Growing up, the writer was involved in community campaigns to help free Soviet and other Jews suffering state-sponsored, organized persecution. These campaigns were international and Vancouver youth also participated in them. Here are but two of the many items in the JWB about these causes: top one is from 1982; below, from 1976.
I was recently reminded of a fashion-activist item many Jewish teens of my generation wore: the stainless-steel Soviet Jewry bracelet. Etched with the name and date of arrest of a single Jewish dissident in the Soviet Union, each bracelet transmitted to the wearer a deep and penetrating sense of social justice and tribal consciousness. I wore mine proudly, and recall being equally pleased to be selected from my seventh grade class to present handmade cards of encouragement to Avital Sharansky, the wife of jailed activist Anatoly Sharansky (later Israeli politician Natan Sharansky), when she visited Vancouver in the mid-1980s on her global campaign to secure his release.
With the last of the Jewish communities having been freed from state-sponsored, organized persecution (other campaigns as my generation was growing up included the freeing of Ethiopian and Syrian Jews), there is little in the way of that Soviet Jewry bracelet campaign to bind today’s Jewish teens together in such a single, uncontroversial way. The modern state of Israel represents an ongoing cause, of course, but that issue is much more fraught: should a Jewish teen wear a bracelet etched with the name of a fallen Jewish soldier, or the name of one of the 182 Palestinian children currently (as of February 2015) being held in Israel detention – according to data provided by Defence for Children International? When it comes to social justice and activist solidarity, the issue of Israel is clearly complex.
I decided to poke around to see what Jewish teens these days are concerned with when it comes to issues and activism. What I found was a dizzying array of causes. From the website of the Orthodox NCSY (National Conference of Synagogue Youth), I found reports of teens volunteering with Habitat for Humanity and with Oklahoma tornado victims. Both USY (Conservative Judaism’s United Synagogue Youth) and NFTY (the Reform movement’s North American Federation of Temple Youth) select an annual theme to guide their social action and tikkun olam efforts: for 2014, USY chose “a focus on acceptance and tolerance including but not specific to gender, special needs, LGBTQ and racial equality,” according to its website. NFTY chose a similar theme for 2014-15: sexuality and gender equality. Habonim-Dror, which has various active local chapters, or kenim (nests), included a Maryland referendum initiative, for example, to campaign for undocumented high school graduates to become eligible to pay in-state university tuition fees.
Other Jewish educators I polled from the Jewish educators’ network JEDLAB reported that their teens are involved in various issues, including suicide prevention, food banks, poverty, water issues, peace/conflict resolution, mental health awareness and advocacy, women’s rights and empowerment, LGBTQ activism, medical marijuana, vaccines, human trafficking, transgender acceptance, orphans in western Kenya and child soldiers.
A report from the Jewish Teen Funders network attempts to aggregate data from 71 Jewish teen foundations in the United States and Canada during 2013-14, showing where the total of nearly $1 million in philanthropic dollars went. Across 362 grants awarded, the top five issue-areas in descending order were: youth, education, special needs, chronic illness and poverty.
And none of this even begins to capture the array of charitable and social awareness efforts represented in today’s mitzvah projects popular among 12- and 13-year-olds marking their bat and bar mitzvahs, a trend that was absent in my generation, as I recall, anyway. As a complement to that, here in Ottawa, my own shul has been running a monthly b’nai bitzvah class by Cantor Jeremy Burko, which has been including discussion of Jewish-history-informed social justice topics, such as labor conditions in the fashion industry.
What’s the takeaway from this big picture? On one hand, there is no longer a single cause (if there ever was one) that unifies Jewish teens. And that means that tribalism is likely being replaced by a sense of universalism: the sense that social justice must necessarily cross ethnic and religious boundaries. On the other hand, today’s Jewish teens are no doubt indeed being united in the very belief that through Jewish social action, they can repair the world in a global, nuanced and holistic sense. So, while I admit to feeling some nostalgia for the simplicity of the worldview embodied in the Soviet Jewry bracelet I wore with pride and even some excitement, I think we should feel buoyed by the youthful energy and optimism in our midst that the world is ours – and theirs – for the repairing.
Mira Sucharov is an associate professor of political science at Carleton University. She blogs at Haaretz and the Jewish Daily Forward. This article was originally published in the Ottawa Jewish Bulletin.
Editorial in the Jewish Independent’s predecessor, the Jewish Western Bulletin, March 20, 1931.
The JI spoke with four friends of the newspaper from longtime Vancouver Jewish community families about the value and future of a Jewish community newspaper: Gary Averbach, Shirley Barnett, Bernie Simpson and Yosef Wosk. We asked each the same four questions and they replied by email. Their responses are printed below.
Not only are the community members interviewed here longtime Vancouverites but they have been involved in communal life for decades. The announcement on the right is from 1959, and comments on how a group of youth including Gary Averbach brought “AZA No. 119 back to its strength of a decade before.”
GARY AVERBACH
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
It’s difficult to answer this question because it seems so obvious that having a community newspaper is vitally important. We need a forum and a notice board for opinions and events in the community and, if there was not a publication dedicated to providing that forum and bulletin board, our community would suffer an irreplaceable loss.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
For the most part, the JI/JWB has always been a bulletin board for the Jewish community, informing us about major – and minor – events and happenings. Whether they be reports on events that have occurred in the community – including the greater Canadian and worldwide Jewish community – or just informing us of births and deaths, b’nai mitzvahs and weddings, or local upcoming happenings. If not the JI/JWB, where would this come from?
3. In what ways, if any, is having a print version of value, versus only having an online publication?
For the next decade at least there will be a demand – albeit likely a decreasing one – for a printed version of the JI. That isn’t so much to provide for the very few people who still don’t or can’t use a computer, but to those of us who still prefer to hold a newspaper in their hands
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
I don’t even know what my grandchildren will be using to access their news in 10 years’ time, never mind what my great-grandchildren will prefer. But I’m fairly certain it won’t be print media as we now understand it. However, that in no way diminishes the need for a community forum and bulletin board giving a Jewish viewpoint on matters of local, national and international events – specifically items that directly involve Jews and, of course, Israel. So, whether it’s an online version, as we now know it, or some further refinement that we can barely imagine now, there will still be a need to inform our local Jewish community by the JI or some similar outlet.
SHIRLEY BARNETT
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
Among Shirley Barnett’s many community involvements is helping Vietnamese refugees come to Vancouver. This article is from June 1984.
Yes, for sure. I would like more reporting of issues in the community rather than just of events.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
Exactly that – a sense of community and interaction.
3. In what ways, if any, is having a print version of value, versus only having an online publication?
For me, for sure. I like to read it over a morning coffee, and still cut and clip.
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
Probably not.
BERNIE SIMPSON
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
It is extremely important for the Jewish community, which is spread throughout the province, particularly the Lower Mainland, to have a Jewish community newspaper. There is no question that the viability of printed media has been affected by easy access to online papers, however, it is noted that just about every ethnic community in British Columbia still has printed media, which is read primarily by the older generation.
This article from 1959 is but one of many recording Bernie Simpson’s participation in Habonim and other community organizations, including the Jewish Western Bulletin.
For example, in the Indo-Canadian community there are at least one dozen papers, half of which are in Punjabi. However, two of the most prominent papers, the Voice and the Link, have been in existence for more than 30 years, and are able to attract substantial advertising and are thriving within the community.
The Korean community has at least six papers, primarily in Korean. The Vietnamese community has at least four papers. The Chinese community has a countless number of newspapers, which attracts readers from the various regions from where the Chinese community has come, including Taiwan, Mainland China and Hong Kong.
Admittedly, however, those communities have far more significant numbers than the Vancouver Jewish community, and that may be the reason why those papers are more economically viable.
The Jewish community newspaper, by definition, helps promote a community by giving news as to various events that are happening, not only in Vancouver but in outlying areas.
It is also a vehicle to announce important fundraising activities and to give proper recognition to those who are honored in the community.
The reporting of international news particularly as it relates to Israel is important, and also the editorial content. I believe that we are fortunate in having editorial content that is objective. The letters to the editor, by and large, are articulate and represent, on occasion, a different view than the mainstream Jewish community may have, particularly with regards to Israel, and this view should be welcomed as it serves as a catalyst for thoughtful thinking on sensitive subjects.
The stature of the Jewish community would be diminished considerably in the eyes of the non-Jewish community if there was not a Jewish community paper. There is still the view that the Jewish community is well organized, speaks with one voice on contentious issues, is socially active in liberal causes and even responds to tragedies throughout the world, and I would think that the image of the community will be tarnished considerably if a community paper did not exist.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
To a certain extent this question is partially answered by my response to Question 1.
I believe that this paper helps keep the community focused and together, and it takes into consideration all aspects of the political spectrum as it relates to the three levels of government and objectively reports what is happening in Israel.
We are indeed fortunate to have the publisher (working with various editors), who is an outstanding journalist as is evident by the many awards that the Jewish Independent has won.
If it would happen in the future that the Jewish Independent did not exist, then that void very well could be filled with a community publication that lacks the objectivity that the present Jewish Independent has. For a brief period of time several years ago, such a paper did exist, and it was quite clear what the agenda of that paper was. In the Jewish Independent’s small way, it does help the debate with regards to the peace process in Israel between the Israelis and the Palestinians and the concept of a two-state solution.
3. In what ways, if any, is having a print version of value, versus only having an online publication?
I think, at this point, the majority of the readership are still of the generation where they don’t naturally gravitate every day to their computer or their mobile to see what news comes out this week in the Jewish Independent.
Longtime members of the community have had ingrained in them that towards the end of the week, the Jewish Independent will arrive. It often stays around the house until the next edition. I would think also that it would be harder to get advertising revenue if you’re only online.
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
Frankly, I’m not terribly concerned about the answer to that question, nor is it really relevant to the present situation. I am a senior member of the Jewish community now; my grandchildren are 6, 3, 2 and 1. It’s impossible for me, who on my best of days has difficulty directing my attention to the immediate past, to focus on whether the paper will be relevant for my grandkids’ kids, which would be around 30 years in the future.
I don’t think that we should be too concerned about that question, but what we should be concerned about is how we can make the Jewish Independent more economically viable.
One obvious answer is an increase in subscriptions. Perhaps, an active volunteer campaign could be conducted by members of the community to try to sign up more subscribers. This will make it easier to get advertising revenue.
It may be that there should be “an advisory board” set up to advise the present publisher as to how to make the paper more attractive to advertisers and to readers.
There is a great deal of talent within the Jewish community (well-known reporters who are still active, retired reporters with national papers, etc.); this is a resource that perhaps should be called upon.
Also, an advisory committee of individuals – businesspeople – can lend help financially, if the situation arises.
RABBI DR. YOSEF WOSK
1. Is it important to have a Jewish community newspaper? If so, what are some of the reasons?
Yosef (“Jerry”) Wosk’s decision to donate funds to Vancouver Talmud Torah on the occasion of his bar mitzvah in 1962 drew the attention of editor Sam Kaplan.
Yes, I feel it is important to have a community newspaper. It helps to gather and focus information about the extended family that is the community. It covers diverse topics, such as social events, politics, education, births and deaths, special interest groups, as well as emotional and intellectual concerns.
2. What do you think the JI/JWB specifically has contributed (contributes) to the community?
The newspaper has tried to be a neutral newsgathering and dissemination site. It carries articles that represent the full spectrum of the community, thereby fostering information and conversation.
3. In what ways, if any, is having a print version of value, versus only having an online publication?
The value of a print edition is that it can be read on Shabbat, it is easily accessible to everyone, including technophobes. It is always open and easy to read. Articles can be cut out and distributed. Having a hard copy on your desk or table gives it an immediate physical presence and material voice. In addition, a newspaper or magazine laying around in a public common area or even in a private home will attract readers who may not open an electronic device and search for a particular media address. The electronic edition may provide a number of supplementary links and also be available through a quick search, but it does not negate the value of a printed edition.
4. Do you think that a Jewish community paper will be relevant for your grandkids’ kids?
Who knows? However, newsgathering and dissemination in one form or another has always been of interest to the human condition and, so, I project that a community newspaper will still maintain its value in the future.
The Feb. 5, 1931, editorial, “A cultural program,” in the Jewish Western Bulletin laid out some of the hopes, dreams and challenges to the beginnings of organized arts and cultural programming in the Jewish community of Vancouver. In many ways, today’s challenges echo the challenges of 84 years ago: arts and culture requires participation and support. They also require belief; belief that they form the bedrock of any healthy, sustainable community and are a way to celebrate and connect to the past while envisioning a brighter future.
The JI spoke with the directors of five mainstays of the local Jewish arts and culture scene in 2015 – the Cherie Smith JCC Jewish Book Festival, Chutzpah!, the Sidney and Gertrude Zack Gallery, the Vancouver Film Centre and the Vancouver Jewish Folk Choir – and asked them the same five questions. Their responses follow.
CHERIE SMITH JCC JEWISH BOOK FESTIVAL Nicole Nozick, director
1. Could you give a brief history of your organization?
The JCC Jewish Book Festival (JBF) was founded in 1984 by a small group of book club friends led by Vancouver writer and publisher Cherie Smith. The group decided to create a forum to showcase Jewish writers to Vancouver audiences. After Cherie passed away, the Smith and Rothstein families established an endowment fund in her honor to support the festival in perpetuity and placed it under the stewardship of the Jewish Community Centre of Greater Vancouver.
The first book festival, Jewish Western Bulletin, May 1984.
The JBF – which celebrates its 31st year this November – has grown into a literary event of some magnitude, featuring award-winning international authors, showcasing Canadian writers, supporting local authors and publishers, and encouraging a love of reading across all generations. Despite its exponential growth, the JBF has not lost sight of its original core values and mission. The mostly volunteer-led operation echoes the passion of its original founders, many of whom continue to attend and support festival events to this day.
2. When did you become involved with it and what drew you to it?
I have always been an avid reader and, at a very young age, I recall making a solemn declaration to my classmates that “books are my best friends.” To this day, you’ll never find me without a book in my bag to keep me company wherever I may be. When the position of festival director presented itself in 2008, it was the perfect opportunity to marry my professional experience in management and production with my passion for reading and writing. Equally important, the part-time hours of the position allowed me to have the time I wanted to be with my young children.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
As bearers of the auspicious moniker “The People of the Book,” it is hardly surprising that literature plays such a significant role in the Jewish community, and our Vancouver Jewish community has shown itself to be more erudite than many in North America. The Vancouver JBF is on an equal footing in terms of participating authors, events, duration and audience as festivals from much larger Jewish communities, including Atlanta, Houston and San Diego. Further, the Vancouver JBF far exceeds other Jewish book festivals in Canada such as Toronto, Winnipeg and Calgary in its scope, outreach and operations. This is testimony to our community’s passion for literature and learning, and the arts.
It has been a pleasure to introduce our already well-read audiences to new writers – and to welcome old favorites. The festival’s focus on Israeli writers has had an important impact not only on our Jewish community but has had far-reaching impact on the community at large – both in Vancouver and across Canada. Etgar Keret, one of Israel’s foremost “new generation” writers credits his appearance at the JBF and subsequent interview broadcast on CBC’s Writers & Co. with his increasing success in Canada and sold-out speaking engagements in Toronto and Ottawa. (Keret will appear at the 2015 Vancouver Writers Festival.)
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
The book publishing world has gone though unprecedented change and upheaval in recent years. Increasingly, sophisticated technologies that introduced us to tablets, smartphones and e-readers have taken a heavy toll on the simple pleasure of reading a book. In this new age of shortened attention spans and 140-character communication, fewer and fewer people are making the time and applying the focus required to read a book. This is evident not least in the closure of countless bookstores and the bankruptcy of many publishing houses. One of our most important challenges at the JBF is to keep books and reading relevant not only to our current society but to generations to come.
The JBF has adapted to these changing circumstances in order to remain current and vital. Examples include collaborating with Chapters/Indigo to introduce e-readers to our bookstore, changing the scope of the bookstore’s inventory, creating new programs that incorporate digital technology. The JBF also incorporated emerging technologies to showcase international authors: for example, Etgar Keret, whose opening night gala interview was presented via international video-conferencing.
Of course, other important issues such as budget constraints have a detrimental effect not only on the JBF but on many arts and culture organizations. In times of economic uncertainty, arts organizations often bear the brunt of decreased funding, as both government and private sector funding is impacted. At the JBF, we are very blessed to be supported by a loyal and strong donor support base who recognize the crucial role literacy and literature plays in our society. This generous base has helped to keep the JBF sustainable.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
Without the magic of art and culture in our lives, the world would be a drab and dreary place, indeed. Though misquoted, the great bard, William Shakespeare, declared that “music is the spice of life,” and he was right – though certainly his reference was to all of the arts. Reading a good book opens our minds to new worlds, feeds our souls, impacts us in the way that little else can.
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CHUTZPAH! FESTIVAL AND THE NORMAN AND ANNETTE ROTHSTEIN THEATRE Mary-Louise Albert, artistic managing director
1. Could you give a brief history of your organization?
The Norman and Annette Rothstein Theatre (NRT), housed in the Jewish Community Centre, is a professionally equipped 318-seat performing arts proscenium theatre. It was established to enhance the cultural life of both the Jewish and general communities and is one of the Lower Mainland’s few mid-size proscenium theatres. The annual Chutzpah! Festival, Chutzpah!’s Creation Residencies, workshops for urban and rural youth and young adults program and Chutzpah!PLUS are our main professional programming activities.
Part of an ad in the JWB, February 2001. Current Chutzpah! Festival director Mary-Louise Albert is the dancer featured.
The Chutzpah! Festival, established in 2001 and named in honor of the late Lisa Nemetz, is one of the most respected international festivals in B.C. and Canada. Chutzpah! is known for presenting world and Canadian premières; supporting the creation of new work by way of multi-week dance residencies in the NRT with confirmed presentation of the residency work; and 2015 brought satellite dance festival residencies, youth workshops and performances to the North Island region of B.C., an exciting area of program growth and outreach.
2. When did you become involved with it and what drew you to it?
My first involvement in the Chutzpah! Festival was performing in the very first Chutzpah! in 2001. The founding artistic director of the festival, Brenda Leadlay, also put me on the poster. I was a professional dancer for over 17 years, and, after my second child was born, I left company life and freelanced as an independent dancer doing project and solo work, mainly. My company years had been with Anna Wyman Dance Theatre, Karen Jamieson Dance Company, Judith Marcuse Dance Company and apprenticing with Les Grands Ballet Canadian. My show in the inaugural Chutzpah! Festival was a shared evening with Toronto’s Kaeja d’Dance.
Shortly after this performance, I transitioned out of dance and studied arts management and business administration at Capilano University and BCIT. About a year after graduating from BCIT with a post-diploma of technology in business administration, the JCC hired me as the artistic managing director. My first Chutzpah! Festival as the AMD was the 2005 one, and I will never forget the fun photo shoot with Boris Sichon as the photographer snapped (I’m revealing my age) away for that year’s perfect poster image.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
For the past 10 years, Chutzpah! has been programming Israeli artists to the point where they make up the most numbers of our international artists. The importance of connecting Israeli artists to B.C. (and in most cases to Canada for the first time) helps develop an understanding of Israeli culture and the amazing complexities of its arts.
The exciting and entertaining multifaceted ways the performing arts accomplishes this understanding of Israel is a mainstay of the festival. No other festival in Canada programs the range or number of artists from Israel as we do. We have brought known artists and large groups such as Batsheva Dance Company, Kibbutz Contemporary Dance Company, Balkan Beat Box and the Idan Raichel Project, which we have presented in progressively larger productions. Many of our Israeli artists have been unknown to Canadian audiences, but we have still given these eclectic talented performers the opportunity to tour internationally, such as with Idan Sharabi and Dancers, Zvuloon Dub System, giving Yemen Blues and Maria Kong their first North American shows, Ish Theatre, Dudu Tassa, Itamar Boracov, Uri Gurvich and many more.
These artists perform in our home, the JCC, in the Rothstein Theatre, as well as off site and out into the general community. It is a sharing of Jewish arts and culture with the Jewish and general communities. The Lower Mainland Jewish community is integral in helping us with this and the loyalty of the Jewish community and its willingness to take a chance with artists they don’t know is so appreciated and keeps us going. When I looked out into the audience of our Chutzpah!PLUS concert with Ester Rada at the Imperial this year, my heart melted as I saw so many familiar faces. We can’t do what we do without this support.
Another area we are proud of is our commitment to programming world premières by B.C. artists, as well as our multi-week Creation Residencies. Supporting artists this way is paramount to artistic growth. This past year alone saw three world premières by B.C. artists and the year before we had three, as well.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
One of the biggest challenges is that with a festival the size of Chutzpah!, most artists (and, in particular, international artists) have to be programmed and committed to before most granting and donation revenue is secured, often one or two years in advance. Maintaining and increasing corporate and donor sponsorship is important to the sustainability of the festival. We have yearly support for our programming from government funders, such as Canada Council for the Arts and Canadian Heritage. A challenge is that we are a Canadian festival that programs many artists from another country, Israel. We are very grateful for annual support from the Jewish Federation of Greater Vancouver and the Israel Consulate, for instance, who help us with expenses relating specifically to our Israeli programming, as they know how important our Israeli programming is to the community. And … the community helps us so much by attending shows!
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
The arts engage on multiple levels, such as opening up new dimensions and developing creative expression as a stimulus for spiritual and ethical understanding. Exposure to the performing arts allows for the nurturing of inventiveness as a tool to develop self-discipline, self-motivation and self-esteem. Participating in artistic activities helps to gain the tools necessary for understanding the human experience, adapting to and respecting others’ ways of working and thinking, developing creative problem-solving skills, and communicating thoughts and ideas in a variety of ways.
The strength of Jewish arts and culture embraces and promotes the blossoming of divergent forms and points of view, and shares it with audiences from diverse communities. Many Jewish artists connect us to the differing aspects of the Jewish Diaspora. Exploring beautiful tensions and contradictions in these juxtaposed, but parallel, experiences helps feed a rich and engaging life.
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SIDNEY AND GERTRUDE ZACK GALLERY Linda Lando, art gallery director
1. Could you give a brief history of your organization?
The gallery began as the Shalom Gallery in the Jewish Community Centre; the then size of the gallery was 19’ by 40’ (760 square feet). The current size is 22’ by 40’, with excellent lighting and a high ceiling with skylights.
The Zack Gallery started life as the Shalom Gallery, JWB, May 1982.
In 1988, the gallery received a donation from the Sid and Gertie Zack family, and the gallery was renamed the Sidney and Gertrude Zack Gallery of the Jewish Community Centre of Greater Vancouver. At that time, the gallery was designed as part of the overall Phase II renovation project of the JCC.
The gallery has as goals: to create and promote a gallery of stature in which only high-calibre artwork (in all media) is shown, featuring artists of local, national and international reputation; to encourage the serious Jewish artist; to promote understanding of contemporary artistic concerns; and to participate in multi-cultural events.
2. When did you become involved with it and what drew you to it?
I have been an art dealer with a gallery presence in Vancouver for 30 years. It was time for me to make a change in my life, to have less responsibility and to become more a part of the community. At one time, I was a board member of the JCC and I was on the Zack Gallery committee for many years, as well, so I have always been drawn to the JCC and the gallery. As you can well imagine, I am very comfortable running the gallery, dealing with artists, having openings, etc.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
The Zack Gallery opened with a group show, JWB, June 1988.
The Zack Gallery has supported Jewish artists for many years. There have been shows that relate specifically to Jewish and or Israeli themes, as well as shows by Israeli artists. The gallery is a venue for Jewish artists who are not necessarily mainstream to show their work. It is unique in the city. It is important to support the gallery, as arts and culture are a huge part of the glue that holds the community together.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
Artists are always underfunded/underpaid. Part of the cost of having a show falls upon the artist. Funding is always a challenge.
Community support would be wonderful. I would be happy if more people supported the gallery by coming to the many openings, talks, poetry readings, etc. That would be very satisfying.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
As I stated, arts and culture are community glue. They bring together artist and patron, student and teacher, ideas and realization. Creativity is what is left when there is nothing else.
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VANCOUVER JEWISH FILM CENTRE Robert Albanese, executive and artistic director
1. Could you give a brief history of your organization?
Jewish films were first brought to Vancouver [by what is now known as the Vancouver Jewish Film Centre] under the umbrella of the Jewish Festival of the Arts, a community organization that was founded in May 1984. Films were sought out that showcased the diversity of Jewish culture, heritage and identity. In 1988, the Festival of the Arts morphed into the Vancouver Jewish Film Festival and, as demand from community organizations for Jewish film grew beyond an annual festival, the name was changed in 2013 to the Vancouver Jewish Film Centre to better reflect the breadth of offerings presented year round.
2. When did you become involved with it and what drew you to it?
In 2009, I was approached by the CEO of Jewish Federation and asked to take a meeting with the executive committee of the board of directors of the Vancouver Jewish Film Festival. The board was conducting a search for a new executive director.
The Jewish Film Centre developed out of the Jewish Festival of the Arts Society, JWB, February 1989.
At the time, I had held the position of director of exhibitions for the Vancouver International Film Festival for the previous 10 years. I had also been a general manager for Cineplex Entertainment. I was a successful photographer with a background in film-set photography and had previously been the managing director of Montreal’s premier repertory cinema.
The offer from the board of the Jewish Film Festival would allow me to bring to the organization 30 years of professional experience in all aspects of the film industry. In addition to the executive director position, I would also be their artistic director. The opportunity to make a difference, to contribute to the arts in our community was the “icing” on a long career in the film business. The added opportunity to grow the organization was a challenge I was eager to undertake.
3. What are some of the ways in which your organization has contributed to the community over the years?
The film centre has held an annual Vancouver Jewish Film Festival for 27 years; it is the longest-running Jewish film festival in Canada. We have engaged our community by bringing the best quality films that inspire, entertain, educate and connect us to the diversity of Jewish culture. The Vancouver Jewish Film Centre was founded to preserve and showcase our Jewish culture, heritage, identity, and we reach all members of the community. Our annual film festival is presented in a mainstream cinema, a secular environment, and is open to all who want to attend. It is a major social event that brings the community together. Film is the most reasonably priced form of cultural entertainment available today.
Film accesses and engages the broadest community. We are deeply committed to outreach and we work tirelessly with community organizations to bring films to their stakeholders. Generally speaking, the film centre is an organization with the potential to reach the whole Jewish community.
It’s Jewish continuity through storytelling in today’s visually oriented world.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
The film exhibition industry has changed dramatically in just a few short years. Everything is now digital, and the technology required for state-of-the-art presentation is very expensive. Film costs and venue rentals have risen through the roof; movie theatres with the proper screening equipment are in short supply. In spite of all of this, we have responded to the increased demand for more film presentations from our greater Jewish community. We travel to community organizations with projector and screen in hand to bring the films directly to them. We are co-presenting Victoria’s first Jewish film festival this November. We are facilitating film with the Okanagan Jewish community. We’ve facilitated numerous fundraising film events throughout the community for Jewish organizations of all kinds. All of the above means increased costs for us at the same time that our community in general is faced with aging infrastructures with large capital campaigns in place. That often means cultural entities are left struggling to attract funding from the community, funding required to keep us vibrant and relevant.
Our attendance has been growing year over year and is a direct result of the quality of both the films and the presentations. However, since relocating the annual film festival to the Fifth Avenue multiplex cinema we’ve seen a number of community members walk by our screenings to attend a “Hollywood” film in the next auditorium. The most obvious way to help is to attend the films we present; the old mindset of what constitutes a Jewish film no longer applies. The films we present are world class and just as good, if not better, than any other film showing in that multiplex today.
We always welcome more help from volunteers. Assisting us to bring our offerings to the community is a real way a community member can help.
Finally, we are soon launching our first-ever endowment campaign with matching funds from dedicated donors. We hope and trust the rest of our community will support this effort.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
There is a mountain of documentation from researchers all over the world about the benefits of having art and culture in one’s life. In my opinion, in the case of the Jewish Film Centre, we bring people together. Film opens a dialogue where none may have existed before. It can fill us with pride, self-esteem; it can literally break down barriers by allowing us to experience the life of the other. Film can help foster a sense of belonging and pride within a community. Film can preserve a collective memory and foster a continuing dialogue about the past.
The Vancouver Jewish Film Centre exists for this, we convene an inclusive community that celebrates, educates, entertains and inspires through thought-provoking films. We present the stories about the many diverse aspects of Jewish life. We aspire to be a cultural organ of the Jewish community in Vancouver, in British Columbia, and to act as a repository of culture for future generations.
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VANCOUVER JEWISH FOLK CHOIR Donna Modlin Becker, program coordinator, Peretz Centre for Secular Jewish Culture
1. Could you give a brief history of your organization?
The Vancouver Jewish Folk Choir of the Peretz Centre for Secular Jewish Culture was founded in 1980 by conductor/arranger/ composer Searle Friedman with the aim of keeping Jewish music alive and educating both Jewish and non-Jewish audiences to a world cultural treasure. The choir has about 25 members, both adults and seniors, and at present performs between eight and 10 times per year, both at the Peretz Centre and at venues within and outside of the Jewish community.
2. When did you become involved with it and what drew you to it?
Vancouver Jewish Folk Choir third season ad in the JWB.
In the late 1990s, I was looking for a choir to join, and found the Vancouver Jewish Folk Choir. I was excited to be singing in Yiddish, which I grew up surrounded by, and pretty quickly felt very at ease with the other choir members. The older people reminded me of the grandparents I lived with growing up in a Jewish community in Brooklyn; politically, and in many other ways, I was very culturally comfortable in the choir. And it gives me great pleasure to be singing in the language of my ancestors – I feel I am honoring them with my music. And I love the beautiful minor mode of so much of the repertoire.
3. What are some of the ways in which your organization has contributed to the community over the years? ie. Why is it important for the community to have/support?
Some of the ways in which the choir has contributed to the community, in no particular order:
• Thanks to founder Searle Friedman and current director David Millard, the choir is keeping the Yiddish repertoire alive. (Not only to entertain the old people, but also for the sake of future generations, I think keeping our Yiddish roots alive and visible as long as possible is hugely important.)
Both Friedman and Millard have arranged traditional and contemporary Yiddish music (and other Jewish music) for choir. Over the years, the choir has focused more and more on Yiddish, and exposed audiences to a wide variety of songs in that language, as well as major works by Srul Irving Glick, Mordecai Gebirtig, Max Helfman and others.
• In addition to regular performances at the Peretz Centre, which include holiday celebrations and an annual major concert, the choir also performs a Chanukah concert annually at two seniors homes – the Louis Brier and South Granville Park Lodge. In the last few years, the choir has also performed its Pesach repertoire at the Louis Brier. We hear from the people who work with the residents at both venues that many people who are very cognitively impaired in other areas can still relate to music, and people who can no longer speak are still able to sing. The joy we feel in the audience at the Louis Brier as we offer them songs both familiar and new is palpable.
• The choir gives people who like to sing a chance to sing in some of the languages of our people – Yiddish, Hebrew, Ladino and English – and an opportunity to socialize with other people who also enjoy singing this music. Many of the people in the choir have no other connection to the Peretz Centre.
• The choir has also performed at other venues, such as the Jewish Community Centre, the Richmond Seniors Centre, CityFest, VanDusen Festival of Lights, and the Federation of Russian Canadians. In this, we provide an outreach to the broader community, and expose wider audiences to Jewish music beyond modern Israeli or religious music or klezmer.
4. What are some of the challenges in keeping it going? Are there specific ways in which community members could help with those challenges?
The main challenge is cost. At present, the conductor, accompanist and three section leaders are paid on a weekly basis. We often have to hire additional voices for major concerts, as well.
Two major ways that community members could help with those challenges: join the choir, and come to the concerts! Another way: write support letters that the choir can use in grant applications.
5. What are some of the benefits, in your opinion, of the arts in general and why it’s important to have arts and culture in one’s life?
I touched on some of this previously in regards to stroke victims and other cognitively impaired people responding to music long after they are no longer able to respond to other forms of communication. But, in more general terms, what would life be without arts? The question is so huge; all I can think of to say is: “Hearts starve as well as bodies, give us bread but give us roses, too.”
It is with warm memories and appreciation that I reflect on the opportunity I had from 1970 through 1985 to serve, at different times, as the Jewish Western Bulletin’s editorial assistant, city-desk editor and assistant editor – all the while helping report on the world’s ongoing number-one story: the Middle-East situation … and the Jewish people, their survival, culture, religion and history.
The Greater Vancouver and B.C. Jewish communities were growing rapidly during those years and its diverse members – with, at that time, no internet, email or 24-hour all-news TV channels – primarily looked to the paper as a key source of information for major local, national and international Jewish issues and stories.
Bringing those stories to Bulletin readers during those pre-computer days, with its absence of word-processing and page-layout software, was often a very arduous endeavor, with copy that had to be typewriter-written and then often retyped, and pages that could only be slowly hand-designed. Additionally, the then standard usage of large linotype printing machines (running in the back of the Bulletin offices, and operated by four persons) resulted in a much longer and more involved production process than the one found today, where late-breaking stories can be readily included using digital technology.
Description of Bob Markin, JWB, 1970.
Guiding the paper with excellence were the exceptionally dedicated and talented publishers and senior editors, Sam and Mona Kaplan. One goal was prevalent in all of the JWB’s undertakings during those years: to extensively and objectively cover important news and issues that affected the well-being and life of the Jewish people; to serve and advance, as best as possible, the B.C. and Canadian Jewish community, its individuals and organizations and, of course, Israel and world Jewry.
In serving the community, the Bulletin often focused on supporting Zionism, alerting the readership to antisemitic threats and incidents, and reporting on immigration issues. Readers could regularly find wide coverage of local community events and organization happenings, feature articles on community issues, in-depth profiles of local personalities and leaders, etc…. and the Lazar (Between Ourselves) column, with its breezy, informal style of “breaking” community news-gossip, was usually a must-read for JWB readers.
The culture scenes were far from neglected, with reporting by theatre, art, music and, yes, Jewish stamps, columnists and reviewers. The full-range of lifecycle milestones, such as births, b’nai mitzvahs, engagements, weddings and obituary announcements, were regularly printed.
Jewish news from across Canada and worldwide was extensively covered, with emphasis, of course, on the ever-changing situation in Israel and the Middle East, as well as the special plights at that time facing Soviet Jews and Ethiopian Jewry.
Throughout my 16 years at the paper, I found that participating in each issue’s production was truly an ongoing highlight, resulting in a strong feeling of exhilaration as the approaching deadlines brought with them an intensity in office visitors, copy submissions, planning, writing and editing, phone calls, the sounds of typesetting, etc. Other memorable times included the privilege of meeting visiting and local VIPs for stories and feature profiles, and taking part in a special Jewish Agency-sponsored tour of Israel for North American Jewish journalists, during which participants met many key leaders.
The staff always came through. When heavy snows closed offices around the city, we were at the JWB ensuring that the paper got out. When postal strikes thwarted distribution, we made arrangements for copies to be picked up, free of charge, at key community locations. And when large holiday editions saw production-time pressure, the typesetters would work all night to make sure that the paper would be in readers’ hands on time.
The Bulletin always respected the challenge of objectively and completely reporting on the full spectrum of what was happening in the Jewish world.
It was very interesting, challenging work and an utmost privilege and pleasure to work with this wonderful community.
A singles ad placed in the Bulletin by father-son team Ron and Steve Freedman in 1992 led to the engagement (in 1997) of their son/brother David to Betty-Mae Coblenz, who were married in 1998.
Ron Freedman, who passed away in December 2014, worked for the Jewish Western Bulletin / Jewish Independent for 46 years. As we mourned his loss with his family at a ceremony celebrating his life, his son David shared the story of how his father and his brother Steve, who has worked at the paper for more than 30 years, used the power of community media to change his life.
As Alex Kliner explained in his May 15, 1998, Menschenings column:
“David Freedman was baffled. Three young women had responded to his personals column ad in the Jewish Western Bulletin. But wait! He had never placed an ad. But whatta ya’ gonna do? His curiosity was aroused. So he agreed to meet Betty-Mae Coblenz for coffee. They talked for hours. Not long ago, Betty-Mae Coblenz became Betty-Mae Freedman.
“And the mysterious ad? It seems David’s dad, Ron, and brother, Steve, (both JWB staffers) had placed it in the personals under David’s name. It was a joke! Not a bad joke, eh? And what’s more, it obviously pays to advertise in the JWB!”
בפועל בלקברי רכשה את חברת הסטארט-אפ הישראלית וואצ’דוג. (צילום: Kārlis Dambrāns via wikimedia.org)
בלקברי עושה עלייה מובטחת: תיפתח לראשונה מרכז פיתוח בישראל
חברת הסמרטפונס הקנדית בלקברי (שהמטה שלה נמצא בווטרלו אונטריו) תיפתח לראשונה מרכז פיתוח בישראל. המרכז בפתח תקווה ויועסקו בו כמאה עובדים. זאת במסגרת הרחבת פעילותה ונסיונותיה לשפר את הטכנולוגיה ואבטחת המידע שלה, ולהגדיל את נתח השוק במגזר העסקי שבשוק הסמרטפונס.
בפועל בלקברי רכשה את חברת הסטארט-אפ הישראלית וואצ’דוג, לפיתוח טכנולוגיה לאבטחת מסמכים וקבצים. הגוף שמשתמש בטכנולוגיה שלה יכול לשלוט טוב יותר במידע ובקבצים שלו. הוא יכול לדעת היכן נמצאים הקבצים שלו בכל רגע נתון, ולהשמיד אותם מרחוק במקרה הצורך. בלקברי תצטרף את הטכנולוגיה של וואצ’דוג לשירותי הפורטפוליו שלה, למיגון מערכות ההפעלה.
עלות רכישת וואצ’דוג על ידי החברה הקנדית מוערכת בין מאה למאה וחמישים מיליון דולר. וואצ’דוג הוקמה ב-2008 ולצורך פעילותה גוייסו השקעות בסדר גודל של כ-30 מיליון דולר.
יו”ר ומנכ”ל בלקבריי, ג’ון צ’ן, הצליח לעצור את הידרדות החברה שכמעט והביאה לסגירתה. הוא פיטר עובדים, שיפר מערכות והתייעלות, והתמקד בתחום התוכנה הארגונית. תחת ניהולו יוצאים מכשירים שמעניינים את השוק לשם שינוי, בהם ‘פספורט’. 200 אלף מכשירי ‘פספורט’ נמכרו ביום אחד, עת הדגם יצא לשוק בספטמבר אשתקד. והמלאי הראשוני שלו אזל בתוך עשר שעות בלבד. בעיון בדוחו”ת הרבעוניים של בלקברי שפורסמו בסוף מרץ עולה כי החברה הצליחה לבלום את את הצניחה בהפסדיה, ורשמה לראשונה לאחר שנים רווח נקי (של 28 מיליון דולר).
בהודעה להוציא לעיתונות הסביר צ’ן מדוע בלקברי רכשה את וואצ’דוג: “בלקברי ממשיכה כל העת להגדיל את מעטפת אבטחת המידע, כך שהיא תוכל לאפשר שיתוף מידע יותר מאשר הגבלתו. רכישה זו היא צעד נוסף קדימה בהפיכתה של בלקברי לפלטפורמה המובילה לתקשורת סלולרית, תוכנה וישומים מאובטחים, התומכת בכל מכשיר ובכל מערכת. הודות לרכישת סקוסמרט אשתקד, השותפות שלנו עם סמסונג, מאמצעי הפיתוח שלנו והרכישה הזו של וואצ’דוג, אנו יכולים כעת לספק תקשורת מאובטחת מקצה לקצה הכוללת שיחות קוליות, הודעות טקסט, תקשורת נתונים וכעת גם שיתוף קבצים מסוכרן”.
ועוד חדשות בנוגע לבלקברי: הסכסוך עם טי-מובייל האמריקנית הסתיים לאחר כשנה, והאחרונה תחזור למכור מכשירים של בלקברי.
קסדה עם שני ראשים: חייל שאיבד אותה לפני 70 שנה ציווה להחזירה למי שמצא אותה
ג’ורדן צ’יאסון (21) מהעיר מונקטון שמזרח המדינה הוא אספן של ציוד צבאי ישן. לפני כשנה הוא רכש בחנות מקומית לציוד צבאי ישן קסדה ב-30 דולר. לאחר שבדק את הקסדה מקרוב מצא שחרוט עליה השם גו’רג’ ג’ונסטון ומספרו האישי. הוא חיפש מידע על ג’ונסטון ומצא שהוא עדיין חי ואפילו גר באותה עיר. צ’יאסון החליט להביא את הקסדה לג’ונסטון בן ה-93, והמפגש עימו ועם אשתו אנני היה מרגש ביותר. הזקן לא האמין שיתאחד מחדש עם הקסדה שלא ראה במשך עשרות שנים.
ג’ונסטון הצעיר לחם עם הכוחות הקנדיים במלחמת העולם השנייה בבלגיה, הולנד, צרפת ובריטניה. הוא השתמש בקסדה במשך שש שנים, לדבריו היא הצילה אותו לא פעם. עם סיום המלחמה ופתיחת החגיגות הגדולות הקסדה אבדה. ג’ונסטון חזר הביתה למונקטון ושכח ממנה.
ג’ונסטון נפטר לפני מספר שבועות בגיל 94 ולפני מותו ציווה להחזיר את הקסדה לצ’יאסון. אלמנתו מסבירה מדוע: “בשנת חייו האחרונה בעלי וצ’יאסון הפכו לחברים קרובים. בעלי חשב שרק צ’יאסון יוכל לשמור על הקסדה היקרה הזו”. צ’יאסון מוסיף: “עם סיום הלוויה משפחת ג’ונסטון ניגשה אליה ומסרה לי את הקסדה למשמרת. אני בכיתי וכולם בכו”.
Eran Riklis, director of Dancing Arabs. (photo from Mongrel Media)
Dancing Arabs, which was part of the most recent Vancouver Jewish Film Festival, has its general release on May 15. A multilayered coming-of-age story, the screenplay is by Sayed Kashua, who wrote the novels on which it is based, and it is directed by Eran Riklis.
While called Dancing Arabs, the film is a combination of Dancing Arabs and Second Person Singular, two novels with very different tones.
“I read a first draft that Sayed wrote before I joined the project and it was much more Dancing Arabs and it was much more kind of a comedy,” Riklis told the Independent in a phone interview. But that changed. The first part of the movie, “which was almost pure Italian comedy,” became a way to draw in the audience, “maybe taking away any preconceptions or resistance that an audience might have when it comes to see a film, where it has all the opinions in the world about the Arabs, and this and that.”
Riklis wanted the audience “to fall in love with the character and then, when the film changes its tone and it gradually becomes more and more dramatic … you can’t walk away because you love this character and you want to root for him, you want to join him on his journey.”
With the novel Dancing Arabs being autobiographical, Riklis said he had to remind Kashua that the film was a different entity. It was about Eyad, “and even though there are reflections of reality, the grandmother and the father, whatever it is, it still is a new life, which is true of almost any film that deals with a real story at least partly.”
The challenge was “to do something which is at once meaningful and yet communicative, and striving to reach a wider audience. For me,” said Riklis, “all my films, or most of my films, deal with, let’s say, not easy issues, but I always try to … remember that this has to be a good story.”
Reaction to his films has varied. “If you look at The Syrian Bride, for instance, it had a very warm reception everywhere, both in Israel and worldwide. Lemon Tree was very tough in Israel because it was a little bit too close to home, and then really about sensitive issues, and yet it was probably my biggest success worldwide.” The response everywhere to Dancing Arabs has been “very emotional,” he said, which makes him happy because it means people “understand that this film comes from a place of respect and love and honoring the subject, as complicated as it is, but nobody’s trying to manipulate you here. There is a manipulation in the sense of filmmaking because that’s what filmmaking is about, but I think, emotionally speaking and intellectually speaking, this is a democratic film: it’s like, here are the facts, here’s the situation, here’s a story, here’s the person … and you judge for yourself.”
“… here we’re talking … about a minority that is 20 percent of the country. That’s 1.6 million people…. This is a major thing and, not only that, they’re not in Afghanistan, they’re living right in the middle of the country, next to us, amongst us, with us, and yet they’re invisible.”
When asked what sets Dancing Arabs apart from his other films about the region, Riklis said, they “have dealt with either the Israeli-Palestinian conflict or the regional conflicts or the Druze conflict, whatever, but here we’re talking … about a minority that is 20 percent of the country. That’s 1.6 million people. It’s not like you have some people living on the hillside with two camels. This is a major thing and, not only that, they’re not in Afghanistan, they’re living right in the middle of the country, next to us, amongst us, with us, and yet they’re invisible.”
The novels’ treatment of an internal conflict within Israel “was something that I felt was close to home,” said Riklis. “It’s important enough, and it’s getting more important by the minute. I can see what has happened between the time I shot the film and now. The internal tensions and the growing gap within Israeli society, both within the Jewish one and between the Jews and Arabs inside the country, I felt it’s time to shed a light.”
Riklis and Kashua worked on the script for about a year, on and off, not only because of the material but because they were both busy. Kashua was not involved in the filming process.
“In a strange way, even though it was not an easy film to make on many levels, when I look at it now, I feel it was one of my easiest films,” said Riklis. “That’s because, emotionally, I was so much into it. People ask me, how can you create an Arab family? Well, first of all, I had Sayed writing, so it comes from a very authentic place, but also, once you step in, you say, well, this grandmother is my grandmother, this father could be my father. It’s very easy for me … well, not easy, but, I go back to using respect and knowledge and making sure you get your facts right, at least emotionally, then it’s not so difficult for me because when I watch people, when I look at people, I don’t see color and race, not even age, I don’t really care.”
As with many books, much of the action in Kashua’s novels takes place in the protagonist’s mind. “I think the answer is simplicity,” said Riklis about transforming that style of writing to the screen. “It’s almost like just tell the story, just go with your characters, put them in interesting situations, make sure that every situation is a step forward.
“At the end of the day, I think a director, and almost everybody, is a slave to the story in terms of making sure the story keeps being interesting, keeps being reflective, keeps moving forward.”
“One thing I’ve discovered – but it’s me and another million directors, I think, or at least the good directors have realized – that every inch on the screen is significant. You can sometimes convey 10 pages of text by the color of a shirt. There are so many elements that you put together and I’m really careful with that in terms of what a person is wearing … what’s his environment and what other people are doing and what he’s looking at. And then you have the camera, the kind of lens that you choose and the lighting. There are so many elements that support you but also mean that you have to take responsibility and make sure that they really serve the story. At the end of the day, I think a director, and almost everybody, is a slave to the story in terms of making sure the story keeps being interesting, keeps being reflective, keeps moving forward.”
Music plays a big role in both books, and also in the film.
“It’s funny,” said Riklis, “because there were a lot of things in the script where it was like, ‘Naomi [Eyad’s Jewish girlfriend] and Eyad go to a concert in a club in Jerusalem,’ and we didn’t dig into it…. Then I found myself Googling myself to death to find what was popular in the late ’80s in Israel.” He came upon a song from a controversial rock opera, with explicit lyrics about rape and the Palestinians, and it became “a totally different scene. Suddenly, it’s emotional, and suddenly Naomi’s not feeling comfortable and Eyad is not feeling comfortable, and it has its own message and it’s brutal, and yet it’s not.
Eyad (Tawfeek Barhom) and Naomi (Danielle Kitzis) in Dancing Arabs. (photo by Eitan Riklis via Mongrel Media)
“Same thing went with, for instance, Joy Division, ‘Love Will Tear Us Apart,’ which came from me.” Riklis had seen Control, a film about the British band. He said, “Ian Curtis, the lead singer, was epileptic and used to collapse on stage and at some point couldn’t take it anymore and committed suicide at a very young age – I felt, wow, this is the song for Yonatan, this is exactly a reflection of Yonatan’s life.” A peer who Eyad helps with his schoolwork and eventually befriends, Yonatan has muscular dystrophy.
There were other sound choices, as well. For example, where the script says Naomi and Eyad go to a movie, “I realized that following the scene where Eyad carries Yonatan to the bathroom, which is a very emotional scene, and he carries him almost like it’s a very Christian or Jewish image … my next cut I knew was Naomi and Eyad at the cinema and I didn’t want to see a clip from a movie, I wanted to listen to it. Then I said, OK, what’s appropriate here?… I thought about Wings of Desire, the Wim Wenders film, which in Hebrew is called Angels of Berlin. I said, what we need now, what Yonatan needs now, maybe Eyad as well, is an angel to protect him and to maybe keep him alive. And so I said, maybe it would be beautiful if they [are] listen[ing] to this monologue from the film, the beautiful voice of Bruno Ganz. Even though it’s in German, it’s just purely emotional.
“That’s the way I work,” said Riklis. Whether it’s the music, films “or even the news clips that you see in the movie, they always give you another layer. For example, Eyad comes to Edna’s and Yonatan’s house for the first time and he’s left alone in the living room. On television, there’s a report about a suicide terrorist who drove a bus into a ravine and dozens were killed.… The reality outside is on TV and yet he goes to the window and he watches and he hears the Arab prayers coming from the Old City. It’s almost like he’s looking at his own [life], like his older life is calling him back. And yet, he’s in this fancy apartment in west Jerusalem.”
Riklis admitted, “It’s interesting, I think, when people see the film for the second time – they discover so many things they haven’t seen the first time.”
Dr. Adele Diamond, left, with Dr. Rania Okby at a Canadian Associates of Ben-Gurion University-hosted event at the University of British Columbia, in which Okby discussed some of the health challenges facing the Bedouin in Israel. (photo by Cynthia Ramsay)
Next week, Adele Diamond, professor of developmental cognitive neuroscience at the University of British Columbia, will be presented with an honorary doctorate from Ben-Gurion University. The professor spoke with the Jewish Independent at her lab on the UBC campus.
Born in New York City, Diamond’s academic career took root at Harvard, where she studied anthropology, sociology and psychology, but was not yet interested in the brain. After she decided to retire her first thesis idea, she was inspired to take a closer look at brain development in babies.
“My first year in graduate school, my advisor [Jerome] Kagan was jumping up and down about all the changes you see in babies’ behavior in the first year of life. No matter where they are in the world, whether they’re in kibbutzim, in nuclear families, they’re in Africa, they’re in Asia, it doesn’t matter. You see the same cognitive changes at basically the same time during the first year. He said, ‘It can’t all be learning and experience, their experiences are too different. There has to be a maturational component [in the brain].’ He was so excited about this, you couldn’t help but be excited,” she said.
Today, Diamond’s lab seeks to understand how children’s minds and brains develop. Specifically, she studies an area called the prefrontal cortex (PFC) and the cognitive abilities that depend on it, known as executive functions (EFs).
In a 2011 paper, Diamond describes the critical role of EFs. “To be successful takes creativity, flexibility, self-control and discipline. Central to all those are executive functions,” including cognitive flexibility (thinking outside the box, perspective taking), working memory (mentally relating different ideas and facts to one another) and inhibitory control. Other EFs that depend on these three building blocks include mental reasoning, creative problem solving, planning and execution.
EFs can be lacking in children who have behavioral, neurological and developmental disorders and are compromised in kids diagnosed with attention deficit disorders and autisms. The PFC is also influenced by environmental factors, compromising EF in kids experiencing poverty and other disadvantages and stressors. Fortunately, there are interventions that have been found to be successful, especially when implemented in early childhood.
“Traditional activities that have been part of all cultures throughout time (e.g., dance, music-making, play and sports) address all these aspects of a person – they challenge our EFs (requiring focus, concentration and working memory), make us happy and proud, provide a sense of belonging and help our bodies develop,” the lab’s website explains. Importantly, Diamond’s lab has “documented marked advances in executive functions due to an early childhood school curriculum (Tools of the Mind) that requires no specialists or expensive equipment, just regular teachers in regular classrooms. The children who spent more time in social pretend play outperformed their peers who received more direct academic instruction.”
She explained in a 2007 paper, “Brain-based doesn’t mean immutable or unchangeable. EFs depend on the brain, yet exercising and challenging EFs improves them, much as physical exercise hones our physical fitness. Yet, transfer is never wide; to get diverse benefits, diverse skills must be directly trained and practised.”
There is a deep connection between mental health and EF and it’s not just depression and anxiety that have a negative impact – sadness and loneliness also correlate with compromised EFs. “Prefrontal cortex and executive functions are kind of the canary in the coal mine. So, if anything isn’t right in your life, it’s going to hit prefrontal executive functions first and most,” she said. “So, if you’re sad, if you’re lonely, if you’re troubled, if you’re not physically fit, if you’re not getting enough sleep, if you don’t feel socially supported, if you feel ostracized, any of those things, it’s going to impair executive functions. A lot of people notice that when they’re feeling stressed or down for whatever reason they can’t think as clearly or exercise as good self-control – and that’s not just your perception, it’s really true … the phenomenological experience is credible.
“There are a lot of technical reasons why that’s true for prefrontal in the neurochemistry. That’s one of the reasons I argue that we have to care about the whole child. We can’t say school is just about the cognitive, because if the child is sad, if the child is stressed, if the child is lonely, the child’s not physically fit, the child isn’t going to be able to do as well academically as the child would otherwise be able to do. The child can’t show the academic potential he actually has.”
“If you step in right away when the kids disagree then they don’t have the chance to work it out among themselves…. I think a lot of kids don’t have that now. Parents are too afraid. There isn’t any place to play and I think those are important learning experiences.”
The trend towards structured play can be problematic for a child’s developing brain. “The helicopter mom, who needs to structure it all for the kids, doesn’t give them any chance to have some autonomy, have some say, use some creativity and work out disagreements,” Diamond said. “If you step in right away when the kids disagree then they don’t have the chance to work it out among themselves…. I think a lot of kids don’t have that now. Parents are too afraid. There isn’t any place to play and I think those are important learning experiences.”
Another useful tool in developing mental discipline can be memorization. In the West, we have largely decided that memorization is not a worthwhile, but there are cultures where rote memorization is still highly valued.
“In East Asia, they have too much extreme of memorization and too little creativity,” Diamond said. “The child’s goal is to learn from the masters, not question them, not try to come up with new things. First, get to know what the sages have to teach us. In some ways, I think the Orthodox Jewish education is like that. Each generation that is further from Mount Sinai knows less, and so we really want to try to absorb all that the older generations have to teach us before we think about surpassing them.
“But I think a mix is the right way…. I used to be on the bandwagon of memorization is just stupid; I hated it when I was in school. You can just look up these things, why do you have to memorize it? Then I was in Dharamsala, I gave a talk to the Dalai Lama, and we were talking afterwards. I asked him, I said, ‘I’ve told you about Tools of the Mind. What is a Buddhist way to train the minds of young children?’ The Dalai Lama said, ‘We don’t try, we wait until they get older.’ But his translator, [Thupten] Jinpa said, ‘We have them memorize. We’ll take something long and each day they have to memorize a little more. It’s a mental discipline that we’re teaching them.’ I think it’s a way of disciplining the mind, training the mind. I think there’s a real place for it, in that case.”
In fact, memorization can afford more cognitive and creative freedom. “What you want to do as you keep getting older is not have to pay attention to the fine details and be able to chunk things, so that you can deal with more and more the bigger picture and relating things,” said Diamond. “The more things are memorized, the more you can chunk it. You don’t have to go through the words of the poem, you just say the name of the poem and now you have all of it. Now you have a lot more information at your disposal to be able to play with and work with….”
Most of all, it’s important to grasp the (misunderstood) role of joy in nurturing developing minds and healthy children, she suggested.
“First, we often think that joy is the opposite of serious. If we’re walking down the school corridor and the kids are having a great time in the classroom, there’s lots of noise, we think they must be on recess, they couldn’t possibly be doing a lesson because there’s too much happy noise coming out of there. That’s, I think, a bad misconception. You can be learning and doing serious stuff and still have a great time. And you don’t have to be miserable to learn important stuff.”
Attachment is another key to healthy development. “I think Jewish families are pretty good about having secure attachment,” she said. “Sometimes they get a little enmeshed later, but I think that Jewish families really let the child know that the child is loved and cared for, they’re there for the child.”
She added, “Of course, a kid who is not securely attached is going to be more fearful, it’s going to be harder for other people to get close to him, for him to get close to other people. A kid who is securely attached thinks the world is a good place, he’s safe, he can trust other people, he can trust the world. There’s a lot more reason to feel relaxed and joyful.”
“The analogy I use is who learns a route better: the driver or the passenger? Everybody knows the driver does and we all know why, because the driver has to use the information and the passenger is just passively sitting there…. If you say, well, why should kids be actively involved in learning as opposed to just be passive recipients, everybody can understand that point and then we get to the more virtuous things.”
An influence in Diamond’s work is Abraham Joshua Heschel’s emphasis on doing. In Judaism, action, not belief, is key. “There are two things. One is, when we’re not talking about virtuous things, we learn better when we’re actively involved. The analogy I use is who learns a route better: the driver or the passenger? Everybody knows the driver does and we all know why, because the driver has to use the information and the passenger is just passively sitting there…. If you say, well, why should kids be actively involved in learning as opposed to just be passive recipients, everybody can understand that point and then we get to the more virtuous things.
“The Dalai Lama has said, if you want others to be happy, practise compassion. If you want to be happy, practise compassion. Now, the first part makes sense to everybody. The second part doesn’t always make sense.” It will never make sense intellectually, she continued, “the only way it makes sense is for you to do something nice for somebody else and see the wonderful smile you get in reaction, and then you understand. Or somebody says how meaningful that was to them or how important it was and then you see what you get back. But there’s no way to understand that without experiencing it.
“So, you tell the cynical kid, ‘I want you to just do it for awhile.’ What Heschel said is that the musician might be playing for the money but if he’s thinking about the money when he’s playing the concert he’s not gonna play a good concert. While he’s doing it, he’s got to be heart and soul in the music. So, if the child wants to see what it’s like to do nice things for people, during those few times when he’s doing nice things, he’s got to be heart and soul, not cynically doing it, but doing it genuinely. I think, in short order, the child can see that he gets something back from it. You don’t have to do it for years and years before you can see the wisdom of what mom and dad wanted. You can see it pretty quickly.”
The upcoming honor from BGU has grown out of a mutual appreciation. “I have lectured at most Israeli universities, but one of my favorites is Ben-Gurion, I think I’ve been there more than others…. I met the president [Rivka Carmi] last time I was there and she wanted me to come back and teach the course again.” They formed a personal relationship, as well, Diamond said, and then, recently, Carmi nominated her for the award.
Basya Layeis the former editor of the Jewish Independent.
Torah scribe Rabbi Moshe Druin writes one of the scroll’s final letters with the help of a Temple Sholom family, who won the honor by lottery with five others. Rabbi Dan Moskovitz uses his cellphone to allow the rest of the congregation to witness the writing. (photos by Cynthia Ramsay)
On Sunday, May 3, Temple Sholom completed a new Torah in honor of its 50th anniversary. Florida-based sofer (scribe) Rabbi Moshe Druin was assisted by more than 1,000 hands in writing the scroll and there were so many people who contributed to the project that Temple Sholom Rabbi Dan Moskovitz noted at the siyum hasefer that the congregation had also written “a new Torah of volunteerism.”
Rabbi Dan Moskovitz raises the newly completed Torah as, left to right, Cantor Naomi Taussig, Rabbi Carey Brown and Rabbi Moshe Druin look on.
Gratitude and community were the words of the afternoon, as the combined blast of several shofarot brought the excited crowd to order. Project co-chairs Anne Andrew and Jerry Lampert offered their thank you’s to all those who helped with the project that began in October 2014, including more than 100 volunteers working more than 1,200 volunteer hours. Siyum co-chairs Kevin Keystone and Marnie Greenwald added their appreciations, while also explaining the logistics of the upcoming parade of the Torah, to be headed by the band Balkan Shmalkan.
At each table, there were photos of those who inscribed a letter in the Torah.
Alex Konyves led two groups of kids in song, Rabbi Carey Brown told a short story about letters as prayer, and synagogue president David Schwartz spoke of the many impacts of the project on the congregation. “I am very pleased to report,” he added, “that we have raised to today over $336,000. We’d love to make our double-chai goal of $360,000.” A scroll of dedication will be created and those who make a dedication before June 1 will be included on it.
Schwartz also announced that Moskovitz’s contract had been renewed to June 30, 2021, at the last board meeting. The congregation applauded, cheered and rose to their feet before Schwartz could conclude, “with great joy and without hesitation, he accepted our offer.”
The klei kodesh – Moskovitz, Brown, Cantor Naomi Taussig, Rabbi Philip Bregman, emeritus, and Cantor Arthur Guttman, emeritus – then joined the congregation in a responsive reading.
Prior to the ceremony, Moskovitz and Druin, who had just arrived in Vancouver, went to the Louis Brier Home and Hospital to scribe the Torah with the congregation’s most senior members. Moskovitz also shared that the Torah’s rollers, its mantle and wimple were created by congregation members Michael Kliman, Leni Freed and Julia Bennett, respectively. “This Torah belongs to all of us, on so many levels,” he said.
Druin expressed his hope that the Torah would provide reassurance “that you are all part of this community through this Torah … [and] that God is here with you, with this Torah, for you, for your children….”
During the parade, led by the Balkan Shmalkan band, the Torah was carried by many different congregation members. In this photo, Henry Grayman is holding it.
Just as there was a lottery for the first six letters of the Torah, there was a draw for the last six – each representing a decade of the synagogue and one for the next generations, explained Moskovitz. After the Torah was completed, it was dressed and paraded north along Oak to 54th, east for a bit, then a “legal U-turn,” as per Keystone’s instructions, back the synagogue to take its place in the aron kodesh.
Fifth- and sixth-generation descendants prepare to enter the gates of the newly restored Jewish Cemetery at Mountain View. (photo by Robert Albanese Photography)
Several generations of Jewish life in Vancouver were represented Sunday afternoon at the rededication of the Jewish cemetery section at Mountain View Cemetery.
The historic burial site was first consecrated in 1892. In recent years, the site had deteriorated. There were more than 150 unmarked graves, many neglected headstones, pathways had eroded, hedges overgrown and the entryway had deteriorated.
Under cloudless skies, young children, all born more than a century after the first burial in the Jewish cemetery, assembled at the new entryway, joined by other generations of families with ancestors buried there, to officially open the gates of the rededicated cemetery.
The project, which took less than three years, was undertaken by a team of volunteers led by Shirley Barnett and assisted by the civic officials who run the cemetery, including cemetery manager Glen Hodges, with the support of the city, which owns Mountain View Cemetery.
Left to right are landscape architect Cornelia Hahn Oberlander, Mountain View Cemetery manager Glen Hodges, Jewish Cemetery at Mountain View Restoration Project committee chair Shirley Barnett and restoration project administrator Myra Adirim. (photo by Robert Albanese Photography)
Jack Kowarsky, chair of the Schara Tzedeck Cemetery board, noted that the City of Vancouver had given the Jewish community this parcel of land 123 years ago, before which Jewish bodies had been shipped to the nearest consecrated Jewish cemetery, which was across the water in Victoria.
The 450 Jews interred at Mountain View, Kowarsky said, represent the forefathers of the current community.
Raymond Louie, Vancouver city councilor and acting mayor, called the rededication an important day for the Jewish community but also for the City of Vancouver. He credited Barnett, Arnold Silber and Herb Silber for the progress made during two and a half years of work, and he reflected on Mayor David Oppenheimer, the city’s first Jewish mayor, who was pivotal to the creation of the Jewish part of Mountain View.
Louie said the day was an opportunity for Vancouverites to remember ancestors and celebrate our multicultural heritage.
Barnett, who was presented with a book documenting the work that took place, deflected attention to others in the audience, noting that a single individual – Cyril Leonoff – led the community’s fight in the late 1960s, when the city attempted to remove all upright headstones and replace them with flat ones to make maintenance easier.
Barnett expressed gratitude for the happy coincidence that both Bill Pechet, a world leader in cemetery design, and Cornelia Hahn Oberlander, a globally recognized landscape architect, are both Vancouverites.
J.B. Newall Memorials, a memorial and monument company that is also a preeminent headstone restoration company, Barnett said, generously donated a headstone for the previously unmarked 1892 gravesite of the first interment in the cemetery, as well as refurbishing many headstones.
(photo by Robert Albanese Photography)
Arnold Silber brought laughs to the audience when he referenced Barnett’s reputation for getting things done. He reflected on the phone call from Barnett three years earlier asking him what should be done about the poor state of the cemetery where her grandfather is buried.
Silber told Barnett that “we would do everything she wanted – as long as she would be in charge.”
Turning to Barnett, Silber said: “Your dreams always become a reality.”
Silber stressed that the Jewish cemetery at Mountain View has an inclusive mandate that “any Jew, regardless of their affiliation, can be buried here at Mountain View.” He added that, now that the renovation and rededication have taken place, funds are being raised for perpetual maintenance and protection of the site.
“All generations to come will understand the value of this great Jewish cemetery,” he said.
With the renovation, several new plots have become available.
Rabbi Andrew Rosenblatt and Cantor Yaacov Orzech provided an indication of what the original dedication ceremony might have been like in 1892. At the time, the rabbi said, those assembled would have proceeded seven times around the cemetery as part of the consecration process but, he noted, the size of the assembled people Sunday did not permit such a procession.
The cantor offered some of the prayers that would have been included in that ceremony 123 years ago, including the prayer accompanying a casket to the gravesite.
Rosenblatt noted that the rededication was taking place on Pesach Sheini, a day specifically created, according to rabbinical interpretation, so that those who contract ritual impurity by caring for the deceased should be able to nevertheless celebrate the joy of Passover.
Rev. Joseph Marciano offered the prayer traditionally spoken when leaving a cemetery.
After the generations of descendants of those interred in the burial ground passed through the gates, followed by scores of rabbis, cantors, city councilors, an MP and community leaders, two headstone unveilings took place, one for “Baby Girl Zlotnick,” who died in 1920, and another for Otto Bond, the previously unmarked grave of the first individual interred there.
