Cynthia Ramsay

Recipes a form of resistance

As part of its celebration of BC Heritage Week, the Vancouver Heritage Foundation held the online event Recipes of Resistance: Rebecca Teitelbaum and the Ravensbrück Recipe Book, presented by Lise Kirchner and Ellie Lawson of the Vancouver Holocaust Education Centre. Kirchner is the VHEC’s director of education, Lawson its education manager.

The theme of this year’s Heritage Week is “Stir the Pot,” explained VHF director of education Sarah Carlson. She encouraged viewers to “think about the ways that food brings us together, how it holds memory, and how it has contributed to the rich cultural tapestry of your community and beyond.”

Teitelbaum’s recipe book was donated to the VHEC by Teitelbaum’s nephew, Alex Buckman, also a Holocaust survivor, who died in 2023.

“He was Rebecca’s nephew, but he actually was raised as Rebecca’s son…. Rebecca was the only mother that Alex ever knew,” said Kirchner. “His parents perished in Auschwitz, and Rebecca made a promise to God that she would raise Alex as her own son, which she did.

“In the 1990s, Alex discovered this recipe book in the drawer of Rebecca’s home, and he asked her about it. He had never heard the story before. Apparently, she had never told anybody, but she explained to Alex the incredible story of this recipe book, how it was created and how it survived.”

Kirchner showed many archival photographs, including of Teitelbaum and one of Teitelbaum with her younger brother, Isaac Buckman, in the 1930s.

“Isaac is Alex’s father,” explained Kirchner. “These two siblings, Rebecca and Isaac, were very close. They also had a younger brother, Jacques.”

screenshot - Herman and Rebecca Teitelbaum, 1938 — Herman and Rebecca Teitelbaum, 1938. *(screenshot from VHEC presentation)*

Rebecca and her husband Herman were married in 1938. “They had a daughter, Anny, in 1939, and they lived … near Brussels, before the Second World War. Rebecca worked in the accounting department of a department store in the city of Brussels.”

Kirchner also shared a photo of Isaac and Dworja Buckman, who married around the same time as the Teitelbaums.

“The same year that Rebecca’s daughter, Anny, was born, Isaac and Dworja had a son, Alex, in October 1939.”

In May 1940, Germany invaded Belgium and the Nazis set up a military occupation government. “Unlike many other countries where the civil administrations cooperated with Nazi deportations, the situation in Belgium was much different and, as a result, the survival rate of Belgian Jews was higher than many of the Western European countries,” said Kirchner.

Nonetheless, restrictions were placed on Jews and Kirchner went through the progression of anti-Jewish laws in Belgium. There were pogroms, as well, and, in May 1942, all Jews over the age of 6 had to wear the yellow star to identify them as Jewish.

From 1941 to mid-1942, Anny and Alex were placed into hiding, which worked until their families ran out of money, said Kirchner. When the woman hiding the kids denounced them to the Nazi authorities, the families were in grave danger.

“Between 1942 and 1944, the German occupying forces deported around 25,000 Jews from Belgium to concentration and death camps in the east, primarily to Auschwitz, and only 2,000 of these survived – 43% of the Jewish population in Belgium was murdered,” said Kirchner.

Once the Belgian resistance became more organized, there were resistance networks focused on hiding Jewish children. The largest was the Committee for the Defence of Jews, she said, and it successfully hid some 2,400 Jewish children from the Nazis, including Anny and Alex.

Isaac and Dworja Buckman were deported to Auschwitz-Birkenau in 1943 and murdered. Rebecca and Herman Teitelbaum were deported to forced labour camps in Germany: Herman to Buchenwald, and Rebecca to Ravensbrück.

“Rebecca spent 17 months in Ravensbrück concentration camp as a slave labourer,” said Kirchner. “She was first assigned to work hard labour, hauling wood and stone and heavy carts in very harsh outdoor conditions, but, because she had worked in that department store in Belgium and she had experience with accounting work, she was able to secure a much better work assignment in the office of the Siemens factory.”

Siemens was one of the private companies that used Jewish slave labour, explained Kirchner, before turning the floor over to Lawson to talk about Ravensbrück.

“It was originally built for a little over a thousand prisoners, but, at its peak in 1945, there were over 50,000 prisoners,” said Lawson, who went into some detail about the factory and Siemens’ cooperation with the Nazis.

Despite the unimaginable circumstances, resistance was evident. Lawson shared a quote from Lidia Beccia Rolfi, an Italian prisoner: “Even the theft of a piece of wire, a sheet of paper, of a cloth rag was seen as sabotage, but everyone committed that. Any form of friendship between inmates was seen as sabotage.”

Lawson played a clip from Alex Buckman’s video-recorded survivor testimony. He explained how Rebecca noticed there weren’t that many supervisors at night.

“And then she stole a piece of brown paper, and she put it in her dress,” he said. “And then she stole a little pencil and a pair of scissors. And, at night, she ran towards her barrack, very nervous because she knew that, if somebody would stop her with all these stolen goods, she would be in trouble and they probably would make an example of her, maybe either shoot her or hang her. But she did it.”

screenshot - A page from Rebecca Teitelbaum’s cookbook, which she compiled at great risk during her incarceration at Ravensbrück concentration camp — A page from Rebecca Teitelbaum’s cookbook, which she compiled at great risk during her incarceration at Ravensbrück concentration camp. *(screenshot from VHEC presentation)*

In the barrack, she cut the paper into smaller pieces and started to write recipes “of meals that she did for her husband and her daughter before the war…. With the help of other women, who gave her some of their own recipes, and many of hers, she wrote 110 recipes,” he said. “Even though food was very important to stay alive in the concentration camp, she actually traded some of her food for needles and thread, and she made a book so she could keep it.”

The recipes weren’t necessarily accurate, said Kirchner. “You’ll notice most of the recipes are very heavy on butter and sugar and luxury items like raisins and rum or cream. On the other hand, some of the recipes reflect wartime scarcity…. But the dominant theme of these recipes is one of abundance.”

The recipes reflect the cultural diversity of the women imprisoned in the camp, said Kirchner. “These were women from all over Europe … about half of them were Jewish, but many of them were not, and so the recipes reflect a cultural diversity that’s Jewish, Belgian, French, Spanish, Mediterranean.”

Teitelbaum completed three recipe books, giving two to other women in the camp.

“Rebecca also created another thin volume that contains poems and resistance songs,” said Kirchner, adding, “She also made two sets of playing cards, which the Roma women in the camp would use to tell the fortune of other prisoners. So, again, building community between not just the Jewish women in the camp, but across cultures. And this was an essential form of hope and community-building and resistance by the camp inmates.”

Teitelbaum was one of 2,000 women saved in a Red Cross mission that saw 36 buses take the women from Ravensbrück to safety in Denmark and Sweden. However, the area was still a war zone and one fleet was hit by friendly fire.

“This convoy carrying 706 women, including Rebecca, was attacked multiple times by fighter planes and, as a result, there were about 25 fatalities and numerous injuries among the rescued prisoners,” said Kirchner. “Rebecca herself survived the attack, but was hit by shrapnel and badly injured her left arm. And, in the scuffle and the mayhem that followed … she lost her bundle of belongings: a sack that contained her recipe book.”

Herman, Anny, Jacques and Alex also survived.

screenshot - Anny Teitelbaum and Alex Buckman, 1945 — Anny Teitelbaum and Alex Buckman, 1945. (screenshot from VHEC presentation)

“Anny and Alex were raised as siblings,” said Kirchner, and Rebecca and Herman had another child after the war. “Rebecca named this baby Christian, in honour of King Christian … who had visited her in the hospital, and who had become a bit of a folk hero in the Jewish community in Denmark.

“In 1951, the family left Europe and they arrived at Pier 21 in Halifax in September of 1951 before making their way to Montreal, where they settled permanently,” continued Kirchner. “They had one last child, named Shirley, who was born in Montreal in 1953, and Rebecca Teitelbaum became a Canadian citizen in 1957. She lived the rest of her life in Montreal, and she died there in 1999.”

The sack Teitelbaum had lost was found near the site of the bombing and, because it contained letters that identified her, the person that found the bag tracked her down.

“Rebecca’s recipe book is one of six Holocaust recipe books that we’re aware of in museums around the world,” said Kirchner. “These artifacts have given historians greater understanding about the unique responses of women to their persecution…. Unlike traditional cookbooks, they’re not about cooking, in practice, they’re about maintaining identity, resisting dehumanization, transmitting a culture that the Nazis were attempting to destroy, and they also functioned as a psychological coping mechanism that forged group cohesion and a spirit of communal care.

“The creation of these recipe books all came at great risk and sacrifice, and they’re important not only because they demonstrate the agency of female prisoners who were trying to assert control over their hunger by eating with words, but they also provide an archive of women’s communal responses to their persecution, which elevates women’s domestic expertise to the level of historical record.”

In his talks as an outreach speaker, Buckman would give students the Gâteau à l’orange recipe from Teitelbaum’s book.

“This was a cake,” said Kirchner, “that Rebecca would make for Alex every birthday, and he would encourage the children to make it at home with their own parents, to give their parents a hug, to make this orange cake in honour of his Aunt Rebecca, and also in memory of all of those who were murdered in the Holocaust, including his own parents, Isaac and Dworja.”

The recipe is on the VHEC’s website, vhec.org.

A range of Jewish literature

The 41st annual Cherie Smith JCC Jewish Book Festival opens Feb. 21 with award-winning novelist John Irving and closes Feb. 26 with award-winning singer-songwriter, composer and author Peter Himmelman. In between, a range of writers and topics are presented. As always, this year’s festival fulfils its mission, as expressed by director Dana Camil Hewitt in the program: “to expose the general community to a curated snapshot of recent Jewish literature and ideas.”

While Irving, the opening author, is not Jewish, his latest novel, Queen Esther, takes readers back to the era and place of one of his most popular stories, The Cider House Rules, which was made into a movie. He focuses this time on the Winslow family, who adopt Esther Nacht from St. Cloud’s orphanage in Maine. The 14-year-old Viennese Jew was born in 1905 and came to the United States with her parents, her father dying on the voyage, her mother a few years later. Esther was left at the orphanage as a little girl, but no one had wanted to adopt a Jewish child, until the Winslows.

The Winslows are, to say the least, an unconventional family and, among other things, don’t adhere to the antisemitic attitudes of the times. The novel sheds light on Esther’s background and we witness a bit of her life with the Winslows, but then she mostly drops out of the story, returning to Europe to reconnect with her roots and then settling in Israel. The bulk of the novel centres on Jimmy, Esther’s son, born and raised in true Winslow style – unconventionally.

Truth be told, Queen Esther is not Irving’s best novel, it rambles and doesn’t quite hit the right message, but it’s written with heart and a seeming desire to counter antisemitism and change the narrative about Israel. Irving fans will enjoy reencountering some old “friends,” like St. Cloud’s Dr. Wilbur Larch, and recurring themes, including chosen family, Vienna, wrestling and sexual politics.

Irving is in conversation with Marsha Lederman Feb. 21, 7:30 p.m. Tickets are $36 ($65 with book).

* * *

Politics and antisemitism are at the fore in Dr. Ted Rosenberg’s book Ayekha, Where Are You? Reading it will provide some healing for fellow members of the Jewish community, most of whom will know that Rosenberg resigned from the University of British Columbia’s faculty of medicine in 2024 (after a 30-year career there) because of the school’s refusal to do anything about the rampant antisemitism on campus, which escalated after Hamas’s massacre of Israelis on Oct. 7, 2023. The situation was so toxic that Rosenberg no longer felt safe.

In his resignation letter to the faculty’s dean, Dermot Kelleher – sent after other attempts to warn UBC leadership of the problems – Rosenberg wrote:

“I lament the carnage and deaths of both Israeli and Palestinian civilians during this horrific war and this seemingly insoluble and interminable complex tragedy. I also understand and appreciate the strong convictions held by people on both sides of this conflict. However, oversimplistic ahistorical demonizing narratives and rhetoric, by either side, will do nothing to deepen our understanding, empathy, respect, or trust of one another, nor hasten a resolution of this crisis.

“One third of the medical students and some faculty have publicly expressed their contempt towards me, as a Jew. I cannot take the risk of being accused of implicit harassment or racism, which is indefensible, by a ‘triggered’ student. Unfortunately, I have no faith in due process in a faculty that does not even acknowledge the existence or presence of antisemitism/Jew-hatred, or my right to work in a depoliticized environment.”

The award-winning physician, who pioneered a home-based care model for the frail elderly and still practices medicine, wrote the dean, “It deeply saddens me to end my academic career on this note.”

There are so many Jewish academics, medical professionals and others who have been similarly mistreated, both by antisemitic actions and people’s fear of dealing with antisemitism. Reading more about Rosenberg’s experiences is akin to attending a group therapy session. We not only feel less alone afterward, but come away with some knowledge that might help us in processing all that’s happened in the last almost two-and-a-half years, and in confronting the antisemitism we continue to face.

Rosenberg talks at the Vancouver JCC Feb. 22, 1:30 p.m. (tickets are $18), and at the White Rock/South Surrey JCC at 4 p.m.

* * *

Since Oct. 7, it seems that learning more about Judaism, its tenets, its folklore, has been a common way for Jews to deal with the trauma inflicted by that day, the subsequent war and the increasingly open Jew-hatred globally. For anyone who likes graphic novels, The Writer might be an invigorating and educational salve.

Written and created by actor Josh Gad and the Berkowitz Bros. production company (founded by Ben and Max Berkowitz) with art by Ariel Olivetti and letters by Frank Cvetkovic, the four-part series stars disheveled English professor and unreliable divorced dad Stan Siegel, the writer of the series’ title, who looks a lot like Gad. Stan’s “sidekicks” are his kickass mom Liz and his daughter Izzy. They encounter all sorts of demons, dybbuks, golems and other characters out of Jewish mythology, as well as various historical figures, while Izzy also must confront current-day antisemitism and racism – harassed by classmates for being Jewish and for being Black.

The Writer is an homage to the creators’ Jewish identities, to the comic books, science fiction shows and adventure movies they loved, as well as to Gad’s Holocaust survivor grandparents and to Boston, where the Berkowitz brothers grew up. While they didn’t grow up surrounded by Jewish mysticism, they were inspired when they discovered it and it “felt like home,” notes the afterword. “This story became a way for them to celebrate that heritage – the rich tapestry of Jewish storytelling in all its forms, from Ashkenazic to Sephardic, Beta Israelite, Hispanic, Asian and beyond.”

The tapestry is so rich and deep that it is hard sometimes to follow all that’s going on in an “episode” of The Writer, but it’s a wild ride, a world that’s wonderfully and colourfully drawn, where good battles all sorts of evil and unlikely heroes prevail.

The Berkowitz brothers are at the festival Feb. 23, 7 p.m. Tickets are $18.

* * *

Himmelman closes the book festival on Feb. 26, 8 p.m. (tickets: $25), talking about his collection of essays, Suspended By No String: A Songwriter’s Reflections on Faith, Aliveness and Wonder, with Rabbi Dan Moskovitz. It might seem odd to have a rabbi lead a conversation with a musician, composer and visual artist, but Himmelman describes his book as being about faith, and shares what went into his decision to use the word “God” in it, as opposed to, say, “spirituality,” despite concerns from several people that its use might alienate readers. Hopefully, it won’t, as there is much insight to be gained from Himmelman’s observations, insights and perspectives on wonder, loss and gratitude. His playful sketches are a delightful complement to the text.

* * *

Also appearing at this year’s book festival are, in order of appearance, writers Carol Matas, Lihi Lapid, Aron Hirt-Manheimer, Douglas Century, Yishay Ishi Ron, Yardenne Greenspan, Sasha Senderovich, Marina Sonkina, Claire Sicherman, Danila Botha and Janet Horvath. For tickets and more information, visit jccgv.com/jewish-book-festival.

A concert of premieres

Violist Rivka Golani joins Turning Point Ensemble on Feb. 21 and 22 for Concerti Premiere, which features two works written especially for her. (photo by Peter Beal)

World-renowned violist Rivka Golani joins Turning Point Ensemble on Feb. 21 and 22 for Concerti Premiere, which features two works written especially for the Israeli musician, who currently calls London, England, home.

The four main works comprising the ensemble’s program are the world premiere of Concerto for Viola – Rivka by TPE artistic director Owen Underhill, featuring Golani as soloist; the North American premiere of Musical Offering No. 2 “Golani” by Canadian composer Michael Pepa, also with Golani as soloist; the world premiere of Morning Twilight by Taiwanese-American composer Chichun Chi-Sun Lee, showcasing TPE bassoonist Ingrid Chiang; and the world premiere of Sauntersludge by Vancouver composer Eldritch Priest.

“TPE had a fantastic opportunity to perform with Rivka Golani on our May 2023 European tour,” explained Underhill as to how he and Golani first connected.

Pepa had proposed composing a new work for Golani and TPE for the ensemble’s concerts in Zagreb and Belgrade. “We were not able to rehearse with Rivka … prior to arriving on tour, so it was very exciting to put Michael’s piece together in the couple days prior to our first concert,” said Underhill. “Rivka was very interactive with and impressed by the ensemble, so you could say we hit it off together. She heard at that time in our concert a work of mine and asked whether I might be interested in composing a new work for her and TPE in the future. So, this is how the idea of working together again came about and my new concerto for her in particular.”

photo - Turning Point Ensemble artistic director Owen Underhill wrote Concerto for Viola - Rivka for violist Rivka Golani, who plays with the ensemble in concerts at the Annex Feb. 21 and 22 — Turning Point Ensemble artistic director Owen Underhill wrote Concerto for Viola – Rivka for violist Rivka Golani, who plays with the ensemble in concerts at the Annex Feb. 21 and 22. *(photo from TPE)*

Golani, who was born in Tel Aviv, studied under violist and composer Oedoen Partos and became a member of the Israel Philharmonic, while also appearing as a soloist with other orchestras. She lived in Canada for more than a decade, from 1974 to 1987, growing her solo career and teaching at the University of Toronto (where she also taught in the 1990s) and the Royal Conservatory of Music. She still teaches, in London.

Over the years, Golani has performed widely as a soloist and as a member of various ensembles, and she has recorded extensively. She is also a recognized visual artist, with her paintings having been exhibited in several countries.

It was during Golani’s time in Canada that Pepa met her, so the two have known each other for decades.

“As a result, his piece and the solo viola part are very much in her character – dramatic, powerful and expressive,” said Underhill. “Also, there are two other important connections which are interwoven in the piece – references to J.S. Bach’s Art of the Fugue, which appears in a variety of ways through quotes and collages in his music, and also a second movement dedicated to his Ukrainian friends, which is based on the Ukrainian folksong ‘Plyve Kacha Po Tysyni’ (‘The Duck Swims Down the Tissina’) and a Serbian folk melody, ‘Kolika je Nočca.’”

As for his work featuring Golani, Underhill said, “It is always a wonderful thing for a composer to work closely with a performer for whom you are composing. It was also fundamental to Rivka’s process to make it a collaborative project. Therefore, beginning in the fall and over the several months I was composing the piece, I would send her instalments and we would meet over WhatsApp and she would play through the music, suggest detailed changes and improvements, and she also made a few gentle requests, including asking for a cadenza before I wrote the third movement. As a result, I feel that the piece bears her signature and that it is also a unique work of mine that I could not have created without her input.”

According to Golani’s website, more than 350 works have been composed for her, including more than 80 concertos – “a record matched by no other violist in history.” Underhill’s Concerto for Viola – Rivka is the largest-scale work that he has written for TPE and the piece will be recorded by the ensemble after the live performances.

Concerti Premiere is Turning Point Ensemble’s third concert in their 2025/26 season. Written with bassoonist Chiang in mind, the piece Morning Twilight traces the emergence of the sun through five sections and two interludes. “Beyond its astronomical imagery, the concerto reflects Chiang’s personal journey of resilience in overcoming cancer, as well as Taiwan’s collective passage from historical darkness toward renewed international visibility,” notes the press release. Sauntersludge, which was written for the ensemble as a whole, is the only piece in the concert without a soloist.

“While we dedicate ourselves to performing works from the early 20th century to the present day, it is unusual for Turning Point Ensemble to have a concert consisting solely of premieres,” said Underhill in the press release. “It is a joy to be unveiling all this new music here in Vancouver.”

The Feb. 21 concert at the Annex starts at 7:30 p.m.; the Feb. 22 one at 4:30 p.m. For tickets ($45/adult, $33/senior, $19/student), go to turningpointensemble.ca.

Life’s full range of emotions

Bonny Reichert will be in Vancouver on March 4 to talk about her new memoir, How to Share an Egg, as an epilogue to the JCC Jewish Book Festival, which runs Feb. 21-26. (photo by Kayla Rocca)

When Bonny Reichert was a kid, living in Edmonton, her baba, who had come to Canada as a teen on her own in the early 1900s to escape pogroms in Ukraine, would come to stay with her family for the weekend and “the house brightened,” writes Reichert in How to Share an Egg: A True Story of Hunger, Love and Plenty. “She arrived as though she were fleeing all over again, with parcels and packages and a giant soup pot wrapped in a tea towel, knotted to make a handle. Things were hot or cold or frozen. I didn’t know to wonder if she’d stayed up all night rolling and pinching and stuffing for us. Pekeleh, she called her bundles, little packages. Pekeleh also means burdens. Yiddish is like that.”

As with pekeleh, meaning both treats and worries, there have been many contrasts in Reichert’s life, opposite things or states of being existing simultaneously. Her memoir is fascinating for the challenges she has faced and the way in which she has dealt with them. Readers can hear the award-winning writer in conversation with Marsha Lederman on March 4, 7:30 p.m., at the Jewish Community Centre of Greater Vancouver, in a JCC Jewish Book Festival epilogue event.

How to Share an Egg is the telling of Reichert’s dad’s survival story – a story he so wanted her to share. Experiencing years of difficulty putting pen to paper, she approaches it through her own journey with intergenerational trauma, which she has felt deeply from childhood. Her mother grew up with “a dad who was quick to anger” and an “exacting” mother who taught there was only one way to do things. “That this was the same person who rubbed my feet as I fell asleep seemed impossible,” writes Reichert about her efforts to reconcile her beloved baba with her mother’s mother.

Reichert’s maternal grandfather, who had come to Canada in 1913, died before she was born. On her paternal side, she had no grandparents – her dad was a 17-year-old orphan when he came to Canada in 1947. His parents and five sisters were all killed in the Holocaust. He was one of the 1,123 war orphans Canadian Jewish Congress helped enter the country when the doors were only just starting to open again for Jews.

The Jewish Independent spoke with Reichert by email about her memoir.

JI: You were 9 when your dad first mentioned the possibility that you would write his story. Then there was the trip to Poland in 2015 that was a breakthrough. When did you actually write the first words and, from that point, about how long did it take for you to write How to Share an Egg?

BR: The very earliest work on the book started on that first trip to Warsaw with my dad. I took a few notes and some important photos, but I didn’t yet know where I was headed. After the second trip to Poland, in 2016, I had even more research and notes, but I still wasn’t sure I had a book. The more formal outlining and writing began in late 2020, in the depths of the pandemic. Including the time I spent waiting for my editor’s feedback and the editing, the book took about four years to write. I was earning a master’s degree at the same time.

JI: You write about your personal journey with inherited trauma, and you share some of the healing milestones on that journey. In what ways was the process of writing the book cathartic?

BR: When you write a memoir like How to Share an Egg, your job is to look at yourself very closely, but with objectivity, because the self becomes the central character of the book. In that close examination, you come to name feelings you previously couldn’t name, and evaluate experiences and situations that your younger self might not have understood. All of this leads to greater understanding and greater self-compassion. This, coupled with the relief of finding a way to write this book my dad always wanted me to write, has indeed led to healing and catharsis.

JI: What does your dad think of the book?

BR: He loves it and says that it has given new meaning to his life at 95. A wonderful outcome.

JI: One theme of How to Share an Egg is you finding your voice, being able to stick up for yourself when bullied, to be yourself in the face of others’ expectations (notably, your father’s). From where did you get the courage to be this open?

BR: You can’t decide to write a memoir and then hide from the personal. Readers want to see all of that raw emotion on the page. For the memoir to be successful, the true, honest person in the book should resonate with the true person inside the reader. At a certain point, I realized all of this, and I came to see I was writing about the universal human experience and there is no shame in being human. In other words, I practised radical self-acceptance to get the job done.

JI: You comment in the book about pekeleh meaning both bundles and burdens. Judaism is full of those instances, holding joy and sorrow at the same time. Can you speak about that, in the context of How to Share an Egg?

BR: People often hold a pretty stereotypical idea of what Holocaust survivors and their families are like – severely traumatized, loaded down with psychological and emotional problems, etc. I wanted to address that – to challenge it and expand on it. There is sorrow and trauma, of course, but there is also so much joy and gratitude and celebration. So, the book is meant to express this fuller range of emotion. Part of my decision to write it as a food memoir was to offer the reader pleasure and comfort, even against the backdrop of the Holocaust. A Jewish approach, for sure.

JI: Hedy Bohm, who you mention in your memoir, just had her own survivor memoir published by the Azrieli Foundation. What is the importance of having these stories out in the world?

BR: Yes, I’m so happy for Hedy. She is a wonderful person. Preserving these stories has always been of the utmost importance – firsthand testimony is obviously critical. I also believe a plurality of stories and approaches brings the humanity back into the unfathomable numbers and statistics.

JI: How often have you been to Vancouver, and what are you looking forward to most about your March visit?

BR: I was just there in the fall for the Vancouver Writer Fest! I have friends I’m looking forward to seeing and I’m hoping for some nice weather so I can walk and admire your beautiful city.

For the full schedule and tickets to the book festival, go to jccgv.com/jewish-book-festival.

The power of photography

“Elaborate Pride Costume, Gay Pride,” Vancouver, 1996. (© Dina Goldstein)

One of the JCC Jewish Book Festival pre-festival events holds special meaning for the Jewish Independent. Photographer Dina Goldstein, whose artistry has focused on large-scale narrative tableaux the last many years, began her career with the JI’s predecessor, the Jewish Western Bulletin. She has compiled thousands of images from her work over the last three decades – as a photojournalist, editorial photographer, traveler and artist – for the recently published 400-page hard-cover The XXX Archive, which she will share with the community on Feb. 12, 7 p.m.

photo - Dina Goldstein talks about her new book, The Archive XXX, at a JCC Jewish Book Festival pre-festival event on Feb. 12 — Dina Goldstein talks about her new book, The Archive XXX, at a JCC Jewish Book Festival pre-festival event on Feb. 12. *(© Dina Goldstein)*

“I spent the pandemic going through containers of binders filled with negatives. Many of the images I remember snapping, but others that I found surprised me,” Goldstein told the Independent. “Editing the lot after 30 years of shooting was overwhelming at first. The process of archiving is slow and fastidious, often challenging my expeditious nature. I leaned in, not knowing how long or how many images I would be working with. Within two years, I scanned, photographed, numbered, printed and added over 3,000 images to a boxed and digital archive. The result left me relieved that my life’s work was now organized in a way that was documented and accessible.”

The word “herculean” is used in The Archive XXX to describe the task of creating the archive. Goldstein worked by year of creation, grouping the images by decades.

“I started with the early ’90s, when I first started my career and shot with black-and-white film,” she said. “Many of those images I had photographed for the Jewish Western Bulletin, my first job as an editorial shooter. I had special opportunities to meet and photograph many great people, like Elie Wiesel, Seth Rogen, Liz Taylor, Ruth Westheimer, Mordecai Richler, Jackie Mason, Bill Clinton.

“In the 2000s, I was working as a commercial and editorial photographer. I photographed mostly in colour and did some experimentation with processes. This is when I began crafting series of photographs. I spent two years at Hastings Racetrack and created Trackrecord. I expanded on my staged portraits with DAVID.

photo - Comedian Seth Rogen in his early days, 1997. Rogen is just one of many famous people that Dina Goldstein has photographed — Comedian Seth Rogen in his early days, 1997. Rogen is just one of many famous people that Dina Goldstein has photographed. (© Dina Goldstein)

“By 2006, digital photography was introduced as consumer cameras. Art directors were passing along assignments to less-qualified shooters and/or having the writer also take the pictures. I felt that I needed to pivot,” Goldstein said, adding that, by then, she was also a new mother and things in general were shifting.

“In 2007,” she said, “I began to focus on a new series inspired by my toddler daughter, who suddenly became obsessed with Disney princesses. This was a new way of creating narrative within my imagery. The series was a critical success, giving me the confidence to continue with this methodology.”

Although Goldstein mentions the making of her tableaux projects in The Archive XXX, she decided not to include the staged works within the compilation. “This is also because I continued enthusiastically photographing street, documentary and portraiture,” she said.

Over the 2010s, Goldstein was invited to show her work internationally at galleries, photo festivals and museums, and traveled extensively – to Europe, India, China, Korea, Taiwan, New Zealand and Australia. “So many of The Archive images come from my travels around the world,” she said.

The Archive XXX ends at the start of the pandemic, in the early 2020s. Of course, she has continued to create. Last fall, she presented a new staged photography series: Mistresspieces. Each of the 10 works features a famous female portrait from history placed in a modern-day challenge. For example, the goddess of Sandro Botticelli’s “The Birth of Venus” floats alongside a beach piled with the life jackets of those who have fled to European shores and Salvador Dalí’s “Galatea at the Moment of Creation” has Galatea surrounded by Amazon packages and melting icebergs in Goldstein’s reimagining.

Mistresspieces is Goldstein’s eighth tableaux series, including Fallen Princesses.

“The idea for Fallen Princesses came to me intuitively, when I realized the way that Disney was influencing my daughter,” she explained. “I decided to select well-known female fairytale characters and parachute them into modernity. I gave them all relatable challenges that play out within a familiar location. The methodology, production-based, was novel, as I no longer just depended on myself and my camera. This format is more collaborative and filmic, with lighting as an intricate skill. Thankfully, the project was successful online, in the media and in education. So, I discovered that I could still create critical work, with specific messaging amplifying my voice in the form of visual social commentary…. Now, in light of AI and the quick accessibility of image-making, I am looking to the future, making some tough decisions.”

Goldstein recognized the power of images at a young age.

“As a child, I would go through my grandmother’s photographs for hours at a time,” she said. “The postcard-like black-and-white photos of her, as a young woman in Romania, were not only beautiful but a window into her life. I would stare at an image and take it all in, her outfit, her shoes, the people she was with, the buildings behind her. Within these images, I discovered people and places throughout the decades of her life. As an adult, I have kept my camera beside me, just in case, it was a compulsion of sorts. I wanted to make pictures that would tell the story of my life as well. Perhaps not as the subject, but as the narrator. Today, mostly everyone suffers from the same need, with the readiness and ease of using a smartphone camera to document or to create an image.”

In The Archive XXX, there are photographs of such a diverse range of people, from presidents to Pride paraders, the famous and the often-overlooked. That Goldstein is comfortable around people, no matter who they are, is partly because of her father.

“My father was a very charismatic figure,” she said. “He was a product of the Second World War, uneducated but street smart. He was able to connect with people, all sorts of people. I understood that there is always something that you may have in common with another person. That’s a good starting point.”

Travel has also contributed to Goldstein’s ease around almost everyone in almost every situation.

“Traveling as a young person allowed me to open up to others, and trust that most folks are good people,” she explained. “My positive experiences as a young photographer were foundational for what the next three decades would bring, working with various diverse personalities. Becoming a mother made me more cautious with my assignments and travel. I certainly didn’t take as many chances or put myself in danger while my girls were little. I remember traveling in India and Colombia, both places I had to be extra aware.

photo - “Horse and Carriage,” Romania, 2006 — “Horse and Carriage,” Romania, 2006. *(© Dina Goldstein)*

“In general, I find that society is complex and divided. This became super-evident during the pandemic, and recently after Oct. 7, 2023. I was able to photograph the anti-vaxxer gang, where bizarre people came out of the woodwork. The Free Palestine bunch includes some of these types, and also an element of proud antisemites. When they first rallied, in big crowds, holding up signs ‘From the River to the Sea’ down Commercial Drive, I photographed it, slightly shocked, slightly sickened. I decided then that I could not personally or professionally continue to be there as a witness to this open hatred.”

A lot changed for Goldstein after Oct. 7, she said. “Losing friends that were once close, making new friends (mostly Jewish), actively fighting against anti-Jewish/Israel sentiment in my East Van neighbourhood and within the Vancouver arts community. This leads to the next chapter of my career, where I will focus more on my Jewish/Israeli identity and Ashkenazi Jewish heritage.”

Goldstein has written a TV series called Grimm Lane, which is based on Fallen Princesses. She is creating a new book with her narrative series Storyography and is also working on the TV series The Tribe, which is based on three Jewish families living in Toronto.

For more about The Archive XXX, Goldstein’s tableaux series and other work, visit dinagoldstein.com. To attend her JCC Jewish Book Festival talk, register at jccgv.com/jewish-book-festival-events/feb-12. The event is free to attend.

Guitar virtuosos play

Itamar Erez performs with three other leading musicians on Feb. 1, 7:30 p.m., at Massey Theatre, as part of International Guitar Night. (photo from itamarerez.com)

International Guitar Night takes place on Feb. 1 at Massey Theatre. Once again, Jewish community member Itamar Erez, whose styles range from Middle Eastern, to jazz improv, to world music, is taking part.

“This unique project started with Brian Gore many years ago, when he had the vision to create these unique guitar tours. It’s been going on for over 20 years, with some of the best guitarists in the world,” Erez told the Independent.

“The idea is to put four guitarists on stage with a totally different style and sound,” he explained. “Each plays a solo set and introduces the next player – and, eventually, all four guitarists are playing together in duets and quartets. The audience loves the variety in the music and personalities and, often, there are interesting and funny stories that go with the music.”

Erez will be joined by Jocelyn Gould, a traditional jazz player and singer, Caroline Plante, who comes from the flamenco tradition, and Jamie Dupuis, who brings his harp guitar and Roma jazz influences.

“I’m playing my own mixture of Middle Eastern/Brazilian sounds,” said Erez, whose recent albums include Mi Alegria (2019), May Song (2022; for a review, go to jewishindependent.ca/erezs-new-cd-shows-mastery) and Migrant Voices (2024, with Hamin Honari).

“Migrant Voices was a unique album for me,” Erez said. “I had worked with Hamin for a few years already and we became really good friends. We worked on developing new material for the duet and, towards the recording date, we realized that this album will be mostly based on free improvisation. It just felt like the best approach and most authentic for us. Apart from the album title (Migrant Voices), that was composed by myself, all the tunes were basically improvised right there at the studio.

“In 2024,” he continued, “I also went to the studio with my piano trio (Jeff Gammon on bass and Kevin Romain, drums, and myself on piano) and we recorded in one afternoon a bunch of instrumental covers to tunes – this is something I never had done before, as I always was creating new original material. Among these tracks were Marina Maximilian’s beautiful song ‘Amok Batal,’ three Hanukkah tunes (‘Maoz Tzur,’ ‘Banu Hoshech,’ ‘Kad Katan’) and several other tunes, such as ‘Blue Bossa’ … all done with a very personal approach.

“Over the past year, I have released these tunes slowly as singles – and was overwhelmed with the warm response of audiences for these tracks.”

International Guitar Night is a touring festival, which has three iterations: Canadian, American and European.

“I did one full tour many years ago, in 2009/10, with many concerts in the US, Canada and Scotland,” said Erez. “I did the European version of the tour (Gitarren Nacht) a few years ago, with shows in Germany, Austria and France, and one more time in BC quite recently (2023), where I played for the first time with Jocelyn Gould…. My favourite part of these tours is making friendships with these musicians, some of them are friends for life. And making music with players that come from a totally different background is always fun and exciting.”

This year’s Canadian tour centred on British Columbia, with stops in Oliver, Campbell River, Duncan, Nanaimo and Victoria. The Feb. 1 performance at the 1,260-seat Massey Theatre in New Westminster caps it off. For tickets, go to masseytheatre.com/event/ign-2026.

Sesame’s breadth and depth

I made my wife a rockstar carrot cake for her birthday last week. Thanks to the JCC Jewish Book Festival, I received a review copy of Sesame: Global Recipes & Stories of an Ancient Seed by Rachel Simons, which features a unique take on one of my wife’s favourite desserts. The Tahini Cream Cheese Frosting with Carrot Cake & Seed Brittle was a hit – as was every other recipe I tried from the book. Everything I made looked beautiful and tasted great.

New York-based Simons, founder of Seed + Mill, the first store in the United States to focus solely on sesame products, will be in Vancouver for a JBF pre-festival event Feb. 8, 7 p.m. Tickets are $20. (Go to jccgv.com/jewish-book-festival.)

Simons seems delightful, with a passion for gardening, family, travel and being an entrepreneur. In Sesame, she shares some of her background, what led her to become an expert in all things sesame – the seed, oil and paste (tahini). We also learn a bit about the history of sesame and tahini. There are 80-plus recipes, ranging in complexity, most accompanied by a brief introduction. The whole presentation is appealing: the book’s layout, the feel of its pages, the photography by Alan Benson and illustrations by Evelina Edens; credit is given to Maren Ellingboe King for some of the text.

Just before the recipe section, Simons notes how hard it was for her to write many of the recipes, as she tends not to follow recipes herself, and cooks more “by instinct and with lots of practice.” This is an important note because newbie cooks might have to Google pieces of information like how long it takes to bake a cake at 350˚F, because Simons doesn’t give any baseline, just writes “bake until a skewer … comes out clean.” Even with Google and Simons’ advice, I slightly undercooked my cakes. Yes, cakes. Somehow, though I’m positive I followed the recipe to a tee and the cake we ate tasted amazing, I had twice as much batter as I was supposed to have. (I froze the second cake.)

There were other, smaller surprises with each recipe. And every recipe took me longer to make than indicated. I often find that with cookbooks though – if I were to rinse and de-leaf my cilantro, parsley, etc., chop all the nuts, etc., in advance, then maybe I could make something within the allotted time, but instead I plan for it to take two to three times as long as suggested.

On the day I made the carrot cake, I wanted to leave as much guilt-free room as possible, so made the Thai-Inspired Tahini, Lime & Broccoli Salad. It was full of flavour, seasoned with tahini and lime, as per its name, as well as soy sauce, hot honey for a bit of bite, garlic, lots of cilantro and mint for freshness, peanuts and sesame seeds for protein and texture.

The next day, we had friends over and served Pistachio and Whipped Feta, with veggies and pita bread, as an appy. A couple of tablespoons of tahini, a bunch of cilantro, plus lemon juice and, especially, lemon zest made this dip disappear quickly.

Birthday day started with An Indulgent Middle Eastern Breakfast Toast, which was all its name promised. I couldn’t find labneh, so substituted in pressed yogurt. While the recipe said the sprinkle of Sweet Dukkah was optional, I’d argue it’s essential. All together, this rich, tangy, toasted, sweet treat demanded a second serving.

In all this cooking, I’ve stained several pages of Sesame and will, no doubt, stain others, as this book becomes one of my staples. I’ve already made a few other things that are not included here for space reasons, not taste reasons. It’s all yum.

AN INDULGENT MIDDLE EASTERN BREAKFAST TOAST
(serves one)

1 thick slice sourdough bread
1 tbsp labneh
1 to 2 tbsp tahini
1 tbsp honey or date syrup
1/8 tsp flaky salt
Shake of Sweet Dukkah (recipe below)

Toast the bread or leave it fresh, depending on your preference. Spread the labneh on the bread, then drizzle with the tahini and honey and finish with the flaky salt and Sweet Dukkah (if using). Serve immediately.

SWEET DUKKAH
(makes about 2.5 cups)

1 cup sesame seeds
1/2 cup pistachios, coarsely chopped
1/2 cup almonds, coarsely chopped
1/2 tsp ground cinnamon
1/2 tsp ground cardamom
1/2 tsp flaky salt
1/2 cup unsweetened coconut flakes
2 tbsp edible dried rose petals (optional)

1. Preheat the oven to 375˚F. Line a rimmed baking sheet with parchment paper.

2. Spread the sesame seeds, pistachios and almonds on the baking sheet. Sprinkle with the cinnamon, cardamom and salt and toss to evenly combine.

3. Bake for 6 minutes, then give the baking sheet a vigorous shake to move the nuts and seeds around. Add the coconut and shake the sheet again. Return the mixture to the oven and bake until the coconut has turned golden brown, 4 to 6 minutes. Check regularly to make sure the dukkah isn’t burning.

4. Cool the dukkah completely on the pan before adding the rose petals (if using). Store in an airtight container in the pantry for up to two months.

What should governments do?

Left to right at the Jewish Seniors Alliance of BC Fall Symposium Nov. 23: Jeff Moss, Joyce Murray, Anthony Kupferschmidt, Dan Levitt and Isobel Mackenzie. (photo by Alex Roque Photography)

The Jewish Seniors Alliance of British Columbia’s fall symposium featured a panel discussion on the responsibilities of governments for seniors. The panelists discussed housing, transportation and healthcare services. They explored challenges in funding, staffing and service delivery, while also touching on topics such as the potential for community involvement in shaping senior support systems.

The Nov. 23 gathering, which took place at the Jewish Community Centre of Greater Vancouver, opened with Jeff Moss, executive director of JSABC. He said provincial advocacy is “at the heart” of what JSA does, “and bringing together politicians in this space is really important, because the conversations that we have when we meet with the provincial government, or when we’re meeting with the opposition, [are] where we are advocating strongly for universal free home support for seniors in British Columbia.”

JSA’s partners in this campaign are Council of Senior Citizens’ Organization (COSCO), the BC Health Coalition, the Independent Long-Term Care Councils Association of BC, Family Caregivers of British Columbia and the BC Care Providers Association (BCCPA), whose chief executive officer, Mary Polak, addressed those gathered.

Polak shared that her father, who’s 96 years old, is in long-term care. He has some dementia issues and needs to have some specialized care, she said. “But in the time that he was at home with us and we were trying to give him the best quality of life we could in our own home, it was a real challenge to try and support that with home health services. And we were in a better place than many because at least we had some of the financial capacity to do that, and we had the family around us. But, for an increasing number of people, that’s becoming impossible, and it shouldn’t be that way.”

Ezra Shanken, CEO of the Jewish Federation of Greater Vancouver, which also is a partner and supporter of JSABC, introduced Shay Keil, who sponsored the event with the BCCPA and JSA, along with Michael and Sally Geller, and the Zalkow Foundation.

“Seniors are the foundation of who we are,” said Keil. “You’ve built our families, our traditions and our values, and you deserve to be honoured, supported and celebrated. We often speak of m’dor l’dor, from generation to generation, and that idea is very close to my heart. I strongly believe in the connection between seniors and children and everyone in between. That belief is why I’m here today, and why I’m deeply committed to community through volunteering, supporting and staying actively involved in the organizations that strengthen the lives of those around us, including JSA.”

Keil introduced the emcee of the panel, Isobel Mackenzie, “who served as British Columbia’s seniors advocate from 2014 to 2024, and has spent her career championing the well-being, safety and dignity of our seniors.”

Mackenzie asked each panelist to come to the stage: Anthony Kupferschmidt, strategic lead for aging and older persons with the City of Vancouver, who has worked in similar capacities with other cities and groups, and is also a gerontologist; Joyce Murray, who has served both as a member of the Legislative Assembly and as a member of Parliament; and Dan Levitt, a gerontologist who has worked 30-plus years in seniors care, and is the current seniors advocate for the province.

Each panelist gave an overview of their opinions, starting with Kupferschmidt, who noted that much of what a municipality can do for the aging population requires financial support from other orders of government. However, a city can impact seniors in such areas as “zoning and related development charges, making sure that we have the right type of housing and the right mix of housing across the city.”

Municipalities can work with the provincial government, for example, on where care homes are located and support their development. Transportation is another key area, as are sidewalks and other “elements of an age-friendly city.” Cities have a role with respect to public libraries and the accessible services they offer, community centres, senior centres, pools, arenas, etc.

Levitt was the next to speak. “Currently, there are 5.5 million people living in our province, 1.1 million people are over 65,” he said. “Today, there’s one in five – 20% of all people are seniors. Fast forward just a decade from now and it’ll be one in four, 25%…. We have more people who are living longer and more people who are seniors, so 400,000 more seniors in the next decade.”

Levitt’s office monitors five areas: health care, transportation, housing, income and community services.

“The general trend,” he said, “is that there are more seniors and there are more investments, but there’s less available per senior.”

As an example, he said, a quarter of all seniors are living on $23,000 a year, or less than $2,000 a month. “And it’s not that hard to go find people living in the West End in affordable housing living on less than $1,000 a month, so they really need that income support from all levels of government, they need those subsidies.”

Levitt said there were 13,000 people on the waitlist for affordable housing last year. “How many of them got a space?” he asked. “Six percent, just under 800 people have got a space for affordable seniors housing in our province. We haven’t built enough, and there is a call right now to build more, but we’re not keeping pace with that demand.”

As well, he said, the province has been taking money away from long-term care homes, no longer funding overtime and agency nurses, for example, and this affects places like the Louis Brier Home and Hospital.

“It means that an already very thin margin is now almost impossible to operate without that government subsidy,” said Levitt.

“We haven’t invested enough either in seniors care,” he added. “We did a report in July, and our July report identifies that over 16,000 people are going to be short long-term care because we’re not building enough beds. There are 7,200 people on the waitlist today.” The burden of care, he said, is being transferred to families.

Murray took the conversation in a different direction.

“I was looking at the budget numbers about this when I was thinking about what I would be saying,” she said, “and the total new spending on OAS [Old Age Security] and medical care for seniors alone in the 2023 budget was $110 billion of new money…. Now, that’s going to tie into some of the demographics, for sure, but, when you break that down, that’s $4,300 per retiree 65 and older in new money in the 2023 federal budget versus $755 for younger Canadian under 45 in new money.”

She wondered about how well younger people were being supported. She also spoke of environmental concerns.

“What does it mean to be a good ancestor?” she asked. “And what do we think our society, our province, our country needs to do so that we collectively are good ancestors?”

“To govern is to choose,” said Mackenzie, noting that governments must make decisions about how “to allocate our finite resources to our infinite demands.”

The panelists talked more about that, as well as the way in which different levels of government work with one another. Murray said governments make policies they hope will attract voters, and seniors tend to vote more than younger people, so, for example, “a family with two members can earn up to $180,000 a year and still get their full OAS,” she said, asking, “Is that a good allocation of money?”

Mackenzie asked a variant of Murray’s question, considering how maximum monthly payments for public long-term care work.

“The person whose income is $200,000 a year is going to pay the same for their publicly funded long-term care plan as the person whose income is $70,000 a year,” said Mackenzie. “And so, if, on the one hand, we say, well, the people who have more should get less, which is the OAS argument, to what extent should we flip that and say, well, the people who have more should pay more when it comes to publicly subsidized long-term care? That’s, I think, missing from the discussion…. I think there are very uncomfortable conversations … that governments are going to have to have with their electorate and, as elected officials, you don’t like to have those uncomfortable conversations, for obvious reasons.”

Levitt thought the situation could be improved if governments helped people understand how much money they need to save to age well, what supports there would be for them as they age, and what people could do to support themselves.

Murray suggested, “Maybe what we need is like a citizens’ assembly, to start out by identifying what are the key things that are maybe broken or need improvement so that we can be good ancestors. And then have a citizens’ assembly that looks at what are the best solutions in other countries … and then create a proposal on that. I think we have to crowdsource the solutions here…. We need citizens to help us solve this.”

Kupferschmidt brought up Better at Home, a basket of non-medical services that seniors can access. “There has been public engagement into what those services should be…. However, there are examples of the service that is offered in one neighbourhood in the city is different than another,” he said, explaining that a “model with all the best intentions can sometimes create some disparities as well.”

Mackenzie stressed the complexities, both because everyone’s needs and everyone’s solutions are different. “And, in the end, in those environments, generally, we try to come up with solutions that meet the greatest good for the greatest number, but that certainly doesn’t meet the need for everybody all the time and that is, I think, the political challenge at all levels of government, whether they be the local, the provincial or the federal.”

Four Peretz pillars honoured

As the owner of the 95-year-old Jewish Independent, I know full well that our Jewish community is built on the shoulders of those came before us. It is upon this foundation that we continue to grow, keeping our institutions going, while also starting new ventures and winding up groups that have served their purpose. Sometimes an organization will rebrand and recreate itself, sometimes it will reconnect with and reestablish its roots.

It is with these thoughts in mind that I watched the short documentary film Four Pillars of Peretz, which premiered last month at the Peretz Centre for Secular Jewish Culture. But it was also more personal than that, as I knew the four women being profiled: Bluma Field, Sylvia Friedman, Claire Klein Osipov and Gallia Chud, all of whom have passed away. To me, these women exemplified grace and grit. They were doers and they lived by their beliefs – most important, to me, though, was that they welcomed me, made a place for me, treated me as if I mattered, despite my holding very different views than they did on many things.

screenshot - Bluma Field, left, and Claire Klein Osipov — Bluma Field, left, and Claire Klein Osipov. *(screenshot)*

Nothing in filmmaker Michael Kissinger’s 36-minute documentary shattered the notion that they treated everyone with such respect, for which I’m grateful. I want to remember these women this way. A key element I feel is missing in the world today is this ability to be friends, or at least be civil to, people with different opinions. We are so polarized that our own views – and our need to express them – often take precedence over making another human feel, well, human.

I know that this phenomenon is nothing new. As is the case with most organizations, the Peretz Centre was started to fill a need that wasn’t being met by other groups at the time. Secular and socialist in nature, the Peretz has rarely “fit in” with the mainstream Jewish community over its 80-year history. While its politics held no interest for me, its focus on Yiddish culture, its choir in particular, did appeal to me and I was involved for some 30 years, having been introduced to the centre by Claire, who was the epitome of class – and, wow, what an incredible voice. She was close friends with my aunt, who also, sadly, has passed away.

Going down memory lane with Four Pillars of Peretz was truly a pleasure. For people who don’t know the four women profiled, I would still recommend watching it, if only to demystify the Peretz Centre. Community unity shouldn’t mean community uniformity, and everyone should be so lucky as to have at least one place where they feel welcome. We don’t need to belong everywhere, but it’s vital to our health, I think, that we belong somewhere.

screenshot - Sylvia Friedman with her son, Michael Friedman — Sylvia Friedman with her son, Michael Friedman. *(screenshot)*

Four Pillars of Peretz is also an example of what other organizations could do to honour their founders. Keeping history alive is so important, in my view. It’s not an inexpensive endeavour, but it’s worthwhile. In the case of this documentary, Kissinger really captures the spirits of these women and the way in which they still inspire others. Bluma, Sylvia, Claire and Gallia were by no means the only pillars of the Peretz Centre, but they were particularly driving forces, and they were so for decades.

“These stubborn old ladies, you know, they get sh*t done,” says Faith Jones, providing the first comments in the film, which features clips from interviews with other Peretz members and with members of the women’s families. Through these snippets, as well as photographs and other archival material, you get a sense of the enormous amount of effort and love that it takes to start an organization and keep it running.

The film starts with an overview of the four women, then each gets their own spotlight. The snappy music and the way in which Kissinger has edited the film makes it move along smoothly, both communicating the challenges these women – and others in their generation – faced with tenacity, but also with joy.

“I think all of these women, if they were here today, would say that they got just as much out of it as they put into it, because it’s community,” says one of Gallia’s daughters, Rita Chudnovsky, near the end of the film. “And there’s no replacement for a sense of community, and that’s something that’s, I think, getting harder for people to find.”

For more about the film, go to peretz-centre.org/post/four-pillars-of-peretz-short-documentary-film-project.

From the JI archives … camp

image - article from Sept. 3 1937 JWB — Sept. 3, 1937: “It is practically impossible in the space of a short article to fully describe the happy holiday enjoyed by eighty-five children at the Council of Jewish Women Camp at Crescent Beach this summer,” begins this article by Mrs. M. M. Grossman. I know the first “M” refers to Max, but I couldn’t find his wife’s name before we went to press.

What strikes me every time the Jewish Independent does a Camp Guide issue is the staying power of our Jewish summer camps.

Camp Hatikvah was started in 1937 at Crescent Beach by the National Council of Jewish Women. It was run under their auspices until 1944, when, according to the camp’s website, “members of the Young Judaea youth organization arranged to first rent, and then later acquire, the property to create Camp Hatikvah.” The camp is located on Lake Kalamalka in the Okanagan Valley.

The site quotes the Independent’s predecessor, the Jewish Western Bulletin, noting that a 1949 article in the JWB stated that “Camp Hatikvah provided early participants with a ‘place where they could live and express themselves as Jews, unhampered with fear of others and free from the out-of-place feeling that is so often a part of North American Jewishness.’ Developed in the aftermath of the Holocaust, Hatikvah existed to ‘produce proud, happy Jewish youth who were earnest and sincere in their beliefs’ and committed to the re-building of the Jewish people.”

image - April 22, 1955: Camp BB Riback comes into existence. — April 22, 1955: Camp BB Riback comes into existence.

And the camp wasn’t territorial, it appears. According to a 1948 article in the JWB, Camp Hatikvah allowed Habonim Machaneh (Camp) to use its facilities for two weeks. By 1949, Habonim was renting a camp on Gabriola Island and, by 1951, Habonim Camp Miriam was in its third year, but, it seems, its first with the name Camp Miriam.

Camp BB Riback, in Pine Lake, Alta., was founded in 1955, led by Ted Riback of Calgary, who was chair of the B’nai B’rith Camp committee. There were two articles in the April 22, 1955, JWB about it, one about the camp and one about the upcoming B’nai B’rith convention, the highlight of which was anticipated to be a discussion about the camp.

image - July 13, 1956: Kids from Vancouver have always attended Camp Solomon Schechter in Washington state. — July 13, 1956: Kids from Vancouver have always attended Camp Solomon Schechter in Washington state.

While Camp Solomon Schechter was established by rabbis Joshua Stampfer and Joseph Wagner in 1954, the first mention I could find of it in the JWB was in 1956. The week-long camp at Echo Lake, Wash., was also under the supervision of Rabbi Bert Woythaler of Vancouver’s Congregation Beth Israel and the Pacific Northwest Region of the United Synagogue sponsored it. The camp has been located near Olympia, Wash., since 1968.

image - Dec. 29, 2006: Even before Camp Kalsman had a summer session, they were part of the Jewish Western Bulletin’s Camp Guide — Dec. 29, 2006: Even before Camp Kalsman had a summer session, they were part of the Jewish Western Bulletin’s Camp Guide.

Relative newcomer Camp Kalsman started in 2007, and the JWB has followed it since its beginnings, as well. In 2006, the camp ran an ad looking for a director and, in our Dec. 29, 2006, Camp Guide, David Berkman, the newly appointed director, spoke to the paper about the Union for Reform Judaism camp, in Arlington, Wash. “The buildings are under construction. Staff and campers are being recruited; programs are being planned and we must buy everything – bunks, bats, balls, arts and crafts supplies, mops…. I have a long wish list,” he said.

As that 2006 article by Pearl Salkin noted, “The camps might not have big brass bands, but the excitement is already building. If you want your children to join in the fun, sign them up now, before the parade passes by.”