chance encounters, often with the help of mutual friends.” How does it feel to now have one of your most popular jokes backed by research?
DAA: It makes me feel very good and scholarly…. I just know a lot of other Asian and Jewish couples who met at UC Berkeley because my parents are friends with them. They’re like my secondary aunts and uncles and their half-Asian and -Jewish kids are like our cousins.
CT: How does your Jewpanese identity inform your comedy? And how has it evolved over time?
DAA: My Jewpanese identity definitely informs my comedy. I love talking about the difference between spending time with my mom’s family and my dad’s family. But I also love to subvert expectations. My mom and her family don’t behave like a typical “Japanese” family because they are very loud and crazy.
CT: In your 2022 interview with me, you mentioned that you had yet to go to your ancestral homelands (Japan, Poland and Ukraine) and that you hadn’t been out of the United States at that point. Where are you now on that journey?
DAA: I’d never been out of the country until 2025 and, that year, I went to 20 different countries. It completely changed my life. I’ve officially caught the travel bug. This year, in April, I’m going to go to Japan with my family and meet relatives I’ve never met before. I’m truly so excited. We’re going to Kyoto, Osaka and Tokyo. I don’t have plans to go to Eastern Europe yet, but would absolutely love to.
CT: Tell me more about Haus of Dy-Lan. Who is this show for? What should we expect?
DAA: I will be performing parts of my solo show Haus of Dy-lan along with some newer material during this tour. There will absolutely be material about being half-Japanese and -Jewish. I love talking about my racial identity because some people are already trying to figure it out when I walk onstage, so it addresses that curiosity. In the audience, you can expect there will be Asians, mixed-race baddies, queers and some straight women who forced their boyfriend to come to the show.
CT: Atsuko Okatsuka, who is an incredibly hilarious Japanese-Taiwanese-American comedian, is a major mentor in your comedic career right now. What Jewish influence do you also have guiding you in your journey?
DAA: Atsuko is the absolute best. She is so brilliant and kind and I truly am so grateful to have her as a friend and mentor and even surrogate mother. When it comes to Jewish influences, I’ve always admired Joan Rivers, Chelsea Perretti and Rachel Bloom, to name a few.
CT: Do you remember when you shared with me that you made contact with your Jewish ancestors, while on a healing psychedelic trip on bufo (toad venom)? Have you been in contact with them since? How is that work coming along?
DAA: I was actually just thinking about that this morning. It’s true, in 2022, I did a toad venom psychedelic trip, and I woke up in a village in Eastern Europe and felt my ancestors’ inherited trauma but also their light and resilience. I haven’t done it since, and I am still on a healing journey for myself. But I’ve always been very interested in ancestors and how we are profoundly affected by people who we may have never met in our lifetime. I want to continue that work and figure out a way to incorporate it into a creative project in some way.
For tickets to one of Adler’s JFL shows and/or for Okatsuka’s performances and those of other Jewish community members, go to jflvancouver.com.
Carmel Tanakais the creator of the Jewpanese Project, an international community initiative at the intersection of being Jewish and Japanese. Check out the archives of oral history interviews and a research report on the Jewpanese American experience at carmeltanaka.ca/jewpanese-project-archives. She is still collecting interviews from Jewpanese Canadians.
