In 2003, the Jewish Independent reviewed Jennifer Gasoi’s debut children’s album, Songs for You, describing it as “intelligent, energetic, philosophical, educational, at times silly and, most importantly, it’s high-quality music.” Since then, Gasoi has garnered numerous awards and nominations for her music. The latest – her second CD, Throw a Penny in the Wishing Well, took home the 2014 Grammy Award for best children’s album.
With the big January win still fresh, Gasoi – the first Canadian to ever receive this Grammy honor – returns to Vancouver next month. Living in Montreal since 2002, she is not only coming back to see family, but to perform two concerts on April 12 to benefit the Children’s Hearing and Speech Centre of British Columbia.
Gasoi, who also won the 2013 Sirius XM Canadian Indie Awards for children’s artist of the year, the Parent Choice Award and the Canadian Book Centre’s selection for best children’s music, and was a semi-finalist in the International Songwriting Competition and a Juno nominee for children’s album of the year, took time to speak with the Jewish Independent before her upcoming visit.
JI: You’ve won other honors and nominations in your career. In what ways, if any, is the Grammy different, and in what ways has it already affected your work/schedule?
JG: The other awards and nominations were wonderful accolades, but winning a Grammy has taken my career into a whole new realm. I’m being asked to speak and represent many different organizations. I’ve had quite a few requests internationally – to play shows (U.S.), to submit my music to radio stations (Australia), to sell my CDs (a theatre company in Oklahoma) and I’ve even had interest to play a show in China. There’s a certain status associated with being a Grammy winner that I’m still getting used to! It’s been quite a challenge keeping up with all the requests and opportunities arising. There’s no question that new doors are opening and my horizons are broadening.
JI: You have consistently put out quality recordings. From where do you find your inspiration? How do you keep the work fresh and interesting for yourself?
Jennifer Gasoi won a Grammy this year for Throw a Penny in the Wishing Well. (image from jennifergasoi.com)
JG: I am inspired by life. By people, experiences, nature, music, small moments, unexpected interactions, synchronicities. Sometimes, it’s just a simple two-minute interaction that can inspire a song. Or a memory can be the catalyst. “The Little Things” started off with the image of jelly tots– little candies that I used to love as a child – and it spun into a whole song about all the joyful moments from my childhood. “The Pizza Man” was inspired by a real-life pizza man at a iconic pizzeria in Montreal. Inspiration can hit anytime, anywhere. To keep the creative energy flowing, I see live shows, listen to music, practise yoga and meditation, go for walks on the mountain, take improv comedy classes, watch inspiring videos, dance, and spend time with creative and inspiring people. Children are one of my main sources of inspiration. They continually amaze me. They are so full of life, connected, brilliant, openhearted, pure and so much fun to be with. They remind me of what is really important in life.”
JI: You’ve been very involved in the Jewish communities of both Vancouver and Montreal. In what ways, if at all, has your Jewish heritage/upbringing/communal ties influenced your life/work?
JG: There is something very special about being part of such a close-knit community in both Vancouver and Montreal. It has provided me with a real sense of belonging and groundedness. When I was a child and attended synagogue at Temple Sholom, I was deeply moved by the music played during the services. I love Jewish music. It touches my soul. My Jewish heritage has definitely influenced my songwriting. In my first album, Songs for You, I have a klezmer tune called “The Animal Party,” and, in my latest CD, Throw a Penny in the Wishing Well, the hora features prominently at the end of “The Purple Man.”
I have the privilege of playing music for seniors and patients in several hospitals in Montreal. There is a significant Jewish population, so I often play classic Jewish songs such as “Hinei Ma Tov,” “Heveinu Shalom Aleichem” and “B’shana Ha’ba’a.” I once played Hatikvah during one of my gigs at a Jewish seniors group held in a synagogue, and everyone in the room stood up and sang along. It was so powerful, it brought me to tears.
JI: Are there any projects on which you’re currently working/collaborating?
JG: I have some projects in the works. That’s all I’ll say for now. My priority is to get all my business in order so that I can continue to create music, perform and reach a wider audience.
JI: Is there is anything else you’d like to share?
JG: I am so grateful to be living the life of my dreams. I hope that I can inspire others – big and small – to take chances in their lives, to live from the heart and know that anything is possible.
Jennifer Gasoi will perform twice at the Children’s Hearing and Speech Centre of British Columbia’s annual Family Concert on April 12, at 10:30 a.m. and 1 p.m. The event at the Norman and Annette Rothstein Theatre – which raises funds to support CHSC’s audiology program – will also feature clowns, games, auction items and face painting. Tickets are $15.50 per child and youth under 17, $18.50 per adult 18 and over, and $60 for a family of four (two adults and two children under 17); they are available from childrenshearing.ca.
Former Sephardi chief rabbi Shlomo Amar (at head of table) joins David Meidan, to Amar’s right, to inform Iranian Jewish families of the fate of their family members. (photo by Ashernet/IGPO)
For the past 20 years, the fate of eight Iranian Jews who were attempting to escape to Israel has been unknown. On Thursday, March 20, former Mossad official David Meidan, who was charged with the inquiry into the disappearance of the eight Jews (plus three other Jews who were last heard from in 1997), told the families in Jerusalem that there is enough reliable information to conclude that all eight of the original Jews were captured and murdered while making their escape.
A statement from the Prime Minister’s Office confirmed that the Mossad had been tracking the 11 Jews who had fled Iran in four separate groups, eight in 1994 and the remaining three in 1997. The Iranian Jews vanished without a trace during their clandestine attempts to reach Israel. Families were left clinging to the hope that they had been kidnapped, or perhaps held in captivity by foreign governments. The Mossad did not provide detail into when or where the eight were killed, or by whom.
The Prime Minister’s Office said that the Mossad had relied on a “reliable source” for the information. An inquiry into the fate of the additional three Iranian Jews, who were last heard from in 1997, is ongoing.
The original eight Jews included Babak Shaoulian-Tehrani, 17, of Tehran; Shahin Nik-Khoo, 19, of Tehran; Salari Behzad, 21, of Kermanshah; Farad Ezati-Mahmoudi, 22, of Kermanshah; Homayoun Bala-Zade, 41, of Shiraz; Omid Solouki, 17, of Tehran; Rubin Kohan-Mosleh, 17, of Shiraz; and Ibrahim Kohan-Mosleh, 16, of Shiraz.
The three Jews whose fates remain currently unknown are Syrous Ghahremani, 32 at time of disappearance, of Kermanshah; Ibrahim Ghahremani, 61, of Kermanshah; and Nourollah Rabi-Zade, 52, of Shiraz.
Prime Minister Binyamin Netanyahu sent his condolences to the families and pledged to continue the investigation into the disappearance of the remaining three Iranians.
Meidan, the veteran Mossad official overseeing the investigation, was also involved in the negotiations for the release of soldier Gilad Shalit. After retiring two years ago, Meidan was approached by Netanyahu to continue to investigate the two cases.
Before the findings were presented to the families, the report was sent to former Sephardi chief rabbi Shlomo Amar, who ruled that the information was reliable according to halachah, Jewish law, a ruling that would allow the wives of the victims to remarry if they wish.
Baring one’s soul is always difficult. Imagine how it would be to share your angst and pain with a room full of strangers. This is exactly what four brave actors undertake in the world première of This Stays in the Room.
Horseshoes and Hand Grenades Theatre has partnered with PTC and Radix Theatre to bring this innovative mix of text, song, photography, video projections and choreography to the Downtown Eastside’s Gallery Gachet.
The company, as its press material states, “is a provocative and political group who are not content with holding a mirror up to society – they would rather conduct an autopsy on it.” This is the company’s first site-specific production and, by using a gallery venue, the audience is invited into a non-theatre space, removing the main barrier between the audience and the performers. To allow this intersection of theatre and visual art, the production set will remain as an installation during the run of the play for the general public to explore. The gallery is a collectively run space whose mandate is to encourage dialogue and promote social and economic justice.
The setting is intimate, rows of chairs on either side of a corridor with four decorated ones within the audience for the cast. The actors appear, two men, two women, each carrying a basket full of props. They sit among the viewers – you can reach out and touch them – and, one at a time, tell all. Four stories, four people, all very different and yet, in some strange way, hauntingly similar. An intense one hour takes you through the actors’ personal journeys, from trauma to the triumph of acceptance and forgiveness.
Part of the experience is the actors’ self-description as they draw themselves on a blackboard. Something visceral happens watching these four draw images of themselves on the board. They start off with simple stick people and then add layer upon layer of shape, form and color as they pictorially lay out their self-perceptions. The sound of the chalk scratching against the board picks up speed as they reach their finished images.
We meet Allan Morgan, 59 years old, gay, grappling with his sexuality and society’s homophobia, who puts a pink triangle over his face – he tells of his shame as a “chubby little boy” and his first homosexual experience. Then there is 30ish Robert Salvador, alcoholic, full of guilt over cheating on his wife and small daughter: he shares the story about a sex-free summer game he and his pals played in his teens, where falling off the wagon brought the punishment of being pelted with raw eggs. Next up, petite Manami Hara watching her elderly father deteriorate mentally and physically, feeling she abandoned him in his time of need, and, finally, pregnant Alexa Devine, harried mother of two, abused as a child.
Added to the mix are three stories of members of the creative team, whose talking heads are projected onto white lanterns hanging from the ceiling and the blackboards on either side of the audience. The poignancy and emotion of the disclosures are almost overwhelming at times. This is raw, in your face, reality theatre. It resonates with the audience because we have all been there, done that, and understand the feelings so openly expressed by this talented cast. At the end of the show, the faces of all of the audience members are projected onto the walls of the tiny room, each in a little circle – a reminder that we are all one.
With sound design by Noah Drew (whose Tiny Music was part of this year’s Chutzpah! Festival), lighting design by Andreas Kahre, video projection design by Cande Andrade and choreography by Amber Funk Barton, this multi-media mix comes together under the steady hand of director Mindy Parfitt.
This show is not for all: it is not a feel good, laugh-out-loud production but, as Parfitt notes, “It’s really about how we as individuals face the challenges in our lives, how we move forward and find some kind of forgiveness with ourselves and others.”
This Stays in the Room runs to March 30. Due to the adult content and language, it is not suitable for anyone under 18.
Gallery Gachet is located at 88 East Cordova St. Seating is limited. More information can be found at 604-729-5395 and horseshoesandhandgrenades.ca.
Tova Kornfeld is a Vancouver freelance writer and lawyer.
Dr. Carl Rothschild has always had artistic inclinations but he could never choose one creative medium over the others. In the end, like a Renaissance man, he chose them all. He plays violin and viola. He’s made sculptures and wood carvings. He studied theatre. He has been writing poetry since high school, and painting and drawing even longer. He’s an artist through and through, unable to exist without making art in one form or another, even though his chosen profession is child psychiatry.
“I always drew pictures,” he said about his early years. “When I told my mom I wanted to be an artist, I was six at the time, she said: ‘Doctors paint.’ When I mentioned that I liked playing music, she replied: ‘There’re doctors’ orchestras.’”
She wanted him to be a doctor, and he followed her advice. He doesn’t regret his choice. “At least I’m not starving,” he said with a smile. But he continued his involvement with the arts as a hobby, albeit a serious one. His first solo show of paintings, Stained Glass in Watercolor, opened on March 20 at the Sidney and Gertrude Zack Gallery.
Every painting in the show resembles a stained-glass panel; every shape is delineated by a dark outline. Inside the outlines, color rules. Yellow torches of the autumn trees stand along a street like soldiers on parade. Red tulips glow like candles above the grey flagstones of a backyard. Bluish sky melts into the pearly sea at the horizon, while the dramatic black borders cut across nature’s immensity, bringing it closer to humans and to the boulders on the beach.
Stained-glass technique is Rothschild’s latest creative mode. He is exploring its possibilities and shares his discoveries with viewers. “When our eye looks at two objects side by side,” he explained, “it sees a black separation line between them. When I insert the black lines myself, I can contain the shapes. I have control over them, and each object is discrete. I place them wherever I want in the picture.”
His images are never photographic. Whether the inspiration for a painting comes from a photo or a scene he has witnessed, or from his own poems, the end result is invariably his impressions of the objects that attracted his interest. “I saw those red trees and I wanted to paint them. I placed them in the painting, but they couldn’t be alone, they needed a street, a house, so I painted them, too.”
Besides shapes and lines, the stained-glass technique also fascinates Rothschild because of the texture and color variations in every glass fragment, he said. He tries to replicate the effect in his paintings, so his colors are muted, fluctuating inside the shapes he has imposed. “I like rounded lines; they’re easier on the eye,” he admitted. “It’s like the lines are dancing.”
His creative process implies a deep knowledge of the subject, but he is mostly self-taught. “I only started taking regular art lessons three years ago,” he said. “I was unsure whether I should continue painting. I visited a friend and talked to him about it. He had some watercolors by Susan Pearson on his walls. I liked them, and he said he knows the artist, why don’t I talk to her. So I did. I took my sketchbooks to this [artist] and I said I wanted to know where I was in my art. Am I an artist? Should I continue? She said: ‘Yes, of course, you’re an artist.’ Since then, I’ve been taking lessons with her every week.”
Those lessons contributed to another of his recent creative endeavors: in 2013, he published a book of drawings and poems, Almost Missed, on sale alongside his paintings at the gallery. “Only one painting in the book is done in the stained-glass technique, the first one I ever tried,” he said. “It was for my poem ‘In Memory of My Father’s Death.’ I liked it and started painting other pictures the same way.”
Most other illustrations in the book originated from one or another of Pearson’s lessons. They are either classic watercolor landscapes, airy and light, almost transparent, still-life pictures and abstracts based on the ideas and images of still life.
The connections between the poetry and pictures are intimate and allusive, and are woven together throughout the book. “Art is a synthetic process,” he said. “It comes out in whatever you do: poetry, visual art, furniture making. I always made art. Once, my family moved into a new home, and the previous owners left a stack of wooden kitchen cabinet doors in the basement. I started carving those doors. I don’t know what happened to them when we moved again. I also tried sculpture. When I was at university, my friend needed help in making dental samples. I helped him, and then used the same material for small sculptures. I also made a chess set for a friend.”
The modest Rothschild said he regards his constant creative output as relatively insignificant, but his sensitivity and artistry is unmistakable. Despite a medical degree and a psychiatric practice, in his heart, Rothschild is definitely an artist.
Stained Glass in Watercolor is on exhibit at Zack Gallery until April 27.
Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].
Last week, one of the largest and most influential social service agencies in Vancouver’s Downtown Eastside became a centre of turmoil. The government moved in and fired much of the leadership of PHS (Portland Hotel Society) Community Services Society after an audit – in which the agency provided tepid cooperation – found the agency to have squandered vast sums on travel and luxuries for staff.
A routine audit by B.C. Housing late last year raised enough red flags to bring in an independent auditor. In 2013, the society received $18.7 million from the provincial government and $2.27 million from the federal government. Overall, PHS is a $28 million a year operation, which runs hundreds of provincially owned housing units in the city’s poorest area, intended to provide stable housing for individuals who had been left to the rapacious slumlords who once ruled the area.
In addition to the constellation of renovated hotels in the area, the society operates Insite, Vancouver’s (in)famous safe injection site, where people with addictions can find a safe place and sanitary equipment to use, and help in the event of an overdose. Insite is also an entry point for people to access primary care medical treatment and a range of treatment, housing and community supports.
According to the organization, during its 23 years of operating in the Downtown Eastside, deaths by drug overdose have fallen dramatically, as have HIV infection rates, while life expectance has increased by 10 years. These are extraordinary outcomes and one of the saddest results of this scandal is that the important work of this organization has been tarnished by the actions of its leadership.
The four top managers – who oversaw more than 300 staff – and all eight members of the organization’s board of directors left their positions last week. The four managers were earning between $120,000 and $160,000 a year, and received an additional 30 to 40 percent in remuneration for vacation pay and statutory holiday pay. This is not necessarily out of line – what rankles most are the expenses the audit uncovered, and which the senior staff felt no need to justify, including providing receipts to the auditors.
Mark Townsend, who, with his wife Liz Evans, was co-executive director of PHS, reportedly racked up high meal and travel expenditures. The auditors, KPMG, in a more-than-100-page report, noted: “The PHS declined to provide the associated credit card receipts … PHS also reiterated, among other things, their view that provision of these receipts was unnecessary to complete a proper review of these charges. We respectfully disagree.”
KPMG cited dozens of suspicious expenses, including a trip to New York City by Townsend and Evans, who stayed at the Plaza Hotel, accumulating a $9,266 bill. The purpose of trip, according to KPMG, was entirely summed up as: “Activities related to other PHS social initiatives.”
Another PHS senior staffer enjoyed a $5,832 Danube River cruise. Over three years, staff restaurant bills averaged $1,927 per month, to a total of about $69,000. An expense that resonated immediately was a trip to Disneyland for (now-former) PHS manager Dan Small, his (now-estranged) wife Jenny Kwan and their children. Kwan is the member of the B.C. legislature for the riding that encompasses the Downtown Eastside and, despite the potential for conflict of interest or misallocation, Kwan said in a teary news conference on the weekend that she had no idea that the Disneyland, and another, vacation were at least partly funded by PHS.
These incidents are doubly troubling, not just because the misallocations of funds have hurt the people they were intended to help, but because they have the potential to harm these individuals further by reinforcing the perception that money put into the Downtown Eastside is going down a hole without commensurate results. In fact, PHS has done and will continue to provide vital services that improve life for many of our city’s most disadvantaged. Our hope is that this sad situation will result in improved oversight and more scrupulous management not only of this important organization, but of all the agencies serving this area – and, frankly, all nonprofits, especially those receiving government funding.
We should also remind ourselves that these events do not grant us the right to wash our hands of events in that troubled neighborhood. The concept of anei ircha kodmin means it is a primary obligation of our tzedakah to do what we can to ameliorate suffering of the poorest in our local community. May this incident and the probable further investigations serve to rebuild our confidence in how public and private funds are spent in the Downtown Eastside so that these agencies will continue to make the changes needed for the people there.
Several athletes have recently been condemned for employing “the quenelle,” a one-armed salute critics say is a neo-Nazi gesture. Originated by a notorious French antisemitic comedian, the gesture, named for a French fish croquette, sees the perpetrators folding an arm across their chest with the other arm extended downward. Defenders say it is does not have racist connotations but is merely, depending on the telling, an “anti-establishment” gesture or an offensive move roughly equivalent to the middle finger. It has apparently been popular for years among French young people, but has risen to prominence after numerous incidents on the playing fields of Europe. American basketball star Tony Parker, who is from France, may have brought the quenelle to North American attention. He apologized, claiming he did not understand the gesture’s political or racial implications. What the quenelle means, according to a French Jewish communal leader, is clear and threatening.
“The gesture has gained popularity amongst young people, and reunites extremists from the Islamist camp, the extreme right and left, as well as revolutionaries with one common objective: the fight against the ‘Tel Aviv-Washington axis’ as well as Jewish power and Zionism,” Simone Rodan-Benzaquen, director of the Paris office of the American Jewish Committee, told JNS.org.
The act of folding an arm across the chest is an oblique move that, to the untrained eye, seems innocuous enough. This has allowed many, if not most, of the public figures caught performing the gesture to claim they did not know what they were doing. On the other hand, those who post to social media pictures of themselves doing the quenelle in front of synagogues, Holocaust memorials and the Jewish school in Toulouse, France, where a rabbi and three children were murdered in 2012, know precisely the significance of the salute.
French government officials are flummoxed about what to do. The country has extensive legal proscriptions against the promotion of racial hatred and the expression of hate speech, but the silent simplicity of the quenelle may, in some ways, endow it with its power while making it especially challenging to outlaw. The French government is pursuing means to ban the comedian who created the quenelle, Dieudonné M’bala M’bala, from performing or speaking in public. Of course, “outlawing” racism is rarely effective, and the apparent spread of the quenelle is a reminder that France and other European countries have a lot of work to do in confronting hatred.
If those who perform the quenelle gesture are sometimes able to hide behind ignorance and ambiguity over its meaning, another troubling sports-related incident is unambiguous.
A Dutch football (i.e., soccer) team jetted off to Abu Dhabi for a match, leaving one of its players behind in the Netherlands. Dan Mori, a defender for the Arnhem-based team Vitesse, is an Israeli Jew – and Emirates officials told the team Mori would not be permitted to enter the country. The team went anyway, asking Mori to stay behind.
In the team’s defence, the communications director claims the team “stays away from politics and religion. We have always done this. We are a soccer club.”
There may well be a damned-if-you-do and damned-if-you-don’t aspect to situations where external forces demand that people take a stand, or don’t. In sending the team to the game without its Israeli player, the team in no way stayed away from politics; they implicitly endorsed the racist policies of the United Arab Emirates.
Just as some quenelle perpetrators say they didn’t understand the meaning behind their actions, the Dutch soccer team may view the Emirati diktat as a position based on regional geopolitics of which Arnhem footballers know little. In fact, the exclusion of Israelis from Arab countries has always had the distinctive aroma of something more invidious than mere politics. It smells of the same effluence that has seen almost every Jewish community chased out of the Arab world in the past several decades.
People can say they do not understand the implications of their actions, plead innocence and insist they do not get involved in political disputes. But actions have consequences, and we each have an obligation to educate ourselves about the bad company we may join with our own seemingly innocent actions.
There is a saying in politics that when you’re explaining, you’re losing. So it should be an extraordinarily bad omen for Quebec Premier Pauline Marois, in the early days of her election campaign, to be forced to declare: “The Parti Québécois is not an antisemitic party.”
The defence was necessary after the clearly written views of one of Marois’ candidates became widely known last week. Louise Mailloux, a college philosophy instructor and Montreal-area Parti Québécois candidate in the April 7 Quebec election, is a staunch supporter of the PQ’s secularism policy. The party is proposing a Charter of Values that would prevent displays of religious affiliation – kippahs, turbans, hijabs, for example – by civil servants. The crucifix that stands at the front of the Quebec National Assembly would remain, interpreted by the PQ not as a religious statement but as a symbol of the province’s cultural heritage. Likewise, presumably, the enormous illuminated cross that bears down over Montreal from atop Mount Royal.
Mailloux, however, goes somewhat further than most secularists. One might call her a secular fundamentalist. She has written that circumcision is equivalent to rape. (In fairness, she said the same thing about baptism.) A particular interest of hers is kashrut, which she has called “robbery,” a “rip-off” and a “tax” paid “directly … to the synagogue.” (She says the same about halal certification.) She has demanded that kosher and halal products be banned because, she believes, they artificially inflate prices and the revenue from certification goes to fund “religious wars.”
It’s useful to be reminded of the kind of ideas that emerge from those with animus toward identifiable groups. A moment on the darker reaches of the internet reminds us that the nature of bigotry quickly twists into convoluted, bizarre and arcane conspiracies. There is an increasingly small market for ideas that express outright hate. That may have worked in past eras, but people and society have changed. To gain traction, such expressions now require some imagination. The “kosher tax” conspiracy theory is an ideal example. Take an issue about which the general public has only the vaguest awareness and build a dramatic and devious story around it. But this story is not new. It’s been most prominently pedaled by the Ku Klux Klan. Yet it is not as fringe an idea in Quebec as we might like to believe. When a provincial commission looking into “reasonable accommodation” of minority rights in Quebec, the Bouchard-Taylor commission, delivered its report in 2008, it explicitly mentioned the “most fanciful information … circulating among Quebecers” about kosher food. (In fairness, the Bouchard-Taylor hearings showcased an encyclopedic array of bad ideas held by Quebecers about a whole range of minority groups.)
When Jewish organizations heard of Mailloux’s views, they reacted with predictable outrage. In a party press release, Mailloux apologized – just not for her ideas.
“I never wanted to offend or hurt anyone,” Mailloux said. “If that has happened, I very sincerely apologize.”
Hours earlier, the PQ rescinded the nomination of one of its other candidates for online comments against Islam and supportive of the French far-right leader Marine Le Pen. But when Mailloux’s views became a top story, Marois stood firmly with her.
“She supports our secular charter and I appreciate her support,” Marois said, not hesitating to add that Mailloux “is an eloquent writer” and “I respect her point of view.”
It is always better to shine light on rancid ideas than to allow them to fester in hiding. Never more is this true than in the midst of a democratic election campaign. Given that this election campaign is shaping up to be largely about two issues – the future of Quebec in Canada and the future of minority rights in Quebec – Mailloux’s ideas could hardly have come to light at a better time. The voters of Quebec will make their opinions known on April 7.
Of course, even the democratic voice of a free people does not always reflect the best of human nature. Given the tenor of Quebec attitudes toward minorities and the fact that we are discussing the preparation of meat, a dictum comes to mind not from the Talmud, but from the sage of Philadelphia, Benjamin Franklin, who said that democracy is two wolves and a sheep voting on what to have for lunch.
Earlier this month, Kaplan’s Deli & Catering at 5775 Oak St. closed. On March 6, there were three signs on the door, one noting that the locks had been changed, and two concerning monies that had to be paid within five days. On March 18, the signs were still there. The doors were still locked. The property management company was continuing its search for new tenants.
Whether or not one frequented the deli, it is sad to see it go. Opened by Ida and Abrasha Kaplan in October 1967, Kaplan’s (with variations on what descriptors followed the name) was a veritable institution in the community. Its opening was heralded with a two-page spread in the Jewish Independent’s predecessor, the Jewish Western Bulletin.
Owners of two Pheasant Delicatessen locations at the time, the Kaplans kept Pheasant’s longstanding 4030 Cambie St. location until, it seems, from the pages of the JWB, April 1969, when it was taken over by Sigy and Molly Robbins. It looks like Pheasant lasted until 1972, when the Pyrogy House starts being advertised in the Bulletin at 4030 Cambie St.
The Kaplans bought Pheasant from Helen and Jack Finkelstein in 1962. The Finkelsteins had owned it since 1952. The for-sale notice the year prior noted the deli’s “good turnover” and “illness reason for selling” – the Finkelsteins bought it from Mrs. Sarah Nager, who seems to have been the first Jewish proprietor of the deli that first appears in the B.C. city directories in 1947.
When Kaplan’s opened in 1967, its modernity was lauded.
The Kaplans opened Kaplan’s Delicatessen & Restaurant, “[j]ust a couple of stores over from their former Oak and 41st location (their popular Pheasant Sandwich Bar and Delicatessen),” reads the Oct. 20, 1967, article on the opening. With a seating capacity of 58, the restaurant’s modernity and beauty was lauded, as was its family atmosphere.
In the March 19, 1981, JWB, Mr. and Mrs. Serge Haber ran an ad announcing Kaplan’s new management, and “the introduction of new delicacies from Montreal and Toronto to the already large list available.” As did the Kaplans, Serge and Elinor Haber would run holiday greetings and advertise regularly in the JWB.
In 2000, Haber sold Kaplan’s to Marshall Cramer, in part, Haber told the JWB at the time, because Cramer agreed to keep the staff and run the business as it had been in the past.
Cramer had the store at 5775 Oak St. until 2012, when Howie English took it over. Full of optimism when interviewed by Menschenings’ Alex Kliner, English would not succeed in his hope to “make Kaplan’s the most famous deli in North America.” Unless someone in the community buys the name and reinvents the restaurant, he’ll have been its final owner.
Cousins Michael, left, and Sam Zipursky co-founded FreshGigs.ca. (photo from Michael Zipursky)
When FreshGigs opened for business four years ago, they took the job-hunting business by storm, generating quick growth and interest. So it makes sense that they would link themselves up with another up-and-coming concept taking the world by storm.
FreshGigs.ca, a Vancouver-based jobsite that focuses on marketing and creative talent, has become one of the first companies in the city to accept the new, revolutionary Bitcoin currency as a form of payment.
Bitcoin is the first decentralized digital currency. Ideal for conducting international transactions due to the lack of fees or bank-adjusted exchange rates, Bitcoin has gained popularity since first being introduced in 2009.
“We see it as another currency and option for people to make payments to post their jobs,” FreshGigs.ca co-founder Michael Zipursky explained in an interview with the Jewish Independent. “Employers can pay for their jobs with Visa, Mastercard, American Express, Paypal and, now, Bitcoin. We focus on providing our clients the best service possible and giving them choices is part of that.”
Bitcoin made its first splash in Vancouver in the fall when the first Bitcoin ATM was installed in a Waves Coffee House in Downtown Vancouver. There, customers need to have their palms scanned in order to make transactions worth up to $3,000.
Zipursky said FreshGigs.ca is moving with the times because they see it as another step in fulfilling their original mission. “We started FreshGigs.ca because many people we knew were very skilled at what they did, they were great at marketing, advertising and design, yet they had trouble finding a job,” he said. “At the same time, employers are looking for qualified talent and didn’t have any good options in these industries. We saw an opportunity to create a jobsite that would connect these two groups in a meaningful and effective way.”
Today, FreshGigs.ca is serving companies like Best Buy, Canada Post, Tourism Whistler, Vancity and the Jim Pattison Broadcast Group.
FreshGigs.ca went ahead with the decision to accept Bitcoin despite the controversy that has surrounded its introduction into the marketplace. Financial institutions have cautioned that the electronic currency can too easily be used for money laundering or to fund illegal activities. The European Banking Authority has cautioned that Bitcoin lacks adequate consumer protection, as it can be stolen and chargebacks are impossible. The government of China recently restricted Bitcoin from being exchanged for local currency and, last year, the FBI seized 144,000 Bitcoin worth $28.5 million from an online black market. However, the use of Bitcoin continues to grow as its value increases. As well, more large or reputable international companies have jumped on the Bitcoin bandwagon, leading many to believe that it is here to stay, despite the pushback. Virgin Galactic, the Richard Branson-owned company aiming to send people to space is accepting Bitcoin, as has popular blogging platform WordPress. Many other organizations, such as PayPal and eBay are making plans to follow suit.
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Back in Vancouver for the third time, Sidra Bell Dance New York presents a double bill of STELLA and garment March 27-29. The performances are co-presented by the Chutzpah! Festival as part of its PLUS series and the Dance Centre. Artistic director Sidra Bell spoke with the Jewish Independent via email about her background, what inspires her, the power of dance theatre and what makes her company unique.
JI: Could you share a bit about your background?
SB: I was born in New York City to mixed heritage and grew up in the northernmost part of Manhattan in a neighborhood called Inwood. My father’s background is Italian, Irish and Bohemian (on my grandmother’s side) and my mom is African-American. Both of my parents were raised in New York City, in the Bronx and Brooklyn respectively. My paternal grandparents came in through Ellis Island.
I identify with my mixed heritage and was always exposed to the various components that make me who I am although we didn’t specifically practise religion in our household. My parents are both pianists and met through music. They went to New York College of Music and went on to direct together, as well as teach. I am the youngest of four siblings who are all involved in the arts…. In some way or another, most of my family and extended family are artists or use art as an entry point into what they are doing now, and we are all largely entrepreneurs….
JI: How and when did you first discover dance? When did you discover choreography?
SB: I participated in preschool in an after-school dance program, Ms. Patti Ann’s Dance, in my kindergarten years. A couple of years later, my mom took me to an audition at the Dance Theatre of Harlem. I resisted mainly because I was extremely shy and very nervous. I started taking classes in ballet there at age 7 and fell in love with the language of dance and its rigor. I was a very serious child and loved delving into the form that was being taught. I excelled very quickly and was asked to join the weekday program on scholarship, which increased my level and the number of classes a week. By 13, I was taking classes with the professional division, particularly in my summers when I could participate in the intensives.
At age 14, I realized I needed to stretch away from just a classical training and that is when I was accepted into the Ailey School, where I spent two-and-a-half years on scholarship. It was during that time, as I became more exposed to modern techniques, that I became interested in generating my own movement vocabulary. I was able to create a few solos for myself that were showcased at Ailey’s student showcases and also at my high school, the Spence School, where they had a dance program. Because both were New York City based, these showcases were taken very seriously and showcased in well-attended venues such as Symphony Space.
From an early age, I knew that I had to be very rigorous in my craft. In college at Yale, I was part of a student dance company called Yaledancers that produced its own shows in the New Haven, Conn., community. I became more active in my choreographic process and there started truly investigating and making work. This was outside of a conservatory environment and it allowed me to work with my own movement invention. My college years were formative exploration years.
JI: Can you describe how a piece comes together, from inspiration to the stage?
SB: I simply start with movement. Movement has been a driving force behind all of my works. There is always a question around why movement is an important means of expression. This question leads to larger subtexts within a work and perhaps characterizations. What is important to me is to challenge my collaborators to investigate movement with various qualities, tones and entry points. This collaborative focus has led to wildly different worlds onstage. The dancers ingest the vocabulary and regurgitate it based on the tasks or objectives at hand. I find that the concept evolves as we dig deeper each day into the vocabulary. There is a lot of trying and playing in the studio. Sometimes we are at ease and just talking, which leads to insights into what the dancers are thinking about in relationship to the world around us. How does movement bring in larger overtones about the world around us? I love form and that is a huge emphasis. Inventing forms is my primary concern. As we continue, the lens and environment come into play, as well as how the dancers are interpreting each relationship. More recently, I have been working more closely with my lighting designer to create limits onstage that inform how the dancers will interact with the arena or environment set up for them.
JI: Is this Vancouver performance part of a larger tour? I see that STELLA is from 2012, but garment is a brand new piece. How did garment come about? How do the two pieces work together, if at all?
SB: This has been a wonderful year of touring for the company. We have already completed residencies and tours in Philadelphia, Pittsburgh … and Atlanta’s Tanz Farm. [Two weeks ago], we world premièred garment as part of the Kelly Strayhorn Theatre’s commissioning series KST Presents. STELLA was created in 2012 and world premièred at NYC’s Baruch Performing Arts Centre. Before arriving at Chutzpah!, we will be showcasing the same program of garment and STELLA in our San Francisco Season at Dance Mission Theatre.
Sidra Bell Dance New York performs garment in Vancouver March 27-29. (photo by Mark Simpson)
garment is about living in the skin you are in. Like STELLA, it deals with voyeurism and culture, but I think it drives towards the idea that we can rid ourselves of cultural constructs to re-establish or reclaim our personal and unique identities. Both works deal with popular constructs and individualism in an episodic framework. STELLA has a more cultish feeling, where you really see the dancers playing games and you can’t guess who “Stella” actually is until the end. garment sees the dancers reproducing trends and systems, and also working with joyful abandon. I think the two pieces are in conversation with each other and inhabit many different worlds within these general themes.
JI: Critics have called your work powerful, atmospheric, surreal, sensual and ferocious. I would add that your work is also in many ways hyper-modern, with industrial or “futuristic” qualities, from the costumes to the electronic soundscape you work within. It’s also very theatrical. Is there an overarching aspect of contemporary life that you’re exploring through your choreography?
SB: The main thread of my work is the personal questions that I grapple with. I think they are universal questions about our condition in contemporary life. As the world changes more rapidly, I grapple with my individual questions around identity, legacy, the afterlife, politics, community. The list can go on. I think I deal with these questions in my work, and not in a politicized way. The dancers contribute to this probing research and we work with play to reach and deconstruct content around these themes. Personas get developed through movement research and worlds get built from our collective thinking. I like playing this out on stage. There is often no resolution, but I am happy that there are always more questions. There is no one way to view the work and I like that the audience can reach in and find their own personal story. I am always surprised and pleased at the level of analysis an audience can bring to a moment. They bring up aspects I didn’t see and I think that is the beautiful quality that dance has. Its ephemeral and abstract nature can really make you feel. You may not know why you feel a certain way because it is truly coming from a visceral space. I like the fact that dance doesn’t have to deal with realism in such a direct way.
JI: What are the lines between dance and theatre, and what elements of performance bring them together? As well, can you share something about your work on Test and what draws you to work in the medium of film?
SB: I actively aim to eliminate the lines between dance, theatre and visual art. They are mediums that create a mutual, shared experience for the performers and the audience. I use whatever elements help me create those experiences for the viewer. I think this is why I have explored so many different aspects of dance and theatre. I use whatever technique or model that I believe services the work in the moment. I was the lead choreographer on Test (testthefilm.com), which has now been seen and awarded prizes worldwide. The film was shot and created on location in San Francisco. It was an incredible process working with Chris Mason Johnson, who wrote the screenplay and directed. He was a former dancer with Frankfurt Ballet and White Oak Project. I learned so much about the process of film making that I believe has improved my skills as a dance maker. Everything that was created on set was to service the storyline about dancers in the 1980s during the AIDS epidemic. My material was tempered to that era and I found it refreshing to have such a guide. It made me much more clear in the process of creating a choreographic work, which I consider to be a directorial act as well.
JI: How does your academic orientation and background impact your dance work, if at all? Are you currently teaching?
SB: I guest teach internationally. Teaching is a passion and I truly love the exchange I get to have with dancers from all over the world. My mind expands each time I lead a workshop because of the collaborative nature of working with such diverse communities. My academic background gave me a strong sense of language and articulation. My analytical nature has kept me interested in the research of movement not just its results.
JI: Are there differences in how you approach choreography for your own company versus commissions from other companies?
SB: My process is highly collaborative and I always go into a studio with very little expectation. This has produced very different works in each environment I visit. I like going into a new community on commission and introducing my language, but also learning about what gets that particular company excited about movement. With my company, we have such a history together that each work seems to be a reflection or a response to the last. I have been working with my dancers for some years and there is rich history that they bring to the studio but also a curiosity in moving forward.
JI: Vancouverite Rebecca Margolick is one of your dancers. Is there anything you can tell me about Rebecca’s contributions to SBDNY for her hometown audience?
SB: I met Rebecca when she was 16 years old at Arts Umbrella, where I taught and staged work. She was so wise and left a great impression on me. She brings a beautiful physical quality to the work but is also highly theatrical. When she is on stage she inhabits another aura. I find that fascinating about her. She is very discrete offstage but onstage she is a bold performer. She is a chameleon.
JI: Is there is anything else you would like our readers to know?
SB: This is our third visit to the Chutzpah! Festival as a company and I am so excited to be returning with these two works. I’m also thrilled to be co-presented by Chutzpah! PLUS and the Dance Centre. We love the city and can’t wait to see our Vancouver friends.
Sidra Bell Dance New York presents STELLA and garment March 27-29, 8 p.m., and March 29, 2 p.m., at Scotiabank Dance Centre, 677 Davie St. Tickets, $28/$24/$20, are available at chutzpahfestival.com or ticketstonight.ca.
