Byline: Cynthia Ramsay

DOTE dances across the street

LINK Dance Foundation will perform Why did the Chicken Cross the Road? at a few intersections in Vancouver during Dancing on the Edge. (photo from DOTE)

As part of this year’s Dancing on the Edge festival, which takes place July 6-15, LINK Dance Foundation will explore the age-old question, “Why did the chicken cross the road?”

“The idea for Why did the Chicken Cross the Road? came about through various stages, like all things do,” said Gail Lotenberg, founding artistic director of LINK. “The germination to the actual realization was a process and it is still in development for the future.”

DOTE producer Donna Spencer invited Lotenberg to be involved in this year’s festival with a specific piece, but the timing wasn’t right. “So, I told her I had another idea for this year if she was open to it. We had a meeting and together we cooked up this piece,” said Lotenberg.

Leading up to the 2013 provincial election, she said, “I wanted to help attract young people to exercise their right to vote, so I spearheaded a dance performance at the intersection of Davie Street and Granville Street with signage from Rock the Vote BC.

“The dance did not deliver overt messages about voting (though there were subtle motifs in the choreography), rather it aimed to stop people in their daily lives to enjoy viewing a quick dance by an ensemble of dancers as they crossed a busy intersection. We had people stationed at the corners to hand out pamphlets with more specific information about voting day.”

The concept was introduced to Lotenberg in 2005 by a “close friend and colleague, Cara Siu, who came to Whitehorse, Yukon, when I used to live there. At that time, I was producing an annual festival called Dancing in the Streets. She came from Vancouver to make a dance at the intersection of two main streets in Whitehorse as part of the week of outdoor dance performances. I loved the idea and always knew I would use it again.”

For the 2017 incarnation, Lotenberg said she wanted to “include a large pool of less-well-known dancers in the community in a site-based work at intersections” and Spencer was all for it.

“In fact,” said Lotenberg, “it was her idea to involve young dancers from pre-professional training programs in the project. She also saw the benefit of having DOTE volunteers on the corners to provide more information to people about other shows they could see during the annual summer festival. Donna really helped to make the idea crystallize into what it is now, a work for eight dancers – mostly young dancers in the final stages of their training with the exception of two professionals. The two dancers who would normally be considered out of their training stage … will perform my core idea of a duet between pieces of white cloth to complete the show.”

Lotenberg, however, won’t be performing. “I will not be dancing in this work,” she said, “unless I’m wearing a chicken costume.”

She hopes “Intersection Interventions” will become “an annual part of DOTE, in the way Dusk Dances were a signature aspect of the festival for almost a decade.”

She said, “I believe in public art. I see myself as someone who evolved from the same fabric as the public frivolity movement of the 1990s – Unsilent Night, flashmobs, etc. These are acts of art that enhance our civic arena.

“I like art that engages people in community and invites people briefly into the humanizing experience of co-creating art. I don’t like art that does this by ignoring the principles of composition and virtuosity and esthetics, meaning they are inclusive but not very entertaining. So, I strive to find the duality that makes work provocative and pleasing to view, while at the same time offering some type of invitation to be an active rather than a passive participant.”

From 2008 to 2012, Lotenberg was an associated artist with Simon Fraser University’s Centre for Dialogue. The academic director of the centre then, Mark Winston, supported many of her endeavours, she said, “because he saw my work as a model for how to employ art as part of public engagement and how to construe social engagement as fertile soil for making art. I am grateful to Mark for that period of cross-pollination of ideas and expertise. He, too, is a Jewish person and together we mined the depths of what it meant to be Jewish and engaged in our mutual professions, he as a scientist and director of the CFD, me as a dance artist and director of a dance company.”

She said, “When I was a younger artist, there was a hierarchy in my mind that put work onstage above public-engaged art practice. Then I met Liz Lerman, a famous populist choreographer from the U.S., and I shifted my perspective to a less hierarchical model.

“I love seeing how dance can enter the public domain and engage people in something that lives between the opposing ends of a spectrum. On the one hand, you have pure social dancing that is non-performative but fully inclusive and, on the other end, you have very formal dance performance, which occurs on a stage with no apparent involvement from the audience except as witness. I love the in-between.”

Over the course of her dance performance and choreography career, Lotenberg has created many works that combine dance and activism.

“I’m a political person,” she said. “I grew up that way. As a Jewish person, I was taught to think in terms of how I could contribute to making the world a better place. I use my attributes as a choreographer to bring people together in a way that feels beautiful or powerful or profound or just fun.

“Take the Occupy Movement, for instance. I see something like that and I think, ‘Oh, imagine how easy it would be to occupy more space by getting people to not just stand around and chant but rather to do a square dance, which inherently takes up a lot more space.’ In occupying space with a square dance, people are using dance politically and the results are varied. People are having more fun. Authorities may not feel so threatened because the impulse is to relish life, not to be destructive, which is true of most political movements that are not hate-based. So, dance for me is an interface between the institutions we hope to shift and the people who are trying to have sway in shifting those institutions.”

Being Jewish has informed Lotenberg’s way of engaging with the world in various ways.

She said, “Being Jewish made me a political person and that feeds an aspect of my choreographic interests…. Being Jewish also surrounded me with people who embrace ritual and ritual is an important aspect of art. Being Jewish led to many opportunities to be in community through song and dance, and there is nothing more uplifting than that. In fact, I would say that these acts of sharing voice and song are what do connect me to my spirituality.

“And finally, I grew up as a New York Jew and my parents were very involved in the Civil Rights Movement of the 1960s. We moved to a town that was emerging as a leader in desegregation of schools, so I went to a school right from Grade 1 that was racially mixed.”

Lotenberg earned her bachelor’s degree at University of Michigan, was a dance teacher and skier in Crested Butte, Colo., for about five years and then did her master’s degree in history at University of Washington. In Seattle, she said, “I met a Vancouver boy, graduated, sold everything, moved here and then, within a year, we left for the Yukon.”

While Yukon was home from 1993, Lotenberg returned to Vancouver often for dancing. In 2007, she and her family moved to Bowen Island – “bad for my dancing career but otherwise wonderful,” she said.

Lotenberg took an approximately three-year break from dancing to be more present for her daughter, who has a learning disability, she said. “She’s good now. She’s strong and knows how to self-advocate for learning support that allows her to perform well in school. And, she basically is my happy place. But, I missed dance and being with other dancers – people who see and sense the world through a different lens.

“I feel gratitude at the opportunity to re-enter the dance milieu from the place I am today. I am grounded; I have a good job as a pilates instructor; I want to have my work seen and appreciated but that desire does not define me anymore. I am eager to share my work, but I feel strong and I feel confident and I trust that my work is valuable because it is honest and well-crafted and unique.”

Lotenberg is in the midst of developing a new stage work for next year’s DOTE in which she will be dancing.

“It is a piece I am challenging myself to take on because it feels important for me to step back into the dancing body to tell my story in a real and vulnerable way,” she said. “In fact, the application to show this work I’m describing is what actually led to having Why did the Chicken Cross the Road? happen at this year’s festival. Life is a beautiful journey that way. You sow seeds but you don’t always know how they will bear fruit.”

The promotional material for Why did the Chicken Cross the Road? asks the question, “Rather than walk, why not dance to get to the other side?” What can be gained from dancing, even if only across the street?

“Dancing is liberating,” said Lotenberg. “Dancing is frivolity and elemental connection (at the same time). Dancing is one of the first forms of art and, in some cultures, it is the glue that defines who they are, how they touch the earth with their feet and what is the rhythm of their heartbeat.

“I tried to leave dance and choreography to become a better mother. I did become a better mother but I also realized in that period that dance is essential to who I am.

“Dancing across the street,” she said, “is a way of celebrating life, is a way of being part of making the world a more beautiful place, is an invitation to be part of a happening that makes today just a bit more rich than yesterday or tomorrow.”

For the times and locations of Why did the Chicken Cross the Road?, visit dancingontheedge.org/program/chicken-cross-road. For the full DOTE schedule, visit dancingontheedge.org.

Jerusalem a high-tech hub

Lior Schillat of Jerusalem Institute for Policy Research and Maya Halevy of Bloomfield Science Museum Jerusalem will speak at Jerusalem of Gold: Capital of Innovation & Tech on July 16. (photos from CFHU Vancouver)

“Hebrew University is probably the only university that ‘founded’ a state rather than vice versa, as the cornerstone for the university was laid on July 24, 1918, and, on April 1, 1925, the Mount Scopus campus was opened,” Dina Wachtel, Western region executive director, Canadian Friends of the Hebrew University, told the Independent. “The contemporary history of the city of Jerusalem and the story of the Six Day War is intertwined with the story of the university – what better way to celebrate that than by bringing in four of Jerusalem’s change-makers?”

The July 16 TED Talk-style event at the Jewish Community Centre of Greater Vancouver – hosted by CFHU, the Jerusalem Foundation and JCCGV – “is a celebration of the start-up nation and the role the city is playing in becoming a centre for innovation and technology,” said Wachtel. “Thus, it is also the story of how innovation improves the lives of humanity in this world regardless of boundaries of any kind: geographical, political, ethnic, religious.”

At the event called Jerusalem of Gold: Capital of Innovation & Tech, the speakers will be Lior Schillat, director general of Jerusalem Institute for Policy Research; Maya Halevy, executive director of Bloomfield Science Museum Jerusalem; Yonatan Avraham, student ambassador of HUstart, the university’s entrepreneurship centre; and Tamir Huberman, vice-president of business development and information-technology director of Yissum, the technology transfer company of Hebrew U. The Jewish Independent interviewed each of the presenters in anticipation of their Vancouver visit, and will feature Schillat and Halevy this week, and Avraham and Huberman on July 7.

Schillat will talk about Jerusalem’s Population: What Does the Future Hold? But first, what about the Jerusalem of the past – what would have inspired a Canadian Jew to make aliyah 50 years ago?

Actually, said Schillat, in the 20th century, the biggest wave of immigrants from countries such as Canada came right after the Six Day War.

“If you’re Canadian and you’re making aliyah in ’67 and you’re choosing Jerusalem for your home, I guess the main reason you would do that would be because of the spiritual effect the glorious victory of 1967 would have on you,” said Schillat.

“If you are a bit more practical, you also understand that, with this victory, Jerusalem, for the first time since 1948, became again the centre of the country … centre in the geographical meaning and also the centre of attention as to what was going on in the country.”

Fifty years later, he said, while “we still haven’t reached some kind of stability in the situation in Jerusalem,” the city “is one of the most interesting … cities in Israel, and why is that? First of all, it’s Jerusalem, meaning it’s beautiful, it has stories that are in the heart of billions of people all over the world…. I would say the Jerusalem brand is stronger than any other brand in Israel, including the Israeli brand itself…. So, if you would come to Jerusalem, it would be because you want to spend your life in a way that is a bit more meaningful than … in any other city in Israel, in any other Western country.”

In Jerusalem, he said, “from the moment you wake up until the moment you go to sleep, you live for something, for an idea. It’s true for everyone – of course it’s true for religious people, but it’s also … true for secular people. Life here just has much more meaning. You know, it’s not for nothing that Jerusalem is 10% of the Israeli population but 25% of civic society organizations are based here. And if you look at Israel’s biggest struggles or debates, many of them were generated from the Jerusalem society.”

Jerusalem is a completely different city than it was 50 years ago, said Schillat. “Jerusalem is one of the most advanced high-tech ecosystems in the world today…. When you look at the numbers, you see that, today, Jerusalem is considered among the 30 biggest ecosystems in the world. And some of the researchers even say that they would consider it for next year among the 20.”

It’s not the tech hub that Tel Aviv is, he acknowledged, but, in proportion to its population, Jerusalem rates high on the tech scene. And this shouldn’t be surprising, he said.

“People here are using their minds all the time, and high-tech is exactly that – it’s how you use your mind in order to create gain, in order to create technology that could help better the world…. The number of technological companies in this city has more than doubled in the last four years. The number of employees in high-tech is growing 15% every year for the last three years.”

Schillat gave as the best example of Jerusalem’s growing prominence in this area the recent acquisition by Intel of Jerusalem-based company Mobileye for $15.3 billion. Not only that, he said, but Intel also has decided to base in Jerusalem its international research and development centre for autonomous cars.

“I don’t see the Jerusalem of the future as being another New York or another Frankfurt or another Tel Aviv; it won’t be a financial centre. I see it as a city of knowledge; of creating fruits from thinking, from knowledge, from discussion. And I also think that Jerusalem is facing now the amazing challenge, and very hard challenge, of integrating into this group of thinkers and builders the more weak populations…. The real test for Jerusalem for the next 50 years would be, ‘Did you integrate the Charedi groups, did you integrate the Arab groups into this economic development model of a city of thinkers, or did you just go with this idea by yourself, meaning just a small elite group of thinkers went with it by themselves and left the majority of the city behind?”

One facility that is trying to integrate various population groups is Bloomfield Science Museum. Founded and operated by the Jerusalem Foundation and HU, the museum is supported by the national and municipal governments. Its website describes science “as a common language that disregards physical borders, cultural and religious differences and enables dialogue among participants with a common interest and diverse backgrounds.” Halevy will talk on the topic Raising a Start-up Nation.

“There is much research that shows that young kids love science and science classes,” she said, “but they don’t see themselves in a STEM [science, technology, engineering and mathematics] career, mainly because they believe that having a STEM career is being a scientist, which they think it is to work alone in a lab, and can be relevant only to the best scholars. Our role is to show the variety of opportunities that STEM learning can open for them in a future career.”

Bloomfield serves as a lab and hub for education programs, she said. “As a lab, we develop new approaches, new pedagogy, new tools, and we test those with a variety of people, as we are also a hub for all the communities in Jerusalem.”

The museum collaborates with institutions around the world, as well. A current exhibit that will travel to Ottawa, among other places, is the Bicycle Exhibition 2 x 200. The new Canada Science and Technology Museum is set to open in November after extensive renovations and the exhibit is scheduled to arrive there after a few other stops.

The idea for the exhibit came when Halevy was on a visit to Ottawa in October 2015, at the request of then-Israeli ambassador to Canada Raphael Barak, “who wished to develop cooperation among cultural institutions from Canada and Israel.”

Visiting the museum while it was under renovation, Halevy saw the collection of bicycles it had in storage and learned that 2017 would mark 200 years since this invention.

“So we decided to focus our cooperation on a bicycle exhibition,” she said, “to use their collection and to add interactive exhibits – we are very experienced in this field – and the idea was that we will develop and build the whole exhibition in Jerusalem and later on it will travel to Ottawa.

“We were lucky to find two more partners, from Germany and Italy, that loved the concept of the exhibition and that wished to join us, so the tour will start in Jerusalem, will move to Bremen (July 2018) and then to Naples (July 2019) and will end in Ottawa (2020). We were also approached by other museums that wish to present the exhibition after the partners’ tour ends.”

Bloomfield signed a letter of intent with Ontario Science Centre last year. “The main idea is to develop our cooperation around the culture of innovation and to start developing this culture from an early age, as the future of both our economies is based today on innovation and entrepreneurship,” explained Halevy. “We plan to develop together an interactive exhibition and special programs for young children and youth and to connect them to each other. We wish to open the exhibition and launch the programs in 2018 – 70 years to the establishment of Israel. During my time in Toronto, I will have a meeting with the CEO and president of the Ontario Science Centre, Dr. Maurice Bitran, to discuss it more in-depth.”

As for other collaborations with Canadian institutions, Halevy said, “We might develop new collaborations on my tour, as I plan to visit my colleagues from Calgary and Vancouver.”

Jerusalem of Gold: Capital of Innovation & Tech is open to the public. Tickets are $45, though Wachtel said, “Students who are interested in coming to the event are welcome to register at our office and receive a free ticket.” For tickets, the speakers’ bios and other information, visit cfhu.org, email [email protected] or call 604-257-5133.

Join Bob Bossin at folk fest

Bob Bossin as Davy in Davy and the Punk. (photo by Derek Kilbourn)

For legendary Canadian folksinger Bob Bossin, who has called Gabriola Island home since 1991, it all started with “The King.”

“It was Elvis,” he told the Independent about his start in music. Bossin is among the performers featured at this July’s Vancouver Folk Music Festival. “I loved the early rock ’n’ rollers, and asked my parents for a guitar when I was 9. They bought the cheapest one – ‘he’ll never stick with it’ – and I only stuck with it because they said I wouldn’t.

“That would have been 1955,” he said. “It only took a few years for the music industry to take over rock ’n’ roll and turn it mushy. Then, one night in 1958, I was listening to the radio and they played a spare, strange song about a man who was about to be hanged for murdering a woman, a particular woman named Laura Foster. His name was Tom Dooley. It was the damndest song I’d ever heard. I was hooked by folk music and have stayed hooked for 60-plus years.”

For Bossin, “Folk music is just the musical expression of what you might otherwise talk about or write about or argue about or read about.

“I suppose I like performing because I like the attention. I also like that you can get ideas across, sometimes profoundly, once you’ve learned the skills to do that. When I was performing Davy the Punk, my show about my dad’s life in the 1930s gambling business, I loved to show an audience that you could spark their interest and pull them into a world they knew little about, and do it with just a bare stage, a beat-up acoustic guitar and 50-odd years of learning how to tell a story.

“At this late date in my performing career,” he said, “I also realize there is a part of the history of folk music that we old fogies can share, those of us who saw or hung out with Rev. Gary Davis, Jean Carignan, Dave Van Ronk, the Seegers and so on.”

It was in 1971 that Bossin and Marie-Lynn Hammond formed Stringband. Their first album was Canadian Sunset and, with various other band members, they toured for some 15 years and recorded seven albums. They went from one end of the country to other, and back again, more than once.

Writes Bossin on his website, “We played, over the years, in the U.S., U.K., U.S.S.R., Europe, Japan, Mexico and Newfoundland. The list of musicians who sat in or recorded with us is too long to recite, though it includes Nancy Ahern, Daniel Lanois, Stan Rogers, Kieran Overs and Jane Fair. The songs we made (sort of) famous include ‘Dief Will be the Chief Again,’ ‘The Maple Leaf Dog,’ ‘I Don’t Sleep with Strangers Anymore,’ ‘La jeune mariee,’ ‘Tugboats,’ ‘Daddy was a Ballplayer,’ ‘All the Horses Running,’ ‘Lunenburg Concerto’ and ‘Show Us the Length.’”

The music industry has changed in so many ways since he began his career, said Bossin. “When we started Stringband in 1971, there was no indie music scene, virtually no indie recording. Some credit us with starting that whole movement in Canada, and there is some truth to that.

“They say it is harder to earn a living as a musician now, but it is also easier to get your music out there. There are so many more ways to reach specialized audiences like folkies. So, while it probably is harder to be a professional musician, that has never been what folk music is about at its core. I think the internet, the social networks and all that high-tech stuff have been a great boon to folk music, to people making and sharing music about what they and their communities care about.”

Bossin has certainly used technology to inform, educate and influence people on environmental issues. As examples, the video Sulphur Passage was an integral part of the campaign that saved Clayoquot Sound from clear-cut logging, and his 10-minute video laying out the potential consequences of Kinder Morgan’s Burnaby plans has more than 12,000 views since it was posted at the end of April.

“I remember thinking, when I decided to join the fight against turning Vancouver into an oil port, that I probably had one more good fight in me. And it has been a great experience, I’ve met lovely people, been learning a lot,” said Bossin. “On the other side of the ledger, my YouTube video Only One Bear in a Hundred Bites but They Don’t Come in Order, has gone positively viral. It may have even changed a few votes in the provincial election. If it helped get rid of those heartless bastards that have been in power here for far too long, hooray!”

Bossin is quite comfortable mixing music and politics. About the role of art in a society, he said it should be “to make people’s lives better, by the beauty of the sound or the freshness of the vision. Or by contributing to the struggle for a better and more just world. Or, these days, just to there being a habitable world at all.”

Born and raised in Toronto, Bossin lived in Vancouver from 1980 until he moved to Gabriola. His mother, Marcia, was an artist and his dad was “Davy the Punk” – Bossin wrote both the book Davy the Punk: A Story of Bookies, Toronto the Good, the Mob and My Dad (The Porcupine’s Quill, 2014) and the musical version. His music credits also include the records The Roses on Annie’s Table (2005) and Gabriola V0R1X0 (1994); in the late 1980s, he created the musical play Bossin’s Home Remedy for Nuclear War, which he performed some 200 times. He has written essays, articles and poetry that have been published by various outlets over the years, and his book Settling Clayoquot (1981) was part of the Province of British Columbia’s Sound Heritage Series. In 2007, he published the short story Latkes, which was illustrated by fabric artist and fellow Jewish community member Sima Elizabeth Shefrin – the two met in 2005 and were married in 2012.

When asked by the JI if he’d like to add anything else, he said, “I’m the oldest softball player on Gabriola Island. Possibly ever.”

For more on Bossin, visit bossin.com. For the full Vancouver Folk Music Festival schedule, visit thefestival.bc.ca – the festival starts with a Thursday night concert this year, running July 13-16 at Jericho Beach.

Saint-Paul transforms

Paul Shore gets a little help from his daughter at a recent book signing. (photo from Paul Shore)

Cultural pastimes, like pétanque, “recharge our joie de vivre, our delight in being alive; they free our minds; and they fuel our chutzpah for adventure. We must protect these beautiful little gifts, tie a bow around them, love and keep them safe,” writes Paul Shore in Uncorked: My Year in Provence Studying Pétanque, Discovering Chagall, Drinking Pastis and Mangling French (Sea to Sky Books, 2016).

book cover - UncorkedThe title pretty much describes the basic content of this delightful 164-page book, and gives a hint of the light touch with which Shore writes. His story will make readers reflect on their own pivotal life journeys, if they have been lucky enough to have them. Perhaps it will also make us recommit to what we’ve learned from such experiences – the need to stop and smell the proverbial roses, for example, and the joy and fulfilment that can come from opening ourselves up to new places, people, cultures – the list goes on.

It was his job that took Shore to Saint-Paul in 1999. When the Vancouver-based software company with which he worked opened an “outpost in the Nice area” of France – with him “as its sole initial employee” – he leapt at the opportunity. Telling his firm he wanted to live in a “cute small town,” he found himself in Saint-Paul de Vence.

“Little did I realize,” he writes, “that I was about to take up residence in a village that could be best described in summer as ‘gaudy tourist central’ because it was so famous and magical…. Nor did I know that the brilliant modernist painter Marc Chagall had lived, worked and was buried in my soon-to-be-surrogate hometown. Nor did I have a clue that Saint-Paul was tantamount to a holy site for an odd game called pétanque.”

“I lived in Saint-Paul for almost exactly one year – from January 1999 to late December 1999,” Shore told the Independent. “I had visited Nice the year before on a short business trip and dreamed about the possibility of someday spending a longer stint in the region. And I had been in the south of France years earlier, in 1990, as a Euro-Railing new university grad.”

Shore grew up in Ottawa, but has called Vancouver and its environs home for many years. He, his wife, Talya, and their two children have lived in Whistler since 2003.

“We are longtime members of Temple Sholom,” he said. “In Whistler, we get together with Jewish friends for major holidays and we visit Temple Sholom and family in Vancouver from time to time, too.”

There are a few Jewish terms and references in Uncorked and a pivotal exchange between Shore and a woman named Adele, the manager of an art gallery in Saint-Paul – she is the one who informs Shore that Chagall had lived and painted in the village. She also shares with him that Chagall was a Russian Jew and that she, too, is Jewish and her family came from Russia. “Comme ma famille [Like my family],” writes Shore, who explores his heritage further in the latter half of the book.

While there are various entertaining and touching tangents, the focus of Uncorked is Shore’s quest to learn the mysteries of pétanque, which he describes “for the uninitiated,” as looking “a little like the Italian game of bocce, or the British game of lawn bowling, or even the winter sport of curling that is popular in Canada,” though, he advises readers “not to suggest such similarities out loud while standing on French soil, unless you have no desire to try to play the game, no desire to be welcomed into a café, no desire to gain the friendship of a local, and you desire to have the nickname Monsieur Con – the polite translation of which is ‘village idiot.’”

photo - Paul Shore in action on the pétanque field
Paul Shore in action on the pétanque field. (photo from Paul Shore)

Shore was determined to “gain entry into the arcane world of this ancient game with its half-understood rituals and ancient codes.” With help from a friend (Hubert) and a lot of practise, he works his way up from spectator to furtive nighttime learner to solid daylight player to confident owner-of-his-own-ball-set player. He knows he has been accepted fully into Saint-Paul life when he is invited into Le Cercle (The Circle), “the private bar that was off limits to everybody except registered pétanque players of Saint-Paul,” and receives his member card.

Unfortunately, by that time, his work was going to need him back in Vancouver. In talking with one of his friends in France a couple of weeks before his return to Canada, Shore vows, “I’ll swim in the fast lane awhile longer … but not forever … France has taught me it’s not worth the personal sacrifice.”

“When I returned to accept a new role with Broadcom in Vancouver, I unfortunately couldn’t swim in a slower lane for the seven years I stayed with the company,” Shore admitted to the Independent. “I worked ridiculously hard, traveled too much for business, while being within the core of the high-tech industry and spending a lot of time in Silicon Valley during those years. It was exciting and I learned a lot, but it troubled me that I wasn’t able to apply what I had absorbed during my year in France about living a well-balanced lifestyle…. Since I departed Broadcom in 2007, I have lived differently – working hard in intense environments at times, though not for long periods of time and with far more varied interests and time off to vacation and to help raise a young family.”

For the past year, he said, “I’ve been doing a little business consulting, while focusing on marketing my book and pursuing new interests in the renewable energy world. I also manage a vacation rental property that we own on the northern Sunshine Coast in the town of Lund – we call it ‘The Shores at Lund.’”

He has returned to Saint-Paul with his wife a couple of times. “And we plan to visit again next June – the first time with kids, ours are 9 and 5,” he said. “I will definitely bring my pétanque balls back to play there again. I have always stayed in regular contact with Hubert, even though I haven’t seen him in person since 2006. I have a couple other French friends who I speak to less often, though we also stay in touch – one now lives in Montreal and we have seen her a few times over the years.”

Shore has played pétanque in Whistler on Bastille Day, though not lately. “I will definitely teach my kids,” he said, “once they can safely handle the heavy metal projectiles.”

As for his motivation to write this book almost 20 years after his stint in Saint-Paul, Shore said, “I have wanted to try my hand at writing for ages, though I never seemed to make the time. On the flight home in 2003, I made some notes about my year in France four years earlier, just so I wouldn’t forget all the humorous and fond memories. Those notes sat in my desk drawer at home until the spring of 2015 when I had a surgery that caused me to be immobile for several weeks. My wife brought me the notes to my lawn chair in the middle of the living room and told me that now was the time to write – and so it began.

“I wrote a lot for about two months and then set it aside until the next spring, when I departed a job and had a health scare around the same time. I then picked up the writing again, determined to finish. I didn’t know if I’d ever publish it, until I was with a friend named Joel Solomon at a workshop at Hollyhock (on Cortes Island) and he encouraged me to get it out there one way or another. Joel introduced me to a small firm, named Page Two Strategies (co-founder is Jesse Finkelstein), who I hired to assist me with the pursuit of a self-publishing path.”

Shore is obviously tenacious.

“I encourage people to pursue challenges and not to accept ‘no’ for answer,” he said. “‘Why not try?’ is a philosophy that I have attempted to live by for my entire adult life.”

Urban farming in Vancouver

This photo of Sole Food Street Farms in Downtown Vancouver was almost the cover of our Summer Celebration issue, but the more colourful Gastown scene won out. (photo by Cynthia Ramsay)

image - Jewish Independent Summer Celebration issue cover 2017Co-founded by Seann Dory and Michael Ableman, Sole Food Street Farms transforms “vacant and contaminated urban land into street farms that grow artisan-quality fruits and vegetables. By providing jobs, agricultural training and inclusion in a community of farmers and food lovers, the Sole Food project has empowered dozens of individuals with limited resources who are managing addiction and chronic mental health problems.” For more information, visit solefoodfarms.com.

Caravan welcomes Vazana

Amsterdam’s Noam Vazana will play in Vancouver and Victoria next week. (photo by Robin Daniel Fromann)

Multifaceted Jerusalem-born, Amsterdam-based musician Noam Vazana comes to Canada this month for the first time. She plays in Calgary June 6, Vancouver June 7 and Victoria June 8.

Vazana’s B.C. dates are presented by Caravan World Rhythms, whose managing artistic director is Robert Benaroya, and she will perform with local guitarist and composer Itamar Erez, who also hails from Israel.

“I heard about Itamar through a joint musician friend, Yishai Afterman, and through the presenter of the show, Robert Benaroya,” Vazana told the Independent. “We got to know each other by phone and on Chat. Our first shows together will be in Vancouver and Victoria.”

Vazana’s music has myriad influences, including classical, pop, jazz and Sephardi. She composes, and has two CDs to her credit, Daily Sketch (2011) and Love Migration (2014). Performing regularly on stages around the world, she returns to the Netherlands after her shows in Canada, but has Poland, Morocco, Germany, France and Israel also on her tour schedule.

“This is an amazing year, performing 90 concerts in 12 countries,” she said. “I consider myself very lucky to combine my two greatest passions, music and traveling. I get inspired from new people and new places. I get excited every time before I go on tour – the night before, I can hardly sleep because I can already feel new experiences at my doorstep, waiting to accompany me or take me over or be a part of who I’m about to become. Bob Dylan said once that an artist is always in the state of becoming; somehow, it seems that in order to stay creative I always have to be on the way to somewhere.”

One of the unique aspects of her performance is that she plays the piano and trombone – at the same time.

“My first encounter with the trombone was in an explanatory concert the local orchestra gave at my school,” she said of her somewhat unusual choice of wind instrument. “They were demonstrating several instruments and, the moment I heard the trombone, I fell in love with its rich tenor sound. Another thing that appealed to me is that the trombone is an orchestral or combo instrument, so mostly you play it in a formation. When playing classical piano, especially the old-fashioned way, my teachers always told me it was forbidden to try when I asked to improvise and learn chords and songs. So, I mainly kept to the scores and played alone as a child. It sounded cool to me to play in an orchestra and get to play things that were out of the classical context I was already exposed to.”

The trombone stands she uses had to be invented, she said, “and designed especially for the purpose of playing trombone and piano simultaneously.”

“I first used a model I designed myself from a tripod used to support a window-shopping mannequin,” she explained. “It was working quite well but had one main flaw: it was centred right in front of me, in the middle of the keyboard, so I had to be very creative with the piano parts and manoeuvre around it when moving between the registers.

“Then I had a second prototype designed by an engineer who had good intentions but his strength lay in theory and not in mechanical skill. I was struggling to set up the stand during a soundcheck and the owner of the venue told me he knew a blacksmith who might be able to help me. That guy is amazing, autodidact with phenomenal skill, designing motorcycle engines from scratch. He mended the flaws of the second model and eventually created a much lighter third prototype, which is the stand I use today. I have two different models, one for pianos and the other for keyboard.”

Vazana also leads a Sephardi group called Nani, and she will be performing some songs from that repertoire on her tour. While the spark for Nani was kindled in Morocco, its source lies further back.

“At our house, Israeli culture was eminent,” said Vazana. “My father grew up in a kibbutz and I was brought up part traditional, part secular. Foreign languages were forbidden at home and, although my mother spoke fluent Moroccan Arabic and French, my father insisted she talk to me only in Hebrew.

“My grandmother on my mother’s side spoke Ladino and Moroccan Arabic and never assimilated in the Israeli culture, so some of my first memories include her speaking Ladino with my aunt and singing Ladino lullabies for me. She passed away when I was 12 – you can imagine that, throughout my childhood, she was very old and I didn’t get to spend a lot of time with her.

“In both 2012 and 2013, I was invited to play at the Tanjazz festival in Tangier and I took these opportunities to explore the cities where my families originated from, Casablanca and Fez. On my second visit to Morocco, in 2013, during one of my many walks down the narrow streets of Fez’s medina, I heard people singing on the street behind me. As I made way to them, there came more and more people, singing and playing drums and wind instruments, all to a familiar melody. The procession ended in a square and, as I arrived there – I was one of hundreds of people, young and old – I suddenly realized this is a melody that my grandmother used to sing for me in Ladino. It was a special moment and the rest of my travels in Morocco called memories of my grandmother back to me. I felt drawn to a root that was longing to be rediscovered.

“When I got back home,” she said, “I started researching more and more about the Ladino language and culture and started combining a song or two in Ladino in my regular shows. Slowly, I studied the language over the course of a year and developed a substantial repertoire. It resulted in recording a new Ladino album that will be released in September 2017, and winning the Sephardic music award … at the International Jewish Music Festival in Amsterdam,” which took place last month, May 4-8.

Vazana first visited Amsterdam on tour with an orchestra, as a classical trombone player, she said. “At the time, I was a student at the music academy in Jerusalem and this was intended as a 10-day work trip and another 10 days to explore the Netherlands, as it was my first visit. I checked some information about local musicians and schools and applied for lessons with musicians from the Concertgebouw Orchestra.

“After having a lesson with their bass trombonist,” she said, “he asked me if I’d be willing to come back for another lesson with his colleague, the principal trombone player. After a 45-minute lesson, they both decided to invite me to study with them at the Royal Conservatory of Amsterdam, with an internship at the Concertgebouw Orchestra. The day later, I found myself attending a rehearsal with the orchestra, absolutely mind-blowing, because it was the best orchestra I ever heard live (and the No. 1 in Europe at the time). It didn’t take a lot more to convince me to quit my studies in Jerusalem and transfer to Amsterdam.”

This move forms the creative foundation of Vazana’s second album, which won the ACUM (Israel Association of Composers, Authors and Publishers of Musical Works) album prize, charted No. 14 on the iTunes bestselling chart and No. 2 on DPRP’s (Dutch Progressive Rock Page’s) best albums of 2015. It was financed in part by crowdfunding, through which 800 advance copies were sold. (There is a video, set to her song “Waiting,” in which Vazana personally delivers the CD to various supporters, giving each of them a hug. It can be found at youtube.com/watch?v=tW5Y2IEjgI0.)

“Love Migration is a very personal and exposed album, combining parallel stories about two migrations: my first migration to follow my heart, which is music, while longing to find a feeling of home. The second migration is the long-distance relationship I had with an Israeli guy whom I met just as my EU visa was approved, eventually resulting in him migrating to live with me so I could continue to follow my dream,” explained Vazana. “The process took three years to evolve into stories one can retell [with] perspective…. It could have turned many ways, but my personal search eventually led me (and still is leading me) towards taking the feeling of home with me wherever I go. It has been a long journey, but life is a journey and I feel that I evolve every day anew. In my song ‘Lost and Found,’ I describe that sensation: “Every time I look in the mirror / Every time I stand in the corner / Every time I knock something over / It’s a way for starting over / It’s a way to see it anew.”

Vazana and Erez’s Vancouver concert is at Frankie’s Jazz Club June 7, 8 p.m., and their Victoria appearance is at Hermann’s Jazz Club June 8, 8 p.m. Tickets to both shows are $20 at the door and $15 in advance. Visit caravanbc.com or call 778-886-8908.

What is after death?

Theo Budd as CB, Eric Biskupski as Beethoven, Erika Babins as CB’s Sister and Ryan Nunez as Van in Dog Sees God: Confessions of a Teenage Blockhead, which runs June 8-11 at CBC Studio 700. (photo by Javier Sotres)

It would be interesting to know what Peanuts creator Charles M. Schultz would have thought of Bert V. Royal’s Dog Sees God: Confessions of a Teenage Blockhead, which premièred several years after Schultz passed away. Described as an “unauthorized parody” of the well-known cartoon strip, it seems more serious in its imagining of Charlie Brown, Lucy, Linus and the rest of the gang as teenagers.

photo - Erika Babins plays CB’s Sister in Awkward Stage Productions’ presentation of Dog Sees God at CBC Studio 700, which opens June 9
Erika Babins plays CB’s Sister in Awkward Stage Productions’ presentation of Dog Sees God at CBC Studio 700, which opens June 9. (photo from Awkward Stage)

Presented by Awkward Stage Productions next week, June 8-11, the show isn’t part of Awkward Stage’s regular season, said Jewish community member Erika Babins, who plays the character CB’s Sister. “This project sprung from a night of hanging out with friends and we were all lamenting the lack of opportunity to really sink our teeth into a meaty and relevant piece of theatre,” she explained. “I’m an artistic associate for Awkward Stage and I was chatting with artistic director Andy Toth, who more or less said, ‘This sounds like a show that Awkward Stage should be a part of.’ So, we’ve had the benefit of the support and connections that Awkward Stage has in the theatre community and as a not-for-profit, but we are producing it as a collective of emerging artists.”

The Wikipedia entry on the play goes into detail about the plot. In short, after CB (Charlie Brown) and his sister (Sally) hold a funeral for their dog (Snoopy), which degenerates into an argument, CB goes on a mission to determine what happens to us after we die. Among many other things, we find out that CB loves Beethoven (Schroeder) and they hook up, but Matt (Pig-Pen) can’t accept the relationship, so he harasses Beethoven, who eventually commits suicide. Also part of the story is that Van’s Sister (which would be Lucy, with Van being Linus) has been “institutionalized for setting the Little Red-Haired Girl’s hair on fire.”

“The only thing I would add,” said Babins about the Wiki synopsis, “is that the whole play is bookended within the context of CB writing a letter to his old pen pal.” The pen pal has the initials CS, referring to Schultz.

“The target audience for this play is anyone who is a teenager now or remembers being a teenager,” said Babins. “There is a lot of swearing and heavy subject matter so parental guidance is advised and it is probably not appropriate for elementary school-aged children.”

The promotional material for the Awkward Stage production notes, “Dog Sees God shines a light on homophobia, drug use, pedophilia, suicide, eating disorders, teen violence, rebellion, sex, mental illness and self-identity. And it’s funny!”

“I was taught at theatre school that comedy comes from the characters not realizing they’re doing something funny, and these characters definitely don’t know they’re being funny,” Babins said. “For them, everything that is happening to their group of friends is the worst thing ever but, for the audience, it’s an opportunity to look back and laugh at the dramatic highs and lows that are adolescence.”

photo - Theo Budd as CB and Erika Babins as CB's Sister
Theo Budd as CB and Erika Babins as CB’s Sister. (photo by Javier Sotres)

She describes her character as “a bit of an outcast herself. She’s younger than the other characters and, as such, is not included in their tight-knit group. She spends the course of the play drastically altering her persona in an attempt to figure out where she actually belongs. Without giving too much of the story away, she does find her way back to a close relationship with her brother, who she grew up admiring.”

Babins added, “One of CB’s big arcs in the play is trying to decide on what he thinks happens after you die, and each of his friends has a very different answer for him. Though none of the of the answers is expressly Jewish, it’s an interesting lens to look at how these teenagers interpret religion in a secular small town.”

Directed by Sarah Harrison, Dog Sees God previews at CBC Studio 700 on June 8, 8 p.m., and opens there June 9, 8 p.m., with performances June 10, 7 and 9:30 p.m., and June 11, 2 p.m. Tickets are $21, with $1 of every ticket sold going into the profit share for the cast and creative team (the preview is two-for-one). For tickets, visit dogseesgodvancouver.brownpapertickets.ca.

The art of creative criticism

Dr. Rabbi Yosef Wosk, right, presents Max Wyman with the inaugural Max Wyman Award for Cultural Commentary. (photo by Fred Cawsey)

In the program of the inaugural Max Wyman Award for Cultural Commentary, Dr. Rabbi Yosef Wosk describes Max Wyman as “a cultural paragon whose clear vision, incisive writing and fearless voice have both grounded and encouraged us. In his half-century here in British Columbia, he has been an unparalleled personality, a cultural critic and midwife of creativity whose influence is sure to be modeled by future generations.”

In establishing the biennial, province-wide award – which will include a $5,000 honorarium and allow the recipient to choose an emerging commentator, who will receive $1,000 – Wosk will help ensure Wyman’s continuing influence, as well as “catalyze the art of creative criticism.” The award will be “presented to a writer for an outstanding piece or body of work that will raise the level of cultural conversation and, ultimately, human creativity.”

Wyman was the first recipient of the award that bears his name. He received the honour at a gala at Vancouver Playhouse on April 18 – 50 years plus a day after Wyman’s first shift at the Vancouver Sun. “Pure, lovely serendipity,” Wyman told the Independent about the timing.

Born in England, Wyman immigrated to Canada in 1967. He was a longtime arts columnist, dance and theatre critic, and books editor with the Sun and with the Province. He is an actor, radio and television personality; cultural commentator; arts policy consultant; author of several books; educator and arts advocate; former mayor of Lions Bay; and an Officer of the Order of Canada. Among other things, he was involved with the Canadian Conference of the Arts, Canada Council for the Arts and the Canadian Commission for UNESCO. He was a juror for numerous competitions, chair of several cultural committees and served on the board of the British Columbia Achievement Foundation.

That Wosk wanted the cultural commentary award to be in Wyman’s name “brought a tumult of responses,” said Wyman.

“I was astonished, deeply touched, profoundly humbled and, of course, delighted,” he said. “Delighted not just for the personal recognition (every ego likes to be stroked, after all), but, more importantly, because the award would lead us to a clearer understanding of how serious and intelligent criticism – creative criticism, the informed observation and contextualization that is an essential tool of the examined life – could best function in these momentously changing times.

“My joy, astonishment and gratitude have not diminished now that the project is up and running. I have been in awe of Yosef’s social activism for years: he seems to live the essence of the Hebrew phrase tikkun olam, the notion that we should perform acts of kindness to repair the world. He puts his resources where his idealism is.”

The idea for this type of an award was first raised some years ago at a dinner at Wosk’s home, said Wyman. “The topic came up again more recently at the inaugural meeting of another of Yosef’s initiatives, the SFU [Simon Fraser University] Jack and Doris Shadbolt Community Scholars, and, early in 2016, Yosef brought forward the proposal to establish a prize to stimulate and recognize creative criticism in various disciplines.”

“I have thought about championing the idea and the ethical practice of criticism for many years,” Wosk told the Independent.

Shying away from criticism when he was younger, Wosk said, “In our tradition, we are told that God created the world through words. Rabbinic teachings emphasize guarding our tongues, not speaking badly about others and not spreading rumours. Life and death, we are reminded, is often controlled by words. Just look at the prevalence of bullying in schools and the tragedy of so many youth who are driven to suicide in an effort to escape the unbearable embarrassment of verbal abuse. I had to work through numerous stages of emotional and intellectual maturity before learning that intellectual opinions or personal preferences were not the same as lashon ha’rah, derogatory speech about another, nor was it the same as moral rebuke.

“Criticism, I learned, could be a gift. It involved courage, clear sight and expression. Saying ‘no’ to one thing also means saying ‘yes’ to something else. I rejected mean-spirited criticism but embraced creative criticism.”

Wosk first heard of Wyman when Wyman was at the Sun. “I admired his work,” said Wosk. “From the sound of his name, I thought he was probably Jewish. Later, I found out that he wasn’t but, as I got to know him, I realized that he certainly had ‘a Jewish soul’: he was kind, smart, sensitive, humble and active in helping the world be a better place. I got to know him better when we were both involved in the Canadian Academy of Independent Scholars at Simon Fraser University. When I was appointed a Shadbolt Fellow at SFU in 2015, I invited Max and his wife, Susan Mertens – also a critic and a brilliant scholar of esthetics with a doctorate from Cambridge – to be in the first cohort of Shadbolt Community Scholars, with a mandate to knit together the academy, the arts and the community.”

Wosk said he approached Scotiabank Dance Centre with the idea for the Wyman Award because, although “Wyman was recognized as a culture critic in general, he was most famously known as a dance critic.”

Wosk sought the advice of the centre’s executive director, Mirna Zagar, and was introduced to associate producer and chair of the Dance Foundation, Linda Blankstein, who was hired to research the feasibility and nature of a possible award.

“Not only did Linda produce an excellent report that became the basis for future planning,” said Wosk, “but we also subsequently hired her to produce the inaugural event. With considerable advice from the organizing committee, she assembled a professional team from the Dance Centre, the British Columbia Alliance for Arts + Culture, a filmmaker to produce a video on Max, found the appropriate venue, worked with a graphic designer, publicist, assembled mailing lists, arranged for media interviews, and so on.”

In addition to the award presentation, the program at the Playhouse featured Bard on the Beach’s Christopher Gaze as the emcee, various speakers, video greetings and several dance performances.

Among Wyman’s publications is the first on Canadian dance history, Dance Canada: An Illustrated History (1989), as well as The Royal Winnipeg Ballet: The First Forty Years (1978), Evelyn Hart: An Intimate Portrait (1991) and Revealing Dance (2001).

“If you only knew me to look at me, and tried to work out what I did for a living, a career in dance is of course the first conclusion you would jump to,” said Wyman. “In fact, when they hear that I spent my life writing about dance, the first thing people say to me is, well, of course, you must have been a dancer. And I’m reduced to explaining that, in fact, no, I have only ever danced once. But it was for the Queen.

“I was 8 or 9, living in Nottingham, where I grew up. She was Princess Elizabeth, and she was on a visit to the city to open a gasworks or cut a cake – anyway, every kid for miles around was rounded up and taken to a clearing in Sherwood Forest, where we were made to do country dances around the maypole as part of her program of entertainment. I can still remember her vividly: coming down a slope into the clearing in an open car, beautiful pink dress, big pink hat, the famous wave. The memory has stayed with me all my life, so you can imagine how disappointed I was when I finally got to meet her – she had no memory of me at all.”

Wyman believes that “dance is the most moving and communicative of all the artforms.”

“It crosses the borders of language and logic, lets you see beyond the interacting bodies on the stage and, through the interplay of rhythm and pattern and energy, to an idea, or an emotion, or an intuition within yourself that the dancing has provoked – puts you in touch, at the best of times, with the intuitive, the spiritual, the transcendental, and you go away refreshed, thoughtful, energized.

“What makes all this so hugely poignant, at least to me,” he said, “is the transience of it all. The body, such an impermanent scrap, moves, and the dance is gone. No other artform speaks so directly about the fragile, temporary quality of life, or about the human instinct to cast off its physical bonds and aim for that perfect moment of self-realization. It exists in the realm of the transcendent and the truly brave.”

On May 14, Wyman turned 78. He has been intermittently writing his memoirs over the last few years, he said. They are “currently at 325,000 words and counting – and I post bits quite often to my website, Notes Toward a Life: essays, diary entries, pen-portraits, maxwyman.com.”

He is also working on a variety of other projects. At the time of his interview with the Independent, he was preparing a paper for a conference at the University of London. In an interview with the Sun in the days leading up to the award ceremony on April 18, he reminisced about his early years at the paper.

“We covered everything,” he told writer John Mackie. “Everything professional in theatre and music, dance, visual arts. It was a wonderful time. The Sun sent me off to Stratford and Shaw (in Ontario) every summer for the opening weeks. They sent me to Europe for the summer festivals one summer.”

The industry has changed since then, but Wyman is optimistic about the future of newspapers.

“The steady coarsening of public discourse, the shallowness of what passes for debate, the polarizing of political thought, the pernicious crudeness of public taste mean that our need for mediated, trustworthy information and informed opinion can only intensify,” he told the Independent. “Traditional media are flailing around to find their footing and their market in the shifting digital landscape … but I believe this is an interim period. What will emerge will be a leaner, cleaner delivery service that will give informed context to events and issues that affect their readers. However, the splintering of reader interests will mean that the one-paper-fits-all model is over. Given the way technology is evolving, it’s not hard to envision tailored-to-the-individual e-publication at a workable price.”

And the future need for cultural commentary – that which the Wyman Award hopes to perpetuate?

“The whole point of engagement with art, it seems to me, is to expose yourself to something that has the possibility to change you,” said Wyman, whose books include The Defiant Imagination: Why Culture Matters (2004). “I always want to come out of a theatre or a gallery or a concert hall a different person, even just slightly: I hope to have been shown a different perspective on how the world works, understand better the ways other people think or feel or express themselves. Many of us have stood before a painting, listened to a piece of music or watched a play and felt – along with the pleasure of the experience itself – a sense of inexplicable, even inexpressible, understanding or revelation.”

He acknowledged, “Cultural commentary will not produce a cure for cancer. It will not take us to Mars: not physically, at least. But, in its constant probing of new ideas and its ceaseless explorations of the human spirit, it gives us ways to rethink who we are and contemplate how we can be better. We are privileged and passing occupiers of this marvelous earth: books, plays, paintings, ballets, music – they guide us to the hidden truths of our daily being.

“So it is time – beyond time – to relocate creative activity and engagement at the heart of the social agenda, with an imagination-based education as the keystone. Engagement with arts and culture, the humanities, helps develop the flexible thinking that lets us see our world in fresh ways. In ways that allow us to build resilience, vision, innovation and generosity into our thinking so that we can cope with the unpredictable and adapt to rapid and complex change. If society is the Petri dish, culture is the, well, the culture that catalyzes change: makes us a better society, makes us more empathetic people, lets us understand our neighbours, civilizes us. It is the way we realize and communicate our shared humanity.”

Continuing to bring hope

Fantaye, Gary Segal and Tesfaye in 2015, on a return visit by Segal to Gojam, Ethiopia. (photo from Gary Segal)

Thirty-seven spine surgeries, six nursing/midwifery scholarships, development of Sebi Sarko Rural Health Centre and the establishment of a pediatric program reaching more than 14,000 children living in rural areas. That’s part of what has been accomplished with the $1 million-plus that was raised in Vancouver five years ago at An Evening to Bring Back Hope.

The 2012 event honoured Dr. Rick Hodes, medical director of Ethiopia for the American Jewish Joint Distribution Committee (JDC) and senior consultant at Mother Teresa Mission. It also established a partnership between JDC in Ethiopia and the University of British Columbia Branch for International Surgical Care. With the monies raised in 2012, UBC Branch has developed curriculum with Hodes and engaged in spine-disease research in Ethiopia; as well, there have been physician and nurse exchanges between UBC-Vancouver General Hospital and Ethiopia’s Gondar Hospital.

This year, on June 8, An Evening to Bring Back Hope honours both Hodes and spine surgeon Dr. Oheneba Boachie-Adjei, and raises funds for the continuation and expansion of their work, as well as that of JDC and UBC Branch. Boachie, president and founder of FOCOS (Foundation of Orthopedics and Complex Spine) in Accra, Ghana, has performed most of the complex surgeries on Hodes’ spine patients since the two doctors starting working together in 2006.

The fundraising event includes a symposium and lunch at Congregation Beth Israel, at which attendees will be able to ask JDC staff questions about JDC’s humanitarian work and philanthropy, and a gala dinner at Vancouver Convention Centre-East. Event partners are JDC, UBC Branch and the Jewish Federation of Greater Vancouver. As in 2012, gala chairs are Gary and Nanci Segal.

“I am very pleased that Dr. Boachie will also be a focus of attention at the event,” Gary Segal told the Independent. Hodes, an observant Jew, and Boachie, a devout Baptist, “together work tirelessly to treat the sick and poor of all religions and ethnicities.”

“I truly believe that in today’s world filled with negativity, intolerance and discord, this cause and message of inclusion and multiculturalism resonates louder than ever,” said Segal.

Segal first met Hodes as part of a Federation/JDC trip to Ethiopia in 2007. He spent more time with Hodes on a family trip in 2008. “The more time I spent with Rick in clinic and at his home with his very large family of adopted and fostered children that all needed Rick’s help, the more heroic and inspiring Rick and his life story became to me,” said Segal. When hosting Hodes and his extended family of 18 children (at the time) for dinner, Segal learned that Tesfaye – whose spine had collapsed from tuberculosis – could not be operated on in Ghana, and thought, “I knew that I had to do whatever I could to save Tesfaye’s life.”

According to the fundraiser’s website, Segal “spent almost a year pursuing the possibility of bringing Tesfaye to Vancouver for spine surgery and, finally, on his 18th birthday, May 20, 2009, Tesfaye arrived in Vancouver and was welcomed into the Segal home. On June 12, ‘Team Tesfaye,’ led by surgeon Dr. Marcel Dvorak at VGH … successfully perform[ed] delicate 14-hour life-saving surgery.”

“For decades,” Segal told the Independent, “I have always given of my time and money to help a variety of community organizations and causes – I grew up with wonderful examples of this in both my mother and father. Helping Tesfaye was a unique experience, where the ‘giving back’ became such an intimate, personal and integral part of my life.

“On my 2010 trip back to Ethiopia after Tesfaye’s surgery, I retraced and revisited what his life was like before surgery. Understanding Tesfaye’s courage, dignity, perseverance and optimism – that he kept in the direst, most uncomfortable and debilitating of situations – motivates and inspires me daily, and always keeps my problems in perspective.

“Seeing the transformation in Tesfaye’s life and what it has meant to his family and entire village, further inspired me to found this Bring Back Hope initiative,” he continued. “One of the highlights of my life was that 2010 trip to Tesfaye’s remote village in Gojam – a typical village with mud huts, no electricity or running water – as the entire village celebrated his miraculous rebirth for three days, with feasting, chanting and Agew shoulder dancing. Seeing ‘up close and personal’ the impact of changing even one individual’s life, it became my vision to introduce Rick’s story to more people by holding a large dinner of caring people from different faiths and backgrounds, and to hopefully raise a lot of money to change more lives. Thus, the Bring Back Hope initiative was launched through the inaugural Evening to Bring Back Hope 2012.”

But his efforts extend beyond the events. “I never imagined before meeting Tesfaye that, one day, I would have a whole extended family in Ethiopia become part of my family,” he said.

It was hoped that Tesfaye’s sister, Fantaye, would be joining her brother at this year’s Bring Back Hope. Unfortunately, she won’t be able to make it – but for “good news” reasons, said Segal, “as she is about to graduate from Grade 12 at a high school in Ethiopia’s capital city Addis Ababa and the national exams she has to write to qualify for university only end on June 8.”

“I met Fantaye in February of 2010,” explained Segal, “when I flew over to Ethiopia to accompany Tesfaye on the journey out to his remote village in Gojam to be with him to experience his family and village seeing him standing upright for the first since he was crippled with TB of the spine at 8 years of age…. Tesfaye, living in the capital Addis Ababa since he was 12, heard that his mother wanted Fantaye to get married; he was concerned she was too young, being only 12 years old, and feared the husband’s family would force her, once she was married, to stop going to the village school. At his request, I asked his mother, Yeshi, to wait until Fantaye was older and completed school, but, sure enough, she was married a few months later, at the age of 12.”

When Segal returned to Ethiopia in December 2012 on a Bring Back Hope-related trip, he found, to his “surprise and delight,” that, “through Tesfaye’s persistence and insistence, Fantaye had left her husband and village to join her brother in Addis Ababa and live with him and go back to school. This took a lot of courage on the part of a then 14-year-old girl, going against the wishes of her family and entire village. At the same time, it took Tesfaye’s courage of conviction as to what was right for his sister for this to happen; I attribute this to Tesfaye understanding the greater world outside the village and Fantaye seeing the transformation of Tesfaye.”

Even after 27 years working with JDC in Ethiopia, Hodes still finds inspiration from his patients.

“The courage which Ethiopians live with who have spinal deformities is simply inspiring,” Hodes told the Independent. “Kids who are in pain but still go to school, kids who are teased at school but persist, kids who have no parents and are self-supporting as young teens but go to school and come for treatment.

“And the love which they show for each other is exemplary. I have a single mom who has a paralyzed son who has simply devoted her entire day – every day – to caring for this boy, who is now improving. In fact, I just brought him to Ghana five days ago for intensive physical therapy to see if we can jump-start his improvement.

“I bought a bag of cookies for a young boy with a bad back. He put them in his pocket. ‘Why don’t you eat it?’ I asked. ‘Later,’ he said, ‘I want to share it with my brother.’

“I have another mom who has a son who had a complex heart problem giving him very little oxygen. This boy could not walk more than three steps and the mom has made sure that he moves forward in life by carrying him, piggy-back, everywhere. She carried him to school, carries him home, brought him to Addis Ababa every month for phlebotomy, to remove the extra blood his body produces. And now he’s able to walk, after corrective heart surgery in India.

“I had an orphan boy with no relatives at all,” continued Hodes. “He came to Addis Ababa, supported himself by shining shoes, went to school and slept in a taxi at night until someone took him into their home. He, too, has had surgery and is now back in school.

“When I’m having a tough day – I frequently feel overwhelmed – it’s patients like this who keep me going, and remind me why I’m here.”

Hodes’ International Life-Saving Surgery Program 2016 annual report describes that year as “game-changing.”

“This was the first year that the Ethiopian government gave us support – they paid for the air tickets of 22 patients to Ghana for spine surgery,” explained the doctor. “They are continuing the air ticket support this year.”

Also in 2016, he said, “Our contract with the Ethiopian government ended its standard, three-year period and the program closed for evaluation. It was given an unprecedented five-year renewal.

“We have moved into new facilities at a government trauma hospital called AaBET [Addis Ababa Burn Emergency Medicine and Trauma] Hospital, where we see patients five days a week. We have started discussions to send two Ethiopian doctors to Canada for spine training. We now have several teams coming to Ethiopia to operate – in fact, we have three different spine teams coming this month, and will get at least 40 surgeries done inside Ethiopia!”

In addition to treatments, there have been discoveries. “We have described some new deformities, which we are now defining with Greek letters,” said Hodes. And, he added, “We believe we’ve made a major discovery about spine deformities caused by neurofibromatosis.”

In 2016, Hodes said there were 359 new spine patients, with 111 surgeries conducted on 105 patients. “We got two spines done in the U.S., and helped two patients go to India for heart care,” he said. “So far this year, we have 101 new spine patients.”

Hodes said the price for spinal surgeries ranges from $13,000 (or a little less) to $21,000, averaging about $18,000. For hearts, he said, “some patients need procedures (done in the catheterization laboratory) where a balloon is blown up to expand a narrowed valve or close a hole in the wall of the heart. Those cost around $2,000. Surgery costs depend on the complexity of the case, and generally run from $5,000-$10,000.

“If we get surgery done in North America, it’s at no cost to us, other than an air ticket. We just had two boys return from complicated surgery in Texas, and another from California.”

Hodes stressed, “I cannot sufficiently thank the people of Vancouver who are helping me. Their help is, quite literally, life-saving.”

For tickets to the gala ($500, with tax receipts issued for eligible portion) and sponsorship information, call Mercedes Dunphy at 604-710-4491 or Nanci Segal at 604-813-5550. For more information on the initiative, visit bringbackhope.com.

Negev a family affair

Left to right, Negev Dinner 2017 honourees Michael Averbach, Gary Averbach and Shannon Gorski (née Averbach). (photo from Jewish National Fund, Pacific Region)

“The important thing that I want to say is that I’ve accepted this honour because I’m sharing it with my kids,” Gary Averbach told the Independent about this year’s Jewish National Fund of Canada, Pacific Region, Negev Dinner, which will pay tribute to Averbach, his son Michael Averbach and daughter Shannon Gorski.

“Ultimately, it came down to my father being recognized,” said Michael Averbach. “He was apprehensive. Initially, he didn’t want to do this. He’s a very humble man and doesn’t like to be in the spotlight; in fact, he’s quite the opposite. But, he also understands it’s for a greater good and it will help build JNF, help fundraise and go towards a need in Israel.”

Even though the dinner on June 4 is sold out, community members can still support the Averbachs’ chosen project: the Tzofei Tzamid, the Israeli Scouts.

The Israeli Scouts run programs for kids 9 to 21. Their 80,000-plus members include more than 2,500 children and youth with disabilities.

Gorski and her father visited Israel in late February. She described the Scouts as “a rite of passage for Israelis.” In the program, she said, children with severe Down syndrome, kids with visual or hearing impairments or who are on the autism spectrum, “all of these children are being able to work side-by-side with their Israel Scouts’ peers and fully participate in the programs the Israeli Scouts offer. And that is what my family, alongside the JNF Vancouver community of supporters, are funding – the ability of the Israeli Scouts program in Raanana, to ensure that they have the proper resources and equipment when they take the Israeli scouts into the wilderness, as well as their own facility, to make it accessible for all.”

She said the organization’s mission “really resonated with my own philosophy, and that is one of inclusion … providing opportunities so that kids can develop skills, and leadership opportunities and life-preparedness. I see Israel already as such a leader in a lot of innovative ideas … and, when I got to see what they were doing in the area of youth services, they also are [excelling in that]…. When my father and I were there – to be able to see firsthand how happy these children were and how they were included, and listening to the testimonies of the parents, who are so appreciative and happy themselves, because what makes a parent happy is to see their child happy.”

Gorski, Gary and Diane Averbach’s eldest child, and Michael, their youngest, live in Vancouver, while their middle son, Blake, splits his time between Israel and Quebec City. The three Negev honourees are being celebrated for their many local community contributions.

Born in Vancouver to Louis and Betty Averbach, Gary Averbach – who is chief operating officer of Belmont Properties – has been involved in various capacities with JNF, the Jewish Community Centre of Greater Vancouver (JCCGV), the Jewish Federation of Greater Vancouver, the Jewish Community Foundation of Greater Vancouver (JCF), Congregation Beth Israel and the Jewish Museum and Archives of British Columbia, among others.

Shannon Gorski, managing director of the Betty Averbach Foundation, has worked with marginalized people and at-risk youth for most of her life. In the Jewish community, she has served on the boards of JCCGV, Hillel BC and Richmond Jewish Day School (RJDS); chaired galas and events, such as JCCGV’s Israel at 60, Beth Tikvah’s 40th anniversary and RJDS’s 18th gala; and sat on committees of JCF, King David High School and the Bayit.

Michael Averbach, who owns Averbach Mortgages and also works with Belmont Properties, has chaired the JCC Sports Dinner for many years (he co-chaired it this year with James Dayson), has co-chaired a Vancouver Talmud Torah Gentleman’s Dinner, is on the executive board of the Ohel Ya’akov Community Kollel and is active with Federation.

“We had a reception last night,” Gary Averbach told the Independent the morning after a Negev Dinner-related cocktail party at his home, “and I heard it enough times, that people understand, it’s so great your kids are carrying on your tradition. That’s the message I want to go out: how lucky I am to have kids that have carried forward what I believe in.”

The first Jewish organization Averbach got involved with was JNF, he said, and it is the only Israeli organization with which he has been heavily involved. “The local community, and especially things involving Jewish youth, means the most to me,” he said.

“I think it’s great what the JNF is doing now,” he added. Funding groups such as the Israeli Scouts, he said, “is a great step and it really makes the JNF more relevant to a lot more people all over, but certainly in Vancouver.”

Gorski said she has spoken to Israelis now living here about how integral the Israeli Scouts were to them. “In fact,” she said, “one individual in the community, who’s very active with youth in the community, said to me, ‘The Israeli Scouts saved my life.’ I was so, so moved by that.”

After she and her father visited the Israeli Scouts, Gorski joined JCCGV’s Bagel Club in Israel as a chaperone on their Birthright-style mission – “for many of these Jewish persons with different abilities and challenges,” she said, it was their first trip to Israel.

While she’s never been formally connected to the Bagel Club, Gorski said she has a step-uncle who is a participant and she was on the hiring committee for the current leader of the program, Leamore Cohen.

Worried about being away from her two children for so long, she asked them if they were OK with her leaving. She said her older son said, “What are your talking about? I’m excited for you. You’re going to Israel, and you’re going to do something that’s so important.

“That’s another reason why I get connected,” she said. “My father has been such a mentor to me and has instilled in me the importance of modeling behaviours of tikkun olam and just giving generously of your time. He used to say, when I was first asked to be on different boards, which he had been on, i.e. the JCC and involved with Federation, I basically said to him, ‘My biggest concern, Dad, is that I don’t have the capacity, the deep pockets that perhaps they think I do because of yourself,’ and he said, ‘You know what, the community, when they look at people to sit on their board and to participate and to volunteer … they look for the three Ws: wealth, wisdom and work. It’s not all three, it can be one…. They don’t just want the wealthy people.’ And he used to say it’s easy for somebody to write a cheque.

“He’s so humble,” she continued. “Every time that they would ask him to speak, he would always put the credit to those who were the worker bees, the people who were behind the scenes, who were doing the work, they were the ones who deserved the accolades…. For me, that’s been a lot of why I have focused on the Jewish community, but not just the Jewish community…. The fear among the older generation, which I’m entering into, is that, will the next generation be able to carry on and give with the three Ws … is Vancouver in good hands, is the Jewish community in good hands, is Israel in good hands?”

For his part, Michael Averbach – who has four children – has focused his attention mostly on the Jewish community. He was inspired, in his early 20s, by his father’s work on the campaign for JCCGV’s redevelopment. Achieving the goal, Averbach said his father “was so elated, so excited. He screamed out, ‘Yabadabadoo!’ It was the first thing that came to his mind, he was so happy.” Witnessing this reaction, he said, “I caught the bug. I got involved.”

Calling the JNF tribute “a huge honour,” he added, “If we can encourage other young philanthropists and people in the community who are thinking about getting involved to get off the fence and push forward, find something that resonates with them, then this is all very much worthwhile.”

Gorski echoed these sentiments. She said many of her peers “thought the JNF was restricted to selling trees … and, if you go to the Negev Dinner, you see a large demographic of the older generation and not a lot of young people.” With her brother and her joining their father in being honoured, she said, they have managed to share with their peers more about what JNF does – in Israel and around the world – and many “are coming to the Negev Dinner for the first time.”

While in Israel, Gorski organized a get-together for the Bagel Club with madrichim (counselors) from the Israeli Scouts. “They made friendship bracelets, they made pita over an outdoor fire, they were all conversing. It was a really fun evening,” she said. And, as it turns out, some of the Israeli Scouts will be in Vancouver around the time of the Negev Dinner, and some of them will be joining the festivities.

She also shared that it is JCCGV head Eldad Goldfarb’s hope that, along with Cohen of the Bagel Club, which is for adults, and Shirly Goldstein, who is the centre’s youth director, they will be able “to create a program of the two different groups – youth, and adults with special needs – working together with the same sort of philosophy that the Israeli Scouts follow, doing similar types of activities.”

The June 4 Negev Dinner at Four Seasons Hotel will also see Richmond Jewish Day School head of school Abba Brodt presented with JNF’s Education Award. For more information or to donate, contact JNF Pacific Region at 604-257-5155 or [email protected].