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Byline: Cynthia Ramsay

Caring for our seniors

Caring for our seniors

Louis Brier Home and Hospital. (photo from cjnews.com)

“Louis Brier offers our residents variety in programming and services, as well as safe and quality care. Residents and families remain the primary decision-makers for the care received, as resident and family-centred care is at the core of our goals. All care is governed by our Jewish and professional values and standards of excellence,” Angela Millar told the Independent.

Millar is the director of quality and risk management, accreditation and resident experience for the Louis Brier Home and Hospital and Weinberg Residence. She was responding to questions from the Jewish Independent about the 2017 British Columbia Residential Care Facilities Quick Facts Directory, published by the Office of the Seniors Advocate (OSA). The directory “lists information for 292 publicly subsidized facilities in British Columbia that offer residential care services to seniors,” including Louis Brier.

The information was “gathered primarily from residential care facilities, health authorities, the Ministry of Health and the Canadian Institute for Health Information.” The data on licensing incidents and complaints is from the 2015-16 fiscal year, while the “inspection data was a snapshot taken on Dec. 7, 2016.” The 2017 OSA report can be found at seniorsadvocatebc.ca and the most recent inspection information from Vancouver Coastal Health at inspections.vcha.ca.

Millar explained, “Louis Brier is an affiliate of Vancouver Coastal Health, providing residential care for seniors. Vancouver Coastal Health provides an annual operating budget and Louis Brier Home and Hospital also receives donations from the Louis Brier Jewish Aged Foundation, which provides music and art therapy, Jewish culture and synagogue, kosher food and supplementation of medical equipment.”

The OSA directory mentions the Louis Brier Jewish Residence Society, as well as separate resident and family councils.

“The resident council represents the seniors who live at Louis Brier, ensuring they have a voice in how their home is run,” said Millar. “The council is supported by staff and meets monthly to discuss concerns, develop suggestions and plan activities. The executive director of resident care services and the chief executive officer attend meetings to provide updates, answer questions and develop plans to address concerns where needed.

“The family council is an independent group of family members and friends who meet monthly to support each other and advocate for the seniors residing at Louis Brier. A staff member liaises with the council and senior management team, who are often invited as guests. The family council acts as a forum to share experiences, learn and exchange information.”

In the 2017 OSA directory’s statistics on care services and quality, Louis Brier performed better than the B.C. average in percent of residents receiving physical therapy (34.3% versus 13.2%) and occupational therapy (10.3% versus 7.6%) but not in percent of patients receiving recreation therapy (1.1% versus 27.9%). With different percentages, Louis Brier fared similarly in the OSA’s 2016 report.

Noting that the data collected for the OSA report is “a snapshot at one time in a period,” Millar said, “I believe that the data is collected utilizing a seven-day observation tool throughout only one week in a quarter. Of course, my personal concerns are related to the validity and reliability of the data that is reported and thus the ability to generalize or glean valuable information from that data.

“My concerns aside, data collection is only looking at therapeutic interactions of the rehab team with residents – one PT/OT [physical or occupational therapist] per four residents and one rec therapist per eight residents – unfortunately rehab and rec resources [do] not abound, and our aim is to maximize the outcome and benefit to as many residents as possible given the resources that we have. As such, many of our programs and interventions are designed to accommodate larger groups of residents and most likely beyond the guidelines of the seniors advocate data collection parameters. It would help to understand how these parameters have been established and whether they have been evaluated for reliability in terms of producing valid data to help draw conclusions in relations to quality of care and residents’ outcomes.”

Millar emailed the home’s May recreation calendar, which can be found at louisbrier.com/events, “as an example of the plentiful and very rich programming that we are proud to provide our residents.”

In the 2017 directory, Louis Brier fares better than the provincial average in many areas: there were no substantiated licensing complaints and no reported incidents of disease outbreak or occurrence, abuse or neglect, food poisoning, medication errors or missing or wandering persons. With respect to falls with injury or adverse event, there were 5.1 per 100 beds, compared to a B.C. average of 11.9; and, in the category of other injury, 1.4 per 100 beds at Louis Brier compared to a provincial average of 1.6.

There is only one measure in which Louis Brier fared lower than the provincial average in the 2017 directory. In the year examined, there were nine reported incidents of aggression between persons in care at Louis Brier, or 4.2 per 100 beds, as compared to the provincial average of 1.5 per 100 beds; the 2016 OSA directory lists zero such incidents at the home.

With respect to four other quality measures, Louis Brier fared better or comparable to the provincial averages in three areas – percentages of residents diagnosed with depression, residents receiving depression medication and use of daily physical restraints. However, with respect to the percent taking antipsychotics without a diagnosis of psychosis, 40.8% of Louis Brier residents who were taking antipsychotic medications had not received a diagnosis of psychosis, compared with the B.C. average of 26.9% in the 2017 report, and 41% versus 31% in the 2016 report. As well, the OSA directory reports that, while 16.2% of Louis Brier residents had been diagnosed with depression, 48.1% of residents were receiving depression medication; in the 2016 directory, the respective figures were 21.1% diagnosed and 52.3% receiving depression medication.

“Your specific question with regards to prescription of specific treatments, medications and diagnoses is not something that can be responded to in a simple way…. While nursing staff are responsible to deliver care to the residents every day of the year, they, however, have limited control on what and how medications are prescribed and why,” said Millar. “Nurses advocate on behalf of the residents and may raise questions and awareness, however, changing physician practice or implementing best practices as it is related to the medical field and residential care are an entirely different area for discussion and attention. To understand and evaluate whether medications and treatment are prescribed appropriately requires a comprehensive approach by both the nursing and medical staff. We are certainly committed to ensure our residents receive safe, quality care and are continually monitoring medications and treatments as possible.”

Millar explained, “Louis Brier is regulated by the Community Care and Assisted Living Act, as well as the Hospital Act, which is enforced by Community Care Facilities Licensing.

“Currently the facility is showing its commitment to quality care by preparing for an Accreditation Canada Survey in May of 2018. Accreditation Canada will assess our organization against standards of excellence with regards to leadership, long-term care, medication management, infection control and governance.”

She described Accreditation Canada as “a significant wealth of information and resource for organizations in their quest to improve and achieve the highest level of care and quality possible within the industry” and invited the Independent and its readers to the Louis Brier Accreditation Fair on May 23 “to learn more and see how you can get involved.”

Millar noted that Louis Brier also has “just developed a quality and risk portfolio including a director of quality and risk management [QRM], manager of QRM, an infection control practitioner, as well as a QRM coordinator. Within this team, there are also individuals responsible for resident experience, including social work, volunteer coordinator and the manager of the companion program.”

As for staffing levels overall, Millar said, “I believe that there could never be enough staff and resources; however, we do have to work within our funding boundaries, given what we have. We can say with great confidence that Louis Brier has, most likely, more resources in terms of rehab and recreation staff than many other organizations (mainly because we are so greatly supported by the Louis Brier Foundation): we have over 300 volunteers and over 100 companions that help us deliver outstanding care to all of our residents. To that end, Louis Brier shares a common goal with the seniors advocate – of providing safe, quality care to our elders. Furthermore, Louis Brier certainly supports the efforts and intention of the seniors advocate in evaluating and advocating for additional resources to be allocated to the long-term care sector to help providers support and deliver excellent care to our seniors.”

Format ImagePosted on May 19, 2017May 19, 2017Author Cynthia RamsayCategories LocalTags Angela Millar, health care, Louis Brier, residential care, seniors
Diverse selection of artwork

Diverse selection of artwork

Johanan Herson is coming from Israel to Art! Vancouver. (photo from Johanan Herson)

“I am very much looking forward to seeing all the new artwork coming from around the world,” Lisa Wolfin told the Independent. “We have some giant heads coming from Miami, some art made out of spider webs, metal sculptures and some really crazy stuff – can’t wait to see it all together under one roof.”

Wolfin is the founder and director of Art! Vancouver, which this year takes place May 25-28 at Vancouver Convention Centre-East. She is also an artist herself and will be bringing recent work to the fair.

“Over the past year,” she said, “I have contemplated what to make for the show that is new and unique and have come up with my new series called I Feel. It is a portrait series made from different materials: oil on canvas, mixed media on wood panel, and photography.”

Her current work is contemporary, she said. “What I have found in the many art fairs that I have attended is that artists are using recycled materials and making them into creative art forms. My newest series is made out of my kids’ things they used when they were young. Sometimes, it feels like I am back in kindergarten being free to just play with materials, not thinking what you are trying to make out of it, just doing. Who doesn’t want to be a kid again?”

photo - “Golden Hour,” acrylic on canvas, by Michael Abelman, one of several Jewish artists whose work is part of Art! Vancouver, which runs May 25-28
“Golden Hour,” acrylic on canvas, by Michael Abelman, one of several Jewish artists whose work is part of Art! Vancouver, which runs May 25-28. (photo from Art! Vancouver)

As more people have become aware of the art fair – this is its third year – inquiries have come from around the world, said Wolfin. And CBC Arts’ Amanda Parris “is flying out from Toronto to host the show and speak in a panel talk on Saturday at 3 p.m. Joining Amanda on the panel is Barrie Mowatt, who presently runs the Vancouver Biennale.”

Art! Vancouver opens on May 25, 7 p.m., said Wolfin, with “The Face of Art, where the artists walk down the runway carrying their artwork, so the attendees can put a face to the art to know who the artist is. People are curious as to who are the makers of the art – at this show, the artists are mostly in attendance, where people can come to meet them.”

Among those artists are several from the Jewish community, including Wolfin. Also presenting their work will be Johanan Herson, who is coming to the fair from Israel, and local artists Michael Abelman, Lauren Morris, Taisha Teal Wayrynen and Skyla Wayrynen.

“I will be showing mostly the soft art, textile art, but will have some of the sculpture works and acrylic paintings as well,” Herson told the Independent about what he’s bringing with him. “Le Soleil Gallery [on Howe Street] is showing the full range of my work and will continue after the fair to handle my artwork.”

Herson said he’s been to Vancouver a couple of times before, when he was a student at Banff School of Fine arts. He is originally from Montreal.

“I grew up in Montreal and visited Israel on various occasions before making aliyah,” he said. “In fact, I had come to study at the Bezalel Academy just after the Six Day War and hated it. I traveled the world before coming back to Montreal and the Canadian sense of pluralism and diversity. I came back later [to Israel] to understand the meaning of my Jewishness and fell in love with an Israeli woman, of a 10-generation family, and find myself part of this dynamic society.”

In terms of his artwork, Herson said, “I know that my soft art is a product of being at the right time and the right place, where this technique evolved, and I did look into the possibility of doing it in Quebec, but … the soft art is definitely an Israel discovery and development.

“My Canadian identity is one of respect for everyone, the celebration of diversity and acceptance of the other, and I cherish my Canadian roots and heritage and am proud of my citizenship. My work in Israel and my Jewish identity has always been part of who I am wherever I am and was part of who I am as a Canadian and an Israeli. I hope that my commitment to making the world a better place for everyone would have guided me if I had never left Canada, although perhaps the intensity of living and creating in the Middle East has challenges that are unique to Israel.

“I believe in the good in humanity,” he continued, “and have always sought to defend the less-privileged and suffering … whether they are in Montreal, Tel Aviv, Ramallah or Africa, and seek global communication as a platform to making the world a healthier and safer place of love, respect and opportunity for a better life for everyone. I do so as a Canadian Jewish Israeli artist.”

photo - "Welcome to my World," latex on canvas, by Skyla Wayrynen
“Welcome to my World,” latex on canvas, by Skyla Wayrynen. (photo from Art! Vancouver)

He gave the example of an exhibit of his work that just closed at the University in Minnesota. The exhibit, he said, was “part of encouraging dialogue between the Jewish student and Islamic student bodies. The message is that we must pray and work for a better world, that tikkun olam is to wake up every day and say that the world has been created for me alone, and that I must make it a better place for everyone.”

Teal Wayrynen is working toward a similar goal – making the world a better place – in a different way.

“I received my associates degree in psychology from Capilano University and am graduating this year with my bachelor’s degree from Simon Fraser University,” she told the Independent. “I will then combine my art with my counseling and do a master’s program for art therapy after I travel for half a year.”

At last year’s Art! Vancouver, Teal Wayrynen featured her Pop Icon collection. This year, she said she is “experimenting with charcoal and acrylic paint and drawing female bodies.”

Right now, her favourite medium is acrylic paint mixed with spray paint, she said. “I just started to mix mediums and use molding paste, acrylic paint and charcoal on top,” she added.

Morris has also been delving into new methods and media.

“I have continued predominantly working on flowers, however, I have introduced a new colour palette, as well as more abstraction within my floral pieces,” she told the Independent. “I’ve also continued with my free, fluid style and introduced some abstract landscapes using the new colours. My inspiration comes from the beautiful flowers that seem to surround me every day. Every season brings on something new and I am inspired by their shapes and colours.”

She has been working on a new series for Art! Vancouver, Morris said, “experimenting with a couple of new techniques and colours. They will be mainly florals and will all coordinate in style so that there is consistency within my pieces. I work predominantly in acrylic.”

She added, “I am hoping that my growth as an artist is shown in my new pieces and that my work continues to evoke my viewers’ emotions through visual imagery.”

Art! Vancouver opens May 25 at the convention centre with a VIP preview at 6 p.m. and the gala at 7 p.m. The show runs May 26-27, noon to 8 p.m., and May 28, noon to 5 p.m. A one-day pass is $15 (online) or $25 (at the door); $8 for children under the age of 14. A multi-day pass is $40 and a VIP pass is $100. Tickets to the opening gala are $30. Visit artvancouver.net.

Format ImagePosted on May 12, 2017May 9, 2017Author Cynthia RamsayCategories Visual ArtsTags Art! Vancouver, Johanan Herson, Lauren Morris, Lisa Wolfin, Michael Abelman, Skyla Wayrynen, Taisha Teal Wayrynen
A little music … a few trysts

A little music … a few trysts

Katey Wright and Warren Kimmel co-star in A Little Night Music, which opens at Anvil Centre Theatre on May 13. (photo by David Cooper)

“The end of Act One may just be the most brilliant piece of musical theatre writing ever,” actor Warren Kimmel told the Independent when asked about Stephen Sondheim’s A Little Night Music, which will have a limited run at the Anvil Centre Theatre, starting next week.

And Jewish community member Kimmel knows of what he speaks when it comes to musical theatre. To name only some of the super-well-known musicals he’s been in – Billy Elliot, Fiddler on the Roof, Les Misérables, My Fair Lady, Mary Poppins, Sound of Music, Beauty and the Beast.

In A Little Night Music, which takes place around the turn of the last century, Kimmel plays Fredrik Egerman, who has just married 18-year-old Anne, many years his junior. One problem is that Fredrik’s son also loves Anne. Two other problems are that Anne is reluctant to give herself to Fredrik and Fredrik hasn’t quite doused the fire that exists between him and Desiree, a former girlfriend. Then there’s Desiree’s jealous (and married) lover. “All of these trysts and twists come to a head,” reads the promotional material, “when Desiree convinces her mother to host Fredrik and his family for a weekend on her lavish estate – where the count [Desiree’s lover], with his wife … crash the party.”

“Apart from its sheer entertainment value – the incredible music and genius lyrics of Stephen Sondheim – A Little Night Music is based on a film by Ingmar Bergman – Smiles of a Summer Night – so the themes are eternal,” said Kimmel. “How do you find love? How do you find the right person to love? How do you love the person you are with? How do you get the person you are with to love you? How do you remain faithful? Should you remain faithful? Like all great works of art, it doesn’t so much speak to a modern audience as whisper and shout!”

“I don’t know if I can adequately state the importance of Stephen Sondheim and his work,” director Peter Jorgensen told the Independent. “No other single artist has thought more deeply about composition as a tool for telling stories. No other lyricist gives characters such distinctive, rich language. As a musical dramatist, he has set the gold standard for artistry and craftsmanship.”

“Sondheim has a special place in the heart of all singer/actors,” agreed Kimmel. “His material is, without doubt, the most challenging and also the most satisfying to perform of anyone in the musical theatre canon. It’s really hard to get right but thrilling every time you do. Fredrik has some particularly complicated and expressive songs, and that’s the best and worst thing about this role.”

The Broadway musical – with music and lyrics by Sondheim and book by Hugh Wheeler – won six Tony Awards, a Golden Globe and a Grammy. In the local Patrick Street Productions mounting of the show, Kimmel co-stars with Katey Wright, who plays Desiree.

Real-life husband-wife team Wright and Jorgensen founded Patrick Street Productions in 2007. Their mandate: “to offer great productions of great plays and musicals for Metro Vancouver, with an emphasis on contemporary musicals that have not yet been professionally produced in the region.”

“For Patrick Street Productions,” said Jorgensen, “it is important for us to program musicals that challenge conceptions of what a musical is and what a musical can do. That aspiration is never better matched than with a Sondheim musical.

“As to why A Little Night Music,” he continued, “in many ways it is similar to why Hal Prince (the show’s original director) and Sondheim chose to create the show: we wanted to program something romantic and light that had a broad appeal, but that was still sharp and biting. Hal Prince described the show as ‘whipped cream and knives.’ There is no better statement that sums up the show’s appeal than that.”

Kimmel added, “Apart from ‘Send in the Clowns,’ which is perhaps Sondheim’s best known song, A Little Night Music is not as well-known as some of his other stuff, and certainly not as well known as Phantom of the Opera or something like that, but this piece is a real gem. The end of Act One may just be the most brilliant piece of musical theatre writing ever. The brilliance of the material forces you to really step up – and everyone has. From the costumes to the lighting, from the orchestrations to the casting, the level of work and attention to detail in this production are quite wonderful. It’s just worth seeing on every level.”

A Little Night Music opens at Anvil Centre Theatre in New Westminster on May 13, 8 p.m., with previews on the nights of May 11 and 12. Show times are Wednesday through Saturday, 8 p.m., with 2 p.m. matinées May 14, 20-21. Tickets are $25.50 for the previews and range from $25.50 to $39.50 for the run; they can be purchased at ticketsnw.ca or 604-521-5050.

Format ImagePosted on May 5, 2017May 3, 2017Author Cynthia RamsayCategories Performing ArtsTags musical theatre, Peter Jorgensen, Sondheim, Warren Kimmel
Our sense of reality and self

Our sense of reality and self

Chuck Wilt and Rebecca Margolick in birds sing a pretty song. (photo by Maxx Berkowitz)

Social media has changed the way in which we work, play and shop. It has changed how we communicate, access information, and even how we define ourselves.

A new work by Rebecca Margolick and Maxx Berkowitz, called birds sing a pretty song, “explores how surveillance and confinement through our digital and physical surroundings affect one’s sense of reality and self.” The full-length piece will have its world premiére in New York City next week. It will then arrive in Vancouver for its Canadian première at Chutzpah!Plus May 13-14.

Birds sing a pretty song was created during a year-long fellowship at New York’s 14th Street Y Theatre’s LABA: A Laboratory for Jewish Culture and two Chutzpah! Festival creation residencies.

LABA describes itself as a program “that uses classic Jewish texts to inspire the creation of art, dialogue and study.”

“After learning about LABA in 2015, we decided to take our shared vision and esthetic to create a piece together that would leverage our differing backgrounds and skill sets of dance and music, design and tech,” said Margolick and Berkowitz in an email interview. “Through the year of study and support from the LABA fellowship, our original concept, revolving around the loss of physical self in a hyper-social world, evolved through the varied conversations about beauty and imagery seeded by the provocative ideas in the ancient texts we studied.

“We had two work-in-progress showings at the 14th Street Y in April 2016 and, this past year, we were fortunate to be able to continue to develop the full-length piece through the support of two creation residencies from the Chutzpah! Festival, in Vancouver and Sointula, B.C., where we refined the choreography and brought in live music. The roots of last year’s showing are still present; however, the movement, sound and film have all changed.”

“Some of the most memorable moments in the development of the piece were when Maxx and I would have moments of clarity between us,” said Margolick. “After coming up with complex ideas, we would realize that staying true to our core goal for this piece, being that simple and raw, can be the most impactful, and that technology should be used as a means to enhance the narrative of the work, rather than a means of distraction or excess.”

As for Berkowitz, he said, “One of the most memorable conversations Rebecca and I had during the development of this piece was walking home after a LABA study session where we had read the story of a rabbi who was known as one of the most beautiful people of the time. His beauty led a princess who loved him without reciprocation … to the point of losing touch with what his beauty meant to her, coveting his beauty to the point of taking the skin off of his face to make a mask for herself. This horrifying story led us to discuss the parallels with how one can lose themselves in their online personas, seeking fame, beauty and recognition to the point of losing their sense of self.”

Birds sing a pretty song involves two dancers, whose wanderings the audience follows “through a world manipulated and influenced by the ‘curators’ … and projected light structures that move and direct the world onstage. Throughout the piece, they encounter an attempt at a relationship, fleeting glimpses of memory, and a fight for connection.”

Dancers Margolick and Chuck Wilt are joined by guitarist/media/composer Berkowitz, guitarist/composer Jake Klar and percussionist Bruno Esrubilsky (the curators) and Israeli author and scholar Ruby Namdar.

“The idea of ‘curators’ came from our exploration of how, in our social media platforms, it is easy to forget that everything you see is carefully selected for you based on the computer-crafted picture of you, that you can get trapped in a sounding room where the news, information and even advertising is targeted at your historical tastes and how that can be harnessed to manipulate your choices and decisions and fixes you into a stereotype of yourself,” explained Berkowitz. “This has become even more [relevant] in the current political climate and the ‘post-truth’ world, in which social media has played such a heavy role, and surveillance is an ever-increasing fact of life.”

“We wanted to play with the idea of the dancers being trapped in a curated space (the stage), where the musicians subtly manipulate the dancers’ movement and reactions,” added Margolick. “The dancers are also aware of the audience’s gaze, subconsciously at first but, as the piece goes on, they become aware of the audience and curators and are left exposed.

“As a performer, I was always intrigued by the fact that you’re in an enclosed space together with the audience, where you are aware that the audience is watching you as you are also watching them. This feeling of being observed while also observing is something I wanted to explore in this piece.”

Margolick has family connections in Vancouver, and has given of her time to the Jewish Community Centre of Greater Vancouver’s Festival Ha’Rikud, which she will do again when she is here in May. She also has connections to the Metro Vancouver dance community.

“I trained at Arts Umbrella from 6 to 18 years old and, through that program, I was introduced to both local and international dance artists and choreographers,” she said. “Over the past couple years, I’ve traveled between New York City and Vancouver and have been involved in dance projects with Donald Sales’ Project20 and Shay Kuebler’s Radical System Art. As for the Jewish community, through growing up attending Temple Sholom, working at the JCC summer day camp and dancing with Or Chadash, I was immersed into the local Jewish community.”

Berkowitz, too, has local ties.

“I was fortunate,” he said, “to be involved with the Chutzpah! Festival in the past, joining Shay Kuebler’s Radical System Art’s residency in Sointula to document their process and teach photography to local residents. And, in 2015, my up-and-coming band Twin Wave had two performances in Vancouver, at the Imperial Theatre and the Red Room.”

Among the major supporters of birds sing a pretty song are the Jewish Foundation of Greater Vancouver, Phyliss and Irving Snider Foundation, Diamond Foundation, Betty Averbach Foundation, Canada Council for the Arts, B.C. Arts Council and the City of Vancouver.

Birds sing a pretty song is at the Rothstein Theatre May 13, 8 p.m., and May 14, 7:30 p.m. Tickets are $29.50, $25.50 (senior) and $23.50 (student) and can be purchased at chutzpahfestival.com, 604-257-5145 or in-person at the JCCGV, as well as from Tickets Tonight, 604-684-2787.

Format ImagePosted on April 28, 2017April 26, 2017Author Cynthia RamsayCategories Performing ArtsTags Chutzpah! Festival, dance, LABA, Maxx Berkowitz, Rebecca Margolick
A night for your imagination

A night for your imagination

In The Fifth Season, Shadi Habib Allah focuses on Palestinian writer and teacher Ziad Khadash, who wants his students to know what freedom feels like. (photo from Vancouver Jewish Film Centre)

The Sir Jack Lyons Charitable Trust Student Film Prize is awarded annually to two students from Jerusalem film schools. Selected by a jury, the winners receive a monetary prize and the opportunity to present their films and meet industry professionals in Canada. This year, Shadi Habib Allah and Alex Klexber are coming to Vancouver and Toronto with their award-winning short films.

The event Celebrate Jerusalem, hosted by the Jerusalem Foundation with the Vancouver Jewish Film Centre, will take place at Congregation Beth Israel on May 8, 7 p.m. It will feature the screening of Habib Allah’s The Fifth Season and Klexber’s HaYarkon Street and a Q&A with both filmmakers. It will also feature the screening of Avi Nesher’s The Wonders, a “mystery, comedy, psychological thriller, political intrigue and romance” all rolled into one.

photo - Shadi Habib Allah
Shadi Habib Allah (photo from VJFC)

Born in Nazareth, Habib Allah received his bachelor’s from the Jordan University of Science and Technology, where he studied architecture. He began his studies at the Sam Spiegel Film and TV School in 2015, and the 15-minute The Fifth Season is his first-year film. In it, Palestinian writer and teacher Ziad Khadash wants his charges to know what freedom – physical and intellectual – feels like.

At first, Khadash just wants his class to be over; he has lost his enthusiasm for teaching. He asks his students at Amin al-Husseini boys school in Ramallah to write about the difference between summer and winter, not really caring what the assignment might bring. But, for whatever reason, when a student asks why there are only four seasons, not five, Khadash becomes inspired.

Having grown up in Jalazone refugee camp, Khadash knows what it means to not be free. He notes that his mother, 68, has not ever seen the sea – his students will be more fortunate. He leads them in a mini-rebellion at the school, in which they state, “We come here as a creative generation, a democratic generation, to take over the school, to take it over for a few minutes – a cultural, intellectual, creative takeover, not a violent, armed takeover.” Their demands include “no more school uniforms,” “tear down the school wall,” “a monthly field trip to the beach,” “the right to express ourselves freely in class.”

Khadash is an odd bird – for example, he doesn’t believe in marriage, as it leaves no room for the imagination – but he seems like a good person, a positive role model for his students.

About The Fifth Season, the Lyons film prize jury wrote, “The film brings to the screen a teacher and educator with a unique educational approach, which the director manages to translate into a complex and rich cinematic language. Effective editing weaves together narration with staged and illustrative scenes that represent the film’s protagonist, who wishes to release his students from the shackles of reality and thought, using unlimited imagination.

“The visual boldness, and the expression of freedom and liberty as universal values by cinematic means, indicate that a promising talent is evident in this debut film.”

photo - In HaYarkon Street, Alex Klexber tries to recreate his childhood memories of the neighbourhood in which he grew up
In HaYarkon Street, Alex Klexber tries to recreate his childhood memories of the neighbourhood in which he grew up. (photo from VJFC)

Childhood is also the focus of Klexber’s four-minute film HaYarkon Street.

Born in Ukraine, Klexber is now a fourth-year animation student at the Bezalel Academy of Arts and Design. He moved with his parents to Israel at the age of 6 and grew up in Rishon Lezion, south of Tel Aviv. His short film recalls his younger days – with images drawn both from his memory and from his artwork of those early years.

With animation and other techniques, Klexber tries to recreate the HaYarkon Street neighbourhood of old, and it is both fun and touching to watch. Viewers will most certainly remember their own youthful sketches and wonder from where some of those ideas came.

“Klexber’s short film movingly combines the world of imagination and reality,” wrote the film prize judges. “He manages in a few minutes to create a unique world, rarely seen in Israeli cinema. With sensitivity and imagination, the director depicts a specific memory of his, but the theme and approach are universal. This is a personal story related to the Israeli experience of immigration and affinity to the place. The simple name given to the film is in fact the basis for a host of memories, ambitions and dreams.

“The prize is awarded to the film in order to encourage the director to continue exploring this world.”

photo - Alex Klexber
Alex Klexber (photo from VJFC)

According to his bio, Klexber “created his first stop-motion short, Junkyard Episodes, while attending high school and also started making live action YouTube videos with his friends that became popular in Israel.” During his army service, in his free time, he “continued making YouTube videos and animation shorts, including the short film The Paintbrush (2010), that combined live action and stop motion.” And, he “composed original music on all his videos and short films.”

Celebrate Jerusalem also features, appropriately, a film that casts the city as one of its main characters, The Wonders.

“For me, Jerusalem was a great city for film noir, for something that explored the darkest side of the human experience while trying to reach for the higher element of the human experience,” said Nesher in an interview at London, England’s 2014 Seret film festival, where The Wonders screened.

The Wonders ponders the secular – via graffiti artist and bartender Arnav – and the (un)holy – Rabbi Shmaya Knafo, the leader of a cult-like group, who is kidnapped. Among the other characters are “a hard-boiled investigator,” “a gorgeous mystery woman” and Arnav’s former girlfriend. Animation helps bring to life Arnav’s active imagination and the film blurs the lines between fact and fiction.

Celebrate Jerusalem is a free event. To register, visit vjff.org/events/event/the-wonders.

Format ImagePosted on April 28, 2017April 26, 2017Author Cynthia RamsayCategories TV & FilmTags Alex Klexber, Jack Lyons, Jerusalem Foundation, Shadi Habib Allah, Vancouver Jewish Film Centre
Ballet BC trio of firsts

Ballet BC trio of firsts

Choreographer Emanuel Gat, who was in Vancouver for a few weeks at the beginning of the year, will return for the Ballet BC world première of his new work. (photo by Wendy D Photography)

Ballet BC finishes this season May 11-13 with Program 3, which features a world première by choreographer Emanuel Gat, an almost world première by Emily Molnar and the Ballet BC première of Minus 16 by Ohad Naharin.

“I have long admired the works of Emanuel Gat and Ohad Naharin and have been eager to bring them to our artists and audiences,” says Molnar, artistic director of Ballet BC, in the press release announcing the program. She isn’t the only one to admire the creativity of choreographers Gat and Naharin, and many dance fans will be excited to see their work performed. Professional dancers age 16 and over will even have a chance to learn with Gat in person on May 6, when he teaches excerpts from the 30-minute piece he created for the full Ballet BC company (balletbc.com/choreographic-workshop-emanuel-gat).

Both Gat and Naharin started their dance careers relatively late, in their 20s, but have more than made up for any lost time. Born in 1952 in Kibbutz Mizra, in northern Israel, Naharin has been artistic director of Batsheva Dance Company since 1990 and is the creator of the movement language called Gaga – it is not an exaggeration to say he is an icon of contemporary dance. Born in Netanya in 1969, Gat is artistic director of Emanuel Gat Dance, which he established in 2004, and his works have been performed around the world.

Gat’s career trajectory changed when, at age 23, he attended a workshop led by another Israeli choreographer, Nir Ben Gal.

“I was studying music at the time,” Gat told the Independent in an email interview. “I’d just started a first year at the Rubin Academy of Music, and intended to be a conductor. I stopped a few months after starting to dance.”

Within a couple of years, Gat was working as an independent choreographer. When he founded his company, it was at the Suzanne Dellal Centre in Tel Aviv, which Batsheva Dance Company also calls home. However, after about 15 years in Tel Aviv and a few in the south of Israel, Gat moved to France in 2007, where he lives in a small village near Aix-en-Provence.

One of the aspects Gat most likes about being a choreographer is that “you work with a group of people, that it’s not a solitary process, and that it’s always full of surprises and insights.”

In various interviews, he has stressed the importance of process in the creation of a work.

“Time, space and eager dancers, basically,” he said of the elements needed for a creative environment. “All the rest is a result of an ongoing process of examining different questions regarding these elements, the way in which they come together and affect each other.”

While the Ballet BC program doesn’t name Gat’s new work, his website lists it as Lock.

“It comes from a certain task I gave [the dancers] on devising ways of joining two separated phrases,” he said about the title. “One of the strategies they came up with, they named ‘lock,’ which I liked the sound of.”

Gat was in Vancouver for a few weeks at the beginning of the year to create the piece, he said, and he will be returning “to finalize the work and create the light[ing] for it.”

“I’m very happy about this project,” he said, “and it was a lot of fun creating together with this talented bunch.”

Heading the talented bunch at Ballet BC since 2009 has been Molnar. The National Arts Centre in Ottawa commissioned her latest work as part of ENCOUNT3RS. The NAC presentation paired “three Canadian choreographers with three Canadian composers to create works with original scores, in celebration of Canada’s 150th anniversary,” notes the Ballet BC release. Molnar’s creation, set to a score by Canadian composer Nicole Lizée, saw its world première in Ottawa at the NAC April 20-22 and local audiences will see it as part of Program 3.

Rounding out Program 3 is Naharin’s Minus 16. Unfortunately, the choreographer won’t be able to make it to Vancouver for the performance. For just over two months now, he and Batsheva Dance Company dancers have been developing Venezuela, a full evening work set to start its première run at the Suzanne Dellal Centre May 12. But Batsheva personnel will be helping Ballet BC rehearse their first Naharin work.

“I have a team that can do it without me, though I would love to join all the premières,” Naharin told the Independent in a phone interview from Tel Aviv. “I trust them,” he said. “They have done it before without me many times.”

photo - Ballet BC will perform Ohad Naharin’s Minus 16 as part of Program 3
Ballet BC will perform Ohad Naharin’s Minus 16 as part of Program 3. (photo from Ballet BC)

At the start of his career, he said, “I didn’t have the safety net of people I can trust and that knew how to do it; I didn’t have the skill myself to teach other people how to do it. Over the years, and especially with Minus – because Minus has been done by a lot of companies and also it’s a work that we do, or we do versions of it – my assistants have become experts at doing it and teaching it. It’s true that still, given the control freak that I am, it’s an exercise of letting go each time, but it’s a good exercise.”

The Ballet BC program description of Minus 16 mentions its “mesmerizing use of improvisation.”

“The idea is to give dancers as much information as possible, because it’s not about free form or do whatever you want,” explained Naharin about how improvisational aspects are “written” into a piece of choreography. “It’s about basing your intention, dynamics, texture, volume on very clear ideas, and those ideas are shared with the dancers, then they improvise and they get feedback. Usually, it’s not about what not to do. Feedback usually will highlight what was weak or what was right, what was the moment that produced what it needed. What is nice about the situation is that it can offer a [dimension] that I didn’t write that can be just as good, if not better sometimes.”

But, he said, about Minus, “There is very little improvisation in the piece, actually. What has made the piece easy to teach … is that it is very structured. Also, some of it is built on repetition and accumulation; it is not crowded with a lot of steps. Some of my work has a more complex structure, many different people doing different things and different movements, and that takes a lot of time and also skills and experience to learn and to teach. With Minus, a lot of it is unison and a big chunk of it is about repetition and accumulation, and very clear counts – so many times, my work is done to music that doesn’t have a groove or a beat, and the manic of the movements comes from listening to each other and understanding the essence of the creative pulse of the movement. With Minus, almost all the movements are counted and based on a particular rhythm that also comes from and is supported by the music. The improvisation part of Minus is meaningful, but it’s not the big part of it.”

Originally created in 1999, Minus 16 is “set to a score ranging from Dean Martin to mambo, techno to traditional Israeli music.” Of what ties its elements together, Naharin said, “I think, in balance, what ties things together in a right way is not how different the ingredients are from each other or how similar they are, but it’s how you try to create the right tension between all the elements.

“It’s just like if you go and look at the landscape. Sometimes it can be just desert and sky, and sometimes it can be a landscape that’s crowded with a lot of elements, including bridges or houses or the sun or clouds or birds or animals or people or machines, and it can still create something that is coherent and clear. It can also create, potentially, the sensation of ‘wow!’ And the reason it’s all connected is not because of what the ingredients are but how they are all organized.”

While there are no rules about what music can go with another music, he said, “a choreographer has his own rules, or his own code.” He explained that a choreographer could set an evening-length work to only the music of Mozart and still the work’s elements may not connect well, whereas shorter pieces set to vastly different music could work together well as a whole – “you could put John Zorn with Vivaldi and it can be magnificent,” he said. “It has to do with creating the right tension and the right mix.”

Naharin has been creating that balance since his choreographic debut in 1980.

“There are a few things I can think of immediately,” he said about what he loves about his work. “One of them is the pleasure of research and finding things that I didn’t know existed before I found them, couldn’t even imagine before I found them, and I find them in the process.

“Another thing is the pleasure of working with a brilliant, generous, beautiful, creative group of people that I love; learning from them and sharing with them what I learn.

“I love what the dancers offer me. Not when they show me my choreography but when they show me their interpretation of my choreography, and when they can offer a narrative that I didn’t write. That can be very moving.

“I like to dance. I love to move. I love to make up movements. I need to dance. It’s something that, if I don’t do it, I’m unhappy.”

He added, “For me, to dance is not about performing. I don’t need an audience to dance.”

One of his favourite places to dance? “I love to dance in the shower.”

Anything else he’d like Jewish Independent readers to know? “Just not to forget to dance a little bit every day.”

Program 3 runs May 11-13, 8 p.m., at Queen Elizabeth Theatre. Tickets range from $21.25 to $91.25 and can be purchased from 1-855-985-2787 (855-985-ARTS) or ticketmaster.ca. For more information, visit balletbc.com.

Format ImagePosted on April 28, 2017April 26, 2017Author Cynthia RamsayCategories Performing ArtsTags Ballet BC, Batsheva Dance Company, dance, Emanuel Gat, Emily Molnar, Ohad Naharin
Diverse DOXA festival offerings

Diverse DOXA festival offerings

In the very talented ensemble of The Road Forward by Marie Clements are Michelle St. John, left, and Jennifer Kreisberg. (photos from National Film Board of Canada)

This year’s DOXA Documentary Film Festival features several films with Jewish community connections. They explore a wide range of topics: First Nations activism, Fort McMurray and the oil sands, real-life mermaids, bigotry against larger people, and being a freelance journalist in the Middle East. They will make you question your assumptions, ponder the various ways in which humans find connection, and introduce you to ideas, people and places you probably didn’t know existed.

Opening the festival, which runs May 4-14, is The Road Forward. In the very talented ensemble of this musical documentary by Marie Clements are Michelle St. John and Jennifer Kreisberg. As many of us do, St. John and Kreisberg have multiple cultural heritages that form their identity; in their instances, First Nations and Jewish are among them. In addition to performing, Kreisberg also composed and/or arranged many of the songs; the main composer is Wayne Lavallee.

The Road Forward began as a 10-minute performance piece commissioned for the Aboriginal Pavilion at the 2010 Olympics, and premièred as a full-length theatre show at the 2015 PuSh Festival. The documentary has mostly traditional components – interviews, archival footage, news clips – but these are broken up by a number of songs, which add energy and emotion to the film.

The documentary uses as its starting point the Native Brotherhood and Sisterhood, which were established in the 1930s, when First Nations people were not permitted to meet and organize. The groups’ “official organ,” the Native Voice, was the first indigenous-run newspaper in Canada.

“The idea was to honour B.C.’s history, so I started researching and reading online and came across the archives of the Native Brotherhood and Sisterhood, the oldest Native organization in the country. Their parent organization, the Native Fishing Association, is located in West Vancouver, close to me,” explains Clements in the press material.

The Road Forward touches on many issues along its journey to current-day First Nation activists, who carry on in their ancestors’ paths. Though their goals are varied – some fight for particular legal or policy changes, others for restitution and reconciliation, yet others for their own voice and place in the world – they are all seeking justice, equality, understanding.

The songs highlight the immense struggles. As but two examples, “1965” is about the decades upon decades that First Nations have been denied the basic rights that most other Canadians have long enjoyed, and “My Girl” is a heartbreaking tribute to the aboriginal women who have been murdered along British Columbia’s Highway 16, the “Highway of Tears.” The Indian Constitution Express, a movement organized by George Manuel in 1980-81 to protest the lack of aboriginal rights in then-prime minister Pierre Trudeau’s plans to patriate the Canadian Constitution, receives somewhat more attention than other activist achievements, and the song “If You Really Believe,” based on a speech by Manuel, is quite powerful.

The May 4 gala screening of The Road Forward is the official launch of Aabiziingwashi (#WideAwake), National Film Board of Canada’s Indigenous Cinema on Tour. For the length of 2017, NFB is offering films from its 250-plus collection to all Canadians via [email protected]. The film also runs on May 10 and Clements will participate in a Q&A following both screenings.

* * *

Limit is the Sky follows a handful of 20-somethings who have moved to Fort McMurray to follow their dreams. A few years before the price of oil plummeted in 2015 and the 2016 wildfire decimated the northern Alberta city, the average family income in “Fort Mac,” was $190,000 a year, according to the film. Working on the oil sands was where the real money lay, but others were drawn to the college or to places that serve the oil workers (and others), such as hairdressing salons and restaurants.

photo - The seven young dreamers featured Mucharata, from the Philippines, who had to leave her 2-year-old son behind initially (for fours years)
The seven young dreamers featured Mucharata, from the Philippines, who had to leave her 2-year-old son behind initially (for fours years). (photo from NFB)

Most striking about the population we meet in Limit is the Sky is their diversity: they not only come from other Canadian provinces and the United States but from much further afield. The seven young dreamers featured include Max, from Lebanon; Mucharata, from the Philippines, who had to leave her 2-year-old son behind initially (for fours years); and KingDeng, a former child soldier from South Sudan, who had to help support his wife and children (in Edmonton) while at school in Fort McMurray.

“I was looking for young people who’d just recently arrived in Fort Mac, full of hopes, dreams and naïveté,” says filmmaker Julia Ivanova in the press material. “I wanted to walk the viewer through their ups and downs in a place where the men seem tough and the women even tougher. I wasn’t looking for tough characters, though: sensitivity and beauty – both inner and physical beauty – were important to me.”

Ivanova, who has Jewish roots, migrated to Canada from Russia many years ago.

“Being an immigrant myself,” she notes, “I could feel what was at stake for these young people and the challenges they face on a very intimate level.”

The main filming ran from fall 2012 to spring 2015. She felt welcomed by the people in the city, though not by the industry. “That was a brick wall I hit over and over again,” she says. “There was no filming of anyone allowed, anywhere, period.”

By the end of the film, most of the millennials featured had left the city, along with many others. “The town felt almost deserted, compared to how I had seen it in 2012 and 2013,” says Ivanova. “So many people were leaving. There was so much anxiety. I went to all the places I loved – and they’d all changed.”

Ivanova’s film shows the hope, the drive, the challenges, the loneliness of her interviewees. The dynamics are much more complex than one might assume of a city that relied on the oil sands for its prosperity. The environment is of crucial importance, obviously, but people matter, too, and this documentary shines a necessary light on that fact.

Limit is the Sky screens May 5.

* * *

Falling into the who-ever-would-have-thought category, Ali Weinstein’s Mermaids introduces viewers to real-life mermaids, of a sort.

photo - Rachel’s underwater job at the Dive Bar in Sacramento, Calif., helps her deal with a family tragedy
Rachel’s underwater job at the Dive Bar in Sacramento, Calif., helps her deal with a family tragedy. (photo from DOXA)

Rachel’s underwater job at the Dive Bar in Sacramento, Calif., helps her deal with a family tragedy. Vicki and a group of former Weeki Wachee Resort (in Florida) swimmers recall their mermaid days, including a show for Elvis and a 50th anniversary performance. Being a mermaid helps Cookie, who was abused as a child and has mental health issues, manage life, and she and her soulmate, Eric, who makes her mermaid tails, are married in a mermaid wedding, after being together for some 30 years. Last but not least, Julz, a transgender woman who was bullied as a child and disowned by her father, discovers acceptance and love in a Huntington Beach, Calif., mermaid group.

Weinstein intersperses these stories with brief summaries of long-told mermaid tales, “from the 3,000-year-old Assyrian figure of Atargatis to the Mami Wata water spirits of West Africa.”

It really is a fascinating documentary, showing just how resilient and resourceful the human spirit is.

Mermaids plays twice during DOXA, on May 6 and 13, and Weinstein will be in attendance at both screenings.

* * *

Think of the cartoon villains and the hapless sidekicks. How are they often portrayed? As fat, dumb and/or oversexed? If those weren’t your first thoughts, think again. The documentary Fattitude convincingly shows how widespread bigotry against larger people is – so much so that it can be overlooked, until pointed out. Then, you wonder how you ever missed it.

image - From the age of 3, the film notes, we are already programmed with negative stereotypes
From the age of 3, the film notes, we are already programmed with negative stereotypes. (image from DOXA)

From the old woman in the candy house that eats Hansel and Gretel, to Star Wars’ Jabba the Hut, to the evil squid in The Little Mermaid, these are just a few of the villains. Then there is the heavyset and dumb Hardy, sidekick to thin, smart Laurel; the stereotypical chubby best friend in so many movies; and the archetypal black nanny, forever cast in the caring, subservient role. Miss Piggy is a more complex character, both strong and confident in herself, but also sex-crazy over Kermit. And, in the entire Star Trek franchise – where have the larger people gone?

From the age of 3, the film notes, we are already programmed with negative stereotypes. When all put together, it’s quite depressing. However, Fattitude is a rather upbeat documentary, as its interviewees are spirited, determined and intelligent enough to effect some change, mainly via social media.

Filmmakers Lindsey Averill and Viridiana Lieberman speak to almost 50 people and, to a person, they provide an interesting perspective, connecting the body images depicted in films, television shows, cartoons, magazines and advertisements with their effects on viewers and on our perceptions of ourselves and others. The film discusses the links between race, socioeconomic status and weight, as well as the reasons why Michelle Obama’s campaign to end childhood obesity was misguided.

Fattitude screens May 9.

* * *

Being a journalist in a war zone seems dangerous and frightening, and it is. But it is also tedious and lonely. At least this is what it seems from watching Santiago Bertolino’s Freelancer on the Front Lines.

photo - Jesse Rosenfeld with peshmerga combatants, Santiago Bertolino and Ayar Mohammed Rasool
Jesse Rosenfeld with peshmerga combatants, Santiago Bertolino and Ayar Mohammed Rasool. (photo from NFB)

Bertolino follows Toronto-born, Beirut-based freelance journalist Jesse Rosenfeld as Rosenfeld hustles to get story ideas and budgets approved, waits in sparse hotel rooms for fixers to connect him with interviewees, and ventures into Egypt during its post-Arab Spring elections, the West Bank during an Israeli-Palestinian conflict, a Syrian refugee camp in Turkey and to Iraq, where they witness the fight against ISIS from the front lines.

Some of the more disturbing images are of the bodies of Palestinians gunned down in a home by undetermined executioners and the corpses of dead ISIS fighters dumped in the back of a truck, as well as tied to its back bumper. In another memorable part, Rosenfeld yells questions to a caged Mohamed Fahmy, when Fahmy and two fellow Al Jazeera journalists were on trial in Cairo. (Fahmy, who holds both Canadian and Egytian citizenship, spent almost two years in jail of a three-year sentence.)

Rosenfeld has strong views and isn’t afraid to share them, though he struggles to make eye contact with the camera when he makes his pronouncements. Some of the best exchanges in the film are between him and Canadian-Israeli journalist Lia Tarachansky, who hold different opinions on the Israeli-Palestinian conflict.

Freelancer on the Front Lines screens May 13 at Vancity and will include a post-film discussion.

For tickets and the full DOXA Documentary Film Festival schedule, visit doxafestival.ca.

Format ImagePosted on April 21, 2017April 20, 2017Author Cynthia RamsayCategories TV & FilmTags activism, culture, documentaries, DOXA, First Nations, journalism, mermaids, Middle East, National Film Board, NFB
First Vancouver Opera Festival

First Vancouver Opera Festival

Caitlin Wood and Alex Lawrence star in Vancouver Opera’s The Marriage of Figaro. Jewish community member Leah Giselle Field performs the role of Marcellina in the production. (Emily Cooper Photography)

I am thrilled and honoured to have been chosen to lead Vancouver Opera into a new era,” said Jewish community member Kim Gaynor when her appointment as general director was announced prior to the start of this season. “Vancouver Opera already has a long history of excellent productions and a well-deserved reputation for innovation under Jim Wright’s exemplary leadership.”

As part of its vision for the future, Vancouver Opera is holding an inaugural opera festival April 28 to May 13. The event features a variety of vocal offerings for audiences, as well as workshops and other activities.

“Opera seasons are planned years in advance, so this festival was planned long before I joined VO,” Gaynor told the Independent. “However, I have brought 10 years’ experience managing the Verbier Festival in Switzerland and I am using this experience to shape the festival-going experience here. For example, we will have lots of opportunities to follow the development of young singers, and for audience participation, two things which were very popular in Verbier.”

Her resumé prior to managing the Verbier Festival includes managing director and co-founder of Austria’s Festival Retz, administrator of London, England’s Yehudi Menuhin International Violin Competition and head of marketing administration at London’s Royal Opera House. She has worked at Les Grands Ballets Canadiens de Montréal, the National Arts Centre Orchestra in Ottawa, L’Opéra de Montréal and Canada Council for the Arts.

photo - Vancouver Opera general director Kim Gaynor
Vancouver Opera general director Kim Gaynor. (photo from VO)

Gaynor, who was born and raised in Ontario, returned to Canada from Switzerland last year, arriving in Vancouver in September. She was here in time for another recent Vancouver Opera innovation – the smaller-venue, family-friendly production of Hansel and Gretel in November.

“Hansel and Gretel was a huge success with people of all ages,” said Gaynor. “The whimsical, enthusiastic performances from our young artists and the wonderful puppets charmed everyone who came. I heard so many stories about young people being literally on the edge of their seats throughout the whole performance, and this could lead to a lifelong love of opera. One thing I learned was that the intimacy of the smaller Playhouse theatre really appeals to audiences. They want to be nose-to-nose with the performers – up close to the action.”

The upcoming festival will offer more opportunities to get up close to the action, including a performance at Vancouver Public Library – called Opera Tales – featuring singers from VO’s Yulanda M. Faris Young Artists Program, who the audience will have a chance to meet after the show. One of these singers is Jewish community member Leah Giselle Field, who also will be performing the role of Marcellina in The Marriage of Figaro. (For more on Field, see jewishindependent.ca/fairy-tale-reimagined.)

Among the other festival offerings are a video installation by artist Paul Wong, performances by vocal stylist Ute Lemper and Inuit throat singer Tanya Tagaq, an evening sing-along with the Vancouver Bach Choir, a film night, master classes for young singers, forums and discussions, preview talks and happy hours.

“We believe that the festival format will attract a new and younger audience who likes fast and furious action, because there will be something going on all the time during the 16 days of the festival,” said Gaynor. “At the same time, we are convinced that our main-stage operas, Otello, Dead Man Walking and The Marriage of Figaro, will appeal to our traditional audiences, who may only want to attend for an evening or two. In our next season, 2017/2018, which has just been announced, we are offering a season and a festival, starting with the ever-popular Turandot in the fall and closing the season with a spring festival.”

Further explaining why the festival concept is being embraced by VO, she said, “Festivals are, by definition, a celebration and people, in general, love to celebrate. We will not only be celebrating opera, but the human voice and all of its expression, from throat singing to choral. Festivals offer the chance to mingle and meet lots of other people who share the same passion. This chance to come together with like-minded people creates an atmosphere which is hard to create in a normal season. But I don’t think festivals are a more attractive model, just a different model, and VO is in the mood for change.”

One of the attractions of moving back to Canada was that Gaynor would be closer to her mom, who lives in Oakville, Ont. One of the appeals of moving to Vancouver was the opportunity to be outside. While circumstances have made that difficult so far, she has found other fun things to do around town.

“Honestly,” she said, “it seems like it has either rained or snowed every day since I arrived (until about two days ago)! I am normally a person who loves the outdoors, so my highlights have been discovering the North Shore mountains and walks along the Seawall with my dog (a 3-year-old border collie). That was before I broke my leg badly at the end of January falling off my horse! I am also finding some great spots for brunch in my neighbourhood around Main and 12th, and have been discovering all of the fantastic cultural organizations in town.”

Gaynor was born in Hamilton, Ont., but the family moved to nearby Burlington when she was six months old.

“We lived almost in the country in Burlington, in a house with a big yard with a small forest behind. More importantly, we were less than a kilometre from a horse farm, where I discovered my passion for riding. My father was a passionate amateur pianist and we had a baby grand piano at home. I got my love of classical music from him.”

Gaynor’s father was a Holocaust survivor.

“My father was one of the 10,000 Jewish children who escaped from Western Europe to England on the Kindertransport,” she said. “He lived in London from 1938 until 1954, when he emigrated to Canada and met my mother, who is not Jewish. He even changed his family name, which was Geier, but sounded too German in postwar Canada and that, combined with his accent, was a handicap. So, he took the last name of his movie star idol – Mitzi Gaynor. Unfortunately, he died quite young, only 53 years of age.

“I know my father’s life was in every way coloured by having lost his family in this way but, like many Kindertransport children, he spoke very little about it to his children. I learned much later, after his death, that a part of his family escaped Austria and made it to Palestine. I was able to find them and went to meet them in 1996. I have often wondered how life would have been different if I had been born and raised in a Jewish family in Austria, or in London. But I have close ties still to the family who adopted my father in London, and to his relatives in Israel and this has enriched my life immensely.”

While she doesn’t “practise any religious traditions in a formal way,” Gaynor said, “I feel quite close to Jewish culture and traditions because of my family and friends, but also I have participated many times in Jewish celebrations, weddings, a few bar mitzvahs and even a bat mitzvah. I also remember some very poignant things from my childhood, such as my father criticizing my mother for not being able to make good matzah ball soup. Clearly, he had some things he missed from home!”

For festival tickets, call 604-683-0222 or visit vancouveropera.ca. For Tanya Tagaq tickets, contact Ticketfly at 1-888-732-1682 or ticketfly.com/purchase/event/1412206.

Format ImagePosted on April 21, 2017April 20, 2017Author Cynthia RamsayCategories Performing ArtsTags Holocaust, Kim Gaynor, music, opera
Help celebrate Israel’s 69th

Help celebrate Israel’s 69th

Jane Bordeaux – Amir Zeevi, left, Doron Talmon and Mati Gilad – perform at the Chan Centre on May 1. (photo from Jewish Federation of Greater Vancouver)

What better way to bring folks together in song and celebration of Israel’s 69th birthday than with folk music. And what better band to unite Diaspora Jews than one that writes and performs American-style country-folk songs in Hebrew!

Tel Aviv-based Jane Bordeaux – Doron Talmon, Amir Zeevi and Mati Gilad – will headline this year’s community Yom Ha’atzmaut concert at the Chan Centre on May 1, 7:30 p.m. The trio regularly plays to sell-out crowds.

Their debut album was well-received, with songs such as “Eich Efshar” (“How is it Possible”) and “Whisky” radio favourites, and the video of their song “Ma’agalim” (“Circles”) went viral. A second album is nearing completion and is expected to be released in June.

Talmon and Gilad met in 2012 at Rimon School of Jazz and Contemporary Music in Ramat Hasharon, Israel. It was in a contest of original songs. “The idea was to perform some of my songs, and get some practical experience of a band format – you know, finding musicians, getting a name for the band and that sort of thing,” Talmon told the Jerusalem Post in a 2016 interview.

“We kept on playing after that one,” Talmon recently told the Independent, “and, when we needed a new guitar player, Amir, who’d been serving with Mati in the military band, had just returned from the U.S., and joined the band.”

Though the band has only been together five years ago, they have all been performing for much longer than that.

“I’ve been singing since I was a little child, always had the attraction to writing songs and singing them,” said Talmon. “After I returned from a long trip in South America, I decided to go and study music professionally, so I went to Rimon school for three years, learning music, songwriting and how to form a band, eventually.”

“I’ve been playing since I was 5, piano and then bass guitar,” said Gilad. “When I went to Thelma-Yellin arts high school in the jazz department, I started also playing the double bass. After high school, I served in the military in an army band and simultaneously studied at the Tel Aviv music conservatory. After the army, I started learning in Rimon school and was there for a year learning both classical, jazz and pop music.”

As for Zeevi, he has been playing the guitar for as long as he can remember. “My high school in Holon had a music major, that’s when I started taking the guitar more seriously, meeting great players and teachers,” he said. “In the army, I’ve played in the air force band and, after my release, I decided to go and learn music in the New School university in New York City, learning both jazz and country music.”

Usually, it is Talmon who comes up with the idea for a song, both the lyrics and melody, then the group starts playing with it, sometimes changing its harmony or structure, and building the arrangement. “Since we perform a lot,” they said, “we often try these new songs in shows, to get the feeling of what it is like to perform with them onstage and how does the crowd react, and each time improving and adjusting the song till it feels complete.”

In true country music fashion, many of Jane Bordeaux’s songs have to do with love and loss – ol’ American hurtin’ songs with a modern, Israeli twist.

“American folk-country, the way we see it, is storytelling, about the dark and the bright sides of life, wrapped in beautiful harmonies and joyful rhythm,” the band members agreed. “How can you not get excited from it? Also, we are addicted to the banjo’s sound and it’s going to feature a lot in our new album.”

“The songs are inspired from life, of course, mine and my friends,’” explained Talmon. “Sometimes, a song may be very close to a personal experience or feeling I had and, sometimes, it can be an idea I borrowed from a book I read or a movie I’ve seen, even a sentence I’ve heard.”

“Ma’agalim” is a bittersweet song about life: “It’s not me that’s progressing / It’s just the time that’s moving on.” The video features a wooden doll in a penny arcade. As the cylinder turns, she walks along her track, bundled up in a coat and scarf, passing people in various stages of life, from cradle to grave. Produced by Israeli animators Uri Lotan and Yoav Shtibelman, it really is a must-see (vimeo.com/ 162052542).

“The minute Uri and Yoav, the creators of the clip, showed it to us,” said the band, “we were so amazed by the beauty and sensibility of the video they made, so we can’t really say we were surprised that it went viral – we never had seen such animation before. We feel that there’s a unique connection between the music and the visuals that’s very moving, so people get excited by it, even without understanding the lyrics.”

No doubt a similar connection will be formed between the band and their audience in Vancouver, where they will sing in both Hebrew and English.

“It’s not going to be the same as in Haifa or Tel Aviv,” they said about the Yom Ha’atzmaut concert. “We love adjusting our set to best fit the place we are going to perform. Since the show date is Israel’s Independence Day, and we guess some of the crowd is English-speaking, in addition to our originals, we’re going to play some English covers and Hebrew all-time favourites – and even some special surprises for the Canadian crowd that obviously we can’t tell in here!”

The group starts their tour in Vancouver, then they have a few shows in North America, including one in Toronto.

“We are super-excited about the show in Vancouver,” they told the Independent. “It’s going to be the first show of our first tour outside of Israel and we’ve got a lot of great stuff planned specially for it, so we’re hoping to see you there!”

Tickets for the May 1 community celebration ($18) can be purchased at jewishvancouver.com/yh2017. In addition to this year’s co-sponsors – Canadian Friends of Hebrew University, Consulate General of Israel in Toronto, Georgian Court Hotel, the Jewish Independent and Jewish National Fund – the Jewish Federation of Greater Vancouver event is supported by 46 other community organizations.

Format ImagePosted on April 7, 2017April 4, 2017Author Cynthia RamsayCategories MusicTags Israel, Jane Bordeaux, Jewish Federation, Yom Ha'atzmaut
History, literature vital

History, literature vital

Rachel Seelig, author of Strangers in Berlin: Modern Jewish Literature Between East and West, 1919-1933. (photo by Lauren Kurc)

Rachel Seelig’s Strangers in Berlin: Modern Jewish Literature Between East and West, 1919-1933 (University of Michigan Press, 2016) encompasses so many ideas – some very nuanced, others technical – that a reader will enjoy it on their own, but will learn much more if they can discuss and analyze it with others.

Strangers in Berlin uses the example of four poets – Ludwig Strauss, Moyshe Kulbak, Uri Zvi Greenberg and Gertrud Kolmar – to examine the influence that Berlin during the Weimar Republic had on Jewish literature.

“The relationship between German Jews and East European Jews in Germany typically has been depicted in terms of … German Jews figuring as reluctant hosts, cultural insiders who viewed the so-called Ostjuden as outsiders or even infiltrators,” writes Seelig. “Strangers in Berlin is aimed at destabilizing these designations by presenting Berlin as a border traversable in both directions…. Foreigners arriving from abroad availed themselves of artistic inspiration and anonymity in order to cultivate new forms of culture, while those native to Germany ascertained their increasing estrangement from the fatherland, which they similarly channeled into artistic production. Whether they were coming or going, exiled in Germany or soon-to-be-exiled from Germany, these writers experienced Berlin as a transitional site between a moribund pre-World War I political order and an increasingly divided, nationalistic European reality.”

Seelig told the Independent that she “chose to focus on four poets who are not necessarily remembered as key figures in Weimar culture but who had considerable influence in their own day.”

She explained, “One of the reasons that these poets are relatively neglected is that they are not easily categorized according to national literary boundaries. Two of them, Strauss and Greenberg, immigrated from Europe to Palestine and wrote in more than one language (Strauss in German and Hebrew and Greenberg in Yiddish and Hebrew) and the other two, Kulbak and Kolmar, produced highly diverse, avant-garde bodies of work that do not align with what we tend to see as the dominant literary trends of their day. So, these writers weren’t just ‘strangers in Berlin’ – that is, writers who are located on the margins of the cultural milieu in which they had either permanently or provisionally settled – but also strangers to us as readers in the 21st century.

“I suppose I made it my mission to bring their extraordinary writing to light, and the best way to do so was to group them together within this context of intense transition and transformation,” she said. “For all four, the experience of living in Weimar Berlin – even if only briefly – left a profound imprint on their work and on their national identity. For all four, Berlin was a place in which they were forced to renegotiate identity. Taken together, I think their works provide a fascinating glimpse into the multiplicity of images of Jewish homeland that emerged during this very fruitful yet volatile period in history.”

Weimar Berlin brought together German, Hebrew and Yiddish literature and Strangers in Berlin examines “the impact of migration – of individuals, languages and cultural concepts – on Jewish national consciousness between the world wars,” writes Seelig. She chose to focus on poets, in part, “because establishing an autonomous and multifaceted poetic tradition was a crucial component of modern national movements.”

Whereas both the Westjuden and Ostjuden “initially viewed Germany as the wellspring of liberal, Western values, by World War I, they had begun to ‘re-orient’ their gaze toward the ‘East,’ extending temporally and geographically from the ancient Near East to contemporary Eastern Europe,” writes Seelig. “Plagued by the uncertainty of national homelessness and the terror of rising antisemitism, both groups looked eastward with a combination of nostalgia, hope and despair in a effort to come to terms with the failure of the West to fulfil the promise of coexistence predicated on the liberal principles of Enlightment. Indeed, melancholic longing for the ‘East’ betrayed profound dislocation in the ‘West,’ which in turn fueled the search for a new national homeland, whether real or imagined.”

Vancouver-born and -raised, Seelig received her undergraduate degree in comparative literature at Stanford University, then worked for a time in New York. She earned her master’s and PhD in Jewish studies at the University of Chicago, spending her last couple years of graduate school in Tel Aviv. She received the Ray D. Wolfe Postdoctoral Fellowship in Jewish Studies at the University of Toronto and then, after that, returned to Israel, where she was a Mandel Postdoctoral Fellow at the Hebrew University of Jerusalem. Currently, she is a fellow at the University of Michigan’s Frankel Institute for Advanced Judaic Studies. She speaks English, Hebrew, German and Yiddish. From even this brief bio, it is no wonder that Seelig is interested in borders and thresholds.

“We live in a world today that is both utterly divided and, in a sense, borderless,” she told the Independent. “The phenomena of globalization and mass migration have made us keenly aware of the ways in which borders are, on the one hand, more easily traversed, and, on the other hand, rigourously enforced and policed. Borders have always been sites of contestation and conflict, but a border can also be seen as a threshold that one crosses from one reality to another and a productive site of transfer and transformation.

“I myself migrated across several borders as this book came into being. It started to develop as a doctoral dissertation in Chicago, which I finished writing in Tel Aviv. It became a book – one that changed shape continuously – in Toronto, Berlin and Jerusalem, and was ultimately published in Ann Arbor, Mich. My own nomadic experience as an academic (and I realize, of course, that mine is a kind of privileged nomadism) made me particularly attentive to the impact of changing surroundings and of transitions on one’s thinking, work and identity.”

While accessible, Strangers in Berlin’s dissertation origins are evident, and there are some sentences people will have to read more than once for understanding.

“Strangers in Berlin is first and foremost an academic book, which grew out of my doctoral dissertation, acknowledged Seelig. “But, in the process of transforming the dissertation into a book – and I should point out that the book departs fairly dramatically in terms of content and argument from the dissertation – I made a concerted effort to make the text engaging and highly readable by simplifying the language and peppering every chapter with interesting anecdotes. It will be used by researchers and teachers within the academic context, but I also very much hope that it will be read by lay readers who are interested in modern Jewish culture and the history of the Weimar Republic, which is such a vibrant and captivating time period. I also think that the themes of homeland and migration, which are at the centre of the book, are extraordinarily relevant today, and I hope that readers will find this glimpse into Weimar culture and history resonates with our own political reality today.”

book cover - Strangers in BerlinCertain parts of Strangers in Berlin will make readers shiver with a sense of déjà vu. In the chapter on Kolmar, for instance, Seelig writes that, in the poet’s one novel, Die jüdische Mutter (The Jewish Mother), “Kolmar offers a pained reflection on the impossibility of salvaging a viable German-Jewish female identity in an era when both Jewishness and femininity were under siege.” Seelig notes, “Conservatives seeking to safeguard their middle-class privileges and to rebuild a healthy Germany Volkskörper (national body) regarded independent women and integrated Jews as similarly ‘decadent’ social elements…. The result of this campaign was a new form of male repression, which was often shrouded in xenophobic sentiments.”

Readers will see similarities between the Weimar period and what is currently happening in some European countries and in the United States. As it happens, Strangers in Berlin’s launch took place the day after the U.S. presidential election.

“A few hours before the event,” she said, “I was reading an article by Chemi Shalev in the Israeli newspaper Haaretz, in which he commented that many millions of Muslims, Mexicans and Jews now feel like ‘strangers in the country they call home.’ Obviously, his statement resonated very strongly with me and with my book.

“The book deals with a historical moment, nearly a century ago, when Berlin emerged as a major metropolis that attracted large swaths of immigrants, who were often seen as unwelcome infiltrators. In this respect, 1920s Berlin isn’t such a far cry from Berlin or Toronto or New York City of today. The book really does resonate with what’s going on in the U.S. and in so much of the world.… We are witnessing the rise of nativist sentiments and attendant xenophobia and bigotry that are oh so reminiscent of interwar Europe. And we’re seeing the way in which various forms of bigotry (anti-immigration, antisemitism and misogyny, all addressed in the book) have a tendency to intersect and even merge when these nativist sentiments are bolstered by political power. I realize it’s a cliché, but it really is remarkable to see how history repeats itself. It’s such a shame that the humanities, specifically history and literature, are under attack today (Trump just eliminated funding for the National Endowment for the Humanities from his proposed budget) at a time when we so desperately need them.”

Strangers in Berlin’s four poets struggle, as we all do, with the impossibility of being one thing – a German (or any other nationality), a Jew (or any other religion), for example. Not to mention the different conceptions of what comprises a “real” German (Canadian, American, etc.) or an “authentic” Jew (within the ranges of observance, belief). From all the research Seelig has done – her work, travel, ability to speak multiple languages and negotiate various cultures – has she any theories as to why humans have such trouble, in general, with multiplicity, ambiguity, a lack of borders?

“I wish I knew why we as humans have such a hard time with ambiguity,” she said. “This is something that affects our lives not only in terms of cultural, national or political identity but also in terms of relationships, career paths, place of residence, etc. On the one hand, we have more freedom than ever before to dwell ‘between’ identities, or to inhabit more than one identity, and yet that’s somehow deeply unsettling to us as creatures that crave order, certainty and security.

“I think there’s so much to be learned by the figures in my book, who didn’t have the luxury to choose where they would live or which system of beliefs to subscribe to (at least not without the risk of persecution), and who were profoundly shaped by the contingencies and vicissitudes of life. Each of the four main writers in the book represents more than one identity and, for each one, this was certainly a source of anxiety but also a source of profound inspiration and enrichment.”

Format ImagePosted on March 31, 2017March 31, 2017Author Cynthia RamsayCategories BooksTags history, poetry, Rahel Seelig, Wiemar Republic

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