Cynthia Ramsay – Page 13

Who holds power over you?

Jeremy Goldstein, centre, and volunteer participants in the Newcastle, Australia, performance of Truth to Power Café earlier this month. Members of the Vancouver community will participate in the event here on Nov. 3. (photo by Cassandra Hannagan)

“Who has power over you and what do you want to say to them?” This is the question at the centre of Jeremy Goldstein’s Truth to Power Café, which he will present – with the help of local community members – Nov. 3 at the Rothstein Theatre as part of the Chutzpah! Festival.

“As with all our events, we invite participants to sign up to the project through a combination of open call and personal invites, which we send out in close collaboration with our presenter, who, in this case, is the wonderful Chutzpah! Festival,” explained Goldstein. “We don’t normally confirm the line-up until a week or two before the performance, so it’s a little early to say what people will speak about, but we’re looking for Vancouverites willing to engage in a process of compassionate truth-telling. When we combine this with my own memoir, told through poetry, image, film and music, it makes for fantastic theatre.”

The deadline was earlier this week for local community members of all ages, experiences and backgrounds to apply to be a part of the event. Selected participants will present a short monologue related to the question of who has power over them and what they want to say to that person, whoever it may be, a parent, sibling, boss, politician, neighbour, friend. In a 2022 Total Theatre Magazine article, Goldstein wrote, “Participants’ voices are heard and understood through the political and philosophical beliefs of Harold Pinter and his Hackney Gang.”

“Nobel Prize-winning playwright Harold Pinter wrote about power and occupation. His inner circle, the Hackney Gang, were a group of working-class lads who met in 1947,” Goldstein explained to the Independent. “They knocked about London’s East End in the 1950s, where they took on the bullies and fought with antisemitic fascists. The gang included my late father, Mick Goldstein, and the late poet/actor Henry Woolf, who became known as the ‘King of the Avant Garde,’ and with whom I co-created the show directed by Jen Heyes.

“For 60 years, the Hackney Gang held firm in their belief of an independent media and in speaking their truth to power,” said Goldstein. “They remained on the side of the occupied and the disempowered and their allies. These are the people we invite to appear in the show with me.

“Ultimately,” he added, “the show has become a love letter to the memory of my father Mick, and his friends of 60 years, Henry Woolf and Harold Pinter.”

Goldstein started Truth to Power Café eight years ago.

“Back in 2016, I was presenting New York’s queen of the underground and former Andy Warhol Factory superstar Penny Arcade at Soho Theatre in London,” he said. “I wanted to stage a pre-show event so I opened up my address book and invited 24 Londoners to respond to the question, ‘Who has power over you, and what do you want to say to them?’ Over four nights, I saw the theatre come alive with raw and compassionate truth-telling and was compelled to make a show out of it.”

But there were unexpected challenges.

photo - Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3 — Jeremy Goldstein brings his Truth to Power Café to the Chutzpah! Festival Nov. 3. (photo by Cassandra Hannagan)

“Two weeks before the first night, my face became numb and the doctors told me I had a stage 4 lymphoma,” shared Goldstein. “At the time, I didn’t know if I would live, let alone make it to the Soho Theatre performances. Eighteen months and a stem cell transplant later, I was cured and premièred the show at Festival 18, the arts and culture program for the Gold Coast Commonwealth Games in Australia.

“I’ve been on the road with it ever since, playing everywhere from poor working-class mining communities in the north of England to remote townships in the Australian outback to Queer Zagreb in Croatia and on to Lincoln Centre in New York – Truth to Power Café is a genuine global hit.”

Since it began, the show has had some 800 diverse participants taking part in eight countries.

“Some participants are established writers, artists and community activists, whereas others have never spoken up in public before, let alone centre-stage, under lights in their local theatre, sharing intensely personal life stories in front of their friends and family,” said Goldstein. “I’ve become a vessel through which these stories are told. It’s a very privileged position to be in and I don’t take it for granted. I want people taking part to have a positive experience, so I’m very aware of people’s well-being as part of the process leading up to each performance, and into the show itself. I check in with everyone after the show. Many of our participants have become my friends.”

He is well aware of how confronting power can put a person in a vulnerable position.

“The basic rule in life is don’t rock the boat or to tell a white lie to keep the peace, so whether you choose to speak from the personal, political, professional or even all three, speaking truth to power can put you at risk,” he said. “We, therefore, make the show in a safe space or, in the words of one our recent participants, Ed Wright: ‘To talk truth to power, to find our own power, we need to be able to feel safe. To have our power returned to us when it has gone missing, we need to know we have been listened to.’”

The question being asked – “Who has power over you and what do you want to say to them?” – is meant to challenge ideas of power and give voice to people who don’t normally have a chance to speak out, said Goldstein.

“People from marginalized communities tend to talk about progressive change, whereas those with privilege and power want to maintain the status quo and have more power,” he said. “We live in the post-truth age of the demagogue, where fake news is the new norm. In politics, the oppressed often have to fight for the right to simply say what they are experiencing and, in personal relationships, that artificial barrier is also in place. If you have an approach to allowing the conversation to happen, the chances of change occurring are much higher.”

The Nov. 3 Chutzpah! show is Truth to Power Café’s Canadian première and its 60th performance.

“It’s extremely rare to have two significant milestones back-to-back,” said Goldstein, “so I can’t wait to celebrate this with the good people of Vancouver.”

Chutzpah! runs Nov. 1-10. For the full lineup and tickets, visit chutzpahfestival.com or call 604-257-5145.

New this year for the Chutzpah! Festival: Jewish Community Centre of Greater Vancouver members receive discounted ticket prices and concession purchases at the theatre. Select Student/Senior/JCC Member tickets and ChutzPacks and bring your membership card to the theatre.

Space for love amid messy

Chutzpah! resident artists Livona Ellis, left, and Rebecca Margolick in their debut collaborative piece, Fortress, which is part of a double bill at the Dance Centre next month. (photo by Benjamin Peralta)

Strength, vulnerability, love, pain, joy, healing, creation. Two world premières at this year’s Chutzpah! Festival explore these and other aspects of what it means to be human. The Nov. 8-9 double bill of Fortress and About Time are being presented with the festival’s community partner, the Dance Centre.

Fortress is the debut collaborative piece by Chutzpah! resident artists Rebecca Margolick and Livona Ellis. In it, the dancers and choreographers contemplate femininity, what it means to be strong, what it means to be vulnerable and the balance between the two.

“I draw strength from the resilience and emotional intelligence of the women in my life. My mom, Mary-Louise Albert, and my grandmothers, Phyllis Margolick and June Albert, are key inspirations,” Margolick told the Independent. “I also think of my great-great-grandmother, Rivka Margolick, who fled the pogroms in Latvia in the late 1800s with her nine children. She died a week after arriving in Montreal, but her bravery continues to inspire me. I often think about how that one lucky and bold move to escape and to come to Canada has led to me here, now.”

Margolick’s heritage infuses her creative life.

“Jewish culture encourages asking questions and exploring ideas from multiple perspectives, which mirrors my creative process,” she explained. “I constantly question the work I’m building, not out of doubt, but as a way to deepen and refine it. This openness to possibilities, paired with a focus on collaborative exploration, is something I see as a direct reflection of my Jewish values, and one that I connect to strongly in my culture, my work, and the overall way I operate in the world.”

Born and raised in British Columbia, Margolick recently returned to Vancouver.

“I officially moved back in July, but I had been coming back here more often since the pandemic,” she said. “I was based in New York City for 14 years. For the last 18 months, I was nomadic and traveling around for work without a home base. I chose to settle back in Vancouver to be closer to family, have better access to nature, have a calmer lifestyle, and to strengthen the community and close friendships I have here.”

Margolick’s choreographic work has been presented around the world, and she has danced with various artists and companies, including Sidra Bell Dance New York from 2012 to 2016. She joined Andrea Peña & Artists this year.

Ellis has performed with several groups, including 11 seasons with Ballet BC, and has create works for many companies. She received the Vancouver Mayor’s Arts Award for Emerging Artist in 2017 and the inaugural Louise Bentall Award for Emerging Choreographer in 2023. She is also a dance educator.

The Jewish Independent first wrote about Fortress and Margolick and Ellis’s collaboration in 2021 (jewishindependent.ca/four-solos-and-a-duet).

“It has almost completely changed!” said Margolick of the work’s evolution since then. “We took some base movement ideas from the original work, for example, rocking, and then extrapolated on it. Our themes and original inspiration for the work have remained similar. We’ve let ideas breathe more, creating space for simplicity to stretch, and allowing the work to feel more spacious and exploratory.”

Margolick described how she and Ellis work together.

“Like a lot of creative processes, it feels like we’re building a puzzle,” she said. “We start with throwing out a bunch of ideas (puzzle pieces), trying them out, placing them next to other ideas, and seeing how they work together. Some ideas fit, while some don’t. It’s a constant process of refining, editing and reworking until the picture becomes clear. We aim to craft an arc that makes sense but still leaves room for mystery and space for the audience to create their own experience.”

As for her own journey with femininity, strength and vulnerability, Margolick shared, “Over time, I’ve grown more comfortable in my own skin, learning to embrace my imperfections and express my emotions more freely. I’ve come to understand that there is great power in vulnerability. As I’ve matured, I’ve also leaned into dialectical and critical thinking, which has helped me appreciate the complexity of femininity. Working on Fortress has reinforced for me that true strength lies in allowing space for tenderness and care, even when it feels messy.”

***

About Time choreographer Idan Cohen has also come to better understand messiness – the countless disparate ideas, feelings and events that co-exist at any given moment – in his exploration of time via Philip Glass’s solo piano études.

“It’s been very challenging to create throughout this traumatic year,” he acknowledged. “It feels like, since Oct. 7, one faces two major options: there are those who break and those who assemble, constructing something out of the pain and confusion. I chose to create About Time as a commentary on the ways we consume information, form opinions and lose empathy. Time goes on whether we want it to or not. The question is, with what do we fill that space, the time we are given. My time is filled with both love and pain. I break, but I also feel the urge to create, provoke thought and promote healing.”

Born and raised in Israel, but now an established Vancouverite, Cohen’s career includes seven seasons with Kibbutz Contemporary Dance Company and various international tours, residencies and scholarships. A multiple-awarding-winning performer and choreographer/director, he is founder and artistic director of Ne.Sans Opera & Dance.

The original idea to create a piece to Glass’s études came from Cohen’s colleague and friend, conductor and pianist Leslie Dala, back in 2020.

photo - Will Jessup in Idan Cohen’s About Time, an exploration of time through Philip Glass’s solo piano études. In this year’s Chutzpah! Festival, Jessup and Benjamin DeFaria perform the piece with pianist Leslie Dala at the Dance Centre Nov. 8-9 — Will Jessup in Idan Cohen’s About Time, an exploration of time through Philip Glass’s solo piano études. In this year’s Chutzpah! Festival, Jessup and Benjamin DeFaria perform the piece with pianist Leslie Dala at the Dance Centre Nov. 8-9. *(photo by Chris Randle)*

“Even now, between other projects, I find myself continually returning to Glass’s études,” said Cohen. “I have to understand the core of the music. It is more than just the composer’s intention – it’s about tracking and studying their identity, which makes them a cultural phenomenon, that deep essence through which they form a perspective, their cultural DNA. Glass is such a fascinating artist, and I have a tendency to obsess and study things over time – it is a friendship. I am immersed in Glass’s unique understanding and appreciation of time, and in the way he engages with philosophies and perspectives.”

Cohen has learned a few things from this immersion. In particular, he said, “In order to survive, I had to remind myself that no timeline is more important than another – joy and pleasure exist in any given moment, alongside tragedy, weakness and pain. There are multiple realities, and the worst atrocities happen simultaneously with moments of celebration and joy.”

While the music is the foremost inspiration, Cohen said it serves as “the gateway through which a creative world is assembled.”

“In a creative process,” he said, “I need to find my interpretation of the music, to discover where the core connection lies between the music and myself. It is an act of artistic communication – between artists, between Glass and me, the dancers, Leslie Dala, the designers and everyone involved. I find the act of art-making to be an important practice in both creation and healing.”

Dala will perform Glass’s études live during About Time, which features dancers Will Jessup and Benjamin DeFaria.

To the community, “who have endured unbearable pain this year,” Cohen said, “I dedicate every movement and every step of this creation to you, sending you strength and love. I am praying for better times to come.”

***

The Fortress and About Time double bill will take place at Scotiabank Dance Centre. For the full Chutzpah! Festival lineup and tickets, visit chutzpahfestival.com.

Virtuoso musician, impresario

The reasons why Wendy Atkinson, who owns Ronsdale Press, wanted to publish Have Bassoon Will Travel: Memoir of an Adventurous Life in Music by the late George Zukerman, are the reasons people should read it. Zukerman had a long and impressive solo career as a bassoonist, was a pioneer in organizing concerts and tours, and gave remote communities across Canada the rare chance to hear classical music performed live.

“She recognized that his anecdotes capture a vital period in Canada’s musical history and are vivid reminders of the lengths musicians will go to tour our vast country,” reads the afterword. “George’s memoirs go beyond simply capturing a life. He expanded the cultural reach of classical music in Canada; no small feat and Canada is better for it.”

How Zukerman’s memoir came to be is an example of the communities he created in his life. When he died Feb. 1, 2023, in White Rock, the manuscript had been written, but it took several volunteers – each with their own connections – to bring it to publication quality and get it printed. After reading Have Bassoon Will Travel, you will know why they did it. Not only was Zukerman a world-class musician and impresario, but he was a world-class human being: humble, funny, innovative, hardworking, fairness-driven, adventuresome, the list goes on.

Zukerman was born in London, England, on Feb. 22, 1927. Well into the book he talks about how he never liked his name, George – his parents, both American citizens living abroad, named him after the United States’ first president, George Washington. His middle name, Benedict, was in honour of 17th-century Jewish philosopher Baruch (Benedict) Spinoza, who was expelled by his community for his ideas. Zukerman also discusses his surname, the spelling of which differs across family thanks to the North American melting pot. There is something to be said about living up to one’s name, and Zukerman certainly was a leader in his fields of music, both as performer and impresario; he certainly forged his own path, uplifting the place of the bassoon in the orchestral world, creating opportunities for fellow musicians to perform and bringing classical music to the remotest of areas; and he lived in several places and traveled, mostly for work, around the world.

It is incredible how much of life is directed by (seeming) happenstance. Zukerman’s first encounter with the bassoon was at 11-and-a-half years of age. It was an accidental meeting, as his older brother showed him around the London prep school Zukerman was about to attend.

“We wandered past the windows of a basement chapel and glanced down to where an orchestra was rehearsing,” writes Zukerman. “A row of tall pipes seemed to reach for the ceiling. I could see and hear very little through the moss-covered stone walls and grimy opaque windows of the old school, and I wondered what on earth these strange-looking instruments were. My brother, already in Form IV, authority on much, including most musical matters, declared them to be bassoons, and the piece in rehearsal the annual Messiah. We walked on to explore my new school, and any awareness that I would spend my life playing that instrument would have been uncannily prescient. The bassoon remained buried deep among early memories.”

His next encounter was as random. As the Second World War began, the family – less Zukerman’s journalist father, who joined later – left London for New York City. There, Zukerman attended the newly established High School of Music and Art.

“By way of an audition,” he shares, “I played [on the piano] my one and only party piece (a simple Beethoven sonatina). To my surprise as much as anyone else’s, I was admitted to the class of 1940! Dare I suspect that my acceptance had as much to do with short pants and an English accent as with any evident musical skill?”

On the first day of school, the kids were told to pick an instrument. “No British prep school could have readied me for such democratic and independent action, so I hesitated,” writes Zukerman. “On all sides of me, the pushy American kids ran furiously and grasped what they could most easily identify. The violins, clarinets, flutes, trumpets, cellos and drums disappeared into groping hands. When I finally reached the shelf, all that remained was an anonymous black box. I lifted it gently and carried it toward a teacher standing nearby. ‘Excuse me, Sir,’ I asked timidly, ‘but what is this?’

“He looked down, and a broad smile covered his face. ‘Why, you are our bassoonist!’ he declared.”

With faint remembrance of the tour with his brother, he thought, “Was I now going to play such an instrument?”

Indeed, he was, and to eventual great acclaim, both as part of orchestras and as a soloist. But, as you can imagine, bassoonist was not exactly a living-wage career, at least not in Zukerman’s time, and his parallel career arose from a need for more work. Having learned during his time with the St. Louis Sinfonietta in the 1940s about community concerts – where money was raised in advance through subscriptions rather than individual ticket sales, and no contracts were signed until the money to pay for everything had been raised – Zukerman, who was by then living in Vancouver, brought the idea to Canada. His offer to an American company to be their representative here declined, Zukerman decided to do it on his own.

“Canada was coming of age, and Canadian communities were ready to make their own concert plans and to welcome Canadian groups and soloists, even if at the time they were equally unknown,” he writes. “Within a decade, Maclean’s magazine would write that I had successfully outsmarted the Americans at their own game.”

It is fascinating to read of Zukerman’s efforts to expand the reach of classical music in Canada and other countries – he visited the Soviet Union eight times between 1971 and 1992, as performer and concert organizer, and brought Soviet musicians to Canada to tour. Decades earlier, he spent a year-plus in Israel, part of the nascent Israel Philharmonic. He was also part of the Vancouver Symphony Orchestra in its early days, and of the Vancouver Jewish community – Abe Arnold, publisher of the Jewish Independent’s predecessor, the Jewish Western Bulletin, had a small but notable impact on Zukerman’s life.

Have Bassoon Will Travel is a truly engaging read. The way in which Zukerman writes is like how he would have spoken, though likely more concise and organized. The effect is that we the reader are having a chat with him, reminiscing. We get a feel for what life was like back in the day for a musician and entrepreneur. We feel nostalgia for a time many of us never experienced personally.

Ari’s Theme opens VIFF

Ari Kinarthy’s nightmare before the live recording session. (screenshot from Salazar Film)

The 43rd Vancouver International Film Festival (VIFF) officially opens Sept. 26 with the screening of Ari’s Theme, a TELUS original feature documentary about local composer Ari Kinarthy by local filmmakers Jeff Lee Petry and Nathan Drillot, who run Salazar Film.

Jewish Independent readers will be familiar with all three creatives, who will attend both VIFF screenings, ready to answer audience questions, as well as participate in a panel discussion.

Sam Margolis first wrote about Victoria Jewish community member Kinarthy in 2020 – Kinarthy, 30 years old at the time, had released two albums, won an international music competition and was looking for people who might want original music for a project they were working on.

“I create all my music entirely with the computer,” he told the Independent. “Sometimes, I will have access to a guitar player or singer but normally the music will be all done by the samples I use. I usually start with just piano and sometimes will write out a score. I think of a melody and/or harmony and continue from there. I love making themes.”

Kinarthy uses a special computer system to record his music, as he has spinal muscular atrophy type 2, a symptom of which is worsening muscle weakness.

When Margolis interviewed Kinarthy a second time for the Independent, it was because Ari’s Theme was about to première at Toronto’s Hot Docs Film Festival. In the article, which was published in April, the filmmakers share that the documentary was inspired by the first JI article.

“We hired Vaka Street Casting to help find us subjects for potential documentaries. They found the JI article while searching for individuals with unique stories,” Drillot told the Independent in an interview last week.

Drillot said the number one factor he and Petry look for in possible documentary subjects is that the individual has a unique perspective – “You’ve got to be an outside the box thinker,” he said, “which Ari most definitely is.”

“As we learned more about Ari’s story, we thought about how interesting it would be to work with a composer like Ari, who has a very particular life experience, and ask him to compose music about the most impactful moments, dreams and experiences of his life and let us create cinematic scenes around them,” Petry told the Independent in April.

It was hard to imagine just how Petry and Drillot would create those scenes and how Kinarthy would not only choose the times in his life to highlight, but be able to compose the music to accompany those emotional times. We learn in the film that Kinarthy doesn’t just want to write any song – he wants to leave a legacy, to make an impact on the world, so that his life will have been, in his words, “worth it.”

screenshot - Ari Kinarthy in a recording session with musicians at the Alix Goolden Performance Hal — Ari Kinarthy in a recording session with musicians at the Alix Goolden Performance Hall. *(screenshot from Salazar Film)*

Kinarthy’s honesty with his feelings, fears and ambitions, is remarkable. He undergoes a transformation during the film. His physical challenges and the dangers to his health if he gets sick have led to him being isolated for much of his life, relying on a few key caregivers and his parents. He is mentally strong, though, and this is made clear as he questions the walls he has built to protect himself and as he lives seemingly at peace with his limitations, while also knowing what he is capable of beyond them. That he allows the filmmakers – and us – to see just how vulnerable he is, is proof of his sheer strength.

“Watching Ari go through the process of making the film was incredibly rewarding,” said Drillot. “He overcame a lot of creative obstacles and consistently impressed the whole filmmaking team with his drive, determination and creativity. Personally seeing him watch the footage in the movie theatre was the most impactful. It’s a very unique experience to sit in a movie theatre and see your life reflected back at you. I really have a lot of respect for Ari for trusting the process and for constantly rising to the occasion.”

Kinarthy opens himself up creatively in ways even he may have thought not possible. We see him working with fellow musicians Allan Slade and Johannes Winkler, who provide feedback and guidance, and help him translate his vision into reality. It is in these scenes that we witness both Kinarthy’s confidence and anxiety, and the filmmakers capture it incredibly well, unobtrusively filming the men creating together, with other shots of Kinarthy talking about the process. There is an especially powerful scene, where Kinarthy sits alone in the Alix Goolden Performance Hall, on stage, as pages of music swirl madly about him.

Ari’s Theme uses such special effects, as well as animation and reenactments, to help tell Kinarthy’s story. There are home videos of Kinarthy and his family, and it is so moving to hear him talk about his family – describing his sister as a drum, driving him to enjoy himself; his dad as a cello, supporting from the background; and his mom as a piano, providing the strong underlying cords binding the family together. “And then there was me. I was a flute,” he says. “A little sound that would come in and out. I wasn’t integral to the song, but I added something unique. I often miss that version of myself, when life was expanding, free of concern and anxiety. As I’ve gotten older, these memories have become more and more important to me.”

In the film, Kinarthy questions whether other people will be interested in his memories. Anyone who sees the documentary will likely respond with a resounding, yes! Not only interested in the memories, but inspired by the man who shared them and the man who created their impressive soundtrack.

Passages of that soundtrack will be performed live at the opening event by members of the Vancouver Symphony Orchestra. For tickets to either screening of Ari’s Theme (Sept. 26 or 28) and any other VIFF offerings, visit viff.org. The festival runs to Oct. 6.

Building on a legacy of hope

Dr. Oheneba Boachie, left, and Dr. Rick Hodes, centre, with patients. The JDC spine program in Ethiopia is seeing patients full-time and has evaluated more than 5,000 patients with spine deformities. (photo from Gary Segal)

The two previous Bring Back Hope events “were vital to getting us to where we are now,” Dr. Rick Hodes, American Jewish Joint Distribution Committee (JDC) medical director for Ethiopia, told the Independent. “They raised interest in our work and the financial gifts we received allowed us to expand, to operate on hundreds more patients, and to become the most important spine centre in the entire country of 120 million.”

Bring Back Hope III will take place Oct. 22 at the JW Marriott Parq Vancouver. The event, which was conceived by local businessman and philanthropist Gary Segal, will honour Hodes and raise funds to secure Hodes’ legacy by establishing a dedicated spine centre in Ethiopia and training doctors and medical staff.

Segal met Hodes on a Jewish Federation of Greater Vancouver/ JDC trip to Ethiopia in 2007. From Hodes, Segal learned about Tesfaye Anagaw, then a teenager, who had an extreme deformity in his spine that could not be operated on in Africa. Segal managed to get Anagaw the life-saving surgery he needed at Vancouver General Hospital in 2009. The experience inspired Segal to help others in similar circumstances by supporting Hodes’ work. Segal launched the Bring Back Hope Initiative (BBH) in 2012.

It wasn’t intended to be annual event, Segal told the Independent. “As a new cause with its somewhat unique origin, it took some time and thoughtful analysis to deploy the funds in a strategic manner – not just to fund the immediate and ongoing need for life-saving spine deformity surgeries, but also to increase training and capacity within Ethiopia. In addition to BBH working with JDC, the newly established BBH partnership with the UBC Branch for Global Surgical Care was unfolding methodically.

“As a result, the appropriate timing for BBH II just naturally turned out to be a five-year anniversary of the initial launch. With the similarly inspiring and even larger amount of funds raised at BBH II, I would say that, around three years later, the rumblings of a BBH III 10-year anniversary event began running through my head, only to be derailed by a couple of unforeseen ‘best laid plans of mice and men going awry’ events: COVID, followed by an outbreak of civil unrest and war in Ethiopia. So, here we are.”

One of the prominent aspects of Hodes’ work, which has been highlighted at previous BBH events, is the interfaith cooperation.

“It is not exactly a revelation to say that extremism, especially of political and religious beliefs, has historically led to much discord in the world,” said Segal. “In stark contrast, underpinning these BBH events, you have this remarkable story – rare humanitarian Jewish physician Dr. Rick Hodes, partnering with devout Baptist Ghanian-born spine surgeon Dr. [Oheneba] Boachie, working with the Catholic nuns of Mother Teresa mission in Addis Ababa, saving Muslim and Christian children. What an uplifting and powerful example of what interfaith cooperation can achieve.”

photo - From left to right: Dr. Oheneba Boachie, Gary Segal and Dr. Rick Hodes in the clinic office in Addis Ababa, Ethiopia — From left to right: Dr. Oheneba Boachie, Gary Segal and Dr. Rick Hodes in the clinic office in Addis Ababa, Ethiopia. *(photo from Gary Segal)*

An important development since the first BBH event is that the Ethiopian Ministry of Health has recognized the importance of the spine program.

Boachie and Hodes have been working together for almost 20 years, having met in 2005.

“In spring of 2006, we sent five patients and one staff person to Accra, Ghana. At the same time, Dr. Boachie and his team arrived from New York, and they operated on our patients and many others,” said Hodes. “The Ethiopian government was not making spine a priority, but now that we are seeing patients full-time and have evaluated well over 5,000 patients with spine deformities, they realize that this is a major cause of disability. They now are in favour of a national spine centre and are working with us to get this done. Their endorsement has shown us, and our donors, that we have ‘buy-in’ from the Ethiopian government.”

While the majority of surgeries took place in Ethiopia this year, Hodes said, “We also send patients to FOCOS Hospital in Ghana and Ganga Hospital in India for traction and for surgery.

“We are sending Ethiopian surgeons to India for training, as well. Over the years, the majority of our difficult surgeries have been performed in Ghana, often preceded by months of ambulatory traction. Having our own centre will allow us to provide better care and to be in control of the process and the facility.”

Currently, they operate in a government hospital as well as in a private Christian hospital, said Hodes, “but we believe that a full-time, 100%-spine centre would provide better care to Ethiopians suffering from spine issues.

“I am the main doctor in the clinic, but, in the end, this must be a program run by Ethiopians for Ethiopians,” he stressed. “A national spine centre will allow this to happen. This means having a dedicated facility, as well as fully trained Ethiopian physicians, nurses, physical therapists and others to be able to evaluate, treat, operate on and rehabilitate our patients. It is a great opportunity to provide great care to our patients, and I would love to find an Ethiopian doctor to direct it.”

Hodes was in Vancouver more than once this summer, talking about his hopes for the spine program.

“I was here,” he said, “meeting people, speaking about my work and trying to interest people in our activities in Ethiopia, which involve identifying patients, evaluating and treating them, choosing people for surgery, coordinating care and arranging surgeries – and following them afterwards for years,” as care needs don’t end after the surgery is complete.

“The Dr. Rick Hodes/JDC spine program – over the last 20 years, part of JDC’s tikkun olam non-sectarian work – has not only saved and transformed countless lives, but has also served as an inspiring example and message to both the Jewish and non-Jewish world,” said Segal, who has been on the JDC board since 2012.

Hodes has been recognized for his work in various ways. Most recently, he was given the 2024 Walter P. Blount Award by the Scoliosis Research Society, whose membership “includes over 1,000 of the world’s leading spine surgeons, researchers, physician assistants and orthotists who are involved in research and treatment of spinal deformities.” The award honours “an individual who has provided outstanding service for those with spinal deformities, through their generous actions out of a sense of service to larger social and professional goals.”

Segal and others have called Hodes “tireless” in his humanitarian work.

“I am surrounded by suffering, and it is my challenge to deal with this daily, to provide compassionate care and to raise funds for all of this,” Hodes told the Independent. “I realize that I can only help a small percent of the people who seek my care, and have to deal with that. I am motivated by my goal of helping people for whom there is no other alternative. It’s not easy. I lose sleep over this. It is never-ending.”

Hodes will return to Vancouver for BBB III. Also attending, said Segal, will be “Tesfaye, with his wife and son (whom I can’t wait to meet for the first time); two other patients whose lives were transformed through the Dr. Rick Hodes/JDC spine program; some JDC professionals from the USA, Israel and Ethiopia; and a senior Ministry of Health individual. There is also a special entertainment surprise with its own unique story and link to the evening.”

For tickets to BBH III, visit bringbackhope.com.

Unique in style, rich in culture

Kommuna Lux (photo by Maria Dmytrenko)

[Editor’s Note: Due to unforeseen circumstances related to flight restrictions, the Chutzpah! Festival must postpone Yamma Ensemble’s performances to March. However, the festival has found a vibrant alternative for Nov. 5: Itamar Erez Trio and special guests. Click here for more.]

Original music that honours the culture and traditions of its creators. Unique songs that you’d have to travel thousands of kilometres to see and hear live. Or, you could buy tickets to Chutzpah! The Lisa Nemetz Festival of International Jewish Performing Arts, which runs Nov. 1-10.

Kommuna Lux from Ukraine brings its unique “Odesa Gangsta Folk” – which they describe as “thrilling klezmer music and common gangster folk songs from their hometown, all with a dose of rocket fuel” – to Vancouver to open the festival Nov. 2, 7 p.m., at the Pearl. The event is presented in partnership with Caravan World Rhythms. The group will also travel to Victoria, for a Nov. 1 show at the Edelweiss Club.

Kommuna Lux’s music is specific to their part of the world, Volodymyr Gitin (clarinet) told the Independent.

“What I like most about this style is the special energy that charges both us and our listeners,” he said. “But I also really like how diverse our music is, because it includes almost everything related to the cultural heritage of Odesa.”

Similarly, Yamma Ensemble from Israel brings its unique heritage-rich music to Chutzpah! – on Nov. 5, 7 p.m., at Rothstein Theatre. They also give an intergenerational matinee performance Nov. 4, geared to school and seniors groups, in which they will “include as many explanations as possible about the ancient musical instruments, about the Jewish communities around the world, about the songs,” lead vocalist Talya G.A Solan told the Independent.

“We wish to celebrate and enjoy the richness and the immense beauty of the Jewish culture and our origins,” she said. “We mainly bring out the mix of Jewish cultures, the mix of our different backgrounds and the fact that we came together into an organic and whole music ensemble…. So, in our music, you can hear the music of Spanish Jews from Thessaloniki and Spanish Jews from Turkey, the singing of psalms by the Jews in Iraq and the singing of religious poems from Yemen.”

photo - Yamma Ensemble — Yamma Ensemble *(photo by Zohar Ron)*

On the group’s website, they note that Yamma means “toward the sea” in Hebrew and “mother” in Arabic.

“The connection between Hebrew and Arabic is not only a connection between two very similar Semitic languages, but also a connection between the countries of origin of the Jews who lived in Arab countries and their descendants, who were born here and grew up in Israel,” explained Solan. “Our musical heritage, like our origins, is connected to the Jewish communities in the Middle East who immigrated to Israel with the language they spoke, the Arabic language in its many dialects (Yemeni, Iraqi, Moroccan, etc.). They came to Israel and had to speak the local language – Hebrew.”

Hebrew is a central element of the ensemble’s repertoire, directly tied to the members’ identity as Israeli musicians.

“Hebrew is our mother tongue, the language we were born into and the language in which we dream and communicate,” said Solan. “It is an ancient, gorgeous and special language that became extinct and was revived in the 20th century. We try to perform mostly in Hebrew. We mix between our own original creations (always Hebrew) and traditional music (Sephardic, Yemenite).

“There is no Israeli music group that performs out of Israel and has been active for a long time [mainly] performing Hebrew music,” she continued. “This fact is odd and crazy, since Hebrew is the spoken language in Israel, but none of the Israeli musicians active abroad focus on this magnetizing and beautiful ancient language.

“One of the reasons that Yamma Ensemble’s YouTube channel is the most viewed channel of Hebrew music for foreign audiences,” she said, is “the accessibility of Hebrew for foreign audiences who do not speak it. We translate all the songs, so people can watch them with English translation. We receive daily messages from all over the world from people who write us that they learn Hebrew with the songs, that they get closer to their Judaism through the songs. It feels like a serious task that we didn’t ask to take on, and it happened naturally.”

Yamma Ensemble has four albums – Yamma (2011), Basket Full of Stars (2017), Rose of the Winds (2020) and To Awaken Love (2023) – the last of which comprises entirely original music, inspired by traditional sounds, said Solan.

The group is working on an album of psalms. Their performance of Psalm 104 is “the most viewed Jewish chant on YouTube, [in the] category of live and traditional music,” she said. “It has already passed 10 million views! So, we need to record this psalms album.”

However, to produce a recording is an expensive undertaking, and that’s one thing when the music will have a relatively large market. For music “that is not commercial and does not carry profits or compensation, there must be a budgetary basis or significant support,” said Solan. People who are interested may support the psalms project via the ensemble’s website, yammaensemble.com.

Coincidentally, Kommuna Lux’s original name also has to do with the financial side of the music business.

“Dengi Vpered means ‘Money Forward’ or ‘Cash in Advance,’” explained Gitin. “This name appeared before I was in the group. One day, the guys didn’t get paid for a performance and, since then, they started taking money in advance. At the same time, they named the group that way, with a bit of Odesa humour, and also so that it would be immediately clear how they do business.

“After six incredible years of being together, it so happened that our vocalist decided to go his own way and we needed to figure out how and with whom to continue our journey. Also, for various reasons, we felt that it was necessary to change the name…. So, first we found [singer] Bagrat [Tsurkan], who quickly became a valuable member of our team, and then the name itself came along, which resonated with us very much.

“Kommuna Lux has several meanings,” he said. “One of them is ‘the Commune,’ which is united by the common idea of bringing light and joy to people. But ‘Kommuna’ can also mean a communal apartment in which several families live. In such apartments, there is a shared kitchen and sometimes a bathroom, and people need to agree with each other to live in peace and harmony. And ‘Lux’ in this case has another meaning, as a sign of the quality of how we look and sound on stage, the quality of the luxury level.”

Gitin joined the band, which has one album to date (OdesaFM), in 2014.

“I was attracted by the idea of reviving Odesa songs and Jewish folklore in a new, modern way,” he said. “Everything was created and performed with great enthusiasm and a desire to share positive emotions with people. We felt that we were doing something special.”

And they do something extra special in some of their performances – they raise money for Ukrainians affected by the ongoing war with Russia.

“Mostly, we collect money for 110 Brigade, they always need different vehicles for different goals,” said Gitin. “Also, during our last tour, we [participated in a] joint initiative of Rotary E-Club of Ukraine to buy beds for burn victims, for a hospital in the city of Kramatorsk in Donetsk region.

“Our whole life is connected with our home and we feel that every Ukrainian joined to help our people,” he said. “So, our reasons are the same, we can’t just watch, we feel that we should do what we can.”

He added, “Music is very important, especially in such periods, because, through it, it is possible to express the whole spectrum of feelings. Music can raise the spirit, unite everyone around a common idea, and also help people experience deep feelings, especially when they lose loved ones.”

Rounding out the musical offerings at Chutzpah! this year is New Orleans multi-instrumentalist Mark Rubin, “offering Southern Americana from a Jewish, socially conscious point-of-view.” Jacob Samuel headlines a comedy night hosted by Kyle Berger, and Jeremy Goldstein’s Truth to Power Café includes stories from Vancouverites in response to the question, “Who has power over you and what do you want to say to them?” A dance double bill features Fortress (Rebecca Margolick and Livona Ellis) and About Time (Ne.Sans Opera & Dance, Idan Cohen). Canadian Yiddishist Michael Wex brings The Last Night at the Cabaret Yitesh (di letste nakht baym yitesh) to the festival, and the Vancouver Jewish Film Festival and Chutzpah! co-present the screening of Gimpel the Fool Returns to Poland by Nephesh Theatre artistic director Howard Rypp, which “follows the show’s journey throughout different towns of Poland, while tracing [Gimpel writer Isaac Bashevis] Singer’s escape from the Holocaust, finally finding refuge in the USA.”

For tickets to any of the festival events, visit chutzpahfestival.com or call 604-257-5145.

About the 2024 Rosh Hashanah cover

I came across this Rosh Hashanah greeting card in the 2017 Forward article “The Curious History of Rosh Hashanah Cards in Yiddish” by Rami Neudorfer. The image was copyrighted by the Hebrew Publishing Company, New York, 1909, and the high-resolution version we used for the cover comes from the postcard collection of Prof. Shalom Sabar (emeritus) of the Hebrew University of Jerusalem.

“The card depicts two eagles in the sky: under the Imperial Eagle of the Russian coat of arms, a group of impoverished, traditionally dressed Russian Jews, carrying their meagre belongings, line Europe’s shore, gazing with hope across the ocean,” wrote Neudorfer. “Waiting for them are their Americanized relatives, whose outstretched arms simultaneously beckon and welcome them to their new home. Above them, an American eagle clutches a banner with a line from Psalms: ‘Shelter us in the shadow of Your wings.’”

Not only did Prof. Sabar provide the image for the cover but he offered further explanation of the card’s meaning. The verse quoted is partially based on Psalms 57:2; the fuller quote is taken from Psalms 17:8 – “Hide me in the shadow of Your wings.” In the illustration, the quote is changed to be in the plural: “Hide us in the shadow of Your wings.” And it appears in this form in the Ashkenazi siddur, where it is part of the Hashkivenu prayer, said Sabar. The full text can be found at sefaria.org.il/sheets/29587?lang=bi, where they translate the phrase as “and cradle us in the shadow of your wings.”

The message of a passage to freedom is not only enhanced by the Psalms quote, but also that the birds depicted are eagles, Sabar added. This is a reference to the liberation of the Jews from Egypt, he said, as in Exodus 19:4 – “You have seen what I did to the Egyptians, and [how] I bore you on eagles’ wings, and I brought you to Me.”

The first of many Shabbats

Faith Kramer’s Roasted Salmon with Citrus-honey Sauce. (photo by Clara Rice)

Somehow, I missed the cookbook 52 Shabbats: Friday Night Dinners Inspired by a Global Jewish Kitchen by Faith Kramer when it was published by the Collective Book Studio in 2021. Well, I now have a copy and, in an ideal world, my next year of 52 Shabbat dinners would all be cooked à la Kramer. Instead, it’ll probably take me several years to make all the special meals in this informative, well-laid-out, easy-to-follow cookbook – but at least I’ve gotten a head start.

In this last month of the Jewish year 5784, I made two of Kramer’s main dishes, a salad dressing and a dessert. Each recipe is prefaced with a blurb containing more information about the dish. Many recipes have suggestions of what to serve together (starter, main, dessert, etc.) to elevate the meal for Shabbat, as well as suggested variations and what can be made in advance. Kramer also provides explanations of lesser-known ingredients.

52 Shabbats begins with some discussion of different Jewish traditions around Shabbat and various Jewish communities’ ways of cooking food and the ingredients they use. Kramer gives a brief overview of Jewish dietary laws and shares her preferences for the common ingredients she uses throughout. The book is divided into the four seasons, plus chapters on side dishes and accompaniments, desserts, and fundamentals (sauces, etc.). There are additional resources listed near the end, as well as measurement conversions.

I chose the recipes to make from the fall section, focusing on Rosh Hashanah. I made a carrot and lentil main because, as Kramer writes: “Carrots are symbolic in Judaism of asking for prosperity and for our blessings to multiply. Combined with the sweetness of silan [date syrup] … or honey, they make an edible wish for a Happy New Year at Rosh Hashanah.” I also made a fish main, because fish is another symbol of Rosh Hashanah, with the hope that we be the head and not the tail, ie. a leader rather than a follower.

Kramer recommended mini cheesecakes as the dessert for both of these mains, so I made those as well. I also made the Lemon, Za’atar and Garlic Dressing for a green salad, but much preferred the dressing as a marinade for blanched green beans. For space reasons, I’ve not included the recipe intros or the “make it in advance” suggestions, nor have I included the dressing recipe. The three recipes here will hopefully inspire you to get a copy of the cookbook, and perhaps start some new Shabbat traditions this year.

SWEET-AND-TART SILAN-ROASTED CARROTS WITH LENTILS
(serves 4 as a main, 8 as a side)

for the lentils:
1 cup green or brown lentils
3 cups vegetable broth
1/4 tsp ground black pepper
1/4 tsp ground cumin
1/4 tsp paprika
1/2 cup chopped fennel or celery
1/2 cup chopped onion
1 tsp minced garlic
1 tsp minced jalapeño, optional
1/4 tsp salt, plus more if desired

for the carrots:
2 tbsp olive oil, plus more for baking sheet
1 cup silan, honey or agave syrup
1/4 cup water
2 tbsp fresh lemon juice
1/4 tsp ground cumin
1/4 tsp ground cardamom
1/4 tsp cayenne pepper or paprika
1/8 tsp ground cloves
1 lb multicoloured carrots, peeled (cut large carrots into thirds)
1 tsp coarse sea salt
2 tbsp tahini
2 tbsp chopped fresh mint or flat-leaf parsley

In a large saucepan, stir together the lentils, vegetable broth, black pepper, cumin and paprika and bring to a simmer over medium heat. Stir in the fennel, onion, garlic and jalapeño (if using) and return to a simmer. Cover and cook, lowering the heat as needed to maintain a gentle simmer, until the lentils are tender and the liquid is absorbed, 15 to 20 minutes. Add the salt and stir well. Taste and adjust the seasoning, if desired. Remove from the heat, drain any excess liquid, and set aside while you make the carrots.

Preheat the oven to 450°F. Line a rimmed baking sheet with parchment paper or aluminum foil. Grease the parchment paper with olive oil.

In a wide, flat dish, whisk together the silan, water, olive oil, lemon juice, cumin, cardamom, cayenne and cloves. Add the carrots and toss until evenly coated.

Place the carrots in a single layer on the prepared baking sheet. Set aside any left-over silan mixture.

Lower the oven temperature to 400°F. Roast the carrots for 40 to 50 minutes, or until tender and browned, tossing in the pan juices every 10 to 15 minutes.

Reheat the lentils, if desired, or keep them at room temperature. Add any leftover silan mixture to the lentils and stir to combine. Transfer the lentils to a large serving dish and top with the roasted carrots. Sprinkle with the coarse salt, drizzle with the tahini and garnish with the fresh mint.

ROAST SALMON WITH CITRUS-HONEY SAUCE
(serves 4-6 as a main, 8-10 as a starter)

1/3 cup fresh orange juice
1/2 cup light-coloured honey
1/2 tsp dried mint
1/4 tsp salt
1/4 tsp cayenne pepper or paprika
1/4 tsp ground black pepper
1/2 to 1 tsp Sichuan peppercorns, lightly crushed, optional
vegetable oil for baking sheet
1 1/2 to 2 lbs salmon fillet
6 tbsp thinly sliced green onions

In a small bowl, mix together the orange juice, honey, mint, salt, cayenne, black pepper and crushed Sichuan peppercorns (if using) to make a marinade. Set aside half of the marinade to use later for the sauce.

photo - Faith Kramer’s Roasted Salmon with Citrus-honey Sauce — (photo by Clara Rice)

Grease a rimmed baking sheet with oil. Place the salmon, skin side down, in the pan and brush the top of the salmon with some of the marinade. Let sit for at least 30 minutes or up to 60 minutes, brushing often with the marinade.

Preheat the oven to 350°F.

While the fish is marinating, pour the reserved marinade into a small saucepan over medium heat and bring to a boil. Lower the heat to low and simmer, uncovered, stirring occasionally, until the liquid is reduced by two-thirds, 15 to 20 minutes. Taste, and adjust the salt and other seasonings, if desired. Set the sauce aside.

Brush or spoon the remaining marinade over the salmon. Roast for 15 to 20 minutes, basting with the pan juices after 10 minutes, until the salmon is cooked to the desired doneness. For fully cooked fish, it should read 145°F when an instant-read thermometer is placed in the thickest part of the fillet. The flesh should be opaque all the way through but still be very moist.

Transfer the salmon to a platter and spoon the sauce over the fish. Sprinkle with green onions and serve warm, at room temperature, or chilled.

MANGO AND CARDAMOM MINI CHEESECAKES
(makes 24 individual cheesecakes)

24 ginger snaps, lemon snaps or wafers, or vanilla wafers
1 1/2 cup fresh or defrosted frozen mango chunks, divided
3 (8-ounce) packages regular or light cream cheese, at room temperature
3 large eggs, beaten
1 cup sugar
1/2 tsp ground cardamom
1/4 tsp salt
1/4 tsp ground ginger
1 1/2 tsp vanilla extract
1 tsp fresh lemon juice

Preheat the oven to 375°F. Line two 12-cup cupcake pans with paper or foil liners. (If you don’t have enough tins, use foil cupcake liners on a baking sheet.)

Put a cookie in the bottom of each liner. Break cookies to fit and cover the bottom of the liner, if necessary.

In a blender, purée 3/4 cup of mango chunks until smooth. Set aside.

Cut the cream cheese into 1-inch chunks. In a large bowl, combine the eggs, sugar, cardamom, salt, ginger, vanilla extract and lemon juice and beat with an electric hand or stand mixer until light and lemony in colour, 1 to 2 minutes. Add the cream cheese chunks in 3 batches, incorporating each batch before adding the next. Beat on medium-high speed until totally smooth, 3 to 4 minutes.

Fill each cupcake liner two-thirds full. Place 1 teaspoon of the mango purée in the centre of each cake. Using a knife, swirl the purée through the batter to create a marbleized look.

Bake for 20 minutes, or until the centres of the cheesecakes are a bit loose and jiggly, puffed up and pale in colour. Turn off the oven, open the oven door and leave the cheesecakes there for 30 minutes. Transfer the cheesecakes to a wire rack and let cool. (The tops of the cakes will collapse.) Place the cheesecakes in the refrigerator until chilled.

To serve, remove the cheesecakes from the liners, if desired. Chop the remaining 3/4 cup of mango and spoon it onto the cheesecakes. Serve cold or cool.

Tournament expands

Weizmann Institute’s International Physics Tournament – the “Safe-Cracking Tournament” – is open to students in grades 11 and 12. (photo from Weizmann Canada)

Registration is now open for the Weizmann Institute’s International Physics Tournament. New this year – teams from Western Canada will be able to compete. A Zoom information session is scheduled for Sept. 23.

“Each spring, for the past 29 years, teams of highly talented high school students from around the world arrive at the Davidson Institute of Science Education, the educational arm of the Weizmann Institute of Science in Israel, to take part in the international physics tournament, commonly known as the ‘Safe-Cracking Tournament,’” Morgan Leibner, annual and education programs officer at Weizmann Canada, told the Independent.

In the competition, teams of high school students (grades 11 and 12) design and build a safe that has a locking mechanism based on principles of physics. “Teams are challenged to put their knowledge to the test, where they break into each other’s safes by solving the physics riddles,” explained Leibner.

“Throughout the tournament, participants gain experience in building systems that they invent,” she said. “It is a unique opportunity for students to put physical principles and their imagination into practice – it is a totally different, enjoyable, exciting and encouraging way of learning physics and collaboration, with the goal of competing internationally at the finals.”

While the finals take place in Israel – or online, as they did this year because of the war – there are semi-finals in Canada. They’ve usually taken place in Montreal, with school teams from Montreal and Toronto competing.

“This year, our goal is to expand the program to include a West Coast tournament, which will take place in Vancouver,” said Leibner. “We anticipate teams participating from Vancouver, Calgary and Winnipeg. One winning team will be selected from the West Coast and a second team will be selected from the East Coast to represent Canada at the finals in Israel.”

The registration deadline is Oct. 9 and, once accepted, “teams are required to check in with Weizmann Canada staff every one to two weeks to discuss their work, as well as their challenges and successes,” Leibner said. There are various milestones teams must meet by certain dates, with the semi-finals taking place in Montreal and Vancouver in early February, and the finals at the institute March 23-27, situation permitting.

photo - Teams of three to five compete regionally for a chance to reach the finals in Israel. — Teams of three to five compete regionally for a chance to reach the finals in Israel. *(photo from Weizmann Canada)*

“The finals have been conducted virtually when circumstances make it unsafe for students to travel to the institute,” said Leibner. “In that case, students submit a video of their safe to the judges, explaining the locking mechanism and the physics principles required to open the safe successfully. The students’ videos are judged on roughly the same criteria and a winner is announced at a virtual Zoom session.”

The 2024 virtual closing ceremony can be watched at youtube.com/watch?v=InI8CDoDqDk.

Weizmann Institute of Science has hosted various versions of the high school physics tournament since 1973. “In fact, the winner of the first-ever physics tournament is Dan Gelbart – a notable Canada-based engineer and inventor. He won the tournament at the age of 16 with an original motor he designed and built himself using spare materials, some even sourced from his mother’s kitchen!” said Leibner.

Gelbart, who was born in Germany and raised in Israel, has lived in Canada since the 1970s. Based in Vancouver, he co-founded Creo, a local printing technology company that was bought by Eastman Kodak Co. in 2005, and he has co-founded several other companies. According to a profile on the Weizmann Institute’s website, Gelbart has registered some 145 patents. He also has volunteered as an adjunct professor at the University of British Columbia and has a YouTube channel – the most recent video, which was posted a couple of years ago, is a tour of his workshop and its instruments.

Typically, the physics tournament attracts between 200 and 300 participants a year, from Israel, Canada and other countries.

“The international tournament offers students an incredible opportunity to meet similarly scientific-minded youths from across the world,” said Leibner. “The tournament also offers a teacher development conference for the physics teachers accompanying teams to the tournament.”

photo - “The international tournament offers students an incredible opportunity to meet similarly scientific-minded youths from across the world,” according to Morgan Leibner, annual and education programs officer at Weizmann Canada — “The international tournament offers students an incredible opportunity to meet similarly scientific-minded youths from across the world,” according to Morgan Leibner, annual and education programs officer at Weizmann Canada. *(photo from Weizmann Canada)*

Participants work in teams of three to five students and their local teacher/mentor – who is the one who must submit the team’s registration – coordinates with the tournament’s physics consultant throughout the process. The team’s safe is judged on its quality and complexity; team members’ level of understanding of the physics concepts being employed is key, as are the esthetics and originality of the safe they build.

“Local mentors are past participants of the physics tournament themselves,” said Leibner. “They have firsthand knowledge of the competition, what is required to build the safe, and what it is like to compete in the tournament. They have also participated in other educational opportunities at Weizmann Institute in Israel and have experienced living on campus and working with the community of scientists. Our mentors have a deep love and appreciation for science and an understanding that promoting STEM in education is incredibly important.”

For information on the tournament and to submit an application, visit weizmann.ca/physics.

Family hopes to save lives

At the Sept. 26 event Bridging Hope, which takes place at King David High School, Noah Bogdonov, left, and his parents, David Bogdonov and Elana Epstein, will speak about their family’s experience with addiction. (photo from Bogdonov-Epsteins)

“We want to share our experience, strength and hope with addiction,” said David Bogdonov about what he and his wife, Elana Epstein, and their son, Noah Bogdonov, will talk about on Sept. 26 at Bridging Hope: Science and Testimonial in the Fight Against Addiction.

The Independent spoke with the Bogdonov-Epsteins recently, to get to know them a bit before the event, which is being presented by Canadian Friends of the Hebrew University of Jerusalem, King David High School and Vancouver Talmud Torah.

David is an engineer and works for a company that builds waterparks, while Elana, who has a social work background, has been a yoga teacher for about 20 years and a wellness/spiritual coach for about 15 years. “Currently, I am supporting a ton of moms in the addiction community,” she said.

The couple has three sons. “Boys R Us” quipped David. “Noah is the firstborn, at 28 years old; Tal is our second, at 24; and Benjamin is our youngest, at 22.”

It was in October 2022 that they became sure that Noah was struggling with addiction. “Before that,” said Elana, “about three or four months before the ‘awakened moment,’ we knew that he had been struggling but he was telling us he had gotten it under control, not to worry, then it went downhill, crashing very fast.

“He started in high school – not unlike the vast majority of kids in high school – using weed and alcohol,” she said. “We didn’t like it, but we assumed it was part of his teenage years and that he would grow out of it and come to his own realization of how to find balance in life and, sadly, that never happened.”

Initially, it was Noah’s friends who tried to help.

“They held an informal intervention and asked him to get it under control,” said David. “That was in May of ’22, and that’s when we became aware of it, but he pulled the wool over our eyes and convinced us that he had it all under control. That’s when we started to make sense of all the red flags we had seen for a long time.”

Months later, when David and Elana were in Whistler, Noah was slower than usual to respond to a text message. “I woke up one morning and said that we need to go home, something is not right. He was staying at my brother’s apartment, who was away, and we knew. I said, we need to go, and we went, and we found him, and he was in dire straits,” said Elana. “But, he said, ‘I don’t want to live like this anymore.’ We asked, ‘Does that mean treatment?’ He said, ‘Yeah.’ We got the ball rolling, and he went right in, no hesitation, no more denial. He was ready, we were ready, and that was the beginning of the rest of his life.”

It’s been almost two years since Noah has been in treatment. He spent about 100 days at the Last Door Addiction Recovery Treatment Centre, in New Westminster, then was in transition housing, where he had a relapse that lasted two months, said David. It’s been 16 months since Noah’s relapse.

“David and I never stopped going to the weekly meetings, doing our own work,” said Elana, even while Noah was relapsing. The Last Door has family group meetings, which they’ve been attending regularly since Noah was two weeks into treatment, said David, calling their participation in the group a “very key element” of their own recovery.

Noah is working at Maintain Recovery, a sober living house, which he manages. “It’s a common story for many recovering addicts to get immersed in the life of recovery,” said David. “They often start to work in the organizations and so on. It’s part of what keeps them clean and keeps them on the path, which is really wonderful to watch.”

David and Elana are being so open about their family’s experiences because, said David, “We take quite seriously that part of the overdose crisis is caused by the stigma surrounding drug addition and we subscribe to the notion that addiction is a disease and should be treated like any other disease. You don’t shame someone for having cancer, you shouldn’t shame someone for having the disease of addiction. So, we are both passionate about that.”

“For me,” added Elana, “it goes beyond the stigma…. I really feel like if there were more language, more community, more education, more connection around this, you know, if I had had someone … approach me and say, listen, this is what addiction looks like, your son seems to be starting down a path that gets worse before it gets better…. In Noah’s life, we had no knowledge of addiction, we did not know what it looked like, we were totally blindsided,” she said.

“We don’t have trauma, there was no story he was hiding and trying to make peace with,” added Elana. “He was a boy who got caught up in using recreational drugs, like everyone else, [but] he was the one who was the addict who couldn’t stop. The moment when, with Noah’s permission, it became clear that we had a role to play in our community, where there’s a lot of shame and we don’t talk about it, so the kid dies. That’s not, on my watch, ever going to happen. If I can touch one family’s life because of our story, I will continue to do this till the day I die.”

Bridging Hope takes place at King David High School. Discussing the science of addiction will be Dr. Yaron Finkelstein, a professor of pediatrics, pharmacology and toxicology at the University of Toronto and a staff physician at the Hospital for Sick Children (known as SickKids); Dr. Yonatan Kupchik, senior lecturer and director, department of medical neurobiology, Institute for Medical Research Israel-Canada (IMRIC), Centre for Addiction Research (ICARe), the Hebrew University of Jerusalem; and Dr. Rami Yaka, head of HU’s School of Pharmacy. For tickets to the event ($18), visit register.cfhu.org/bridginghope.