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עליבאבא מגיעה לקנדה

ראש ממשלת קנדה, ג’סטין טרודו, הצליח להביא לקנדה מסין מספר בשורות עסקיות משמעותית, בביקורו המתקושר שם. (צילום: pm.gc.ca)

עליבאבא מגיעה לקנדה: הענקית הסינית תקים מרכז טכנולוגי שיאפשר לחברות הקנדיות נגישות לסין

ראש ממשלת קנדה, ג’סטין טרודו, הצליח להביא לקנדה מסין מספר בשורות עסקיות משמעותית, בביקורו המתקושר שם. טרודו והבעלים של קבוצת עליבאבא הסינית, ג’ק מא, הגיעו בסוף השבוע להסכם להקמת מרכז טכנולוגי גדול בקנדה. המרכז של עליבאבא יאפשר לחברות הקנדיות נגישות טובה ומהירה יותר לשוק הסיני הענקי. בפועל יאפשר הפרוייקט החדש לחברות קנדיות קשר עם כארבע מאות מיליון צרכנים סינים, ובמקביל יאפשר לסינים למצוא מוצרים קנדיים. לדברי טרודו שיתוף הפעולה בין עליבאבא לקנדה צפוי לקדם גם תיירות מסין לקנדה.

קבוצת עליבאבא למסחר אלקטרוני הוקמה של ידי מא ב-1996. הקבוצה מספקת שירותי תשלום מקוון, פורטלים בין חברות, פורטלי חיפוש ושירותי מיחשוב ענן. כשמונים אחוז מהקניות המקוונות בסין מתבצעות בעיקר על ידי עליבאבא. ב-2005 רכשה יאהו שלושים ותשעה אחוז ממניות עליבאבא תמורת מיליארד דולר. בחודש ספטמבר 2014 ביצעה עליבאבא את את ההנפקה הראשונה, שנחשבת לגדולה ביותר בהיסטוריה של הבורסה לניירות ערך בניו יורק. הקבוצה הצליחה לגייס לא פחות מעשרים וחמישה מיליארד דולר. מייד לאחר ההנפקה שוויה של עליבאבא הוערך בכמאתיים שלושים ואחד מיליארד דולר. וכשלושה חודשים לאחר מכן שווי הקבוצה הגיע כבר לכמאתיים ותשעים מיליארד דולר. כיום נחשבת הקבוצה לפלטפורמת העסקים (ביזנס טו ביזנס) הגדולה בעולם. בישראל מיוצגת עליבאבא על ידי חברת גיים און. בחודש יוני האחרון פורסם כי קבוצת עליבאבא השקיעה כחמישה מיליון דולר בסטראט-אפ הישראלי טוויגל, שמפתח מנוע חיפוש מתקדם לאתרי קניות מקוונים. עליבאבא השקיעה בחברות נוספות בישראל בהם: כחמישה מיליון דולר בחברת הסייבר התעשייתי טטהריי, וכשמונה מיליון דולר בחברת טכנולוגיית הברקודים ויז’ואל-ליד.

סביב העולם בחמש שנים: זוג מוונקובר איילנד שט בסירת מפרש קטנה וחזר הביתה בשלום

רבים המתינו על החוף וקיבלו בצהלות שמחה את קאתי וביל נורי, שהשיטו את סירת המפרש הקטנה שלהם אל הנמל של סידני שבוונקובר איילנד. ועל מה מהומה הזאת? הזוג נורי סיים משט ארוך ומייגע סביב העולם שנמשך מחמש שנים. וזאת בסירה באורך 11.3 מטר בלבד שעשוייה מפיברגלס ושיוצרה לפני עשרים וחמש שנים. בסירה הפשוטה לא הותקנו שום אמצעי ניווט אלקטרוניים ואף לא מתקן מיים. אך הנורים עם הרבה תעוזה ותושייה הצליחו במשימה הקשה.

לביל נורי ניסיון רב בהפלגה והוא פשוט רצה להגשים חלום ישן ולשוט ברחבי העולם ולאורך זמן. קאתי שאף פעם לא הפליגה הסכימה להצטרף איך שהוא למסע המתיש והארוך בים, אותו החלו בחודש יוני של שנת 2011. בימים הראשונים היא מאוד נבהלה מהים הבלתי נגמר והגלים הגבוהים, ולא הבינה מדוע הסכימה בכלל להרפתקה הזו. לאחר מכן החלה במסע הארוך להירגע ולהינות מכל רגע, שלא היה משמעמם כלל ועיקר. השניים שטו לאורך חודשים ארוכים ועצרו למנוחה על אחד החופים שמצאו וחוזר חלילה. ביל ניווט את הסירה במשך שמונה עשרה שעות ביום, בעוד שקאתי עזרה במה שיכלה. ובעיקר בישלה, וטיפלה בכל מה שנמצא בתוך הסירה. הזוג חוו סערות קשות וגלים גבוהים, דגים מדהימים מכל הגדלים והסוגים ואיים אקזוטיים שונים ומשונים. בדרך פגשו מפליגים כמותם וארגנו עימם מסיבות חוף שמחות רוויות באלכוהול. את המסע ליוו השניים בבלוגים ארוכים וקטעי ווידאו שתיארו את החוויות המרגשות וכל מה שעברו. למרבית הפלא, הזוג נורי לא מתכוון לשכון על האדמה בקביעות ובקרוב החל יחלו לתכנן את המסע הארוך הבא שלהם. פרטים עדיין אין.

New Jewish centre opens

Rabbi Meir Kaplan and his 3-year-old son Sholom Ber Kaplan check out the new Chabad Centre for Jewish Life and Learning on Glasgow Street, near Topaz Park, in Victoria on Aug. 24. (photo from Darren Stone, Times Colonist)

A new centre for Jewish worship, study and community engagement opened in Victoria Aug. 24, as the ribbons were cut on the Chabad Centre for Jewish Life and Learning.

The 10,000-square-foot building, at 2955 Glasgow St., across from Topaz Park, includes a synagogue, Hebrew school, library, kosher kitchen and daycare. The $3 million facility was designed by Victoria architect Bradley Shuya.

It’s the first new synagogue to open on Vancouver Island in more than 150 years. Congregation Emanu-El, at 1461 Blanshard St., opened its doors in Victoria in 1863, and is recognized as the oldest synagogue in continuous use in Canada.

The Chabad Centre follows a different tradition of worship than the modern community engagement of Congregation Emanu-El. According to the Chabad of Vancouver Island website, its style of worship arose about 250 years ago in Russia and is part of the Chassidic tradition.

Rabbi Meir Kaplan, director of Chabad of Vancouver Island and of the new centre, said it should not be understood as an organization for strict Orthodox Jews.

Kaplan noted that, while he wears a beard and some visible elements of traditional Jewish garb, attendees at the Chabad Centre are just as likely to dress according to their own tastes.

“All are welcome,” he said. “And that is who our community is made of – it’s not only for Chassidic Jews.”

The group behind the Chabad Centre is Chabad of Vancouver Island, which had its roots in the Kaplan household. About 10 years ago, activities were moved into the Quadra Elementary School annex, where the Jewish Education Centre was established.

The Chabad tradition has functioned on an “outreach” model for about 60 years, looking to connect with those who wish to learn about Jewish life and teachings, Kaplan said.

That makes it difficult for him to identify the number or size of the congregation – it doesn’t function as a distinct group but more as an agency forever looking outward.

Kaplan, who was born in Israel, was sent to Victoria with his wife, Chani, about 13 years ago. Since then, Chabad has gained enough supporters to start a separate synagogue, initially in rented premises and now in the new centre.

“What I am most proud of is this was built by the whole community,” Kaplan said. “It wasn’t just one person, but various members of the Jewish community supported us financially and in other ways.

“It’s an open centre for Jewish life.”

– This article is reprinted with the permission of the Times Colonist

 

Glavin fights falsehoods

Terry Glavin (photo from Terry Glavin)

A self-described “man of the left,” journalist Terry Glavin discovered he was an “accidental Zionist” during the Israel-Hezbollah war in 2006, when he noticed how the mood of the antiwar movement on the left was “almost hysterical,” and that it was not, in fact, antiwar, but rather pro-Hezbollah.

“There was something deeply toxic about the phenomenon that described itself as antiwar,” he told the Independent, adding that, irrespective of one’s viewpoint on Israeli policy, “if one was to choose the only principled, progressive position, it would have been to be on Israel’s side.” And, he noted, “Arab friends and Palestinian activists [have] gravitated towards the same idea.”

The Irish-Canadian said he has since “been associated with a sturdy defence of Israel in Canada,” in his columns, which have appeared in the National Post, Vancouver Sun, Globe and Mail, Georgia Straight and Ottawa Citizen.

Glavin will be among the speakers at this year’s FEDtalks on Sept. 22 at Queen Elizabeth Theatre, helping to launch the Metro Vancouver Jewish community’s annual campaign.

In addition to his vast and varied published subject matter, Glavin’s work as a journalist has taken him around the globe. His talk will examine, among other ideas, what Canada could contribute for healing the world, as well as what it means to be an “accidental Zionist,” a phrase he said he borrowed from Martin Sampson of the Centre for Israel and Jewish Affairs.

In his work, Glavin strives to clarify the clashes in Israel, to help people understand them better.

“It’s not an Israeli-Palestinian conflict. The war is with Hamas,” he said. “Who are the worst enemies of Palestinian freedom? It’s not Bibi Netanyahu. The most devoted committed enemy of Palestinian sovereignty, Palestinian liberty, rule of law, democracy, freedom are Hamas, Islamic jihad, Hezbollah and Tehran.

“Anyone who apologizes for them, reiterates their propaganda lines, is an enemy of the Palestinians and their freedoms.”

Having researched and written about the hatred of Jews and Israel, he concludes, “There is something unique about antisemitism.

“It’s not just another bigotry. This talk of Israel eliminationism – if it’s not antisemitism, what is it? It might not be Judenrein (free of Jews), but it’s Judenstaatrein, no Jewish state,” he said.

“The Jews are unique, entitled to a nation-state of their own … [as much,] if not more, than any other nationality on earth.”

The liberal left, moreover, has some self-reflecting to do, to know that “certain postures, certain habits of speech, are now unacceptable, and some obsessive preoccupations are no longer tolerated,” he said.

In his opinion, these statements include using the term Zionist as a pejorative, “a term of abuse”; saying that “Israel is the primary impediment to peace in the Middle East”; and claiming the “false idea that criticism of Israel is automatically antisemitic.”

Seeking to bust this latter myth, in a bulk email to journalist colleagues, Glavin asked if any of them could offer an example where a legitimate critique of Israel has been denounced as antisemitism.

“It didn’t exist,” said Glavin. “I could not find any reputable Jewish or Israel organization or individuals who ever introduced a legitimate criticism of Israel as antisemitic. It’s a canard.”

Meanwhile, another falsehood emanating from the left and from leaders of the Arab world, he said, is the idea that Israel is to blame for the region’s – and, sometimes, the world’s – ills.

“This is what one Arab dictator after the next has forced down the throats of generations of Arabs to explain their own destitution and dysfunction,” he said.

Some are rejecting that narrative, however.

“The people have begun to discover they’ve been lied to – that Israel isn’t the problem,” said Glavin. “The jackboot on [their] neck is Baathist, not Israel.”

For tickets to FEDtalks and information on all of the speakers, visit jewishvancouver.com/fedtalks2016.

Dave Gordon is a Toronto-based freelance writer whose work has appeared in more than a hundred publications around the world.

Beneath burkini

The burkini fiasco, if it has had any positive effects, should have opened some eyes to how silly human beings can behave when we become enmeshed in a fabricated social panic. The issue, for those who have not seen the image of French police standing over a woman at a beach, requiring her to remove articles of clothing, is the idea that Muslim women in modest beach wear are a threat to Western civilization.

About 30 coastal towns in France banned the “burkini,” swimwear that generally covers all but a woman’s face, hands and feet. Even after a French court ruled the ban illegal, most of the mayors insisted they would continue enforcing the dress code.

The irony is jarring. Ostensibly based on the idea that Islam or Islamism – the motivation and the perceived threat are blurry – oppresses women by forcing them into extensive body-covering clothing, police in a democratic Western country force a woman to disrobe. (It was inevitable, also, that photos would soon go viral depicting nuns frolicking in the ocean in full Christian religious regalia, unmolested by authorities.)

France’s Prime Minister Manuel Valls has called the burkini a “provocation” and “an expression of a political project, a counter-society, based notably on the enslavement of women,” an “archaic vision” in which women are “immodest, impure and that they should be totally covered. That is not compatible with the values of France and the Republic.”

We can leave to the French what is compatible with the values of France and the Republic, yet surely a nation founded on the pillars of liberty and equality must find something amiss when its police devote their time and resources to enforcing swimwear rules.

France is singular among European countries for its stated commitment to laïcité, the prohibition against religious involvement in government affairs in service of a secular ideal. Similar issues have been addressed in Quebec, where overtly religious Christian symbols, including the crucifix, were deemed part of the province’s cultural heritage and thereby conveniently exempted from the ban on religious imagery. But, in France, as elsewhere in Europe, more is at play than ideas of secularism. In fact, the imperfect heritage of secularism is being manipulated as an excuse to target a particular group.

On the one hand, let us not pretend that there are not legitimate concerns and issues raised by the increasing population of Muslims in Europe. Among this population, both among immigrants and those born in Europe, are a small number who have become radicalized and are a genuine threat to society. A larger number holds ideas that challenge the European consensus on the role of women in society, pluralism and the rights of people to live free from religious coercion. These are legitimate concerns that require addressing through long-range integration strategies and societal accommodation between traditions – as does the rise in Europe of nationalism, xenophobia and racism.

But the burkini is, at best, a side issue; a symptom of a few things, none of them healthy. Regardless, the “solution” to any social coercion around women’s clothing is certainly not legal proscription, at least it should not be in a Western democracy. Burkini-banning has more in common with religious extremism – modesty “police” exist in various communities around the world – than the Western freedoms the burkini-bashers claim to defend.

BDS puts Green party in turmoil

In early August, the Green Party of Canada voted at its national convention to endorse boycott-divestment-sanctions (BDS) measures against segments of Israel’s economy and society. BDS advocates were quick to claim victory, citing that the Greens are now the first Canadian political party of any significance to support BDS.

But not so fast.

In the wake of the vote, party leader Elizabeth May immediately declared she was “devastated” by the decision and “disappointed that the membership has adopted a policy in favor of a movement that I believe to be polarizing, ineffective and unhelpful in the quest for peace and security for the peoples of the Middle East.” May added that, “as is the right of any member, I will continue to express personal opposition to BDS” – a breath-taking statement to hear from a party leader, particularly when the leader is the party’s sole voice in Parliament.

In the weeks that followed, May openly mused to the media about how this entire episode was causing her to rethink her future in the Green party. In an interview with CBC Radio, May talked about the possibility of walking away from the party: “I would say as of this minute I think I’d have real difficulties going not just to an election but through the next month. There are a lot of issues I want to be talking about with Canadians, and this isn’t one of them.”

And May wasn’t alone. The leader of the Green Party of British Columbia, Andrew Weaver, issued a scathing statement disavowing the federal party’s decision. “This is not a policy that I nor the B.C. Green party support,” said Weaver. “I think the Green Party of Canada needs to take a careful look at their policy process and ask themselves how a policy that goes against Green party values could have been allowed on the floor of a convention.”

Various Green candidates likewise condemned the decision. One from Ottawa said, “I’m in a state of disbelief.… I don’t agree with it, I don’t like having that over me going into [the next] election.” Another, from Halifax, said the policy is “destructive for the party.… Every country has its issues. When we specifically single out Israelis, I worry about the buzzwords and subtext and code language, which is antisemitic.”

A party torn apart. A leader willing to quit. Controversial headlines eclipsing anything else the party intended to highlight coming out of convention. Is this what a BDS victory looks like?

The fight against BDS revolves around psychology much more than economics. Israel’s economy is strong, with trade and ties growing despite calls for BDS. But, on the psychological level, BDS activities have the potential to poison attitudes toward Israel among civil society organizations and demoralize the Jewish community. On both levels, BDS proponents failed when it comes to the Green party.

While May has since declared she will stay on as leader, every Green voter should be outraged that BDS activists – in using the party to promote their own marginal agenda – nearly pushed the Greens’ only voice in Parliament out of the party. If anything, this initiative has exposed the toxic nature of BDS to those it intended to seduce. As CIJA Chair David Cape recently wrote: “Once again, BDS has proven bitterly and publicly divisive for political parties that contemplate endorsing it. In this case, BDS has sown resentment among Greens and come at a great cost for anti-Israel activists.”

And when it comes to the morale of the Jewish community, this issue has mobilized thousands of Jewish Canadians across the political spectrum (including former Green party members) to speak out and condemn the party’s hostility toward Israel. In a matter of weeks, CIJA galvanized some 7,500 Canadians to email the Green party’s leadership to express their opposition to this initiative. Without question, our united efforts had an impact, with May openly admitting BDS is “very clearly a polarizing movement that leaves most of the Jewish community in Canada feeling that it is antisemitic.”

Hopefully, this will spur May and other Greens to take the steps needed to annul the BDS policy and regain control of the party’s direction from those behind this hateful agenda.

Steve McDonald is deputy director, communications and public affairs, at the Centre for Israel and Jewish Affairs.

Acocas’ lasting legacy

Rabbi Ilan and Rabbanit Dina Acoca and family have moved to New Jersey after 17 years with Vancouver’s Congregation Beth Hamidrash. (photo from bethhamidrash.com)

An era has come to an end in Vancouver with the departure of Rabbi Ilan and Rabbanit Dina Acoca and their family on Aug. 23. The Acocas were a friendly, dignified presence at Congregation Beth Hamidrash for 17 years, helping shape and strengthen the Sephardi community in Vancouver, as well as contributing to the wider Vancouver Jewish world.

The Acocas have headed to Fort Lee, N.J., where the rabbi will become the spiritual leader of a Sephardi congregation and the principal of Ben Torat Yosef, a Sephardi school which has 480 children in grades K-9. Speaking to the Independent, he was clearly excited about what awaited him in New Jersey. Many in Vancouver will no doubt miss his presence, though, and the feeling is mutual.

Acoca was born in Bat Yam, Israel, to parents from Morocco. In 1967, they left Morocco for France and then Israel. After his bar mitzvah, Acoca moved to Montreal, where a teacher at a Jewish high school, Rabbi Michael Seraf, ignited a passion for Judaism and the Sephardi tradition within him.

After his rabbinic ordination in 1999, Acoca heard of a job opening in Vancouver and applied.

Acoca is passionate about the value of the Sephardi heritage and the treasures it has to offer world Jewry. “Sephardic Judaism is halachic, strongly committed to traditional Jewish law, yet it is open-minded,” Acoca told the JI. “Sephardic sages were willing to think outside the box. They knew how to include as many people as possible while keeping the tradition authentic. This is an important lesson for Jews today.”

Acoca said he leaves behind a strong Sephardi community in Vancouver, though one not without its challenges. “All of Jewish Vancouver faces the problem of housing,” he said. “For the younger generation, this is a very serious problem. Yet, people believe in this place. If the community can find ways to meet this challenge together, it will survive and thrive.”

Asked what he particularly enjoyed sharing with the community, Acoca cited Talmud study and teaching unique Sephardi liturgy and traditions. “Together,” he said, “we were able to open up the talmudic mind, the mind of our sages. I also enjoyed studying the gems of Sephardic liturgical writing, masterpieces like L’Cha Dodi and Yedid Nefesh, as well as the Sephardic siddur and piyutim (devotional hymns). I enjoyed learning Sephardic liturgy from all over the world.”

Other highlights for the rabbi included sharing the wisdom of Sephardi sages like the Ben Ish Chai and the synagogue’s women’s group, which studied Moshe Chaim Luzzatto’s sophisticated theological work Derech Hashem. “We could spend hours looking at one line of Derech Hashem,” said Acoca. “This was one of my favorite things.”

The rabbi also enjoyed educating Jewish Vancouver about Sephardi traditions, but “we have to remember that we are one nation of different traditions of equal value,” he said.

The rabbi himself showed this type of openness a couple of years ago, when he encouraged Adrian Sacks, a Vancouverite who has since made aliyah, to teach Rebbe Nachman’s Chassidic masterwork Likutey Moharan at Beth Hamidrash. “There is much in common between the Chassidic tradition and Sephardic spirituality,” said Acoca. “For instance, both traditions emphasize the importance of being b’simchah, of living with joy and warmth.”

He said, “I wish the congregation and the wider Jewish community an abundance of success. It has been a wonderful journey for us – a journey of 17 years, which is tov in Jewish numerology, good. It has truly been tov. May God continue to bless the community.”

A farewell gala for the Acocas was hosted by the congregation at Schara Tzedeck Synagogue on Aug. 21, making use of Schara Tzedeck’s larger auditorium to accommodate those wishing to send off the family with their good wishes.

Those who miss Acoca’s teachings can comfort themselves with his The Sephardic Book of Why, which is upcoming this year from Hadassah Publishing.

Matthew Gindin is a Vancouver freelance writer and journalist. He blogs on spirituality and social justice at seeking her voice (hashkata.com) and has been published in the Forward, Tikkun, Elephant Journal and elsewhere.

Hope amid dysfunction

Jewish community members Gina Leon (above) and Michael Germant are both co-producers, as well as actors, in Island Productions’ The Glass Menagerie. (photo from Gina Leon)

Tennessee Williams is one of the giants of the American theatre. His 1944 four-actor play The Glass Menagerie, which catapulted him to fame, is about to open in Vancouver, produced by local theatrical troupe Island Productions.

Island Productions is an international ensemble and includes, among others, director Mel Tuck and Jewish actors and co-producers Gina Leon and Michael Germant. Although the three come from different places and backgrounds, they are united in their reverence for Williams and his writing.

Leon was born in Johannesburg. She moved to Canada with her family when she was 7. “I spent my childhood in costume, always played something,” she recalled, “but, in high school, I painted a lot. My mother and grandfather were artists.”

Torn between visual arts and theatre, Leon studied both, theatre and art history at the University of Toronto, visual art at the College of Art and Design in Sydney and acting at the New School for Drama in New York. Now, she divides her time between acting and painting. “They feed into each other,” she said. “Art develops imagination, which is necessary for an actor. They are both telling a story.”

In The Glass Menagerie, Leon plays Laura, a young woman with physical disabilities who is mentally fragile. “The play is autobiographical for Williams, and the role of Laura is based on his own beloved sister,” Leon said.

“Tennessee Williams is one of my favorite playwrights, maybe the favorite,” she added. “He has a knack for telling stories that are very personal to him but also universal. The Glass Menagerie happens during the Depression, but everything in the story is relevant now. Because of his timeless appeal, Williams can reach a wide audience. I love his language, too. It is poetic and profound.”

According to Leon, while the play is the story of a dysfunctional family, “it’s also a story of hope. Laura plays with her glass figurines, polishes them in the play. They represent her hope, the connections she sometimes lacks in real life. Her glass menagerie has another meaning, too: it’s her safe refuge. She needs an escape from the harsh reality of life in the 1930s because she is so sensitive and vulnerable.”

photo - Michael Germant
Michael Germant (photo from Michael Germant)

Leon’s co-producer and fellow community member, Germant, spent his early childhood in Moscow. His family moved to Montreal when he was 6.

“When I was a kid, I wanted to be a veterinarian, then I wanted to be a spy,” he joked. “When I went to university in Montreal to study French, I was miserable. I started taking acting classes and liked it.”

He began thinking of a theatrical career and later studied at the Montreal School for Performing Arts and the Vancouver Film School.

“When we lived in Moscow, my mother was a stage manager at a children’s theatre,” he said. “Although she didn’t work in theatre after we immigrated, she supported my decision of a career in the performing arts. Seven years ago, I moved to Vancouver to study with Mel Tuck. In 2013, when we organized our Island Productions company, Mel became the director.”

In the show, Germant plays Jim, a guest at the house of Laura, her mother and brother.

“Jim is Laura’s final hope,” Germant explained. “His colleague Tom invited him home to meet his mother and sister, but Tom didn’t tell Jim about Laura. When Jim meets Laura, he is drawn to her, to her imaginary world, to her dreamy personality, but this attraction can’t go anywhere. Jim is already engaged to another woman, but Tom didn’t know that. The entire play is a series of miscommunications. There is sadness there but there is also humor. Like many Williams’ plays, this one is funny but it is also poignant, heartfelt.”

Tuck confirmed the play’s controversial elements and its sophisticated treatment of emotions and ideas, comedy interwoven with bleakness. He knows it from personal experience, having played Laura’s brother Tom in a production of The Glass Menagerie long ago. “There is another connection, too,” he said. “Lynne Griffin, the wonderful actress who plays Amanda, Laura’s mother, in this production, long ago played Laura.”

Tuck’s theatre career spans more than five decades. According to his bio online, he has founded nine theatre companies and directed more than 300 plays; he has taught at institutions across the country and many of his students have become successful and award-winning actors. He still teaches at his studio in Gastown, while also acting himself and, of course, directing.

“The play takes place during the Depression era and we set it as a period play, but its themes are still relevant now,” he said. “We all move forward with our lives, but how much do we sacrifice?… Williams was always compassionate towards his characters, and this play is a plea to understand them all, with their faults and their vulnerabilities.”

The Glass Menagerie runs Sept. 6-25 at PAL Studio Theatre, 581 Cardero St. For tickets and more information, visit glassmenagerie.ca.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

An open door to dance

Ziyian Kwan and Vanessa Goodman perform together in Simile, which concludes the Scotiabank Dance Centre’s open house on Sept. 10. (photo by David Cooper)

The Scotiabank Dance Centre’s open house on Sept. 10 culminates with Simile, featuring new work and performances by Vanessa Goodman of Action at a Distance and Ziyian Kwan of dumb instrument Dance.

All three pieces in the show – Kwan’s Still Rhyming, Goodman’s Floating Upstream and the collaboration In Vertebrate Dreams – are connected yet unique, Goodman told the Independent.

“Ziyian’s piece, Still Rhyming, is a beautiful work that responds to Patti Smith’s book M Train, and the piece has an incredible live sound score by Jo Passed,” she said. “It is a whimsical journey for the audience and Ziyian captures and transports my imagination while I am watching the piece. For me, Floating Upstream explores the notion of having one’s head in the clouds in a very simple sense: it is the idea

of being a dreamer, where anything is both possible and impossible. And, in In Vertebrate Dreams, we are creating a surreal world where human and animal instincts are being explored and subverted.

“In many ways, I think all three works are playing with a skewed perception of reality. However, I also believe that all three works are entirely different in their tone and expression. I think this has created a very diverse and engaging program.”

According to its description, Floating Upstream “plays with the fantastic being mundane and the mundane being fantastical.” Goodman explores these elements “through simple actions and coordinations that I employ daily, like walking or speaking,” she said. “In the opening of the work, I deconstruct the act of walking and try to transform it to feel as if I am floating through the space. Or simple gestures that I do while I am talking – with these gestures, I have experimented and distorted how I can embody them until they are unrecognizable.

“Floating Upstream has an original sound composition by Vancouver-based artist Loscil,” she added. “Loscil and I have been collaborating on several works over the last year, including my solo Container that just toured to Seattle’s On the Boards’ Northwest New Works Festival and Portland’s Risk/Reward Festival. It is so great to be continuing our creative process together, as I find creating with his soundscapes so rich and driving.”

Goodman has also been working with Kwan for some time, “supporting one another and collaborating in a number of ways since 2013,” she said. “Simile is, in many ways, a culmination of our interest in each other’s work and friendship. It is always such a pleasure and honor to collaborate with colleagues in new ways, to see where you can grow and be challenged inside your artistic practice.

“The idea for the duet seeded for us when we were doing a photo shoot for the production and we got several props to work with to create some imagery to publicize the show,” she explained. “We started exploring these masks and all of sudden we decided that we were compelled to make this work. What has become clearer for me as this process has gone on is that the work is about how we both are different animals when it comes to creation but, in a strange and wonderful way, we also complement each other and have created something that is unique to us working with one another.”

The evening also features lighting design by James Proudfoot.

Goodman expressed gratitude to the Dance Centre for Simile’s inclusion in the open house, saying that she and Kwan “are very excited to be sharing this program that we have been dreaming up for the last two years.”

The Sept. 10 open house starts at 11 a.m. with an hour class on pow wow, followed by a class on tap and then many other dance styles – including swing, Brazilian, Scottish, hip-hop, ballet – throughout the afternoon to 5 p.m., as well as a workshop on injury prevention. All classes are free and suitable for beginners.

Simile starts at 8 p.m. at the centre, which is at 677 Davie St. Tickets are $25/$20 from Tickets Tonight, 604-684-2787 or ticketstonight.ca. For more information, visit thedancecentre.ca.

Take a place on stage

A scene from one of the end-of-class performances by the Hebrew-language theatre group for women at the Jewish Community Centre of Greater Vancouver. Director Orly Naim is also teaching an English-language course this year. (photo from Orly Naim)

One of the new courses at the Jewish Community Centre of Greater Vancouver is Community Theatre. The classes, which start Sept. 15 and run Thursday evenings to June 15, will “use theatre methods of movement, role-playing, improvisation and other out-of-the-box routines” and help “individuals and the group to find new ways for self-expression.” They will also prepare participants for an end-of-course public performance.

The instructor, community theatre director Orly Naim, has previously taught at the JCCGV. In fact, the other course she is leading at the centre – a Hebrew-language theatre group for women – picks up where she left off when she went on maternity leave last year. Those classes start Sept. 12 and run Monday nights to June 19, also ending with a public performance by participants.

For both theatre groups, Naim teaches and facilitates throughout the year, and writes the end-of-class play based on material that is brought up in the group sessions.

But Naim’s experience extends well beyond the JCCGV. After graduating from Tel Aviv University with a degree in theatre, Naim, who is passionate about community theatre, worked in Jaffa with marginalized groups, such as Arab women and drug addicts, during the winters, and traveled to the former Soviet Union during the summer to work at Jewish youth camps. In Israel, she was involved in many different social and educational projects, not all of which were theatre-oriented. Her life changed when her partner got a job offer in British Columbia and the couple landed here with their children.

In her new environment, Naim searched for new groups with which to work. The JCCGV’s Israeli culture department gave her program a chance and the women’s Hebrew theatre group was formed. It had run for two years when the Independent spoke with Naim last summer, as she was starting maternity leave.

“As a social person by nature, I have found the immigration process to be very challenging,” Naim told the Independent. “You think you are prepared, but, once you land, reality is different from what you expected. Not surprisingly, most of the women in our group had similiar experiences and the group helped them to express these stories on stage and out loud. The group started slowly, but the rumor spread fast and we grew rapidly, to 15 women, in just few months. Our group is very diverse and each woman has her own unique experience. Since I love to write and direct, I collected the stories and we turned them into our first show.”

Naim said, “The nature of community theatre is finding a common denominator, and here it was our language barrier and the fact that we are all immigrants. We all face the same personal conflicts with our families back home and how to keep in touch with them, and all these issues were addressed in this stage play [that ended the classes]. It might look personal at first, but it was actually based on other women’s experiences.”

For Naim, the “Hebrew group have turned out to be my extended family and I miss all of them during this time off. The dynamic we created there was unique and special – you can ask anyone who was involved. You can’t hide true passion, and I’m so glad we were able to find it.”

For those wanting to try the new Community Theatre course, which is given in English, it is open to men and women 20+ years old and no previous experience is necessary; the Hebrew-language group is for women 20 and older. For registration and cost information on both programs, visit jccgv.com.

Shahar Ben Halevi is a writer and filmmaker living in Vancouver.

New hand chime choir

Chabad of Richmond’s new Chabad Hand Chime Choir is looking for additional members. (photo from Chabad of Richmond)

“We wanted to have more creative activities for seniors, something music-oriented,” said Rabbi Yechiel Baitelman about Chabad of Richmond’s new Chabad Hand Chime Choir. “Music helps with focus, builds concentration. Many of our seniors always wanted to have music in their lives, acquire musical skills, but they never learned to play, for various reasons. Now, with this choir, they can play wonderful music, be part of a team.”

The choir was formed after the federal government approved Chabad of Richmond’s application for a New Horizons for Seniors grant. The choir officially started in May and the first intake for members took place soon after; the second intake starts this month, and the third will begin in January.

The rabbi said that the first concert of the group was a big success. “They played at our annual summer barbeque,” he said. “The music included some Jewish tunes, popular songs. They are recording a CD now.”

Hand chimes were chosen, said Baitelman, “because most of our participants can’t read music notations. With hand chimes, each musician only plays one note on his chime, a part of a chord.”

Many music educators consider hand chimes the best instrument for beginners. Essentially, a hand chime is a percussion instrument, an aluminum tuning fork with a small mallet permanently attached to the handle. The length of the tines of the fork is responsible for the sound, which is one clear note. When a musician moves his hand holding the chime in a certain way, the mallet strikes the fork, and the chime resonates. The sounds produced are melodic and breathtakingly beautiful, and they last until the musician “damps” the chime by holding it to his hand or shoulder, thus stopping the vibrations.

Hand chimes are fun to play and easy to learn, which contributes to the self-esteem of the player, which is why they are often used in music therapy.

Hand chimes are cousins to hand bells and an ensemble of hand bells or hand chimes is called a choir, even though the musicians don’t sing. Like hand bells, hand chimes have a long history, dating back to China thousands of years ago. Those ancient chimes were made of bamboo, and the sound was created not by a mallet but by hitting the chime against a stationary object. Later, a musician would play his chime by striking it with a stick.

Since then, numerous inventors and manufacturers have strived to discover the best material for the chimes’ split fork and the mechanisms attaching the mallets. Amid these endeavors, between the two world wars, several radio stations used hand chime tunes – a few notes – as their audio signatures. By the early 1980s, hand chimes finally arrived at the design the Chabad Hand Chime Choir – and many other groups – are using today.

The Chabad choir includes seniors in their mid-60s to seniors 90-plus, and each rehearsal session usually counts 10 to 14 people. “Not everyone can come every week, for health reasons,” the rabbi said, “but all the members of the group are very enthusiastic about their music.”

Ron Philips, chosen to lead the new group, has years of experience in a variety of musical fields. “We wanted someone who knew not only music but also musical therapy and working with seniors, and Ron Philips answered all our needs,” Baitelman said.

“I wear many hats,” Philips told the Independent. “I’m a composer and a musician, an arranger and a voice teacher. I play several instruments – piano, guitar, bass, drums, flute – and I write music for films and various music projects.”

Having loved music in all its forms since childhood, Philips graduated from Douglas College with a music degree. He was the composer behind a number of locally produced films, including the award-winning Complexity (2011). He was involved with the Richmond Community Orchestra and Chorus and has worked on many other projects where music and community interests intersected. At the moment, he runs the Steveston Music Centre.

“When I was asked to conduct the Hand Chime Choir for Chabad of Richmond, I was glad to take on this new experience,” he said. “I believe this Hand Chime Choir gives the seniors participating in it a new connection to music.”

No prior music experience is required to be part of the choir. “We accept anyone who comes, as long as they have the love of music, the desire to learn and the willingness to participate in a team,” said Philips.

Anyone interested in trying out for the Chabad Hand Chime Choir should call Chabad of Richmond at 604-277-6427.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].