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Author: Mira Sucharov

Antisemitism’s blurry lines

Avi Benlolo, president of the Canadian Friends of the Simon Wiesenthal Centre for Holocaust Studies, was recently quoted in the National Post saying that Jewish university-bound applicants should consider options other than Toronto’s York University. The reason? A faculty association executive proposal to divest from weapons manufacturers. The proposal didn’t mention Israel by name.

According to Benlolo, this is a “campaign of censorship against Israel and the Jewish people.” The organization also issued a statement declaring that, in the wake of the proposal, it was “concerned for the safety and security of [York’s] Jewish students and faculty.”

I recently combed through the 2015 report of the Simon Wiesenthal Centre on antisemitism on American campuses, headlined: “A Clear and Present Danger.” Over the 26-page document, I discovered a few antisemitic incidents over the eight preceding years. (I selected an eight-year period to represent two generations of students at a four-year university or college.)

As the report detailed, at Harvard in 2013, to raise awareness of Palestinian home demolitions, activists slipped mock eviction notices into dorm rooms. There was no evidence to suggest whether Jewish students were targeted. And, in 2014-2015 at University of California-L.A., Rachel Beyda, a Jewish student, was barred admission to a judicial position by the student council following accusations that her Jewish heritage made her biased. After an uproar, the administration pressured the council to reverse itself. A similar dynamic played out at Stanford in 2014, when Molly Horwitz was asked, “Given your strong Jewish identity, how would you vote on divestment?”

The report also noted a “decade” of “increasing hostility” at the University of California-Berkeley in 2015, “including “vandalizing Jewish property, spitting at Jewish students, threatening violence, and physically assaulting Jewish supporters of Israel.”

Incidents like these should be called out strongly. But every other event chronicled since 2007 in the Simon Wiesenthal Centre report described political activity directed against Israel or its policies – not instances of antisemitism.

The latest mudslinging debate in the antisemitism wars is more nuanced. It concerns a talk by gender studies scholar Jasbir Puar at Vassar College, an event that authors of a Wall Street Journal op-ed described as antisemitic and a blood libel.

In the talk (of which I received a transcript), Puar made two particularly jarring claims. About the bodies of 17 Palestinian youth that Israel kept for two months at the end of 2015, Puar said, “Some speculate that the bodies were mined for organs for scientific research.” (These youth, it is important to note, had been attacking Israelis. Puar described these Palestinian youth as having been involved in “stabbing” and as part of a “peoples’ rumble” but called their deaths “field assassinations.”)

Puar also suggested that Israel engages in “weaponized epigenetics, where the outcome is not so much about winning or losing nor a solution, but about needing body parts, not even whole bodies, for research and experimentation.”

Puar did not respond to my requests for comment or clarification regarding her accusations.

While academic freedom is a principle meant to protect scholarly speech from legal censure, there is an equally important norm requiring a scholar to provide evidence when making empirical claims. On this, Puar failed.

But is Puar’s scholarly breach antisemitic?

Joshua Schreier, an associate professor of history at Vassar and part of the steering committee of the Jewish studies program that was one of the co-sponsors of the talk, doesn’t think so. He attended the event. “It’s really important,” he told me, “to protect free speech and protect academic speech,” adding that “we have a responsibility, as academics, when we talk about speculation, to note … whether it’s substantiated, whether we’re trying to give new life to those rumors, or not, but none of that makes it antisemitic.”

Unfortunately, the unsubstantiated charge of using “body parts for experimentation” cuts close to the bone of blood libel myths. It is also uttered in the context of a cultural moment on campuses when most criticism of Israel is inappropriately being cast as antisemitic. This surely means that there will be fallout from the talk that will serve to distract debaters from the pressing issues around the ills of occupation. It also means that amid the hyperbolic rhetoric about antisemitism on campuses, actual antisemitism is becoming more difficult to spot when it does occur.

Meanwhile, hundreds of faculty members from across the United States have issued a statement to Vassar’s president asking her to “write a letter to the Wall Street Journal … condemning in no uncertain terms the unjustifiable attack on Vassar and on Professor Puar.”

For its part, the Anti-Defamation League had nothing more damning to say about Puar’s appearance at Vassar than that she has sometimes accused Israel of pinkwashing.

Ian S. Lustick, a professor of political science at University of Pennsylvania, told me by email that he signed the statement “to show solidarity against the campaign to restrict the space of politically correct discussion on anything pertaining to Israel and Palestinians.” About the claim of organ harvesting, Lustick said that “the speculations about horrific

Israeli behavior with respect to organ harvesting from Palestinian bodies are as unlikely to be true as they are likely to be circulated as long as Israel refuses to quickly return bodies of dead Palestinians to their families.”

Debate over campus discourse on Israel (and even on things like armaments, weirdly perceived by some to represent Israel) will continue. Vassar’s president, for her part, invited parents and alumni to an online forum to discuss “current issues and tensions within our community related to the Israeli-Palestinian conflict.”

As for whether actions on campuses over the last decade constitute antisemitism, the ledger is mixed. Verbal or physical harassment directed at Jews for reasons related to their ethnic or religious identity is antisemitism. Same with leveling dual loyalty charges against Jewish students.

But consideration of divestment from weapons companies is not antisemitism. Criticism of Israeli policy is not antisemitism. Criticism of the occupation is not antisemitism. Criticism of violence – whether it is state-sponsored violence or violence carried out by individuals or groups – is not antisemitism.

Presenting unsubstantiated claims against agents of a state in a public lecture is irresponsible. And, if the symbolism chosen for these non-evidenced charges quacks like an infamous antisemitic myth, it will, not surprisingly, be heard by many as redolent of that scourge. But that does not necessarily make it, in and of itself, antisemitism.

Mira Sucharov is an associate professor of political science at Carleton University. She is a columnist for Canadian Jewish News and contributes to Haaretz and the Jewish Daily Forward, among other publications. A version of this article was originally published on haartez.com.

Posted on April 1, 2016March 31, 2016Author Mira SucharovCategories Op-EdTags antisemitism, BDS, Benlolo, blood libel, boycott, free speech, Israel, Simon Wiesenthal Centre

Fifth in Korczak series

The fifth lecture in the Janusz Korczak series “How to Love a Child” was titled Janusz Korczak’s Enduring Legacy: Social Pediatrics in Canada and Vancouver, and it was most enlightening.

The subject was building and nurturing a network of support around the child – the “Circle of the Child” discussed by pediatrician Dr. Gilles Julien, one of the keynote speakers on Feb. 18.

Julien is the president and founder of the Fondation du Dr. Julien, and he is affiliated with McGill University and the Université de Montreal. He has made it his mission to help children from disadvantaged backgrounds develop harmoniously and reach their potential. And he has created a preventive approach – community social pediatrics – to try and guarantee that each of a child’s fundamental rights as set forth in the Convention on the Rights of the Child will be respected. Over the years, he has mobilized people from Montreal’s lower-income neighborhoods by founding two social pediatric centres, one in Hochelaga-Maisonnueve and one in Cote-des-Neiges. The model of social pediatrics that he initiated has helped shape programs across Canada.

In Julien’s own words: “Janusz Korczak’s spirit remains with us in working to build strong children. He was, and still is, a powerful inspiration for all of us who strive to prevent children from being left hanging in limbo, and obtaining [for them] the services and accompaniment to enable them to fulfil their developmental needs and preserve their rights in accordance with the United Nations Conventions of the Rights of the Child.”

The second keynote speaker on Feb. 18 was Dr. Christine Loock, a developmental pediatrician at Children’s and Women’s Health Centre of British Columbia, including Sunny Hill Health Centre for Children and B.C. Children’s Hospital, where she is medical director of the cleft palate and craniofacial disorders program and specialist lead for the social pediatrics RICHER (Responsive Intersectoral Children’s Health, Education and Research) initiative. She is an associate professor in the department of pediatrics at the University of British Columbia faculty of medicine and a recipient of the 2012 Queen’s Diamond Jubilee Medal for community service awarded by the Governor General of Canada.

Early in her medical training at Harvard University and the University of Washington, Loock developed an interest in social pediatrics. Her early clinical and research work focused on children and youth with congenital conditions and developmental disorders, including fetal alcohol spectrum disorders and birth defects prevention. Over the past decade, she has been engaged in collaborative interdisciplinary research and practice to develop the RICHER health service delivery models for socially vulnerable children and families in Canada. The child- and family-centred model takes into consideration a family’s particular needs and circumstances when determining the provision of care, linking services to specialized care, if needed, and community-based support networks.

Ardith (Walpetko We’dalks) Walkem rounded out the panel of speakers. A member of the Nlaka’pamux nation, which stretches from the B.C. Interior into Washington state, she has a master of laws from UBC, with a research focus on indigenous laws and oral traditions. Walkem has practised extensively with different indigenous communities, assisting them to assert their aboriginal title and rights and treaty rights, with a focus on helping them articulate their own laws and legal systems. She has worked as parents’ counsel on Child Family and Community Service Act cases, and as counsel for indigenous nations in matters involving their child members. She has also helped design systems based on indigenous laws for children and families.

Moderating the evening’s program was Dr. Curren Warf, a clinical professor of pediatrics and head of the division of adolescent health and medicine of the department of pediatrics at B.C. Children’s Hospital and the UBC faculty of medicine. He has a longstanding involvement in the care of adolescents and working collaboratively with community agencies.

Finally, I spoke briefly about Korczak, how he reached out far beyond the core of his specialization as a pediatrician to care for needy children and how he filled many varied roles necessary to the well-being of children.

The final lecture in the series – How to Love a Child: Turning Rights into Action – will be held on April 6, 6:15 p.m., at the Robert E Lee Alumni Centre at UBC. There will be a wine and cheese reception, exhibits and speakers. For more information and to register, visit jklectures.educ.ubc.ca.

Lillian Boraks-Nemetz is a Vancouver-based author and a board member of the Janusz Korczak Association of Canada.

Posted on April 1, 2016March 31, 2016Author Lillian Boraks-NemetzCategories LocalTags Gilles Julien, JKAC, Korczak, Loock, pediatrics, Walkem
Mamma Mia! in town

Mamma Mia! in town

Yael Reich understudies the role of Sophie and is in the ensemble of Mamma Mia!, which is at Queen Elizabeth Theatre until Sunday. (photo from Broadway Across Canada)

Yael Reich is making her national tour debut with Broadway Across Canada’s Mamma Mia!, which has returned to the Queen Elizabeth Theatre stage, and runs to Sunday.

Featuring more than 20 ABBA songs, Mamma Mia! is set on an island in Greece. Bride-to-be Sophie wants to find her father, who she has never met, so that he might walk her down the aisle. From her mother’s diary, she narrows her search to three men, all of whom she invites to the wedding to figure out which one is her dad. The situation threatens both her relationship with her mom, and her wedding.

Reich understudies the role of Sophie and is also in the ensemble of the tour, produced by Work Light Productions, that has made its way to Vancouver.

“Being an understudy is one of the most incredible things I have had the privilege to do,” Reich told the Independent. “It’s both challenging and rewarding. Probably one of the most challenging parts of being an understudy is maintaining focus on your own role in the show while becoming fluent in your understudy role.

“I’ve been a part of companies before where we’ve had to do four and five shows at a time in repertory – a different show each night – which can be confusing. I’ve actually found it more challenging to maintain two roles in one show because, often times, my ensemble character will be on stage at the same time as Sophie.

“I’ve had the privilege of going on for Sophie a few times so far and have had an absolute blast!” she continued. “It is extraordinarily rewarding to finally get the chance to embody a role that has been encompassing my headspace for months. It was particularly special getting to do the role with this company. The artists we are surrounded by in the cast and crew are all beyond supportive and encouraging, and it was incredible to have the opportunity to exchange dialogue, intention and creativity with them.”

Reich made her professional theatre debut with Bigfork Summer Playhouse in Montana. She played Anita in West Side Story in the summer of 2014 and returned to play Aldonza in Man of La Mancha and Lily St. Regis in Annie in 2015. “Between those two professional engagements,” she said, “I had the privilege of making my debut at the Hippodrome Theatre in Gainesville as part of their winter season.”

Reich received her bachelor of fine arts in musical theatre summa cum laude from the University of Florida in May 2015. By that time, she had already been working for more than 15 years.

“I began singing jingles for my father in 1999 and have been a lead vocalist for his advertising company, Sound Branding Ideas, ever since,” she said. “I got my start in theatre at age 8 with the Galaxy Centre for the Arts in Seminole, Fla. My training there ranged from pop voice, piano, percussion, studio recording and dance, alongside the shows we would put on. I auditioned for the arts magnet program and attended the Pinellas County Centre for the Arts for high school, majoring in musical theatre. Having specific major coursework at that age was incredibly valuable because it instilled a sense of purpose and perseverance in me, which has proven instrumental in the cutthroat professional world.”

Also instilling a sense of purpose and a strong foundation from which to face the world is her upbringing.

“Both Judaism and Jewish culture have always played a significant role in my life,” she said. “Coming from an incredibly traditional and religious family, I was brought up with strong beliefs. I spent most of my time in the synagogue and Jewish day school studying Judaics and practising Jewish rituals, most of which involved singing. I actually managed to lead every service involved in my bat mitzvah weekend, including the majority of the Torah portions and the Haftorah.

“Recently, having spent so much time focusing on my career and training, I have devoted much less attention to the religious aspect of Judaism, but have come to find a much greater appreciation for the cultural aspect. The Jewish people are such an incredibly resilient, eclectic and unique people. Their sense of community and commitment to the people as a whole is what I find most important.”

Remaining performances of Mamma Mia! include shows Friday and Saturday, 8 p.m.; Saturday and Sunday, 2 p.m.; and Sunday, 7:30 p.m. Tickets start at $35 and are available through ticketmaster.ca or 1-855-985-5000.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories Performing ArtsTags Broadway Across Canada, Mamma Mia!, musical, Yael Reich
Adults ruin friendship

Adults ruin friendship

Samar, left, and Linor like each other from their first conversation. (photo from R2R)

If only adults could be as brave as children sometimes. The Israeli documentary Almost Friends screens as part of Reel 2 Real’s International Film Festival for Youth April 8-15. It shows just how insidious fear and racism can be, and how much a parent or grandparent can influence a child, for better and worse.

Bat mitzvah-age girls from two Israeli schools – a religious Jewish school in Tlamim and a mixed secular school in Lod – were brought together in a pen-pal program. For most, if not all, of the religious girls, this is their first exchange with non-Jews.

The success of the written exchanges leads to the Lod girls being bused to Tlamim to meet their pen pals. The teachers take the students through a couple of trust-building exercises and then give them time to interact. It is on this day that Arab-Israeli Samar and Jewish-Israeli Linor meet and become friends. They continue to write each other afterward, but the influence of Linor’s grandmother and mother overwhelms Linor and she stops writing. Samar’s concern for Linor’s safety, lest there be a terrorist attack if Linor visited her, consoles Samar over the loss of the friendship.

The most interesting development is Linor’s change of perspective. Initially, her mother is supportive of the pen-pal program and assures a then-worried Linor that there is nothing to fear from Arabs. Her grandmother is close-minded from the beginning, warning Linor that there will always be “a sting” in the Israeli-Arab relationship. Once Linor bonds with Samar, the ingrained distrust, racism, fear and insularity of Linor’s family presents itself. Their words sway Linor who, before the letter exchange, was calming her friends’ concerns about Arabs. After the negative reactions from her mom and grandmother, she is the one telling her friends how dangerous Arabs are, while one of her friends tries to convince her, “We’re alike. We’re brothers.”

There are many things powerful about this documentary. One is the reminder of how separate from each other most Arabs and Jews live in Israel. Another is how people who are kind and loving in so many ways can also be hateful and hurtful. But the documentary also reveals cause for hope – in both the religious girls’ reactions to their Lod peers and the friendships that do exist among Jews, Arabs and Christians in the Lod school.

Almost Friends is recommended for ages 13+. The hour-long film will be followed by a discussion with R2R artist-in-residence filmmaker Jessica Bradford and an R2R board member. It screens Wednesday, April 13, at noon, at Vancity Theatre. Tickets are $9 ($6 child/youth/senior, $5 each for groups of 10+) from 2016.r2rfestival.org or 604-224-6162.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories TV & FilmTags interfaith, Israeli-Palestinian conflict, peace, R2R, Reel 2 Real
Understanding Onegin

Understanding Onegin

Lauren Jackson as Olga Larin and Josh Epstein as Vladimir Lensky in Arts Club’s Onegin. (photo by David Cooper)

Generally, I don’t think background research is something that should be required in order to fully enjoy a performance; but every now and then a play really needs context, and the viewer becomes lost without it.

So, I would suggest – even to those with extensive Russian literature under your belts – if you have not read Alexander Pushkin’s dramatic poem, “Eugene Onegin,” start there before you see the musical Onegin. The poem contains descriptions of the characters, homes and countryside that add depth of interest that could simply not be communicated on stage.

That’s not to say that Onegin (pronounced “Onyegin”), the musical interpretation of the poem, can’t stand on its own. The singular creation by Veda Hille and Amiel Gladstone, combining the poetry of Pushkin and the opera of Tchaikovsky, is highly entertaining from start to finish.

The supremely talented group of seven performers, including the Jewish community’s own Josh Epstein, executes so many complex harmonies and moving solos, I certainly wasn’t walking out at intermission.

Set in 1819 St. Petersburg, the poem centres on four main characters: a self-proclaimed rakish womanizer, Eugene Onegin; Vladimir Lensky, a romantic poet; Vladimir’s love interest, Olga; and Tatyana, Olga’s sister, who’s in love with Onegin.

At first, Onegin rejects Tatyana, breaking her heart, and turns his attention to Olga, incurring Vladimir’s jealousy and bringing about a duel. Years later, after extensive traveling, Onegin returns to St. Petersburg and wants to be with Tatyana. But, by then, she’s already married, and Onegin realizes he’s wasted his life chasing women he doesn’t care about.

Taking place primarily in rural vacation homes, these well-to-do look for anything to “deal with the boredom of long winters” and come up with hunting, dancing, dueling and falling in and out of love.

The script includes quite a bit of play-by-play, where explanations of who’s who and what’s going on are interspersed with the action on stage. One by one, we’re introduced, in song, to the characters, with tongue-in-cheek descriptions. At one point, even the details of an impending pistol duel are sung to audience – just in case we were a little rough on the regulations.

These “asides” help with the background and also offer some great comedic breaks, often picking up on the satire that winds its way through Pushkin’s original work.

As an added bonus, guests are encouraged to bring their alcoholic drinks into the theatre and raise a glass for a sip every time someone says lebov (love in Russian). This is even facilitated by the cast handing out cups of vodka during the performance.

But there are also some bizarre non-sequiturs, such as when a singer in what looks like a boudoir is given a mic and electric guitar to continue her performance. Though it provided a chuckle, the reason for that choice went over my head.

While the script tries to provide the context I mentioned, it simply can’t make up for what’s lost from the poem, and I couldn’t help feeling “left out” of the framework.

For example, according to one translation of the poem, Onegin’s house is described: “All of the rooms were wide and lofty/ Silk wall paper embellished the drawing room/ And portraits of czars hung on the walls / The stoves were bright with ceramic tiles / There was no need for these things at all / Because he would yawn with equal distraction / At an ancient pile or a modern mansion.”

This paints such a great picture of the lifestyle and ennui of the main character, but not one that I caught onto in the musical.

Besides detailed description of scenery, the poem delves extensively into philosophical discussions, particularly about love, that would come across far better on stage as verbal jousting rather than a sing-song.

Onegin runs until April 10 at BMO Theatre Centre. Visit artsclub.com.

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Format ImagePosted on April 1, 2016March 31, 2016Author Baila LazarusCategories Performing ArtsTags Amiel Gladstone, Josh Epstein, Onegin, Pushkin, Russia, Veda Hille
עדיין נחשב לידיד קרוב של ישראל

עדיין נחשב לידיד קרוב של ישראל

תצפית אל דרום הכנרת מהכביש היורד מיבניאל. (צילום: אלה פאוסט)

ג’סטין טרודו: מברך את העם היהודי לחג הפורים, מתקומם על החרם נגד ישראל, אך מתנגד להתנחלויות בשטחים

ראש ממשלת קנדה מטעם המפלגה הליברלית, ג’סטין טרודו, מביע לאחרונה את דעתו בפומבי בנושאים שקשורים ליהודים ולישראל. שלא כמו קודמו בתפקיד, סטיבן הרפר, טרודו לא עומד אוטומטית מאוחרי ישראל בכל עניין ועניין והוא אינו חבר של ראש ממשלת ישראל, בנימין נתניהו, אבל עדיין נחשב לידיד קרוב של ישראל.

טרודו פרסם בשבוע שעבר אגרת ברכה לאזרחים היהודים בקנדה לקראת חג הפורים. בברכה נאמר: “חג הפורים מציין את סיפורה של אסתר המלכה והדוד שלה מרדכי, אשר הצילו את העם היהודי בתקופת פרס העתיקה. אירוע זה מזכיר לנו שוב את כוחו ועוצמתו של העם היהודי, אשר שרד וגבר על הרדיפה הבלתי הנתפסת הזו. בזמן שאנו קוראים את מגילת אסתר אנו מאשרים מחדש את המחויבות הקיימת שלנו לנקוט פעולה ולעמוד נגד האנטישמיות, נגד ביטויים אחרים של שנאה ואפליה בקנדה ומחוצה לה”.

רק לפני כחודש חזר טרודו על הבטחתו מקמפיין הבחירות שלו להתנגד לכל חרם על ישראל. טרודו ומרבית חברי המפלגה הליברלית שבראשותו תמכו ב-22 בפרואר בהצעת המפלגה הקונסרבטיבית מהאופוזיציה, לגנות את כל מי שמחרים את ישראל. הפרלמנט הקנדי אישר את ההחלטה הזו ברוב גדול של 229 מול 51 מתנגדים. לפי הצעת הקונסרבטיבים על הממשלה הקנדית לגנות כל ניסיון לקדם את תנועת החרם והסנקציות נגד ישראל בקנדה ומחוצה לה. עוד נאמר בהחלטה כי תנועת החרם הבינלאומית של ‘הבי.די.אס’ פועלת לעשות דה-לגיטימציה ודמוניזציה של מדינת ישראל. שר החוץ הקנדי, סטפן דיון, אמר מספר ימים קודם לכן בצורה ברורה כי העולם לא ירוויח דבר מהחרמת ישראל ויש להילחם באינטישמיות על כל צורותיה השונות.

לעומת כל זאת טרודו לא מהסס להעביר ביקורת פומבית של מדיניותה של ישראל בשטחים. הוא אמר לאחרונה כי ישראל עושה דברים מזיקים כמו למשל ההתנחלויות הבלתי חוקיות. טרודו: “יש זמנים שאנחנו לא מסכימים עם בעלי הברית שלנו, ואנחנו לא נהסס לומרת זאת בקול רם. זהו עניין שחברים צריכים לדעת לעשות. כמו למשל ההתנחלויות שהן בלתי חוקיות”. שר החוץ דיון אמר באותו נושא קודם לכן את הדברים הבאים: “ההתנחלויות פוגעות ביכולת להגיע לפתרון צודק באזור”.

בנושא טרודו והרפר כתב ניצן הורביץ בעיתון ‘הארץ’ בין היתר: “ראש הממשלה החדש הוא איש פתוח, מתקדם ובעל חוש הומור. תשע השנים הרפר היו די והותר לקנדים. הם הבינו שהמדיניות התקציבית המרסנת שלו וההסתמכות העיוורת על חברות אנרגיה הביאו אותם אל עברי פי פחת. לעומת זאת טרודו נמצא בצד הנכון של ההיסטוריה. הוא כבר הציג ממשלה שווה של נשים וגברים”.

האם פיצה גנובה טעימה יותר: שישה שליחי פיצה נשדדו בססקטון לאחרונה

שישה נהגים שמובילים פיצות בריכבם נשדדו החל מסוף פברואר ובמהלך מרץ בעיר ססקטון. באחד מסופי השבוע נשדדו ארבעה שליחים ולאחר מכן נשדדו עוד שניים. המשטרה המקומית מאמינה שיש קשר בין כל ששת המקרים בהם משתתפים שני שודדים. המשטרה קוראת לנהגים להגביר את הזהירות ואמצעי האבטחה. עדיין לא ידועה זהות השודדים שכנראה גם מכורים למגשי פיצות חמות וטריות.

השודדים כנראה ממוצא אינדיאני (בגילאי 18-20) לבושים בשחור ופניהם מכוסות במסכות, פועלים בשעות הבוקר המוקדמות וחמושים בשלל של כלים מאיימים: צמידים מברזל, מפתח צינורות, מוטות מברזל וסכינים. צמד השודדים מאיים על הנהגים המופתעים וגונב את הכסף שבידם עם חלק מהפיצות שברכבם.

Format ImagePosted on March 30, 2016March 30, 2016Author Roni RachmaniCategories עניין בחדשותTags antisemitism, BDS, boycott, Israel, Netanyahu, pizza, Purim, robbers, Saskatoon, settlements, Trudeau, אינטישמיות, התנחלויות, חרם, טרודו, ישראל, נתניהו, ססקטון, פורים, פיצה, שודדים

Barnett fêted at Negev

Shirley Barnett, a longtime community activist and philanthropist, is to be honored by the Jewish National Fund at its annual Negev Dinner April 10.

photo - Shirley Barnett
Shirley Barnett (photo from JNF Pacific Region)

“The Jewish National Fund is a strong organization that is entering a new stage of many joint ventures and many new directions and worthy of support,” said Barnett, who selected as the recipient project of the event a shelter for women and children fleeing domestic violence.

Jewish National Fund, Pacific Region, is collaborating with No to Violence Against Women, which was established in 1978 by Israel Prize laureate Ruth Rasnic, who is scheduled to be in Vancouver for the event.

The goal is to raise $1.5 million for the project, which will shelter 10 to 12 families at a time and provide victims of domestic violence with a safe environment from which they can start over. Staff and volunteers of the organization work with families to access therapy, secure income and new housing.

As many as 65% to 70% of women and children fleeing domestic abuse in Israel cannot access shelters due to lack of availability. Moreover, the shelters run by No to Violence Against Women are the only ones open to people of all religions and denominations, said Barnett.

The shelter, in Rishon Le Zion near Tel Aviv, will be named the Vancouver Shelter.

The cause is in line with Barnett’s lifetime work.

“I was involved in the women’s movement going way back to the ’60s,” she told the Independent. “I was on the board of directors of the Vancouver Status of Women in the ‘60s. I’ve always been aware of the lack of empowerment in women and the lack of women seeing their potential to be strong. And, when you’re abused, you need to develop the strength to be more resilient.”

Barnett said she knew she wanted to be a social worker from age 12. While at the University of British Columbia, she had the opportunity to work as a women’s matron at Oakalla prison in Burnaby.

“I was always interested in institutional work, I don’t know why,” she said. “I worked there for about half a year and then I did my fieldwork in juvenile probation.” She worked in other prison settings, as well as with people with addictions.

“More recently, I was on the board of the Odd Squad Society,” she said. “It’s a group of police officers who do gang prevention work in their off-hours.”

She also helped found Food Runners, now part of the Vancouver Food Bank. It is a program in which a refrigerated truck picks up surplus food from hotels and restaurants and delivers it to organizations that feed people.

After graduating with a bachelor of social work degree, Barnett worked for a federal agency setting up affirmative action projects for women and resettlement projects for Ugandan refugees.

As a volunteer, she served on the board of directors of the Jewish Family Service Agency for 12 years, including four as president. She also spent two years as the agency’s acting executive director. During that time, she founded the Hebrew Free Loan Association, which now holds more than $1 million in assets and has provided thousands of loans to people in need.

Barnett has also co-chaired campaigns for the Jewish Community Centre of Greater Vancouver (JCCGV) and the Jewish Museum and Archives of British Columbia (JMABC). She was the first president of Shalva, a facility in Israel for special needs children. She established a garden in Fir Square at B.C. Women’s Hospital and a unit for addicted mothers and their infants, a peer-to-peer coaching program at the UBC Counseling Centre, a pilot project at Vancouver Hospital for early intervention for depression in women, and led the restoration of the old Jewish Cemetery at Mountain View. She has advised the Aboriginal Mother Centre and currently serves on the faculty of arts advisory committee to the dean of arts at UBC, on the board of directors of the JMABC and on the Schara Tzedeck Cemetery board, and she is an honorary director of the Hebrew Free Loan Association.

With her brother, Philip Dayson, she administers the Ben and Esther Dayson Charitable Foundation, which provides philanthropic funds to local Jewish and other community causes, particularly in the area of non-market housing and rental subsidies for members of the Jewish community.

Barnett said that the shelter project in Israel is especially meaningful because it is supported by the JNF, a charity that her family has always supported.

“We grew up with the JNF in our house,” she said.

In addition to the latest honor from the JNF, Barnett’s contributions to the community have been recognized by the JCCGV, N’Shei Chabad and Jewish Women International, and she received the Gemilut Chasadim award from the International Association of Hebrew Free Loans.

The sold-out Negev Dinner takes place at the Four Seasons Hotel.

Format ImagePosted on March 25, 2016April 20, 2016Author Pat JohnsonCategories LocalTags Dayson, JNF, Negev Dinner, Rasnic, Shirley Barnett
Keeping the ballet dancing

Keeping the ballet dancing

Sam Steinfeld works with Royal Winnipeg Ballet apprentice Jesse Petrie. He is traveling with the ballet on their current tour, which arrives in Vancouver April 7. (photo by Amy Simoes)

The Royal Winnipeg Ballet is currently making its way across Western Canada and will present the Vancouver première of Going Home Star – Truth and Reconciliation at Queen Elizabeth Theatre April 7-9.

Commissioned by RWB, with support from the Truth and Reconciliation Commission, Going Home Star was first performed in Winnipeg in 2014, as part of RWB’s 75th season. Conceived by RWB artistic director André Lewis and the late Cree elder Mary Richard, the ballet was created by novelist Joseph Boyden, choreographer Mark Godden and composer Christos Hatzis. It features the music of Inuk throat singer Tanya Tagaq, and Steve Wood and the Northern Cree Singers.

Traveling with the ballet is physiotherapist Sam Steinfeld, who spoke to the Independent during the company’s bus ride to Brandon, Man., the tour’s first stop.

photo - Sam Steinfeld
Sam Steinfeld (photo by Amy Simoes)

Born and raised in Winnipeg, Steinfeld graduated from the University of Manitoba. He did a science degree and considered doing a master’s in physiology but, between the poor job prospects for science grads at the time and a friend who was finishing up his training in physiotherapy, Steinfeld decided to change his path.

After his training, he worked in a hospital setting for several years before going into private practice. He has been a consultant to professional sport teams in Winnipeg, including the Jets and the Fury, and, in 1998, he started working with RWB. He also teaches for the Neuro Orthopedic Institute, which is based in Australia.

Steinfeld has been a physiotherapist for more than 35 years. “Every day’s a little different,” he said. “There are always new challenges, especially working in an environment like this, with the ballet and going on tour. It’s one thing when you’re working, say, in your clinic or at home and in the ballet’s clinic, things are a little more predictable. But, when you’re on the road, you never know what you’re going to encounter … that, for me, keeps it interesting. Certainly working with different people, too, the different dancers we’ve had over the years, different clients. Everybody brings their own way of managing and dealing with their injuries, and you have to be able to adapt and work with those people and find ways to get them going again.”

It’s never the same, he said. “Treating two ankle sprains doesn’t necessarily mean you approach them in the same way, for instance, just because of the individual or what the individual’s going to have to do.”

There are two physiotherapists who work with RWB – the other is Kevin Dyck – and the two split up the tours, said Steinfeld. When in Winnipeg, Steinfeld is at the ballet’s clinic Tuesday and Thursday afternoons and evenings, and Dyck works the other hours Monday to Friday. For shows in the city, they try to divide the time at the concert hall evenly.

“We’re looking after not just the company, but we look after the professional division students of the RWB school,” explained Steinfeld. “I’m treating the recreational division students, as well, and we look after all the administrative staff, the teachers, the stage crew that works for us. We’re responsible for all those people.”

Dancers don’t generally get injured during a performance, he said. “Most of the injuries we see are overuse things and, usually, with some modification of activity, some treatment, we can keep them going. Our main thing is to make sure they’re going to be safe and we work closely with the ballet masters and artistic director. If we feel somebody can still perform but perhaps in a lesser role, or modify their choreography somewhat, they’re good at adapting things for the dancer and are able sometimes to keep somebody in. But there are always situations where somebody just can’t do it, period, because of the nature of their injury or the severity of it. Then we have to work around that, and that sometimes means somebody else picking up an extra part or, if we’re on the road, bringing somebody from Winnipeg out to meet us and take over that part.”

Every physical activity stresses the body in a unique way. When he started working with the ballet, he said, “it became quickly apparent that I was working with artistic athletes and I had to learn more about dance and the technique and what’s involved and how they work because, in order to make decisions about whether it’s safe for someone with an injury to return, I have to understand what it is they’re doing.”

Compared to hockey or soccer, for example, dancers – and especially those who do pointe work – have more “forefoot and ankle problems that you don’t normally see, say, in a hockey player who wears a skate,” said Steinfeld. A foot doesn’t move much inside of a skate. However, he said, “you look at a dancer in a pointe shoe and the load they’re putting on their foot, and the very different way they load their foot, right through their toes, for instance, when they’re on pointe, is unique…. So, we’ll see more things like stress fractures in the foot, metatarsal stress fractures or mid-foot stress fractures, certainly more mid-foot and forefoot sprains and that sort of thing that you don’t often see in something like hockey. You might see them in soccer, though, with the amount of running.”

Steinfeld is the son of Holocaust survivors who came to Canada three years after the war. He has two older brothers.

“My parents set an amazing example in terms of their ability to overcome adversities, how they dealt with other people and … how they still had a lot of positive feelings towards other people. I think that helped me in terms of my development as a person and, ultimately, as a caregiver, in … having a little more empathy with people when they’re in trouble and understanding that, with hard work and perseverance, you can overcome a lot of adversities…. The courage they showed in starting a life anew after everything they’d been through, I think it all trickled down to myself, my brothers. I’m quite proud of that as far as my Jewish upbringing.”

Working with the ballet was never in his career plans, he said. “I actually went in there to replace the therapist who was ill and I was only supposed to work for about four or six weeks there, till this person came back. It turned out, unfortunately, they weren’t able to return to work, so the ballet said to me, do you want to carry on with us and I said OK, and here I am, 18 years later.”

Steinfeld said he is fortunate to have understanding colleagues and that the other physiotherapists in his practice help absorb his caseload when he travels with the ballet. He also voiced appreciation for his family’s tolerance of his absences and their support of his work. “I’ve been a lucky guy, I think, to have had this opportunity,” he said.

Steinfeld’s wife, Karen, is also a physiotherapist – she specializes in hands and the upper extremities, and he’ll sometimes confer with her. Their two daughters are now adults, the oldest is a cardiac surgery resident in Winnipeg and the youngest is a lawyer in Ottawa.

***

Going Home Star is at Queen E April 7-9, at 8 p.m., with pre-show talks at 7 p.m. Ticket are $29 to $89 and can be purchased from ticketmaster.ca or 1-855-985-ARTS (2787).

Format ImagePosted on March 25, 2016March 24, 2016Author Cynthia RamsayCategories Performing ArtsTags Going Home Star, Royal Winnipeg Ballet, Steinfeld, Truth and Reconciliation Commission
From Kaifeng to Kotel

From Kaifeng to Kotel

Shavei Israel founder and chair Michael Freund greeted the five women from Kaifeng – left to right, Gao Yichen, Li Chengjin, Li Yuan, Yue Ting and Li Jing – at Ben-Gurion Airport on Feb. 29. (photo by Laura Ben-David courtesy of Shavei Israel)

Last month, five women from the ancient Chinese Jewish community of Kaifeng arrived in Israel to fulfil their dreams of making aliyah, thanks to the Jerusalem-based nonprofit Shavei Israel.

The women – Gao Yichen (“Weiwei”), Yue Ting, Li Jing, Li Yuan and Li Chengjin (“Lulu”) – have been studying Hebrew and Judaism for several years in Kaifeng. Upon arrival in Israel, they were greeted by Shavei Israel chair Michael Freund, who took them straight from Ben-Gurion Airport to the Western Wall (Kotel) so they could thank God for helping them return to the land of their ancestors.

“Kaifeng’s Jewish descendants are a living link between China and the Jewish people,” said Freund, who succeeded in obtaining the requisite permission to bring the Chinese Jews on aliyah after several years of struggling with the Israeli bureaucracy.

“After centuries of assimilation, a growing number of the Kaifeng Jews in recent years have begun seeking to return to their roots and embrace their Jewish identity,” Freund said, adding that, “These five young women are determined to rejoin the Jewish people and become proud citizens of the Jewish state, and we are delighted to help them realize their dreams.”

Believed to have been founded by Iraqi or Persian Jewish merchants in the eighth or ninth century, Kaifeng’s Jewish community built a large synagogue in 1163, which was renovated throughout the years. At its peak, during the Ming Dynasty (1368-1644), the Kaifeng Jewish community may have numbered up to 5,000 people, but widespread intermarriage and assimilation, and the death of the community’s last rabbi, brought about its decline by the early 19th century. Today, the community claims between 500 to 1,000 members.

Despite the pressure to assimilate, many Kaifeng Jews sought to preserve their Jewish identity and pass it down to their descendants, who continue to observe Jewish customs. Today, the community is experiencing a revived interest in its roots, and Shavei Israel has been providing support while helping some immigrate to Israel.

“Being part of the Jewish people is an honor, because of the heritage and wisdom,” said Li Jing, who on a brief previous visit to Israel put a note of prayer in the Kotel asking to return and live in Israel. “Now, my prayer has been answered,” she said.

The last time Shavei Israel was able to bring a group of Chinese Jews from Kaifeng on aliyah was in October 2009, when seven young men from the community arrived in the Jewish state. The organization has brought a total of 19 members of the Kaifeng Jewish community to Israel.

The five women plan to continue their Jewish studies at Jerusalem’s Midreshet Nishmat – The Jeanie Schottenstein Centre for Advanced Torah Study for Women, with the support of Shavei Israel, which will also cover their living expenses and support them as they prepare to undergo formal conversion by Israel’s Chief Rabbinate. Upon completion of the conversion process, they will receive Israeli citizenship.

Shavei Israel is currently active in nine countries and provides assistance to a variety of different communities such as the Bnei Menashe of India, the Bnei Anousim (referred to as the derogatory “Marranos” by historians) in Spain, Portugal and South America, the Subbotnik Jews of Russia, the Jewish community of Kaifeng in China, descendants of Jews living in Poland, and others. For more information, visit shavei.org.

Format ImagePosted on March 25, 2016March 24, 2016Author Shavei IsraelCategories WorldTags aliyah, China, Israel, Kaifeng, Midreshet Nishmat

One of the new “dragons”

Soft-spoken, reserved, thoughtful. Hardly the epitome of a dragon. Yet, Joe Mimran’s definitely a dragon – one of the newest on the panel of investors on Dragons’ Den, CBC’s hit entrepreneur reality show.

The Canadian fashion designer, clothier and entrepreneur is best known for launching the Club Monaco and Joe Fresh brands. He is also a partner in Gibraltar Ventures, investing in early-stage digital businesses.

photo - Joe Mimran
Joe Mimran (photo from Joe Mimran)

The 63-year-old, Moroccan-born immigrant has spent nearly his entire life immersed in business, in ventures on his own or with family members, particularly in the clothing industry.

At an early age, he assisted his mother, Esther – who was a couturier in Morocco – in her Toronto-based boutique garment outlet. That business grew, necessitating the purchase of a small factory in Toronto’s garment district in the mid-1970s. Mimran joined to lead operations, manufacturing and finance.

“I was inspired by the design and esthetic world,” he said. “I like designing products, building stores.” He was “inspired by great prints, inspired to want to be entrepreneur.”

That inspiration evolved into Ms. Originals, tailoring suits and pants for women and, soon thereafter, Mimran and brother Saul hired designer Alfred Sung, with a goal to create their own clothing line. The Alfred Sung collection swiftly soared in popularity across the continent.

By the mid-1980s, he launched yet another line, based on the idea that a plain, white, quality cotton shirt was unavailable in the market – and Club Monaco brand was born.

“If you’re not a risk taker and abhor taking risks, entrepreneurship is not for you,” said Mimran.

“There were many people along the way of my career who said, ‘You’re crazy, don’t do this or don’t do that. What do you waste your time for doing that?’ I have stuck to my guns. Sometimes you need to say to naysayers that you have to pursue your dream.”

Unfortunately, the plan didn’t go smoothly at first. The Bay and Eaton’s didn’t want to carry the product.

“We realized that we had all these goods coming in and the only way we could move forward was to open our own stores,” he said.

They rolled the dice on a 5,000-square-foot store in trendy Queen Street West in Toronto, showcasing an array of attire. The day it opened in September 1985 saw their marketing campaign pay off in a major way, with line-ups to get into the store.

“From adversity comes something terrific,” said Mimran. “We realized, as we opened our own stores, we’ll cut out the wholesale margin.”

At the time, such a move was rare. Typically, retail stores bought through a wholesaler, he explained. “But, sometimes, you just have to dive in, make the mistakes, fix it, move forward, make more mistakes, and try different things.”

Mimran dived in, not only opening a flagship Club Monaco store in New York City on Fifth Avenue in 1995, but opening another 120 stores in the next four years. That success caught the eye of Polo Ralph Lauren Corp., who purchased both Club Monaco and Caban (another Mimran line) in 1999.

“A lot of businesspeople, having had lots of problems in the past, will try to dissuade somebody else,” said Mimran. “But your idea might be done in a new way, might resonate in a way that this very experienced person didn’t, couldn’t, anticipate. There’s always an idea that surprises people, and that leads to success.”

Mimran has continued that success, time and again.

Pink Tartan – a women’s line – was yet another Mimran venture, appearing in high-end retail outlets such as Holt Renfrew and Saks Fifth Avenue, as well as in its flagship store in Toronto’s Yorkville.

Mimran’s Joe Fresh Style, a private-label apparel line for Loblaw Companies Ltd., was launched in 2006. The label has since opened free-standing stores – the first Joe Fresh opened on Granville Street in Vancouver in 2010 and, soon thereafter, in New York City. Many others followed.

Mimran said the apparel industry is among the most competitive industries in the world. Because of this fact and his own experiences, he empathizes with the entrepreneurs who come to the Den having had tough breaks.

“No matter how good you are, or what you know, you can still fail in our business,” he said. “It keeps you pretty grounded.”

Today, Mimran sees a future of entrepreneurs that have opportunities that were nonexistent a generation ago.

“There’s more willingness to try by the new generation – millennials – who are asset light, where boundaries and borders are not an issue. They live in a virtual world and have the ability to take on more risk. They look at the world in a dynamic way that leads to entrepreneurship,” he explained. “Particularly in today’s world, where things are so different in terms of how one communicates with the consumer, all the new online fundraising channels that are available, what’s old is new, what’s new is old. It’s the Wild West out there.”

Dave Gordon is a Toronto-based freelance writer whose work can be found in more than 100 publications globally. His is managing editor of landmarkreport.com.

Posted on March 25, 2016March 24, 2016Author Dave GordonCategories TV & FilmTags CBC, Club Monaco, Dragons' Den, Joe Fresh, Mimran

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