Author: freelancer

Corrin retires

After 20 years, librarian Karen Corrin retired in March from the Waldman Library. (photo by Olga Livshin)

Karen Corrin retired from her position as a librarian at the Isaac Waldman Jewish Public Library on March 30, after exactly 20 years with the library. She has been with the Waldman from the very beginning.

“There was always a small library at the old JCC,” she remembered. “I took my children there when they were young. The new library opened on the second floor of the new building in 1994. I was studying for my master’s at the library school at UBC then. My program was for two years, from 1993 to 1995, so I didn’t apply to work there, but I was at the opening. I remember Amos Oz speaking. He talked about the importance of words.”

With the new library space came new funding, so the Waldman could hire a librarian and a library technician. Corrin wasn’t among the new hires but when, a few months later, the position of the librarian opened again, her friends urged her to apply.

“I was still at school. I wanted to be a cataloguer when I graduated, but a job was a job, so I applied and got it.” She started working for the Waldman in April of 1995.

Her previous experience, both personal and professional, prepared her for this position. “I have always loved libraries,” she said with a smile. “I would go with my kids to a local library, and we would bring library books home for everyone.” Before she started her program at the University of British Columbia, she worked as a volunteer coordinator and in fundraising. She also had management skills and knew computers. All of this combined made her a perfect fit for her new duties as the Waldman librarian.

“Waldman is almost unique. There are so few JCC libraries in North America,” she lamented. “Most city libraries are funded by the governments, but Waldman is a community library. The funds come from fundraising. That’s why, from the beginning, it was run by volunteers.”

According to Corrin, there are about 30 regular volunteers at the Waldman, and she considers them the best PR people the library could have. “They care about the library, about books and about the community. They have time to chat to the patrons, to explain things, to help everyone find what they are looking for. The value of the library volunteers is great, it can’t be overrated. They are our gems.”

Corrin herself also worked as a volunteer, although not for the Waldman. “About my history with libraries,” she said, “I always volunteered at my children’s elementary schools in their school libraries. First for my son in Richmond and then for my daughter at [Vancouver] Talmud Torah.”

She emphasized that the volunteers who run the front desk of the Waldman liberate the librarians to do their main jobs – fundraising, acquisitions and event planning.

“There are several kinds of events,” she explained. “People would come in and ask us, why don’t we have a book club? So we would start a book club. We saw what events the community centre was running, and if there was something missing, something a library could supply. Another kind of event comes with the Canada Council grant. We would apply for a grant to pay a writer. If we got it, we could invite a writer for an event or a reading. We had a few children’s writers speaking at the library through this grant. We also had some book launches of local authors and sometimes poetry readings – those were often funded by Yosef Wosk. It all comes from what the community wants.”

Recently, the most profound community-inspired change at the Waldman was the introduction of ebooks. Before that, but also during Corrin’s term at the Waldman, it was computerizing the catalogue. “When I started, we still used cards,” she recalled. “Libraries are always reinventing themselves, but I think that the most important purpose of a library is to be a community hub, a meeting place. That’s why we ran educational courses and children’s events at the Waldman. There is always something going on. You’re never bored at the library.”

Surprisingly, the profession of a librarian wasn’t Corrin’s first choice. When she was young, she wanted to be a teacher. “I always thought a teacher has to be perfect. He is the one molding children’s minds. I was afraid I wasn’t perfect enough,” she recalled of her youthful dreams. But the library job gave her a lot of satisfaction, and now she has plans to be a teacher, too. She and her husband plan to travel to Spain as volunteer English teachers. They have already done this in Hong Kong, with high school students, and loved it.

“I have lots of other things I’d like to do now that I have more free time: walking, learning how to play piano, swimming outside at Kits pool. I might come back to the Waldman as a volunteer,” she mused.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Art shares esthetic, stories

Judith Joseph (photo by Olga Livshin)

The current exhibit at the Zack Gallery, Tales of Light and Dark, features two artists from opposite sides of the continent. Alina Smolyansky is a local artist; Judith Joseph lives and works in Chicago. Their paintings hang side by side on the gallery walls as if they belong together. Their similar small size, bright color and propensity to tell stories balance the differences in technique and visual effects, as well as the two artists’ distinct creative auras.

Both artists explore Judaic themes. In the case of Joseph, her paintings relate her family’s history through the medium of Jewish symbolism. Almost every piece of hers includes birds as their most important element. Peacocks, firebirds and owls populate Joseph’s work.

“I love birds because they can fly. I wish I could fly,” Joseph said in an interview with the Independent. “A bird stands in for a person but it doesn’t have age or gender, it isn’t poor or rich. It represents everyone.”

In a way, in her art, she does fly, free of the restrictions of reality. Using the bird metaphor and the mysticism of the Torah, she spins tales of courage and suffering. Several of her paintings are dedicated to her grandmother who came to America from Ukraine after the First World War. In one image, a girl travels across the ocean on a menorah. Her vessel is wobbly, but she hangs stubbornly for her life, and the menorah glows with triumphant light, illuminating pain and sorrow but also victories and achievements.

Many pieces incorporate metal-foil embossing into the paintings. The process used for the embellishment is called repoussé. “I learned repoussé in high school,” Joseph recalled. “I like working with metal.” Her owls’ feathers and floral borders of her paintings glint with intricate copper patterns, infusing the pictures with a sophisticated and funky ambience.

Her paintings always start with an emotion and an idea, she said. “I always have a sketch book with me and, whenever an idea appears, I make a sketch. Most paintings in this show come from my sketches practically unchanged. I know that if the emotion that inspired it is genuine, unfiltered, then people respond to it.”

Like any art show, this one only highlights a small segment of the artist’s output. The majority of her art is beyond the scope of the show. “I paint ketubahs,” she said. “Most of my commissions are ketubahs. I started making them in high school and still love them. By now, I have done hundreds of them. Recently, I also do digital ketubahs. I would paint by hand, then have the image photographed professionally, and then play with it on the computer: add calligraphy, change colors, customize. I had to learn new software to do that, and my skills are still limited, but I’m learning.”

The courage to combine old materials, ancient art form and new computer skills is what makes Joseph a 21st-century artist. The same modern streak also made her collaborate with an online seller of ketubahs, the Canadian company ketubah.com. “Three of their bestsellers are mine,” she said with a smile.

photo - Alina Smolyansky
Alina Smolyansky (photo by Olga Livshin)

She works predominantly in egg tempera, the type of paint that was exclusively used until about 1500, when it was largely replaced by oil paints. Few artists still use egg tempera, but its brightness attracted not only Joseph but also her partner in this show, Smolyansky.

The credit for bringing them together belongs to the gallery director, Linda Lando. “I put them together because I thought that their work has a similar sensibility,” Lando said. The artists didn’t know each other before the show.

Unlike Joseph with her art degree, Smolyansky arrived at this point in her life by a vastly different route. She started her professional life as an engineer in Kiev. Like many Jews during the Perestroika era, she immigrated to Israel and, after four years there, she came to Canada in 1995. She kept working as an engineer, but wasn’t satisfied with her professional life. She felt the need for a change.

“I was searching for myself,” she explained. “I’ve been a dreamer all my life. I liked making up and writing stories and painting watercolors. When I was a child, I attended an art school. I always liked learning, always was an A student. If I could, I would be a permanent student,” she admitted.

To satisfy her craving for knowledge, she studied writing at Douglas College, and then enrolled in the professional communications program at Royal Roads University. She was thinking of a technical writing career, but felt she couldn’t settle.

At about the same time, around 2006, she began studying yoga, and discovered a spiritual path. “I’m not religious,” she said, “but I need to form my own connection to the Creator. I need to understand where we are coming from and where we are going.”

She quit her engineering position and spent some time in Thailand at a yoga school, but an unknown force was still pushing her towards a different goal.

“I was on Granville Island,” she recalled. “It was 2008, and I was looking for some classes to take when I saw this ad for an icon painting class. It was absolutely unexpected. I didn’t know anything about icons, but it seemed I was driven to this class. I took it and I was good from the beginning.”

The class introduced her to egg tempera and to icon paintings, both Eastern Orthodox and Roman Catholic. “I was fascinated by egg tempera. I haven’t painted watercolors since.”

She stayed with her icon teacher for three years, until he moved out of the city. She still paints icons on commission and she teaches icon painting, occupying a small but exclusive artistic niche in Vancouver. But she didn’t abandon her quest for knowledge. In search of more spiritual learning, she began her studies with Bnei Baruch Kabbalah Research and Education Institute, based in Israel.

The mysticism of kabbalah appeals to her. “My art in this show is influenced by my kabbalah studies, especially the … Zohar,” she said. Her Tree of Life gladdens the eyes, her old scholar contemplates the Jewish destiny and her menorah shines for all.

The exhibition continues until May 16. To learn more about the artists, visit judithjosephstudio.com and lettherebelightart.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

The future to imagine

In the past several weeks, we have celebrated liberation and redemption on Passover. On Yom Hashoah, we mourned the victims of Nazism and the generations that never were. On Yom Hazikaron, we honored the brave defenders of Israel who gave everything for the dream of the Jewish people’s right to live as a free people in our own land. Then we joyously celebrated the realization of that dream on Yom Ha’atzmaut.

These four commemorations are drawn together in many ways by rabbis and thinkers. We are mere journalists, but if you give us a moment, we, too, have some thoughts that may be worthy.

There is a troubled narrative connecting the Holocaust and the creation of the state of Israel, a connection that is sometimes misunderstood and often deliberately misrepresented.

Critics have called Israel a “reparations payment” given to the Jews as recompense for the Holocaust. This formulation is a desecration, because there could be no recompense for the Holocaust. More to the point, it is false history. Israel was not given to the Jewish people. The Partition Resolution, significant as it was as a fulcrum for historical events, turned out to be another hollow United Nations vote. Israel came into being only because the Jews of Palestine, some from the Diaspora and a small group of idealistic non-Jews from abroad fought – some to the death – for the dream of a Jewish homeland.

The connection between the Holocaust and the creation of the state of Israel is not, as the popular narrative has it, because the world felt sympathy. If anything, the world wanted to create a place for the surviving remnant so that they wouldn’t have to take responsibility for them.

Where the genuine connection lies between the tragedy of the Holocaust and the joy of independence is in the realization that the Holocaust was a direct result of Jewish statelessness. Had Israel come into being a decade earlier, there may have been no Holocaust, or its magnitude would have been much diminished. That is one connection.

Another is the psychological effect the creation of the state had on Jewish people individually and collectively, in Israel and in the Diaspora.

After the Holocaust, the Jewish people worldwide could have been expected to plummet into individual and collective despair. Instead, Israel gave hope – and a future to imagine and to build after the collective future was almost destroyed. Whether Jews made aliya – or even visited – or not, Jewish Canadians helped build the state of Israel through a million acts of philanthropy and volunteerism.

Israel is many things to many different Jews. It is a resolution to 2,000 years of statelessness, the fundamental fact that was at the root of our tragedies. It is the culmination of the quest for sovereignty and freedom and, while Israel is not perfect by any stretch, we endeavor to work toward that ideal. Israel is the dream for which so many have given so much, as well as a complex, thrilling, sometimes infuriating, always cherished reality.

In the context of millennia of Jewish civilization, the comparatively new state of Israel is a part of all of us and we are all, in some way, a part of it.

Nostalgia’s place in progress

There were no doubt many emotions surrounding the Israel Prize this year: disdain over Prime Minister Binyamin Netanyahu intervening to disqualify some judges apparently on ideological grounds, pride for the winners and disappointment among those forgotten. Even Chaim Topol, this year’s Israel Prize winner for lifetime achievement, said he had mixed feelings about his victory since other deserving candidates have been shut out in recent years. And for those who think about Topol in what is his most popular role, that of Tevye in the 1971 film (and some of the stage productions of) Fiddler on the Roof, there is likely one other emotion: nostalgia.

Nostalgia often gets a bad rap when it is talked about in the context of social maturity. But as I’ve argued elsewhere, the collective experience of nostalgia can also be a source of psychological sustenance for mourning an apparently simpler past in order to embrace a more complex present. In 20th-century Jewish popular culture, nowhere has this been more apparent than in the case of Fiddler on the Roof.

This was a time of emerging feminism and rising divorce rates. Races, religions and ethnicities were mixing as never before. The nature of Jewish religious practice was becoming viewed as a personal choice – something that Steven M. Cohen and Arnold M. Eisen have described as the emergence of a “Jewish sovereign self.” On this backdrop, Fiddler’s audiences were given a “safe space” – in today’s parlance – to mourn patriarchy, cultural homogenization, and collective adherence to folkways and cultural conventions.

Consider the dream sequence. In presenting his concocted reverie as a divine omen in order to convince Golde that Tzeitel should marry Motel, Tevye pulls a trick out of the bag of shtetl superstition. And the conceit works. Though we know it’s a ruse, we become caught up in the ghoulish spin of the costumes, choreography and music. For a few minutes, we bid farewell to outmoded beliefs and traditions without feeling that we are abandoning our past commitments outright.

Or the ironic and comical number “Matchmaker, Matchmaker,” where the comfort of convention is as thrilling for the daughters initially in the show, as is their fierce independence by the end.

Or Tevye conceding in the prologue that he doesn’t know the origin of some of the community’s customs. As Judaism becomes increasingly infused with contemporary values – the ecological dimension of powering down on Shabbat; the blending of new food politics with kashrut and the search for personal spirituality – Tevye’s proverbial wink directed at the audience allows us to keep one foot in the present of personal autonomy and choice, while the other dips into the comfortable past where automatic adherence to Jewish tradition formed the bonds of community.

American Jewish writer Cynthia Ozick complained that Fiddler portrayed Sholem Aleichem’s stories as “naive,” with “the occasion of a nostalgia for a sweeter time, pogroms notwithstanding.” Fiddler’s Broadway director and choreographer Jerome Robbins was concerned about the play appearing overly nostalgic, writing to his costume designer that he didn’t want audiences viewing the characters “through the misty nostalgia of a time past….”

For allowing Americans to come to terms with a changing America, however, and for American Jews to reflect on the rapid changes within their own communities, the nostalgia in Fiddler has been important. As Stephen J. Whitfield has written in his history of the show, Fiddler “had the advantage of distance: play-goers were far enough removed to memorialize without honoring any particular claims it might make, and without submitting to any moral mandates it might demand.”

Thinking about the role of Fiddler in today’s Jewish landscape, I think about the constant tensions between history and tradition on one hand, and modernity and contemporary values on the other. This has been especially important in how Jewish communities negotiate difference.

From the ashes of the Holocaust, the Zionist struggle for sovereignty and postwar North American Jews fighting against prejudice and discrimination, Jewish concerns now include many additional tensions. There’s intermarriage – how to broaden the tent enough to include intermarried families who may wish to be part of the Jewish people, but not so much that the meaning of being Jewish is lost; increased women’s ritual participation in North American synagogues and in public space in Israel; and LGBTQ Jews looking to take their place in Jewish communities. For their part, Israelis struggle – not hard enough, perhaps – to honor their state’s Jewish identity while extending full equality to the Palestinian minority and contending with the ongoing occupation, all while confronting the difficult plight of African refugees and asylum-seekers.

With Passover just behind us – and, for many, its nostalgia-drenched experience of gathering around the seder table – we might pause to consider how to navigate the uncertain waters of change while being anchored by tradition. And yes, a little nostalgia now and then might just help.

Mira Sucharov is an associate professor of political science at Carleton University. She blogs at Haaretz and the Jewish Daily Forward. A version of this article was originally published on haartez.com.

 

We walk a little taller

Karon Shear, left, and Marilyn Berger. (photo by Binny Goldman)

Moshe Feldenkrais is quoted as saying, “When you know what you are doing, then you can do what you want!” How appropriate that some of us who spent the two nights of the Passover seders sitting at the table – or reclining, as directed – were now being taught to sit properly.

On April 13, about 50 people gathered at the Oakridge Seniors Centre (OSC) to attend an event co-hosted by Jewish Seniors Alliance of Greater Vancouver to learn the helpful movements of the Feldenkrais Method.

Alexandra Henriques, manager of OSC, graciously welcomed the audience and called upon JSA president Marilyn Berger, who said how impressed she was with the surroundings and the newsletter put out by OSC, and said she would come back to sample some of the lunches being offered at the centre. Berger then acquainted those gathered with the aims of JSA, mentioning its advocacy for the betterment of the quality of life for seniors and the peer-counseling courses being offered.

photo - Feldenkrais instructor Vita Kolodny
Feldenkrais instructor Vita Kolodny. (photo by Binny Goldman)

Berger then introduced Vita Kolodny, a nurse and a movement educator, who gently eased the audience through the mindful movements that can be used to ease back pain. By a quick questioning of the audience, we learned that almost all in attendance had suffered from back pain at one time or another.

We all sit so much during the day, doubling the stress placed on our back compared to when we stand, Kolodny explained. That is why we may prefer to stand when experiencing back pain.

Kolodny led those gathered through the correct way of positioning our bodies and ways of strengthening the skeletal muscles. It is important to reeducate our brains to the new ways of sitting by repeating the movements we learned, slowly and with awareness of how our whole body participates, with a rest in between the exercise.

A question was asked by Lou Segal: “Is it better to train one’s body to sit in the new and correct way, even while resting, so it becomes our natural way of sitting?” The answer was yes.

Dr. Norman Doidge’s book The Brain’s Way of Healing was recommended reading if attendees cared to learn more about neuroplasticity and the Feldenkrais Method.

Some constructive and supportive suggestions were made during the demonstration. For example, sit forward in a chair with feet flat on the floor. A pillow may be placed behind your back, remembering to maintain the arch in your back. As well, it helps to sit on an armless chair, stool or exercise ball while maintaining good balance.

Gyda Chud of JSA thanked Kolodny, using her penchant for alliteration, saying “Vita was vital, vivacious and vibrant in her presentation,” echoing the feelings of the audience, all of whom were visibly sitting upright, already making the changes suggested by Kolodny that afternoon.

Not only were our hearts smiling – as suggested in the theme – but our spines were, as well.

Discussions followed over dessert and hot drinks.

Berger, in thanking “the gregarious Gyda Chud and our ever incredible Karon Shear,” reminded everyone of the JSA Spring Forum on April 26, which will take place at the Jewish Community Centre of Greater Vancouver. The theme is YOLO: You Only Live Once.

So, let’s live it tall!

Binny Goldman is a member of the Jewish Seniors Alliance of Greater Vancouver board.

Canadian Jews behind bars

Rabbi Zushe Silberstein (photo from cjnews.com)

When Rabbi Zushe Silberstein heard that the Jewish inmate standing before him in a Montreal jail was due to be released in just three days, he didn’t hesitate. “My daughter is getting married this weekend,” he said. “I would be honored if you could attend the wedding.” The prisoner stared at him, certain he had misheard. A rabbi inviting a newly released prisoner to a family wedding? It seemed impossible. But in the next breath Silberstein was offering to help arrange a suit if needed.

This conversation occurred two years ago and, that weekend, the former convict did indeed attend the wedding. The encounter was nothing extraordinary for Silberstein, who heads Chabad Chabanel in Montreal and regularly visits Jewish inmates in Montreal jails. “We bring them food and sandwiches, we daven, put on tefillin with them and celebrate Jewish holidays with them,” he said. There’s a seder at Pesach, a Megilla reading on Purim, menorahs on Chanuka and services on Rosh Hashana.

“My main thrust has always been to tell these marginalized Jews, you’re not alone, you’re not forgotten, there’s someone out there who cares about you. We’re there to comfort, to advise them and to show them the Jewish community cares about them.”

Fifteen years ago, the rabbi founded Maison Belfield as a halfway house for up to six men at a time, offering newly released Jewish inmates shelter, food, clothing, therapy and reintegration assistance. Aiding Jewish prisoners is a consuming task and one he takes seriously.

“The Rebbe teaches us not to forget any Jew, no matter where she or he may be,” he explained. “If there’s a Jewish person in need, we must care for them. It’s why my children and I have more than once traveled 14 hours to help one single Jew in jail. My Shabbos table often has former inmates gathered around it.”

Over the 30 years Silberstein has been involved with Jewish chaplaincy, he’s seen all kinds of Jews behind bars, “from a prominent lawyer to children from dysfunctional homes to people with substance abuse issues and those who are highly affluent,” he said. “Nobody is immune to falling into this kind of situation.”

He refused to disclose the number of Jews presently incarcerated in Montreal, saying only “one is too many,” and that High Holy Day services and Passover seders in the jails see an attendance of up to 10.

Correctional Service Canada (CSC) revealed that as of March 31, 2014, there were 177 offenders who identified themselves as being Jewish, representing 0.8 percent of the total offender population. That was up from 159 in April 2005. CSC engages Jewish chaplains, who regularly provide religious services, religious education programs and one-on-one counseling with Jewish inmates, said Julie O’Brien, media relations advisor for CSC. “If a Jewish offender has a rabbi, the chaplain will put the two in contact.” Chaplains may approve kosher diets for inmates who require them, a religious dietary policy that was first formalized in 1992.

“Thirty years ago, the provincial government refused to allow kosher food and we had to pay $30,000 to provide it to Jewish prisoners,” recalled Silberstein. “Eventually, under threat that we’d go to the Supreme Court of Canada, the federal and provincial governments … provided that kosher food at government expense, after the minister saw that we were serious and would not give up. Today, in Quebec’s prison systems we have excellent cooperation for the needs of Jewish prisoners.”

O’Brien said the CSC ensures spiritual accommodation to assist offenders in practising their religion or spirituality as fully as they desire within the correctional setting, up to a level generally available to people in the community. The Jewish community also has representation on the interfaith committee, an advisory group on religious and spiritual practice for inmates in CSC institutions.

Funding for the visits to Jewish inmates and to support the expenses of Maison Belfield is direly needed, Silberstein said. “Prayer books cost money and so does the seder, the tefillin and the food we bring to Jewish inmates each week. Our halfway house is also an expensive proposition, with a mortgage and heating to be paid and the costs of regular living supplies in addition to food, clothing and therapy.”

When Chabad of Richmond recently replaced its High Holiday prayer books and was looking for a new home for its several hundred older versions, Rabbi Yechiel Baitelman posted on a Chabad site that he was ready to pass them on. The first request came from Rabbi Binyomin Scheiman in Illinois, founder of the Hinda Institute (formerly the Jewish Prisoners’ Assistance Foundation), which aids the families of incarcerated Jews, arranges visitations and helps with the re-entry process after they are released. “We estimate there are up to 150 Jews incarcerated in the state of Illinois and these High Holiday prayer books are so important,” he said. “For Jewish inmates, Rosh Hashana is a time in their life when they’re very open, and repenting for mistakes they’ve made in their lives. The prayer books are an extremely generous contribution.”

In general, Jewish prisoners are very marginalized within Jewish communities, sometimes even demonized, Scheiman said. “It’s even worse than being forgotten – they and their families are sometimes shunned by the community.” He works closely with the Aleph Institute, which was founded in 1983 and has branches in many different states. Its goal is to provide professional services to nearly 4,000 men and women in U.S. federal and state prisons and their approximately 25,000 spouses, children and parents.

No such organization exists in Canada, though various rabbis in different parts of the country carry out initiatives of their own. Baitelman visits the six to 12 Jewish inmates in Metro Vancouver jails from time to time and tries to send Purim packages to them. In Vancouver, semi-retired Rabbi Dina-Hasida Mercy has served as the Jewish chaplain to Pacific region federal prisons since 2012 and takes weekly excursions into the Fraser Valley to meet with the small number of Jewish inmates and any other inmates who want to talk to her. “There are definitely people in my group that are not halachically Jewish,” she said.

A basic need they all share is for a kind, listening ear, one that won’t judge them and report on them, she explained. She’s also committed to practical projects, including the delivery of donated prayer books and general Jewish literature into the federal institutions. As a woman visiting men in jail, Mercy said she’s never felt physically threatened. “The guys tend to be fairly protective of their chaplains,” she reflected. “In many ways, the prisons are far safer than the city streets because the inmates have been called to task for their offences and are monitored, whereas out in the community you have people who might still be in their crime cycle.”

There isn’t enough support and understanding for inmates in the Jewish community and the wider community in general, she said. “It’s a societal perception that bad guys are put away and should stay away, but these people need to find jobs and take a place in the community when they come out. Many have just committed incredibly stupid mistakes in judgment with terrible consequences, but they need our help to reintegrate into community.”

What’s needed, she said, is a halfway house based on Jewish values, a place that might offer a job bank, educational opportunities and perhaps even a little business. “Inmates need a way to regain their self-sufficiency. They come out of prison with $80, which is barely enough to get you from the Fraser Valley into Vancouver. As a society, we need to work on our compassion for people who want to rebuild their lives and, yes, it means doing things that are not comfortable for us.”

Rabbi Menachem Matusof, head of Chabad in Alberta, has visited Jewish inmates in Alberta jails for the past 27 years. He estimates there’s six to 12 incarcerated in his province and also finds funding a challenge. Sometimes, there are conflicts. One year, he brought a mobile sukka to the Jewish women’s jail in Calgary, where an inmate was incarcerated for murder. In an interview for the Jewish Star, Matusof was asked why he would bother doing this. “Murdering is a much bigger issue than sukka and lulav,” he was told. “My response was this: because someone committed a crime one time, this means s/he should not do another mitzvah? What does one have to do with another? The murder was being handled by the courts. Meanwhile, this is still a Jewish individual who needs help, and we’re here to help them at whichever level they need.”

Another painful instance of conflict involved a former mashgiach in Calgary who was a child molester. Prior to the man’s imprisonment, Matusof recalled being worried the man would turn up to services. “I disallowed him to come to Chabad House and told the community I would call the police in the middle of Yom Kippur if he walked into shul and even laid eyes on a child,” he said. After the man was jailed, the rabbi decided that as a community rabbi it would be best to send another rabbi to visit him.

Still, most of the Jewish inmates Matusof visits he described as “sweet, wonderful people who unfortunately got caught in bad situations. It’s not our place to judge.”

There are also schemers, and Matusof gets requests from non-Jewish inmates who want to speak about possible conversions to Judaism. He always waits until they are released from jail, “but once they’re out, they no longer have interest!” Other inmates claim they are Jewish and want kosher meals. “We talk to them and find out immediately if they’re telling the truth,” he said. “Most of the time, I’m not fooled.”

Lauren Kramer, an award-winning writer and editor, lives in Richmond, B.C. To read her work online, visit laurenkramer.net. A longer version of this article can be found at cjnews.com, where it was originally published.

We Care believes in change

Leah Gazan (photo by Rebeca Kuropatwa)

Human traffickers target those who are most vulnerable – women and children, and people from impoverished and marginalized cultures and communities. Anti-trafficking organizations estimate that between 12 and 30 million people are held in forced labor (including sexual servitude) and that two to four million people are trafficked across borders each year.

On March 12, Manitoba marked its second Human Trafficking Awareness Day. To observe the day, National Council of Jewish Women (NCJW) of Canada, Winnipeg section, held the event United We Care, An Evening in Support of the We Care Campaign for Education about Missing and Murdered Indigenous Women and Girls.

The program took place at Graffiti Art Programming and included an art exhibit, as well as an address from Leah Gazan, an advocate for MMIW issues in Manitoba and the rest of Canada. Indigenous artist Jessica Canard created a painting during the event that was auctioned off at the end of the night.

Gazan introduced herself as a member of the bear clan. “The bear clan has roles and responsibilities,” she said. “One is to be a protector. My mother was a child welfare survivor, a Lakota woman, a street kid. She overcame great obstacles, obtained a master’s degree, and changed legislation.

“My father was a Holocaust survivor from Holland and, like my mother and in spite of historical trauma he experienced, he went on to receive two master’s degrees, a teaching degree, raise a family and spend his life trying for social justice with a special focus on fighting for children.”

Gazan said her parents taught her that change is possible, “with the goal of realizing a good world for all peoples, animal life, plant life, our women and our girls. We are all sacred. We all have to take responsibility for the collective well-being of all creation.”

The We Care campaign came from a conversation between Gazan and artist and singer Raine Hamilton. Upset about what was happening to indigenous women and girls in Canada, Hamilton wanted to do something. Gazan encouraged her, saying, “If you want to do something, Raine, you do something, and I will support you.”

In 2013, James Anaya, former special rapporteur on indigenous issues for the United Nations, called the state of violence and the number of murdered and missing indigenous women in Canada a national crisis. According to the RCMP’s 2014 National Operational Review on Missing and Murdered Aboriginal Women, “Police-recorded incidents of aboriginal female homicides and unresolved missing aboriginal females in this review total 1,181 – 164 missing and 1,017 homicide victims.” There were 225 unsolved cases: 105 missing for more than 30 days as of Nov. 4, 2013, “whose cause of disappearance was categorized at the time as ‘unknown’ or ‘foul play suspected’ and 120 unsolved homicides between 1980 and 2012.”

“We represent 4.3 percent of the Canadian population, yet we represented 16 percent of all reported homicides,” said Gazan. “Indigenous women and girls are not safe in this country and this is related to a number of factors, including high rates of poverty among indigenous women.”

According to the UN and the platform action committee in Manitoba, Gazan said, “The current rate for poverty for indigenous women living off reserve is at 42.7 percent. That is twice the rate for non-indigenous women and exceeds rates of indigenous men, with an average income of $13,300. That’s $6,060 lower than non-indigenous women and approximately $5,000 lower than indigenous men.”

Gazan stressed, “This is not an indigenous issue. This is an issue for all Canadians who want to protect the fundamental rights of all persons. It will take all of us in solidarity to address these issues.

“One cannot begin to understand the complexity of this issue without the focus on the colonization of indigenous women,” she continued. “Prior to colonization, our women and, in particular, our grandmothers were the main decision makers within our nations. Women were seen as powerful. This was very much related to our ability to bring life into the world.

“Through the eyes of colonialists, indigenous women were seen as property of men, much like women in Europe at that time. The exclusion of indigenous women in decision making eventually led to the cultural, social and economical dispossession of indigenous women that was eventually stipulated in policies that were enforced in the Indian Act.

“In 2006, the International Indigenous Women’s Forum noted that the systemic violation of their collective rights as indigenous people is the single greatest risk factor for gender-based violence, including violence perpetrated within their communities.”

The situation can be changed, however, “and that’s exactly what the purpose of the We Care campaign is,” said Gazan. “It’s to educate and engage fellow Canadians so that we can change that story … so we can end what has resulted in unacceptable levels of violence that’s perpetrated against indigenous women and girls in this country.

“It’s a place where we can come together to demonstrate and send a clear message that we will not stop until indigenous women and girls are afforded the same rights and safety as are afforded to other Canadians.”

The group hopes that this campaign will become one of the main issues in the upcoming federal election.

“We need Canadians to join with us in unity, to say that we care,” said Gazan. “It seems so overwhelming that people don’t know what to do because it’s so bad, but I don’t think it’s because people don’t care. I believe people care.

“What if we start to join together to recreate a new story that results in a safer city, province and country for indigenous women and girls as an act of humanity?”

NCJW across Canada and its international body, the International Council of Jewish Women, has established advocacy against human trafficking as a priority issue. All proceeds from the March program’s ticket sales and the auction went to the We Care campaign.

To participate, snap a photo of yourself holding a sign that says #WeCare and #MMIW, then post it on Twitter and Facebook, showing it’s an issue that matters to you. More information is available at facebook.com/wecaremmiw.

Rebeca Kuropatwa is a Winnipeg freelance writer.

השקעות זרות בפרוייקטים של דירות במנהטן

קנדה נמצאת במקום הראשון מבחינת השקעות זרות בפרוייקטים בענף הנדל”ן למגורים במנהטן בניו יורק, בשנת 2014. (צילום: Cynthia Ramsay)

קנדה נמצאת במקום הראשון מבחינת השקעות זרות בפרוייקטים בענף הנדל”ן למגורים במנהטן בניו יורק, בשנת 2014. כך עולה מדו”חות של החברה לניתוח מידע ‘ריל קפיטל’ מניו יורק. ישראל נמצאת במקום הרביעי והמכובד בטבלה.
להלן שש המדינות הזרות המובילות בהשקעות בפרוייקטים, של דירות במנהטן אשתקד. במקום הראשון – קנדה עם 987 מיליון דולר, במקום השני – יפן עם 107 מיליון דולר, במקום השלישי – סין עם 99.8 מיליון דולר, במקום הרביעי – ישראל עם 23.4 מיליון דולר, במקום החמישי – הונג קונג עם 12.9 מיליון דולר ובמקום השישי – אוסטרליה עם 4.7 מיליון דולר. כל הסכומים נקובים בדולרים אמריקניים.
את ההשקעות הקנדיות במגורים מנהטן מבצעים שלושה גופים גדולים. החברה הציבורית לניהול נכסים ‘ברוקפילד’ מטורונטו, שמשקיעה 917.3 מיליון דולר בחמישה פרוייקטים. החברה הציבורית שותפות ‘וונקס ריל אסטייט’ מטורונטו, שמשקיעה 46 מיליון דולר בשני פרוייקטים. והחברה הפרטית ‘קריסט ריאלטיס’ ממונטריאול, שמשקיעה 23.7 מיליון דולר בשני פרוייקטים.
כל ההשקעות מישראל בהיקף 23.4 מיליון דולר מתבצעות על ידי גוף אחד, בשלושה פרוייקטים למגורים. מדובר בחברה פרטית בשם ‘קסקייד ונצ’רס’ שאינה מוכרת ולא נמסר מידע נוסף אודותיה.
בתחום ההשקעות הזרות בפרוייקטים בכל ענף הנדל”ן במנהטן (כולל המסחרי והמשרדים), קנדה גם כן במקום הראשון – עם השקעה גדולה מאוד שנאמדת ב-1.993 מיליארד דולר. במקום השני – סין עם 1.796 מיליארד דולר, במקום השלישי – סינגפור עם 1.577 מיליארד דולר, במקום הרביעי – איחוד האמירויות הערביות עם 1.303 מיליארד דולר, במקום החמישי – נורבגיה עם 1.114 מיליארד דולר ובמקום השישי – אוסטרליה עם 805 מיליון דולר. לעומת זאת ישראל נמצאת הרחק עם השקעה שמגיעה ל-161.4 מיליון דולר בלבד.
שבעה גופים קנדיים מוערבים בנדל”ן של מנהטן. החברה הציבורית לניהול נכסים ‘ברוקפילד’ מטורונטו, שמשקיעה 962.5 מיליון דולר בשישה פרוייקטים. קרן הפנסיה ‘אומרס’ מטורונטו, שמשקיעה 545.75 מיליון דולר בפרוייקט אחד. קרן הפנסיה סי.פי.פי אינווסטמנט מטורונטו, שמשקיעה 252 מיליון דולר בפרוייקט אחד. קרן הפנסיה ‘קאיס דה פוט’ מקוויבק סיטי, שמשקיעה 149.5 מיליון דולר בפרוייקט אחד. החברה הציבורית שותפות ‘וונקס ריל אסטייט’ מטורונטו, שמשקיעה 46 מיליון דולר בשני פרוייקטים. החברה הפרטית ‘קריסט ריאלטיס’ ממונטריאול, שמשקיעה 23.7 מיליון דולר בשני פרוייקטים. והחברה הפרטית ‘רובי ונצ’רס’ מטורונטו, שמשקיעה 13.6 מיליון דולר בפרוייקט אחד.
שלושה גופים ישראליים מעורבים כיום בנדל”ן על סוגיו השונים במנהטן. מדובר בחברה הפרטית ‘גלובל הולדינגס’ של אייל עופר, שמשקיעה 95 מיליון דולר בפרוייקט אחד. החברה הציבורית קבוצת דלק שבשליטת יצחק תשובה, שמשקיעה 43 מיליון דולר בפרוייקט אחד. והחברה הפרטית ‘קסקייד ונצ’רס’ שמשקיעה כאמור 23.4 מיליון דולר בשלושה פרוייקטים למגורים.
לאור עלייה מתמדת במחירי השכירות במנהטן שוכרים רבים עוברים לגור ברבעים האחרים. ובעיקר בברוקלין שמעבר לגשר שגם שם המחירים לא מפסיקים לעלות. במקביל לעליית המחירים הגבוהות, מדד הדירות הפנויות במנהטן רושם כל הזמן שיאים שליליים חדשים. באזורים הזולים “יחסית” במנהטן (כמו האיסט ווילג’), שכירות של דירת סטודיו עוברת את האלפיים דולר חודש, ואילו שכירות של דירת שני חדרים מתקרבת לשלושת אלפים דולר לחודש.
בניו יורק כמעט ואי אפשר להשיג דירות בדיור בן השגה. לבניין חדש בברוקלין שמכיל 38 דירות בנות השגה נרשמו 70 אלף איש. ואילו לבניין במנהטן שמכיל 106 דירות בנות השגה נרשמו 60 אלף איש.

Rada brings Israeli soul here

Ester Rada is at the Imperial on May 2 and McPherson Playhouse on June 19. (photo from Ester Rada)

Ester Rada’s most recent recording, I Wish, was released in March. The EP features Rada’s interpretation of four of her “favorite songs of the great Nina Simone”: “I Wish (I Knew How It Would Feel to be Free),” “Sinnerman,” “Four Women” and “Feeling Good.” Rada takes these classic songs made famous by an iconic singer/songwriter and makes them her own. Chutzpah, in the best sense of the word – which makes it fitting that Rada is being presented in Vancouver by Chutzpah!Plus. She plays the Imperial on May 2.

Rada was born in Kiryat Arba, just outside of Hebron, a year after her parents and older brother immigrated to Israel from Ethiopia as part of Operation Moses in 1984.

“Childhood is an amazing period of time because, as a kid, you see only the good in life, and there is a lot of good growing up in a small town, so life was great,” Rada told the Independent about her younger years. “Only when I look back I realize how strange and unnatural it is to grow up between fences and soldiers and fear from your neighbor.”

Raised in a religious household, Rada was exposed mainly to religious music, as well as Ethiopian, of course. Her mother’s decision to move the family to Netanya when Rada was 10 (her parents had divorced many years earlier) turned out to be pivotal.

“Netanya is a bigger, non-religious city near the sea, no fences and borders,” said Rada. “Drawn to this freedom, I allowed myself to enter the secular world. At the age of 12, MTV and VH1 were the platforms I could get music from, and there I was exposed to Stevie Wonder and Babyface, Boyz II Men, Lauryn Hill, Erykah Badu, D’Angelo; their souls entered mine.”

Rada composes, sings and plays multiple instruments. When asked to highlight some of her musical training and/or performing background, she said, “At the age of 10, I was part of Sheba Choir. At the age of 15, my brother bought me my first guitar and I taught myself how to play. At 18, I was recruited to the army as a singer for two years.”

She has lived in Tel Aviv since the age of 21. “It is the best place in Israel,” she said. “The culture and art, music and beauty, freedom and love are the things that took me there.”

Joining Habima Theatre, Rada’s acting career took off before her singing career. She has performed on stage, on television and in film. While she still works in both arts, she admitted, “It’s getting harder combining the two. Last year, I was still acting in the theatre, but when I started touring I had to quit. I still get offers, but I’m not going to do theatre soon – but I’m shooting a movie this summer.”

While she speaks more than one language, Rada sings mainly in English. Her full-length record, Ester Rada – which includes the four songs on her debut solo recording, the EP Life Happens – features all English songs, with the exception of “Nanu Ney.”

“The music I listen to is mainly in English, the first song I wrote at the age of 13 was in English – also, I want to share my love with the whole world and I feel English is an international language,” she explained.

Her music has been described as a fusion, “gracefully combining Ethio-jazz, urban funk, neo-soul and R&B”; “her own blend of ska, reggae, world music, dance beats and jazz.” But Rada told the Independent, “I don’t like to describe it, as there is no one definition. I’m a mix of a lot of things and so is my music. Also, I’m changing all the time, so I believe that the ‘Ester Rada sound’ will change as well.”

Her look certainly has changed over the years, and one can’t help but remark on her unique, keen sense of fashion.

“I’ve always loved beauty,” she said of her style. “I remember myself as a kid wearing my mom’s shoes, clothes and makeup. I love that by wearing different clothes I can become something else.”

And much of her music celebrates such freedom, encouraging listeners to have the courage to explore, to not be afraid, to experience life and to enjoy it. Rada’s musical adventures tell us that she definitely practises what she preaches.

Ester Rada’s 19+ show at the Imperial, 319 Main St., on May 2 starts at 8 p.m. Tickets are $36 (students $25), plus GST and service charge, from chutzpahfestival.com or 604-257-5145. She also is scheduled to perform in Victoria at the McPherson Playhouse (rmts.bc.ca or 1-888-717-6121) on June 19, 7:30 p.m.; tickets are $45/$53.