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Author: Roni Rachmani

הזכייה הרגה אותו

הזכייה הרגה אותו

בחודש פברואר של שנת 2006 עת היה בן עשרים וארבע, זכה דניאל קרלי שגר בעיר סנט קתרין בלא פחות מחמישה מיליון דולר, בהגרלת הלוטו של אונטריו לוטו אנד גיימבלינג קורפורשיין. (צילום: Lottery & Gaming Corp. via thestar.com)

במקרה של דניאל קרלי ממחוז אונטריו אפשר להגיד בביטחון שהטפשות מנצחת. בחודש פברואר של שנת 2006 עת היה בן עשרים וארבע, זכה קרלי שגר בעיר סנט קתרין בלא פחות מחמישה מיליון דולר, בהגרלת הלוטו של אונטריו לוטו אנד גיימבלינג קורפורשיין. ואילו עתה בגיל שלושים וחמש ללא דולר בכיסו, חייו השתנו מקצה לקצה והוא נכנס לאחרונה לכלא לשנתיים וחצי על הברחת קראק קוקאין.

את מה שעבר קרלי בעשר השנים האחרונות אפשר לתעד סרט קשה לעיכול, עם פתיחה מבטיחה וסוף נוראי. לאחר הזכייה החליט קרלי לתרום כספים למספר ארגונים בהם, לקרן שאירגנה אירועים לאנשים חולים. משום מה הוא החליט להשאיר את מרבית כספי הזכייה הגדולה שלו בבנק ולהינות מהריבית. חלק לא מבוטל מהכסף הושקע בבר שקרלי פתח. לאחר מספר שנים נולד לו ילד (שכיום הוא בן שבע) מבת זוגתו דאז (כאשר השניים הספיקו בינתיים להיפרד).

באופן מדהים להפליא “הצליח” קרלי לשרוף למעלה ממחצית מכספי הזכייה בתוך השלוש השנים הראשונות, על רמת החיים הגבוהה שלו. בעותה עת במקביל הוא החל להשתמש בסמים קשים בכמות גדולה, עד שהפך למכור לקוקאין והרואין. לטענת עורכת דינו רבים מאלה שהכירו אותו, ניצלו את תמימותו והוציאו ממנו כספים בסכומים גבוהים. הוא פשוט לא ידע כיצד לתנהל עם כספי הזכייה, ובעיקר מול אנשים שהוא לא היה בליגה שלהם. הסוף המר כאמור ידוע וקרלי הסתבך בפלילים לאחר שהבריח קראק קוקאין. זאת כדי לממן את השימוש בסמים הקשים עד לבסוף הוא נתפס. המשטרה ניהלה מעקב אחריו ואחרי שותפיו לפשע במשך כתשעה חודשים, ומצאה שהוא פועל במסגרת ארגון פשע גדול ומוכר באונטריו.

לאחר שנעצר החליט קרלי לעבור הליך ארוך של שיקום וגמילה מסמים קשים. בית המשפט העליון של סנט קתרין פסק לקרלי שנתיים וחצי בכלא. אילו היה לו עבר פלילי העונש היה גבוה עוד הרבה יותר. ועתה כשהוא יושב בכלא הפדרלי בוודאי יש לו מספיק זמן לחשוב כיצד הפך ממיליונר חופשי לחסר כל כלוא. לסרט על קרלי אין סוף הוליוודי.

נסיעה לא שיגרתית: שוטרים עצרו זוג שעשה סקס בזמן נהיגה

לשוטרים בניידת לא היה ברור מדוע המכונית שלפניהם באחד הכבישים הראשיים של ריצ’מונד, לא נוסעת ישר אלא זזה מצד לצד ללא הפסקה. שני השוטרים הגבירו את המהירות והבחינו ששני בני הזוג ברכב יושבים יחד במושב הנהג. ומהתקרבו לרכב הם נדהמו לראות שהם עושים ממש סקס תוך כדי נסיעה. השוטרים הורו מייד נהג לעצור בצד הכביש ולפתוח את החלון. הנהג עצר את רכבו ותוך שהוא מתנשף ומזיע, הוא העביר את בת זוגתו למושב שלידו ופתח בקושי רב את החלון. השוטרים ציינו בדוח שכתבו לאחר האירוע כי הנהג “התקשה להתרכז בנהיגה”. הצעיר בן התשע עשרה קיבל בו במקום קנס גבוה בגובה חמש מאות וחמישים דולר על נהיגה חסרת אחריות, נהיגה ללא חגורה ועל מעשה שאסור ברבים.

בתחנת המשטרה לא זוכרים מקרה יוצא דופן שכזה של נוסעים שעשו סקס תוך כדי נהיגה בכביש ראשי. מפקד התחנה בהודעה לעיתונות הציע לזוגות למצוא מקום פרטי ולא על הכביש לקיוום יחסי מין. בחשבון הטוייטר של המשטרה נכתב בין היתר כי: “אחד השוטרים שלנו עצר זוג שקיים מגע מיני ברכב. הליך קבלת הרשיון ובדיקת זהות הנהג היה ארוך מן הרגיל”.

Format ImagePosted on October 19, 2016October 19, 2016Author Roni RachmaniCategories עניין בחדשותTags Carley, cocaine, driving, lottery, Ontario, police, sex, אונטריו, לוטו, נהיגה, סקס, קוקאין, קרלי, שוטרים
Putting heart into city

Putting heart into city

Heart of the City festival participants. (photo by David Cooper)

Community is at the heart of what Ruth Howard, Maggie Winston and Sharon Kravitz do, so it is no wonder they are participating in the Heart of the City Festival, which features more than 100 events at more than 40 locations throughout the Downtown Eastside Oct. 26-Nov. 6.

One of the projects is Realms of Refuge, which Howard (of Toronto’s Jumblies Theatre) describes as “an episode of Jumblies’ Four Lands national tour, which itself grew out of our 2015 west-to-east-coast tour, Train of Thought, for which Vancouver Moving Theatre was a key partner.” VMT is the main presenter of Heart of the City, and Howard has known VMT’s co-founder and artistic director Savannah Walling since 2003.

Realms of Refuge’s “four lands” concern senses, memory, history and dreams, explained Howard. “Over the course of the [two-week] residency, artists and community members create and bring to life these lands, through drawing, miniature models, words, music, movement and conversation. There will be drop-in art-making sessions at the Interurban Gallery (the project’s home-base), as well as some workshops in other locations with community groups and partners…. An open-ended number of people of all ages, backgrounds and abilities can take part in the activities and come to enjoy the evolving artwork.”

photo - Ruth Howard
Ruth Howard (photo by Liam Coo)

The intent of the project, said Howard, is “to spark thought and conversation and promote curiosity and understanding about the lives and experiences of people living on the same land.

“The ‘evolving gallery’ form, which I first invented and started to play with at Jumblies in 2009, involves setting up the framework for artistic creation in a gallery, studio or other suitable public venue, launching the starting point and facilitating its growth over a period of time. Generally, it starts with visual arts activities and then moves on to include words and simple performance. The idea is, rather than opening a gallery exhibition to be viewed in its finished state … we set the context for something that can’t happen unless diverse people come and take part; the nature and specifics are determined by those participating people, and we celebrate its closing state.”

Howard founded Jumblies in 2001. “I was always seeking ways to combine esthetic and social values and impact, and to blur distinctions between process and product; audience and participant; story and history; ritual and theatre; art and life,” she said.

“In 1990, I encountered the British ‘community play’ form, brought to Canada by writer Dale Hamilton, in a production in the Guelph area called The Spirit of Shivaree. This was for me a life-changing experience: I found a form of art-making that combined epic-scale theatre with wholehearted social inclusion and an astonishing capacity for social change.”

Howard wants to make art in ways “that don’t fit into standard disciplinary delineations,” to collaborate with others who have skills and perspectives she doesn’t, to learn “from people, places and stories that have tended to be left out of our cultural mainstream” and to “bring people together across real and perceived differences and remove restrictive delineations,” such as “youth” or “marginalized people.” She wants to “create an exciting, accepting and nourishing home and creative/social worlds in which my children – and also my friends, family, neighbors, colleagues and co-inhabitors of the land – can grow up and live,” as well as “have quirky ideas large and small and have the freedom to explore, develop and realize them.” She would like for art to be “at the heart of life.”

When asked if Judaism or Jewish culture has influenced her, Howard said, “My mother was a German Jewish refugee, whose immediate family escaped to England in 1938, just after Kristallnacht. Her father was a businessman and excellent amateur violinist, and her mother was a painter, well established in the Hamburg avant-garde arts scene before the war. I was brought up with a strong non-religious Jewish identity. As an adult, I joined a Toronto secular leftist Jewish organization (the United Jewish People’s Order and their summer community, Camp Naivelt), in which community I brought up my three children.

“Altogether my Jewish sensibility is hugely relevant to my life and work,” she said. “I was brought up with art as an essential part of life – both doing it … and witnessing it…. I was also brought up absorbing that it is important never to leave anyone out; not to support, tolerate or ignore separation of people into exclusive groups; always to have space at the table for unexpected guests; to welcome everyone; that ‘never again’ means ‘never for anyone.’”

Through her association with UJPO, Howard “learned to interpret and celebrate Jewish holidays for their social and cultural relevance to struggles of all humanity for survival, freedom and dignity.” She has created an oral history/theatre project with Camp Naivelt and, more recently, adapted a series of Passover seders to include the telling of other vital stories, such as Toronto’s indigenous history.

“When I first heard the word genocide used in relation to the treatment by European settlers of Canada’s indigenous people, I was stopped in my tracks; it was something that I couldn’t put aside…. Since then, I have made it a priority to learn and form relationships so that the work of Jumblies could support First Nations recovery, justice, equity, and new awareness for all of us who live here…. My ongoing artistic preoccupations include inherited memories of and present relationships with eradicated places, and the interplay and relative merits of remembering and forgetting. These themes are woven into the Four Lands/Realms of Refuge project. It isn’t particularly a Jewish project, but it springs from my particular Jewish mind … and the Vancouver iteration, with its focus on places of refuge, happens aptly to take place during Sukkot.”

Jewish culture has also influenced Winston, who grew up in a secular family.

“My upbringing in a family that is very engaged in politics, culture and the arts has definitely influenced who I am and how I approach the world,” said Winston. “I do believe that being culturally Jewish has contributed to my sense of being an advocate for others, of being confident in my ability to ask questions and explore ideas, and in feeling as though I am part of a greater community. Growing up in the United States in a suburb of Baltimore that was pretty white and Christian, I did feel different from my peers even though Baltimore has a huge Jewish population. Enjoying that feeling of differentness has led me to being a creative professional.

“Jewish folklore is a great source of inspiration and I would love to learn more,” she added. “My solo puppet and clown show Just Enough is based on the Yiddish folktale Joseph’s Overcoat, in which something is made from nothing and then passed down through family. In my version, it features a grandmother (a puppet) and her granddaughter (me, as a clown). The grandmother makes a quilt out of her old clothes for her baby granddaughter and, as she grows up, the grandmother cuts and sews it into other things for her until all that is left is a button.

photo - Maggie Winston
Maggie Winston (photo by Juliana Bedoya)

“As a theatre artist,” she said, “I am drawn to ritual and tradition in many forms. I have always found support for my work in the Jewish community, not only in Vancouver (through the JCC and the Chutzpah! Festival), but in other places around the world. I have started to make a few connections in the Jewish community in Montreal and am excited to see what evolves there.”

Winston only recently moved to Montreal, where her mother and grandparents grew up there. “Every summer of my life has been spent at our family cottage in Morin Heights, Que., just one hour from Montreal,” said Winston.

When she graduated in 2005 with a BA in puppetry performance from Sarah Lawrence College in New York, she wanted to move to Canada and, in the end, chose Vancouver “because I knew I could get to know people in the arts community easily through my relatives. Actually, it was through my aunt that I was originally connected to Terry [Hunter] and Savannah [Walling] of VMT back in 2008 when I got to be involved in We’re All in This Together, a shadow project in the DTES.”

However, “the pang of Montreal called me more and more,” so, this past January, she made the move. “The reason why I’m back in Vancouver right now is because of some other projects I had already planned last year…. Right now, in addition to working for Heart of the City, I’m collaborating on a music and puppetry project with Laura Barron (Instruments of Change), facilitating students in a Vancouver elementary school and then repeating the same project with students at a school in India. We did a similar program two years ago, and had already decided it would happen again this year.”

With Heart of the City, Winston is both an artist liaison, as well as a performer. She’ll be in It’s a Joke! – which has the theme “‘Stand-up for mental health” – with the Assembly, a group she’s been with about four years. “We are a playful and lofty collective of process-oriented, performance-driven, self-identifying women clowns, producing shows two to three times a year,” she said.

“Our performances at Gallery Gachet [on Oct. 28] will feature a few of the regular members of the Assembly doing short solo or duo acts from some of our previous shows,” she said. “In terms of the theme of the event … I can’t speak for stand-up comedy, as I’ve never done that before, but I can say that my mental health has been significantly affected for the better by my experience with clown. I know many other people who are similarly influenced. I hope the audience who attends this evening will get a taste of the deep psychological and spiritual power this art form has.”

Winston was in the festival last year with her solo show Just Enough and she has participated for several years – and will again this year – with Healthy Aging for the Arts, a program at Strathcona Community Centre. The group started in 2005, and it “consists of Cantonese-speaking women between the ages of 70 and 95. Every year, we explore a different style of puppetry with a theme that resonates with the members of the group. Sharon Bayly and myself have been the lead facilitators for the last five years.”

Winston noted that most of the seniors have been together since the beginning. “We all have aged together,” she said, “and I’ve been able to see the direct positive effect that art-making has on the well-being of these women.”

Despite the obvious importance of community in her work, Winston said, “I didn’t know that I was a community-engaged artist until other people started to identify me as such and until I started understanding the language of and paradigms of the art form.”

She said, “I always just did the kind of work that interested me and I got involved in whatever projects I could. I came to Vancouver with the intention of being a professional puppeteer and quickly discovered that, if I wanted to make puppet shows, I had to educate everyone around me, collaborate with artists of other disciplines and be as inclusive as possible…. Community engagement to me is simply sharing what I love to do with others. It’s about creating something together from scratch – from the ideas of those involved in the project…. I was never interested in being a traditional theatre artist, going to auditions, headshots, taking directions without having a say in them; I just wanted to tell stories and perform them creatively. Community engagement became an avenue for doing that.”

Community, in particular the DTES, is a focal point for Kravitz.

photo - Sharon Kravitz
Sharon Kravitz (photo by Ken Tabata)

“I felt a connection to the Downtown Eastside and particularly the Carnegie Centre almost immediately upon moving to Vancouver. I volunteered at Carnegie and then, the following year, I proposed a community public art project on the corner of Main and Hastings. My first night in the Carnegie in the winter of 1993 and my first summer on the corner are moments I will never forget. Coming there helped me become more of the person I wanted to be and so it will always have a very special place in my heart.”

Kravitz will come to Heart of the City with We Can’t Afford Poverty, “a participatory project that highlights the widening gap between rich and poor through community-driven art.”

“We will be making several appearances throughout the festival,” she said. “We’ll be co-hosting a print-making workshop with WePress, we’ll be taking part in the documentary night, we’re having an exhibit of kids’ art in the third floor gallery and we’ll be popping up throughout the festival with our mobile video soapbox.”

The arts play countless roles in individual and community health, she said. “The act of making art together and the bonding that happens through that process, the ability individually to respond to external and internal issues creatively helps us feel less powerless. It changes how we think, and it can change how others think.”

For Kravitz, in Judaism, “like all faiths, there is the common belief in how we treat others, and the knowledge that there is something in the world greater than all of us, who and whatever that is to someone. I grew up knowing that we needed to help each other, and it’s why were all here – to make things better for each other.”

Most Heart of the City events are free or by donation: visit heartofthecityfestival.com.

Format ImagePosted on October 14, 2016October 13, 2016Author Cynthia RamsayCategories Performing ArtsTags community, Downtwon Eastside, DTES
VTT campus officially opens

VTT campus officially opens

Vancouver Talmud Torah head of school Cathy Lowenstein at the Sept. 25 ceremony that officially opened the school’s new building. (photo by Lara Shecter)

Vancouver Talmud Torah recently completed a comprehensive redevelopment and renovation of its campus and, on Sept. 25, a ceremony was held in the new double gymnasium of the school to officially open the new building.

Members from all parts of the community came out to see the space the school has been touting as embodying “the concepts of 21st-century learning.” The event included an introduction by Cathy Lowenstein, head of school, as well as words from the campaign chairs, Dan Pekarsky and Alan Shuster. While thrilled at having reached the goal of $20 million in their first campaign, they hope that enthusiasm for the new school will spur the community to give additional financial support.

Lowenstein clarified the need for a second fundraising campaign in an email interview. “Twenty million dollars was the amount we knew we would need to be able to finish any project we started, including the underground parkade,” she explained. “By proceeding when we did, we were able to develop the parkade jointly with the BI [Congregation Beth Israel]. That saved us over $2 million and the disruption of excavating beneath the school that we would have faced if we had waited. In the meantime, we completed the final program design, engineering and budgeting for the new school and, once we had that information, set a final budget and campaign goal of $27.5 million.”

photo - Vancouver Talmud Torah Rabbi Marc Kasten looks on as Gordon and Leslie Diamond, lead donors, affix a mezuzah to the school
Vancouver Talmud Torah Rabbi Marc Kasten looks on as Gordon and Leslie Diamond, lead donors, affix a mezuzah to the school. (photo by Lara Shecter)

Those present at the opening event were impressed by the beauty, modernity and scope of the new campus. In addition, Andrew Merkur, a parent with two children currently attending VTT, was awed by the spirit of generosity and community. “I’m kvelling inside!” he said. “There are so many people who don’t even have children here and they still give of their time and money. It’s so wonderful to see how multi-generational the caring for the kids is.”

Lowenstein acknowledged two audience members from the first graduating class of VTT in 1954, who now have grandchildren in the school. And Marcy Schwartzman and Larry Vinegar arrived with their children, who are in their 20s. “I’m a VTT grad and both of my kids went here,” said Schwartzman. “We all wanted to see what the building is like.”

Rose and Fred Mikelberg came to scout the space with their 2-year-old granddaughter. “She’ll be here next year. It’s exciting and such a beautiful building,” said Rose Mikelberg.

One of the hallmarks of this modern building is the flexibility of space both for school purposes and potential rental. The spacious common areas, flooded with natural light, include a dining area adjacent to the kosher kitchen. It overlooks the gym and can be used as a viewing area for sports events or as a secondary area if someone wanted to host a large party. Open spaces between classroom “pods” (age-related clusters of rooms) serve as informal meeting places for students as well as places to engage in class group work.

The synagogue area is called a “sanctified space and multi-purpose room.” It bears the following inscription: “Robert and Marilyn Krell and Family – Dedicated to Robert’s Christian family, Albert and Violette Munnik, and their daughter, Nora, whose lives defined righteousness, having risked their lives to save his during the Holocaust in the Hague.” Pekarsky said, “The school community will be reminded of the heroism of this family and this story will continue to inspire VTT for generations to come.”

photo - Keren Katz, class of 2016 graduate and one of the Hallelujah Singers, points to the mezuzah she made as part of a class project to leave a legacy to the school. The project, facilitated by VTT parent and artist Dina Sacks, will continue with future graduating classes to fill the Glassman Gallery with original, student-created mezuzot containing a special Jewish-themed wish
Keren Katz, class of 2016 graduate and one of the Hallelujah Singers, points to the mezuzah she made as part of a class project to leave a legacy to the school. The project, facilitated by VTT parent and artist Dina Sacks, will continue with future graduating classes to fill the Glassman Gallery with original, student-created mezuzot containing a special Jewish-themed wish. (photo by Jennifer Shecter-Balin)

“Judaic offerings is an area that we know we must improve,” acknowledged Lowenstein, saying that having a new school rabbi, Rabbi Marc Kasten is a step in that direction. A trip that Grade 7 students will take to the Museum for Human Rights in Winnipeg for the first time this year is another. “We are the first elementary school in Canada to do a trip like this and we’re very grateful to the Asper Foundation, Diamond Foundation and Federation for their financial support, without which it wouldn’t be possible,” said Lowenstein.

Other new programs the expanded school will be able to support include after-school basketball, floor gymnastics, musical theatre, mixed media art, hip-hop and jazz for girls, floor hockey, badminton, field hockey and STEM Lego robotics. All of these programs are offered at market cost to students interested in these extracurricular activities. The learning commons area is open after school until 4:30 p.m. for what Lowenstein described as parents needing after-school options at low or zero cost.

The new school can accommodate up to 650 students. Although exact numbers were not available about current enrolment, Lowenstein said “enrolment is up slightly” and reported growth in the early years programming, which serves as a feeder for the regular school. “Early years enrolment is really thriving!” she said. “Of the 70 students in preschool (age 3) and junior kindergarten (age 4), 35 students are in the full-day licensed programs.”

The new classrooms are enormous, with some of the latest educational technology. Students have access not only to two full-sized gyms but also a turf-covered playing field that covers the entire roof of the new building.

Shuster said, “VTT is poised and ready to embrace the next chapter in its story.”

Michelle Dodek is a freelance writer living in Vancouver.

Format ImagePosted on October 14, 2016October 13, 2016Author Michelle DodekCategories LocalTags Jewish education, schools
Letters offer insights

Letters offer insights

Prof. Debórah Dwork (photo by Jonathan Edelman)

Nearly two decades ago – and a full half-century after the end of the Second World War – a man in Switzerland cleaning out the apartment of his deceased aunt came across a stash of more than 1,000 letters. The discovery disclosed the aunt’s comparatively simple but valiant acts during the Holocaust and provides new insights into the lives of Jewish children and parents separated during the Holocaust.

The aunt, Elisabeth Luz, was an unmarried Protestant woman living near Zurich who appears to have stumbled into a role as the sole connection between hundreds of divided Jewish families. Because postal service between belligerent nations was restricted during the war, neutral Switzerland provided a potential channel for communication. Through what appears to have been happenstance aided by the compassion of a single devoted individual, thousands of letters made it to their intended recipients – and the record they provide demonstrates what families chose to say, and not say, in furtive missives in times of crisis.

The nephew knew that he had stumbled upon something important. He was familiar with the book Children with a Star by Prof. Debórah Dwork, a definitive study of the experiences of Jewish children under Nazism and the adults who helped them. He contacted Dwork to ask if she would like the letters. Dwork, Rose Professor of Holocaust History and founding director of the Strassler Centre for Holocaust and Genocide Studies at Clark University, in Massachusetts, now possesses the letters and has studied them for years. She will be in Vancouver in just over two weeks to speak at the community’s annual Kristallnacht Commemorative Lecture about what they tell us about families during the Holocaust.

Dwork cannot be certain how Luz came to be the intermediary for hundreds of families.

“From what I can piece together – and this is what I believe is the case – there was a refugee camp, sort of an internment camp, not a concentration camp, for refugees that had been established by the Swiss government in that town,” Dwork said. Luz went to the camp to give voluntary aid, Dwork believes, “to show with her presence that she cared about their plight.”

One of the men in the camp asked Luz whether she would be so kind as to send a letter to his wife.

“From there, it snowballed,” said Dwork. “Some of the letters that I have from the children, for example, say, ‘you don’t know me but Susie told me that you are an auntie who is willing to write to our mothers,’ and so on.”

The parents were mostly in “Greater Germany” – Germany and the areas it occupied. The children had mostly been sent to places thought to be safe, including Britain, France, Belgium and the Netherlands.

Remarkably, the letters do not end in 1945. In the course of being a conduit between hundreds of parents and their children, Luz became a confidant to many of them – “Tante Elisabeth” – and remained in contact with several who continued their correspondence. The fact that the collection of letters exists at all is due in part to the fact that Luz hand-copied each one, believing that this would be less likely to catch the attention of war-era postal censors. She maintained the originals.

“Parents sent their letter to her, she copied every letter and then sent it on to the children and the children did the same in reverse,” said Dwork.

Some of the children were on the Kindertransport, the effort to transfer Jewish children from Germany and Nazi-occupied Europe to the United Kingdom, while others were sent by their parents to places considered safer for Jewish children.

“There were a number of children who were sent to family members or to friends or to religious organizations by their parents independently, individually,” she said, adding that there is much to be learned from the letters. “It tells us an enormous amount about family, the importance of family and the way in which family members use letters as thread to bind the family together. I think also it tells us about how children absorbed, adjusted, adapted – or did not adjust or adapt – to their ever-changing lives.”

What the letters do not always indicate is the fate of the families who sent them.

“We know a lot about the children who went on the Kindertransport to Britain, because they survived,” said Dwork. Less is known about the children sent to Belgium, the Netherlands and France. “Many of them did not survive as the Germans conquered and occupied those countries,” she said.

Of those who continued corresponding with Luz long after the war, many had lost their parents.

“Because of the relationship that developed between the children and Elisabeth Luz, those who continued to write, by and large, were now young adults whose parents did not survive and she, Elisabeth Luz, was the last tie to their prewar and wartime life,” explained Dwork. “So, she had become their confidant and that’s very important, the way Elisabeth became a confidant to the parents and the children.”

Vancouverites should join her in November not only to hear specifics about the contents of the letters, but also to reflect on some of the broader issues raised by a collection of this sort, which is a focus of Dwork’s academic work.

“The larger question, I think, is how do people keep in contact?” she said. “What do parents in Greater Germany say to their children? And what do children tell their parents about their daily lives?”

While the letters represent voices from the past, they have much to say to people today. “This is a very human story,” said Dwork. “And, as we are looking at refugees today far-flung from one spot to another, it may help us to think about how each one is a member of a family.”

The Kristallnacht Commemorative Lecture takes place Nov. 1, 7 p.m., at Congregation Beth Israel.

Pat Johnson is a communications and development consultant for the Vancouver Holocaust Education Centre. This article first appeared in VHEC’s Zachor.

Format ImagePosted on October 14, 2016October 13, 2016Author Pat JohnsonCategories LocalTags community, Holocaust, Kristallnacht, VHEC
Stop zombie-vampires

Stop zombie-vampires

Rowan Jang provides an example of the zombie-vampires audiences can expect to encounter in The Zombie Syndrome: Dead in the Water. (photo by Emily Cooper Photography)

Last year, I was one of a group of “specialists” who gathered outside Trout Lake Community Centre to embark on our mission, which related to a downed alien spaceship. While the details of that mission must remain confidential, one aspect can be revealed – it was loads of fun. It was also a great cardio workout, not just because of the running from zombies, but the screaming, both from fear and excitement.

This year, the Virtual Stage is gathering teams (audiences) of 18 on Granville Island every 30 minutes from 6:30 to 8:30 p.m. nightly until Oct. 31 to help find Special Forces operative Frank Johnson. As per the mission description, Johnson “was hunting down former government geneticist Mattias Van Cleave when he fell off the radar. Van Cleave, a suspected vampiric psychopath, is believed to be responsible for a string of recent murders, and the sudden appearance of zombie-vampire mutants across the Lower Mainland. The audience must determine Johnson’s whereabouts and ensure his mission to stop Van Cleave is completed at any cost.”

As with the four previous Zombie productions, The Zombie Syndrome: Dead in the Water makes use of the latest technology – this year, it’s Apple’s new location-based iBeacon.

“I am very interested in how emerging technologies can excite live audiences and breathe new life into theatre as an art form,” Virtual Stage artistic director, Zombies series creator and Jewish community member Andy Thompson told the Independent. “I am very narrative-driven as an artist, and the iBeacons have been a delightful tool in the creation of The Zombie Syndrome: Dead in the Water.”

The decision about what technology to use, Thompson said, “involves a process of questioning what is readily accessible and available, not only for myself as a producer, but also for today’s audiences. What is free within smartphones today? What is new and exciting? How can these gadgets drive a story forward? What can people afford? What can our company afford?

“I am also constantly imagining what the next big thing in technology might be, as well as its potential future societal impact,” he added. “My vision of concern for the future with ‘social media on steroids’ in my musical Broken Sex Doll is one example of this. I am also assessing what exciting new technologies are present today and how they may aid in live storytelling. In the particular instance of this show, the iBeacons roll out narrative content in a very interactive and engaging way as the audience moves from site to site.”

As the audience moves quickly along – both because they are “racing against the clock” and because there are scary things lurking in the dark – the possibility of an accident, miscue or technical glitch is much higher than for a standard production.

“We rehearse as many possibilities as we can,” said Thompson, “but the most important preparation we have is to be ready for anything: the ‘known unknowns,’ as Donald Rumsfeld might say. So far, the audiences have been completely surprising to us in how they navigate the problems we present to them. So, it is fresh and exciting every performance. The personalities of the individual audience members also greatly affect the flow and feel of each show. We did a lot of improvising in the rehearsal process so the actors are very prepared and on their toes.”

One unexpected moment – of which Thompson said “there have been many” – took place during last year’s mission, “when the entire site flooded on our closing performance at Trout Lake. We had about one hour to physically relocate most sites to higher ground, rehearse it in the new areas, and get as many technical elements in place as we could. We managed to pull off a derivative of the show, which was a miracle and a testament to our amazing crew and performers.”

As to what participants can expect this year, Thompson said, “Audiences will be traveling by sea at one point, which we are thrilled about. They will be confronted with a new breed of mutant zombie-vampires that cannot be killed. The iBeacon technical aspect to the show is also a Canadian theatre première, so people will be testing that tech out with their smartphones in a live entertainment environment like they have never done before. And yes, there might be running….”

For mission tickets, visit thevirtualstage.org/zombies. Participants should dress for the weather and moving quickly; the show is rated PG-13.

Format ImagePosted on October 14, 2016October 13, 2016Author Cynthia RamsayCategories Performing ArtsTags interactive theatre, technology, vampires, Virtual Stage, zombies

Consumerism meets identity politics

This is Part 2 of a two-part series. The first examined Oberlin College’s “Jewish problem.”

When Nathan Heller’s “Letter from Oberlin: The Big Uneasy” appeared in The New Yorker (May 30) his sub-headline asked: “What’s roiling the liberal-arts campus?”

At least for some Jewish students, Oberlin’s obstacles to Jewish life are signs of two roiling processes: “identity politics” and higher education’s drift toward business models in which students primarily are customers.

From its origins in 1833, Oberlin College has been at the forefront of social changes. In particular, no institution in the United States has an older coeducational baccalaureate program. As well, before the Civil War, members of the Oberlin community were active in movements to abolish slavery. The college advertises that it “regularly admitted African American students beginning in 1835.”

Oberlin’s avant-garde history influences student applications and admissions, as well as faculty recruitment – and some unexpected campus activities. For example, in December 2015, unnamed members of the Africana community referred to Oberlin’s legacy and/or public relations when they delivered to the administration an undated multi-page list of “demands not suggestions,” which included a “four percent annual increase in black student enrolment”; “divestment from all prisons and Israel”; “that spaces throughout the Oberlin College campus be designated as [segregated] safe space for Africana identifying students” (exclusively?); that several professors (identified by name) should be subject to “immediate firing”; and that other professors should be given preferential treatment.

Oberlin College proclaims efforts to ameliorate affronts or afflictions perceived by cohorts such as African-Americans, Muslims, students with physical handicaps and non-heterosexual students. A “Campus Climate Report” (May 19, 2016) also includes a section on problems experienced by some Jewish students, but does not specifically deal with reports that “progressive” protesters who confront other forms of bigotry often deny the significance of antisemitism.

This phenomenon occurs on other campuses, too.

In August, the Washington Post published an op-ed focused on “an Iranian Jew,” Arielle Mokhtarzadeh, who traveled “to attend the annual Students of Color Conference” at the University of California, Berkeley. There she found: “Over the course of what was probably no longer than an hour, my history was denied, the murder of my people was justified, and a movement whose sole purpose is the destruction of the Jewish homeland was glorified. Statements were made justifying the ruthless murder of innocent Israeli civilians, blatantly denying Jewish indigeneity in the land, and denying the Holocaust in which six million Jews were murdered.”

Also in the Post, Molly Harris, a student at McGill University, addressed students just beginning post-secondary education: “Get ready to meet new people, learn things that fascinate you, and figure out who you are and who you want to be.

“If you’re Jewish, you should probably also prepare yourself for the various forms of anti-Israel sentiment, and maybe even antisemitism, you’re likely to encounter on your new college campus.

“In the past year alone, as a Jewish student at McGill University in Montreal, I’ve been called a ‘Zionist b—.’ I’ve been told several times that Jews haven’t suffered (never mind the Spanish Inquisition, Eastern European pogroms and centuries of violence and marginalization leading up to the Holocaust). I’ve seen my friends mocked for their Judaism in crude, hateful language on popular anonymous social media platforms.”

Following his May “Letter from Oberlin,” Heller again wrote in The New Yorker (Sept. 1): “Students … may try out defensive ethno-racial flag waving, religious and political dogmas, athletic and fraternal self-segregation…. My work elsewhere has made me think that this isn’t just an Oberlin, or liberal, thing.”

Indeed, on Aug. 5, the New York Times printed a front-page article about racial and identity politics at many campuses. This reporting was not about Oberlin, but it named other “small, selective liberal arts colleges” as well as Ivy League universities. An Amherst graduate said, “As an alumnus of the college, I feel that I have been lied to, patronized and basically dismissed as an old, white bigot….”

But perhaps Oberlin still is a cultural leader. In an Aug. 27 article, the Times mentioned Oberlin as a counter example to the University of Chicago, which sent first-year students a letter saying Chicago did not support “trigger warnings” and did not condone “safe spaces” nor disruptions of speakers. (Disclosure: I was a Chicago faculty member from 1968 to 1970.)

In Frank Bruni’s June 23 New York Times essay about Oberlin – as one of the campuses “roiled the most by struggles over political correctness” – he wrote: “Students at Oberlin and their counterparts elsewhere might not behave in such an emboldened fashion if they did not feel so largely in charge. Their readiness to press for rules and rituals to their liking suggests the extent to which they have come to act as customers – the ones who set the terms, the ones who are always right – and the degree to which they are treated that way.”

Bruni built upon a poignant essay about “Customer Mentality,” written in February 2014 for Inside Higher Ed by a Western Carolina University assistant professor of English, Nate Kreuter. When students transformed into customers, Kreuter observed concomitant re-purposing of campus infrastructure, curriculum and faculty.

Bruni provided photographs of water parks with pools and slides on campuses, and described campus entertainment complexes, golf putting greens and other resort-like amenities. He also wrote: “Small wonder that grade inflation is so pronounced and rampant, with A’s easy to come by and anything below a B-minus rare.”

Barry Schwartz, professor of psychology at Swarthmore, told Bruni: “There’s a big difference between teaching students and serving customers.”

Kreuter in 2014 noted that the student-as-customer business model had adverse consequences within and beyond academic programs: “The impulse to protect the brand also frequently compels universities to shirk responsibility when missteps or scandals occur, rather than immediately taking responsibility and corrective action.” He argued that administrators may “protect the brand” in instances of “high-profile college athlete crime” or sexual assaults or injuries from fraternity hazing.

A Times essay (Sept. 4, 2016) by a Yale faculty member, Jim Sleeper, argued that right-wing “wealthy donors” exaggerate negative impacts of political correctness, while they promote more potent poisons. But he also agreed that: “Most university leaders serve … pressures to satisfy student ‘customers’ and to avoid negative publicity, liability and losses in ‘brand’ or ‘market share.’…”

Oberlin College’s publicists like to recall the institution’s abolitionist era rather than its place in the history of the Anti-Saloon League and Prohibition. So perhaps it is not surprising that Prof. Joy Karega could post anti-Jewish materials and conspiracy theories for many months, and that Oberlin administrators and trustees reacted only last March, after Karega generated condemnation both online and in worldwide print media – likely to harm Oberlin’s brand.

At the University of Lethbridge, Prof. Anthony Hall’s “globalization studies” promoted “open debate on the Holocaust” and claims that the 2001 destruction of New York’s World Trade Centre was a “Zionist job.” Administrators tolerated Hall for 26 years – suspending him only this month, after news stories about “possible violations of the Alberta Human Rights Act.”

During my one-to-one conversation with Oberlin College president Marvin Krislov in April, he told me that many students gave Karega high ratings. From a marketing perspective, favorable student evaluations may help justify annual tuition above $51,000 – costs above $66,000 including room and board. But if students give high ratings to a predilection for bigotry and conspiracy theories (and lack of scholarly accomplishment) then something has gone wrong with their education.

Bruni’s essay asked, “But what does the customer model [of college students] do to their actual education?” One Oberlin graduate responding to The Atlantic in December 2015 wrote: “There is now an atmosphere of close-mindedness, intellectual submission, conformity and fear.”

College and university emphasis on marketing to customers likely is linked to cost.

Tuition – and every other post-secondary education expense – has increased at a pace beyond general inflation (or household income gains). Consequently, total student debt in the United States now is about $1.2 trillion, according to the August Forbes – exceeding total credit card debt or the total of automobile financing in the entire American population.

This precarious state of affairs may be a response to reported correlation between higher education and greater lifetime earnings or lower unemployment; but correlation does not indicate cause and effect. Bruni refers to “an expectation among many students that their purchase of a college education should be automatically redeemable for a job….” But, as Kreuter wrote, “A post-secondary education is not a guarantee of success. It is not the straightforward purchase of a better future. It never has been.”

At Oberlin, in fact, the student newspaper published an article in March 2014 stating that “40% of [our] 2013 graduates are unemployed, and one-third of graduates are working in positions that do not require a degree.”

Of course, many Oberlin students and graduates have priorities other than high-income jobs; but one unidentified correspondent, writing to The Atlantic in December 2015, stated: “Oberlin students [do] want what other college students are asking for, whether they phrase it this way or not: better control of the college’s money.”

Oberlin, unlike most American campuses, has no fraternities or sororities. Historically, students lived in residences supervised by the administration, which also oversees most meals. So, students see what Oberlin does with funds for their food. But why have many top-tier media published articles discussing campus food complaints at the college?

The emphasis of complaints has not been that the food tastes bad, has dubious nutritional value, etc. Oberlin food complaints instead focus on meals that particular students deem to be culturally inappropriate or disrespectful. Mainstream media regard Oberlin’s food criticisms as curiosities sufficiently ludicrous to entertain a wide range of readers; but these cultural food fights are quite logical outcomes when the student-as-customer model meets racial and identity politics at the topic of food.

Likewise, identity issues can lead students to denounce “cultural appropriation,” not only in meals, but also in other aspects of life – clothing, terminology, music, books, even the curriculum. Novelist Lionel Shriver says that, if she did not reject criticisms of “cultural appropriation” in literature, then “all I could write about would be smart-alecky 59-year-old, five-foot-two-inch white women from North Carolina.”

And, as customers, students can demand not to take certain courses. At Oberlin, one of the “unmalleable” demands in December 2015 was that, in the Oberlin Conservatory, “seeing as how most jazz students are of the Africana community they should not be forced to take courses rooted in whiteness” of classical music.

In the New York Times, Krislov wrote: “American higher education is at a crossroads, as it was in the 1960s when college students were galvanized by the Vietnam War and the civil rights movement.”

But I do not accept that anti-Zionist petitions or Africana demands for specific foods and segregated “safe spaces” in Oberlin buildings somehow are comparable to my classmates’ efforts in the 1960s civil rights movement and later protests against U.S. war policy in Vietnam. (On the campus of Kent State, one of Oberlin’s neighbors, U.S. National Guard troops shot and killed unarmed students during anti-war protests in May 1970.)

In spring of 2016, one student on the cusp of graduation said, “I’m going home, back to the ’hood of Chicago, to be exactly who I was before I came to Oberlin.”

Marc Chafetz explained – in the New York Times – why that remark disturbed him: “I graduated 41 years ago…. Oberlin changed me profoundly. I found out how little I actually knew about the world, and it unleashed a hunger to learn that has never dissipated.”

No matter what identities students bring or what paths they follow afterward, higher education should involve them in exploration and intellectual discovery – and civil encounters with one another.

Ned Glick lives in Vancouver. His baccalaureate is from Oberlin College and his PhD is from Stanford. After teaching at the University of Chicago, he had University of British Columbia appointments in mathematics, in statistics and in the faculty of medicine. He retired to emeritus faculty status in 1992.

Posted on October 14, 2016October 27, 2016Author Ned GlickCategories Op-EdTags anti-Israel, antisemitism, consumerism, culture, free speech, identity politics, minority rights, university

Soul-opening retreat experience

Let me start by saying that I grew up a secular Jew. As I’ve gotten older, my desire for more Yiddishkeit has increased tenfold. Long story short, I went from being a “High Holidays-only Jew” to someone who lights candles every Friday night, attends shul every Shabbos and goes to Torah classes regularly.

My latest quest to embrace Judaism took the form of the 2016 National Jewish Retreat. Sponsored by the Rohr Jewish Learning Institute and Chabad, this six-day retreat took place in Palm Desert, Calif. More than 1,400 Jews from all over North America settled in to the enormously lavish JW Marriott for Jewish learning and fun.

I’m stopping here because I know that when I got to Chabad, many of you shut down and/or entertained a plethora of preconceived notions and stereotypes: black hats, long coats, lots of rocking and davening, strict Shabbos rules. Think again.

Even I was skeptical, wondering whether I’d be judged for my “immodest” clothing, my limited Jewish observance and my lack of Torah knowledge. But, no sooner did I get there, than a variety of religious and not-so-religious folks introduced themselves and welcomed me warmly. From that point on, I was hooked.

The programs comprised 150 lectures and 75 speakers. Keep in mind the retreat was only six days long, so I had to choose my topics wisely. All told, I attended 29 lectures. And I even had time to go the washroom once or twice. From 9 a.m. till late into the night, I had the honor of learning from world-renowned speakers, listening to radio talk-show host Dennis Prager, attending a Dudu Fisher concert, viewing the stunning art of Barbara Hines, and enjoying Jewish comedian Robert Cait.

The main event, the retreat sessions, covered a wide spectrum of topics including practical lessons from the Tanya; discovering purpose and mission in life; Jewish medical ethics; the pursuit of happiness and gratitude; the relevance of G-d in 2016; handling personal struggles, pain and suffering; a challah bake; a talk about why bad things happen to good people; Jewish law; living with faith; the legacy of the Lubavitcher Rebbe; Israel’s inclusive army; the miracle at Entebbe; wine tasting; the historical relationship between Jews and Muslims; antisemitism; how to pray with passion and purpose; the future of Israel and Zionism; Jewish history and mystical prophesies; the feminist challenge of 2017; a farbrengen for women; and leadership. And that’s just the tip of the iceberg.

Focusing on the personal more than the political, historical or global, the sessions I attended were nothing short of awe-inspiring. Never having experienced intense spiritual Jewish learning like this, I was a human sponge. It sparked something visceral in me and my emotions ran wild. (Read: I’m emotionally incontinent and my tears overflowed early and often.)

My favorite sessions included a class on the Tanya, which is an early work of Chassidic philosophy and a “one size fits all” life manual. It’s basically the “GPS for life” and encourages us all to live with purpose and meaning.

I also attended a couple of sessions on the Rebbe and the secret of Chabad. While some people consider Chabad a radical sect of Judaism, it has actually become the mainstream, because of the Rebbe’s focus on outreach to Jews around the world. He considered outreach the key to continuing Yiddishkeit. The Rebbe was without doubt the most influential rabbi in modern history. A revolutionary figure and an inspiration, he created an “army” of shluchim (emissaries), who set up Chabad houses around the world to inspire Jews in Jewish traditions and education. As a result, Chabad is considered a “vanguard of change” and leaders in the community.

A session called The Pursuit of Happiness reinforced the idea that happiness and blessings are directly correlated. And, since happiness is a choice, we should direct our emotions towards positive things. In essence, we’re really products of our choices, not our circumstances.

Pain and Suffering was a session about transforming pain into growth. The speaker made a poignant observation about grief having “energy.” He posited that, when a person can harness that energy, they can change the world. He also pointed out, from studies, that people with faith have more resilience and strength. In his words: “You don’t know the power of faith until you have nothing left but faith.”

There were lots of social events at the retreat, too. I got particularly emotional during the challah bake, while lighting Shabbat candles with 600 other women, and singing and dancing after Havdalah with more than 1,400 Jews from my new Jewish “family.”

And then there was the gourmet kosher food. When I heard about the 24/7 tea room, I expected a small room with maybe some Danish and coffee, then I saw the football-field-length foyer with fruit, candy, chips, cookies, sandwiches and various beverages. That was during the weekdays. On Saturday night, at around 11 p.m., I experienced my first melaveh malkah meal: a lavish buffet that symbolically escorts the departing Shabbat queen. Imagine vegetarian burger sliders, innumerable cheesecakes, pastries, a crepe station, a pasta station, lox and bagels, an ice cream station, and more. At midnight, I thought to myself, “Do I keep eating or do I sleep?”

I came back bubbling with enthusiasm, anxious to tell my husband Harvey all about it. When the descriptions and tears of joy were done, he said: “So, I guess you drank the chicken soup.” You bet I did. And boy was I thirsty!

A huge thank you goes to Rabbi Yechiel Baitelman of Chabad of Richmond for encouraging me to attend the retreat. I could never have imagined how it would alter how I think and feel about being Jewish. Truly, it was a soul-opening experience.

Every single day was a blessing of inspiration and spiritual holiness for me. Sharing my stories from the National Jewish Retreat is my way of sharing the blessings. I only hope that you get to experience it for yourself one day.

Shelley Civkin recently retired as librarian and communications officer at Richmond Public Library. 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. She’s also busy exploring her Yiddishkeit.

Posted on October 14, 2016October 13, 2016Author Shelley CivkinCategories Op-EdTags Chabad, JLI, Judaism, religion

Finding joy

From the solemnity of Yom Kippur, we move into the season of rejoicing, Sukkot. As with many of our traditions, this one has multiple layers. The shelters for which the holiday is named represent temporary dwelling places, the transitory generations on the way from bondage in Egypt to the Promised Land and, by extension, the impermanence or fragility of Jewish security.

It would be an understatement to say that the creation of the state of Israel 68 years ago changed Jewish perceptions of ourselves and our place in the world. The existence of a Jewish state presented an alternative for Jewish people living in places of repression and danger. For Jews living in free countries, like Canada, Israel is a source of pride but also the source of a deeply complicated and often challenging reconfiguring of our identities. Diaspora Jews, prior to the success of Zionism, were subject to the changing winds and whims of local populations and leaders. For a few years after the War of Independence, Israel was widely admired around the world as a model of what a new country can be. This was also a time in history when antisemitism may have been at its lowest ebb, or at least at its least visible. For emerging postcolonial states in 1950s and ’60s Asia and Africa, Israel’s head start provided a template for independence and progress.

After the 1967 war, though, the perception of Israel morphed from a model for post-colonialism to one of neo-colonialism, and Palestinians replaced Jews as a cause for progressive peoples. In the time since, Diaspora Jews have often been placed in the position of defending (or not defending) things that Israel does. Yet it remains a haven for Jews who are threatened in their homelands, including, incredibly, in parts of Europe. For those Jews who feel safe in our countries, Israel is also a beacon – of Jewish diversity, knowledge and technological innovation.

The Promised Land, as our historical narrative tells us, was not a place of permanent joy. Twice the Temple would be destroyed and the people dispersed. The impermanence of Jewish sovereignty, even after the ancient return of the exiles, would carry on another two millennia until 1948. The sukkah is a symbol, too, of that impermanence.

And yet, it also represents a joyfulness based on our people’s adaptability and willingness to find a unity and presence even in places and times of disunity and impermanence. And, at the end, we observe Simchat Torah, a celebration of the written word that many believe is the very reason a homeless people were able to maintain cohesion and continuity through generations of dispersion.

Posted on October 14, 2016October 13, 2016Author The Editorial BoardCategories From the JITags High Holidays, Israel, Jewish life, Judaism, Simchat Torah, Sukkot
Making mensches at KDHS

Making mensches at KDHS

During the afternoon of Character Day, King David High School hosted a fair at which students could learn about – and sign up for – volunteer positions in the Jewish community and around the city. (photo from KDHS)

On Sept. 22, King David High School students celebrated Character Day. It was a day for both quiet introspection and animated group discussions about what makes human beings tick, and how we can reach our full potential, individually and as members of society.

KDHS is “committed to integrating tikkun olam into all students’ experiences, both during the school day and beyond,” said visual arts teacher Wendy Oberlander. And Character Day dovetails neatly with the school vision for students’ social-emotional learning.

Character Day began 10 years ago as the brainchild of San Francisco filmmaker Tiffany Shlain, whose work in film and technology has been recognized with numerous nominations and awards. Her new mission is Let It Ripple, which uses film as the medium to educate and inspire children to become activists pushing for positive social change. The program is massive, reaching 24 countries as far-flung as Mexico, India and Australia. Approximately 75,000 events were hosted, worldwide.

“Character Day presented us with a frame within which to launch this year’s service program,” said Oberlander.

At KDHS, the day started with three of Let It Ripple’s videos, which were seen by every student.

Lu Winters is the school’s social-emotional counselor. She is leading the school in a year-long project based on middot (character traits).

According to Winters, the Let It Ripple videos – The Science of Character, The Adaptable Mind and The Making of a Mensch – nurture self-knowledge, encouraging students to take what she calls “an inventory of themselves.” The films ask, “What are your strengths and which do you want to develop?” exploring qualities like creativity, humility, self-control and gratitude.

According to KDHS’s e-newsletter, “The central idea of character traits that is described in the film The Making of a Mensch will form the basis for TAG [teacher advisory groups] this year.”

Character Day is now an established fixture for the students of KDHS. It has grown and evolved over the six years that Winters has taught at the school. Since joining the staff, she has seen a move toward a richer and more inclusive and varied program of offerings. She described an array of sporting, spiritual and drama activities, as well as support groups for LGBTQ students.

photo - Inbar ben Moshe
Inbar ben Moshe (photo from KDHS)

This Character Day, Winters sat in with two classes to see how the activities were being received by the students. “They were really engaged,” she said.

“They said it is always easy to dismiss buzz words, but instead of brushing off words like honesty and generosity, they talked about being self-aware, about being a better person; they responded sincerely and thoughtfully,” said Winters.

During the afternoon, the school hosted a volunteer fair organized by Ellia Belson, director of Jewish life and events. At the fair, students could learn about – and sign up for – positions in the Jewish community and around the city. Booths were hosted by the B.C. Society for the Prevention of Cruelty to Animals, Ronald McDonald House, Louis Brier Home and Hospital, Vancouver General Hospital, Canadian Jewish Political Affairs Committee and the Walking School Bus.

The impact of the program came across loud and clear, in conversation with the kids themselves. They expressed their enthusiasm and drive for positive change. Inbar ben Moshe, in Grade 11, said the day was “inspiring!”

“It opened our minds to how we can improve our lives and the lives of others,” she said, and spoke of a determination to “really work on myself, to embrace the different aspects of myself.” She wants to volunteer by mentoring children, helping them to resist peer pressure and make good decisions.

photo - Sappir Gini
Sappir Gini (photo from KDHS)

A Grade 10 student, who chose to remain anonymous, spoke about his own struggle with stress and the importance of learning to regulate one’s emotions. “It was interesting and it really influenced me,” he said. “It encourages people to think beyond what they already know; to get rid of stress by focusing on what you are good at.”

Sappir Gini (Grade 10) already reads to her nine-year-old brother and spoke of her ambitions in forensic science. She found the videos “inspiring, they made me want to learn more…. We saw how a bunch of people can come together and change things, people who are so eager, so curious – they can really make a difference.”

Sappir’s goals have crystalized as a result of participating in Character Day. She talked about her love of reading history books, and how she aims to be a reading mentor in inner city schools. Summing up the spirit of Character Day, she said, “Your imagination can take you anywhere – once you can read, you can do anything.”

Shula Klinger is an author, illustrator and journalist living in North Vancouver. Find out more at niftyscissors.com.

Format ImagePosted on October 14, 2016October 13, 2016Author Shula KlingerCategories LocalTags middot, schools, tikkun olam
Demon renews dybbuk

Demon renews dybbuk

(photo from krakowpost.com)

The first “character” we meet in Marcin Wrona’s coolly fascinating Demon is a yellow bulldozer, rolling menacingly through the empty streets of a Polish village. It’s a harbinger, as well as a metaphor, but of what?

Bulldozers dig, and they bury. Both tasks are central to the plot of Demon, which seizes on the disturbing idea of the dybbuk – a ghost who takes possession of a bridegroom on his wedding day – and reimagines it in the contemporary world. A world, that is, in which the Holocaust is part of our experience – even for those who have buried it in hopes of forgetting.

A Polish-Israeli co-production that is by turns deeply unsettling and absurdly funny, Demon follows the arrival of handsome architect Python (Israeli actor Itay Tiran of Lebanon) from England for the unambiguously happy occasion of his wedding. The groom is Polish, like his lovely bride Zaneta (Agnieszka Zulewska) and her family, but we have the disquieting feeling from the get-go that he is apart, on his own, an innocent outsider who has (in horror-film tradition) unknowingly ventured into a situation of unimaginable dangers.

Setting to work on the yard behind the decrepit farmhouse that Zaneta’s family owns and has bequeathed to the couple, Python hops on the ominous, aforementioned bulldozer. A noise makes him stop almost immediately, whence he discovers that he has unearthed bones.

So begins Python’s descent from a rational, regular guy to a tormented figure of unreachable despair. Unfortunately, but also comically, his transformation mostly takes place during the marathon rain- and vodka-soaked reception following the wedding ceremony.

Wrona and writer Pawel Maslona freely adapted the latter’s 2008 play, whose title translates as “Adherence” or “Clinging.” The director’s decision to shift the setting to a wedding was clearly inspired by the 1937 Polish-Yiddish film Der Dibek (The Dybbuk), itself adapted from a play by Shimon Ansky.

In the press notes, Demon producer Olga Szymanska says, “We wound up doing a lot of research into the history of the [dybbuk] story, not to mention Jewish-Polish history in general. If you read the studies on the dybbuk, those who became possessed by the spirit find themselves unable to speak. It originated in a very orthodox society of Jews, so it was the idea of this voice that could never have been heard which was longing to be heard.”

Given the clue or two I planted above, and this review’s appearance in a Jewish publication, you will have an idea of the general nature of the long-suppressed secret that the spirit who inhabits Python desperately wants uttered. The specific details are melancholy and enigmatic, and Wrona conveys them with chilling effectiveness. (The viewer is haunted also by the knowledge that Wrona died – reportedly of suicide – at 42, shortly after the film’s world première a year ago.)

It’s always of interest when Polish filmmakers choose to address their country’s past and the spectre of antisemitism, in part because they (and their fellow citizens) have historically been more reluctant to do so than their German and French counterparts. So, Demon provokes memories of Aftermath, the excellent Polish thriller from 2012 that likewise involved the physical excavation of the Jewish past (gravestones, in this case) and also invoked an otherworldly presence.

The kind of movie that lingers in the mind for days afterward, Demon contains any number of images that don’t just stick but demand to be puzzled over further. The more literal-minded viewer, meanwhile, will find plenty to mull in the movie’s slicing comments on present-day Poland.

Demon screens at Vancity Theatre Oct. 28-Nov. 1. In Polish, English and Yiddish with English subtitles, it is rated R for language and some sexuality/nudity.

Michael Fox is a writer and film critic living in San Francisco.

Format ImagePosted on October 14, 2016October 13, 2016Author Michael FoxCategories TV & FilmTags dybbuk, Holocaust, horror film, Poland

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