Sam Margolis

Local Yom Ha’atzmaut

Hagit Yaso, who was part of Metro Vancouver’s celebration of Yom Ha’atzmaut in 2014, is among the Israeli performers who will be joining the online event this year. (photo from hagityaso.com/en/home)

The Jewish Federation of Greater Vancouver and its 46 community partners, which includes the Jewish Independent, will be marking Israel’s 73rd birthday with a virtual celebration April 14 at 7:30 p.m. This year’s special hour-long event will include performances by both Israeli and local artists, as well as some surprises.

For the past 17 years, Federation has joined forces with Eti Lam, a Tel Aviv producer who specializes in bringing Israeli artists to Jewish communities around the world.

“Producing an event like Israel’s Independence Day requires lots of work and long-term collaboration between the community and myself,” Lam told the Independent. “It usually starts with searching for the right artist that is happy to come to Vancouver on this special date, building a suitable show, rehearsing it back in Israel, and many more activities. And, as with everything, the price should be right to the budget.”

This can take time, she confessed. “Some years, it took the Federation team and me a whole year to find and deliver the right show.”

With the pandemic, things are even more challenging, but the situation also offers a unique opportunity.

“Considering the COVID-19 limitations, we couldn’t meet in the concert hall,” said Lam. “Still, the show must go on. We approached multiple artists that performed in Vancouver in the past and the responses were amazing, so we’ll get to celebrate together this year, too. The performance will be broadcast online, without compromising the uniqueness and festivity of Israel’s Independence Day.”

Lam lauded the Vancouver audience, calling it “truly one of a kind, special and unique.”

“Every year,” she said, “1,200 people gathered together to celebrate Israel’s Independence Day with an Israeli artist. Being able to produce this event year over year for the last 17 years has been a great privilege. It’s been successful thanks to the close relationship with the incredible people in the Federation and in the community. Whenever I arrived in Vancouver, I felt that I had returned to celebrate with a close group of my friends, part of a warm and loving community. I’d like to take this opportunity to thank all the Federation and community members for their help, support and partnership over the years.”

Yoni Rechter was part of Metro Vancouver’s 2019 celebration of Yom Ha’atzmaut, and he will be part of this year’s online event, as well. *(photo by Gilad Avidan)*

The evening lineup is set to include various dance groups and artists, as well as students from Richmond Jewish Day School (RJDS) and Vancouver Talmud Torah singing the Canadian and Israeli national anthems. Local talents Orr Chadash, Orr Atid, Duo Orr and Grade 6 dancers from RJDS will join Israeli artists Yoni Rechter, Nurit Galron, Hagit Yaso, Micha Bitton and Shlomit Aharon for the broadcast. This year’s event will also feature a community Koolulam-style video, a version of “Bashana Haba’ah” in which different members of the community sing a line, a verse or the chorus.

Yom Ha’atzmaut celebrations go back a long way in Vancouver, though prior to 2002 they were done at a slightly smaller scale, with the exception of Israel’s 50th anniversary in 1998 at the Orpheum. This year, because a plethora of virtual (and worldwide) programs, events and webinars have led to “Zoom fatigue,” Federation decided to “go local” and highlight community talents.

To even localize the Israeli component, Federation invited the Israeli artists, who have performed here before in person on Yom Ha’atzmaut, to dedicate a song to the community. Additionally, organizers have promised a surprise that they feel confident will go down well with the community.

Emceeing this year’s event will be JCC sports coordinator Kyle Berger, who also is a stand-up comedian, and King David High School counselor Lu Winters.

“Once we realized COVID restrictions weren’t going to allow Seth Rogen and Sarah Silverman to do it, we were hoping we’d be asked,” said Berger. “The fact that it’ll be on Zoom means they’ll be able to make us look fitter and younger than we actually are, which is another awesome perk.”

Berger and Winters, along with a handful of staff and crew, will be filming and streaming the show from a production studio in Burnaby. “But, when we close our eyes, we will be live from Israel,” said Berger.

“Thankfully, we will both be there doing the show together and will be able to feed off of each other’s energy and nerves. Of course, we will still be 6.13 feet apart while filming,” assured Berger, who has worked with Winters before, as co-delegation heads for the JCC Maccabi Games.

He vowed that “everyone should expect an incredibly fun evening celebrating our community’s special connection with Israel, especially our unique relationship with our partnership region in the Galilee Panhandle. Think Dick Clark’s New Year’s Rockin’ Eve meets the Academy Awards – produced by the same number of Jews, but with less famous hosts.”

Nava, Omnitsky and the Perfect Bite are all offering special Yom Ha’atzmaut menus for April 14. Register at jewishvancouver.com/yh2021 to join the celebration.

Also on April 14, the Jewish Federation of Victoria and Vancouver Island will be hosting a small program via Zoom with an Israeli-themed picnic. Registrants will be able to pick up their meal (drive-through) and enjoy it while participating in the Zoom program. To register, send an email to [email protected].

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Mandylicious babka baking

Mandy Silverman (photo from mandyliciouschallah.com)

Dozens of eager bakers joined Mandy Silverman, aka Mandylicious, for an evening of “thinking inside the braid,” as she shared various ways of making babkas – as well as her enthusiasm towards them – during a Zoom class hosted by Congregation Schara Tzedeck before Passover.

Silverman, a self-described “carbololgist,” is founder of Mandylicous Challah in Sharon, Mass. She was accompanied in this pre-Pesach virtual baking binge – titled Babkalicious with Mandylicious – by her husband and assistant, Dannylicious. The setting was their East Coast kitchen, where, by the time the first ingredients hit the mixing bowl, it was past 10 p.m., for them.

She demonstrated both traditional and new-wave babkas: the first, a standard babka twist filled with chocolate and, the second, shaped like a flower and filled with cookie dough. The secret for the latter’s filling is brown sugar, Silverman confided.

Throughout the presentation, she provided the audience with numerous pointers regarding the dough. Her recipes called for a more glutenous flour, one that is called bread flour – as opposed to all-purpose flour – which “helps the dough ball up easier.” Early on, she emphasized the importance of using instant yeast, which “means that it can just be added in with the rest of the ingredients in no particular order.” She suggested one should avoid quick-rise or rapid-rise yeasts, except when there is no alternative available.

“You can use it – you just have to proof it first. To proof active dry yeast, use the same amount (one tablespoon) but add it to one-third cup [of] 40ºC water and a pinch of sugar, and mix. When it bubbles, the yeast has been activated and can be added to the rest of the ingredients. Use one-third cup less water in the rest of the recipe,” she said.

photo - A heart-shaped chocolate babka made by Mandy Silverman, aka Mandylicious — A heart-shaped chocolate babka made by Mandy Silverman, aka Mandylicious. *(photo from facebook.com/mandyliciouschallah)*

“Dough consistency is crucial,” she stressed. “Dough that is too wet will be hard to shape and won’t bake properly. Dough that is too dry will not rise well and [will] taste dense and floury. The goal is to create a cohesive ball of dough that is not floury to the touch. Dough consistency can vary from kitchen to kitchen based on weather, humidity levels and type of flour used. You can get your dough to the proper consistency simply by adding flour or water, one or two tablespoons at a time, as the dough comes together, before the first rise – dough consistency will not improve as the dough rises.

“If you are finding that you are having to add a lot of flour, try using one-third cup less water at first and adding more as necessary,” she added. “After the first rise, dough can be refrigerated for up to five days or frozen for up to a month.”

Completely self-taught, Silverman became curious about baking after a family friend in her hometown of St. Louis would not divulge the recipe of a challah filled with honey. Before then, she confessed, she had never made anything with yeast, but decided to face the challenge.

Silverman started Mandylicious in 2013. During American Thanksgiving that November, which coincided with Chanukah, she posted an image of a turkey-shaped challah with a pumpkin-flavoured stuffing on Facebook. The image was so widely shared that people drove from as far away as New Hampshire and Maryland to purchase her challah. Since then, she has created more than 300 challah and babka recipes and has developed a worldwide following, including more than 33,000 Instagram followers.

Her fearlessness with challah and babka indicates that nearly all things can go well with the right dough. Among her culinary inventions, which she has described as “a diving board into carbs,” are Buffalo chicken challah, salami challah, pistachio pesto-stuffed challah and a red-velvet Christmas challah. Recent variations posted on her Instagram page have included challah French toast with a caramel core, rainbow-coloured challah (with rainbow sprinkles) and a strawberry and vanilla babka with a Fruity Pebbles crust.

Besides selling challah and babka and teaching classes, Silverman loves sharing recipes and tips, and supporting others who want to make their own challah. In the Boston area, Mandylicious offers a rotating assortment of gourmet challot. She uses 100% kosher and dairy-free ingredients and keeps a kosher kitchen.

For the recipes covered during the March 18 lesson, go to images.shulcloud.com/197/uploads/MandyliciousBabkaClass-Vancouver.pdf. Silverman is open to questions and can be direct messaged @mandyliciouschallah on Instagram.

Silverman’s class was part of the eight-part Schara Tzedeck Speaker Series. Two speakers remain: Rabbi Dr. Edward Reichman, a professor at Montefiore Medical Centre and the Albert Einstein College of Medicine, on April 11; and Judaics educator Michal Horowitz, from Five Towns, N.Y., on April 25. The Zooms start at 7 p.m. Register via scharatzedeck.com.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Making musical amid COVID

Anton Lipovetsky is among the professional artists working with Studio 58 to develop Monoceros: A Musical. (photo by Dahlia Katz)

In the face of a pandemic and all its associated restrictions, the show is going on at Langara College’s Studio 58 – albeit in a very different way. Monoceros: A Musical runs through the end of March and features the contributions of two Jewish community members: writer Josh Epstein and composer/lyricist Anton Lipovetsky.

In contrast to other Studio 58 productions, Monoceros is seen as a “development lab,” an opportunity for the creators to tweak the piece, while allowing students to work on a new musical and learn about the process. The production is not a performance in a traditional sense, as the public will not be able to come and watch it. Ordinarily, shows are performed in Langara’s 100-seat theatre, but this is the first time Studio 58 has created a production outdoors – because of the risks of singing inside.

photo - Josh Epstein — Josh Epstein *(photo from Studio 58)*

Adapted from a Suzette Mayr novel by Epstein and his business partner, Vancouver writer/director Kyle Rideout, Monoceros tells the story of Faraday, a high school wallflower who dreams of becoming a famous veterinarian. When Ethan, a classmate known for wearing a unicorn outfit, dies unexpectedly, Faraday sets off on a quest to fulfil Ethan’s last wish.

“The book starts with one of the most powerful chapters I’ve ever read,” Epstein told the Independent. “I was engaged from the first sentence, my heart was drawn to every word. I, too, lost my best friend much too early and I felt very connected to this book. We were about to turn the book into a film, for which we had funding, but, at the same time, we felt a musical bursting out of it and attached Ben Elliott and Anton to write the music. We fell so in love with the musical that we halted the film for now to keep working on the piece. Our show tackles difficult subject matter but in a fresh, humorous way, daring the audience to go on a wild adventure and to listen.”

“I read the book and I loved it. It was heartbreaking and brutal and honest – the kind of book that really stays with you after you read it,” said Lipovetsky. “We decided to centre the story more on a singular character, Faraday, and her quest to bring unicorns to Calgary in honour of the student who passed away. Her quest challenges who she is as a person and she discovers herself along the way.”

Putting on a production in 2021 is “completely wild,” said Epstein, an award-winning actor, writer and producer. “Until the day we started, we had no idea if it would actually happen. Now, here we are with a full tent city built by Studio 58, a rock concert sound setup and an incredible creative team that includes one of Canada’s top directors, Meg Roe, and Lily Ling (Hamilton’s musical director) – who was only available to us because Hamilton is on hiatus.”

Epstein emphasized that, “while the show’s path has been altered by COVID-19, the team has used the time to strengthen the script and score, as well as attach some of the best people around [to the project]. Above all, the process is very safe and we’re having fun being able to work together, if only from a masked distance.”

“Acting, singing and connecting with your collaborators while most of your face is covered is not easy. The students are doing a wonderful job,” Lipovetsky said. “And rehearsing outdoors during early March in Vancouver can be challenging – but sometimes it’s magical. There are moments where the students’ voices soar in beautiful harmony and the sun will come out above us and I’ll feel real joy. I have missed making music and theatre so much and I’m grateful to get to do it even under these strange circumstances.”

In addition to the staff and faculty who are involved, Studio 58 has 10 professionals working with the students, 14 student performers, and many other students helping with technical requirements. One of the top theatre schools in Canada, with the only conservatory-style program in Western Canada, the professional theatre training program at Langara is in its 55th season. It typically produces four main-stage productions a season, ranging from dramas, to comedies, to musicals.

Monoceros is commissioned and supported by Toronto’s Musical Stage Company and funded by the Aubrey and Marla Dan Foundation. The show has an elaborate development road planned out that will include workshop productions in British Columbia and Ontario – culminating in Toronto – before continuing to other stages.

Epstein, whose work has taken him around the world, is currently writing an original feature for Paramount with Rideout. Lipovetsky is an acclaimed composer, lyricist, performer and teacher, and he is currently an artist-in-residence in the Musical Stage Company’s Crescendo Series.

For more information about Studio 58 and its programs, visit langara.ca/studio-58.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

What makes art Jewish?

Sorel Etrog’s sculpture in Odette Sculpture Park, in Windsor, Ont. Etrog was one of four artists featured in Prof. Jennifer Eiserman’s March 7 lecture, Is There Such a Thing as Canadian Jewish Art? (photo by Matt Glaman)

Is there such a thing as “Jewish art” in Canada? Dr. Jennifer Eiserman explored this question in a March 7 Zoom lecture organized by Victoria’s Kolot Mayim Reform Temple.

Eiserman, an artist and an art professor at the University of Calgary, shared some of the preliminary findings of her investigation. She pointed out that, with respect to the concept of “Jewish art,” she was not referring to Judaica or Jewish themes in art. “I’m curious about whether artists with some kind of Jewish background make art that is qualitatively different from other artists. If so, I am interested in how these Jewish artists speak and think Jewishly,” she explained.

She began by providing a background to Canadian art history and, specifically, how it has been taught. There has been a profound shift, to put it mildly, in focus, she said. Prior to 1990, the study of Canadian art was a colonial one, concentrating mostly on male artists of European descent. Now, the works of women, Indigenous people and others are part of the curriculum.

Eiserman then discussed four artists and how they speak both Jewishly and as Canadians. She started with sculptor Sorel Etrog (1933-2014) and his contribution to Canadian Modernism. Etrog was a Romanian-born Holocaust survivor who spent time in Israel before immigrating to Canada. His biography is one of movement from place to place.

“The way I see Etrog speaking Jewishly is through the tension between tradition and innovation and the notion of interweaving roads, the idea of the new, which occurs in Etrog’s work,” Eiserman said.

His work, she added, also speaks Jewishly, in that it maintains certain core principles of the genre of public sculpture while addressing the contemporary context in which the sculpture is being placed. Just as we place Jewish law from generation to generation into contemporary contexts, Etrog’s art innovates while carrying on traditional elements.

The figurative art of Betty Goodwin (1923-2008) was demonstrated as being the work of “an outsider, someone not part of the Old Boys’ Club and one who had to find her own way.” Her work, according to Eiserman, contributed internationally to how drawing was defined and what it was to become.

“Her floating figures might express the experience of being in a world that does not welcome one’s experience. The experience of being neither here nor there. Her work speaks to the experience of losing and finding,” Eiserman noted.

Sylvia Safdie’s video installations of flowing water, sand, light and sound advance the traditional concerns of Canadian art with landscape and nature, most commonly associated with the Group of Seven. Safdie was born in Lebanon in 1942 and her family moved to Montreal in 1953.

Safdie’s video can be perceived as exploring a variety of themes that allow her to bring her own voice into the world. “Her work is part of a post-colonial narrative in which some people have experienced harm as the nation of Canada came into being, and speaks Jewishly of the central issues of living in the Diaspora – how to adapt and yet maintain our identity,” said Eiserman.

The distinctively Jewish fantastical creatures of sculptor David Altmejd (born 1974), who represented Canada at the Venice Biennale in 2007, were the final set of slides shown by Eiserman. She described Altmejd as the “quintessential 21st-century Canadian artist. He is bicultural, multilingual, internationally known and now lives in another country (United States) yet is still deeply rooted in Canada.

“Life is complicated, Altmejd reminds us, we can’t have the good without the bad. Yet, always in his work, life shines through. While he rarely discusses his Jewish roots … one can see that his works speak Jewishly in many aspects,” Eiserman said.

Growing up in Montreal, Eiserman experienced the national influence that the Saidye Bronfman Centre had in disseminating Canadian Jewish art. She received her bachelor’s in art history and master’s in education through the arts at McGill University in Montreal, and a bachelor’s in fine arts (visual art) at the University of Regina in Saskatchewan. Her doctorate, one of the first to use studio art as its method of inquiry, is from the University of Calgary, where she is now an associate professor. Her current research is in North American contemporary Jewish art and community-based Jewish art.

In her artistic endeavours, Eiserman uses mixed media, crochet, watercolour, installation and public art projects to explore issues related to Jewish theology, philosophy and identity. She refers to her work as “visual Midrash, an artistic response to sacred Jewish texts.”

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Conspiracists not new

Prof. Simon Devereaux (photo from Twitter.com/UVicHumanities)

The belief in far-fetched plots is not a new phenomenon. There have always been people who gravitate towards and embrace conspiracy theories. In a Feb. 18 talk, hosted by the Jewish Community Centre of Victoria, University of Victoria history professor Dr. Simon Devereaux focused on “the golden age of conspiracy thinking,” highlighting various false intrigues of the latter half of the 20th century.

According to Devereaux, there are three principal elements to conspiracy theories that give them persuasive power among their adherents: big events must have big causes; no big event is random or accidental and must, therefore, be the result of a sinister and nebulous group’s intents or actions; and the most complicated explanation must, by its nature, be the correct explanation.

In his talk – entitled Conspiracy Thinking: A Rational Guide to Thinking Irrationally – Devereaux gave the November 1963 assassination of President John F. Kennedy as an example of “commensurate scale,” the need to equate consequential events with convoluted background planning. A 1992 letter to the New York Times by historian William Manchester was cited as both an explanation of and a counter to this tendency: “if you put the murdered president of the United States on one side of a scale and that wretched waif [Lee Harvey] Oswald on the other side, it doesn’t balance. You want to add something weightier to Oswald. It would invest the president’s death with meaning, endowing him with martyrdom. He would have died for something. A conspiracy would, of course, do the job nicely. Unfortunately, there is no evidence whatever that there was one.”

Devereaux then debunked many of the arguments employed by conspiracy theorists as reasons for why Kennedy might have been killed, including the belief that the young president was prepared to keep the United States out of Vietnam. He argued that Kennedy was a “hawkish” president who had the same secretaries of state and defence as his successor, President Lyndon Johnson.

On segueing into his second point – the inability of conspiracy theorists to accept that big events can happen randomly – Devereaux explained, “conspiracy thinkers ultimately want to believe that the world is an orderly place in which individuals are capable of keeping events under control. They don’t want to believe that the world is a sometimes chaotic place in which deeply upsetting events can happen for no apparent reason. It must, therefore, follow that some superlatively powerful group of individuals must be the directive force behind all events of enormous human significance.”

Growing disenchantment in the late 20th century of the nation state as a power to do good compounded the problem. As the United States lurched deeper into the ethical morass of Vietnam, Western governments, which were often seen as solutions to societal ills, with such programs as the 1930s New Deal, were no longer viewed as virtuous. The Watergate scandal of the mid-1970s, too, contributed to the increasingly held notion that people in government may be inherently corrupt.

Economically, the OPEC crisis and stagflation of the 1970s further demonstrated the “sad proof that government could not ensure that postwar prosperity could last forever,” and led to the presidency of Ronald Reagan and the distrustful neoconservative view of government, which continues to the present, said Devereaux.

“It is more consoling to think that there is someone in control, even if their intentions and purposes are entirely evil, rather than think there is no good explanation for the terrible things that sometimes befall us,” Devereaux argued.

To conspiracy theorists, the more elaborate and bizarre the assertions of conspiracies, the more compelling the argument. They are wont to believe, said Devereaux, that an unconventional approach to seeking answers is the right approach, and are dismissive of any reasoned proposition that runs counter to their argument.

“It is a world of amateur knowledge refusing to accept the world of professional knowledge. Any pattern of systematic, analytical thinking embodied, for instance, in a university, entails conventions,” he said.

To a conspiracy thinker, university professors represent people who are controlled; academics cannot say or do certain things without incurring professional censure. A common aspect of conspiracy thinking is to “trust no one,” i.e., “do not accept any conventional form of received wisdom.”

The rejection of conventional wisdom fuels their notions of being braver and deeper thinkers than others, as only they can follow the elaborate and frequently ludicrous connections of the conspiracy, said Devereaux. Thus, a conspiracy appeals to their intellectual vanity – they believe they are sharing hidden knowledge, therein fostering the idea that they are smarter than everyone else by not falling prey to “fake” mainstream news. Paradoxically, according to Devereaux, the more gullible the conspiracy believers, the more intelligent they think they are.

In his concluding remarks, Devereaux pointed out that there have been numerous conspiracies throughout history. However, most were either limited in their scope or inept, or both. Somewhere along the way, human nature ruins the plot; someone leaves the group, exposes the operation, or bungles the job.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

The “choosing people”

Angelica Poversky (photo from Angelica Poversky)

Temple Sholom Sisterhood’s social action committee invited members of the community to broaden their understanding of who is Jewish and consider how expansive the community could be in the first of its Tikkun Atzmi Series: Healing Ourselves to Heal the World. The Feb. 4 Zoom event featured panelists Carmel Tanaka, a community engagement professional, and poet Angelica Poversky.

Tikkun atzmi, to repair oneself, is considered the first step on the path towards tikkun olam, repair of the world. Along the way, there are also tikkun bayit, strengthening the family, and tikkun kahal, healing the community.

Tikkun atzmi implies looking inwards and reflecting on what should be taking place within the Jewish community, particularly as it pertains to marginalized groups, such as people of colour, LGBTQ+ individuals and others who consider themselves distanced from the tribe. The past year, the organizers said, has highlighted “so many of the inequities that persist in our world.”

“Not only am I deeply invested in making our Judaism grounded in social justice any opportunity I get, I know and love many Jews who feel as though they didn’t have a home in the community and I am invested in changing that,” moderator Dalya Israel began.

Tanaka spoke about coming to terms with the descriptions that derive from being the child of a multi-racial marriage. Often, she would refer to herself as half-Jewish and half-Japanese. “It wasn’t until years later that I realized I am not half of anything – I am fully Jewish and fully Japanese-Canadian. I can be all of these things and celebrate all of these things,” she told the Zoom audience.

Carmel Tanaka (photo by Manoa1)

Tanaka recalled experiences of her time as director of the University of Victoria Hillel, where she encountered several students who felt alienated from the community because they were not halachically Jewish. Realizing that it can be traumatic for someone to be told they don’t belong in a group, she endeavoured to create a safe space at UVic for anyone who may be Jewish, Jew-ish or Jew-curious.

Poversky referenced the exclusion that some Jews within the LGBTQ+ community have endured. “It is horrible that people are not fully accepted,” they said. “What is our goal if not to uplift everyone? Why create barriers? Those feelings of persecution can be very painful, so why place them on others?”

The discussion touched on the causes for the limited presence of younger and/or marginalized people in synagogues and other areas of Jewish life. Tanaka recounted a story about her mother who, years ago, was told by a synagogue that she was welcome to come to services but was asked to leave her husband at home.

While attitudes may have improved since then, there is still much more room available for inclusion and diversity, said Tanaka. “I feel, in order for the term Jewish to be more expansive, it needs to expand far enough to be a safe space for anyone who wants to identify as Jewish,” she said.

Israel, citing Sarah Hurwitz’s 2019 book Here All Along: Finding Meaning, Spirituality and a Deeper Connection to Life – in Judaism (After Finally Choosing to Look There), put forward the notion that, instead of thinking of themselves as the “Chosen People,” Jews could be the “choosing people.”

“Every day, we wake and choose to be Jews, and the way we live our life,” Israel said.

“Community happens when we complete ourselves,” Poversky added. They spoke about moving away from “action-based” assumptions about Judaism or sexual identity and attaching more importance to the declaration of one’s identity. That is, one can say they are Jewish without the acts of celebrating Chanukah or reading Torah. Implicit in Poversky’s statement was the “restrictive construct” within institutions that defines or even “polices” the identity of another individual because that person belongs to a marginalized group.

Tanaka shared experiences of visiting synagogues and being asked about her name, her lineage and her proficiency in Hebrew. This line of questioning to Jews of colour and others, she believes, is what has caused people to distance themselves from the Jewish community.

“It is the dance of having to prove who you are through actions,” Tanaka explained. “It is what we call microaggressions. When you have this happen over and over again, it can be emotionally exhausting.”

Tanaka, a queer Jewpanese woman of colour, is founder of JQT Vancouver (pronounced “J-Cutie”), Vancouver’s Jewish queer trans nonprofit. She also leads a monthly Zoom call for Jewpanese and their families from all over the world.

Poversky is a queer non-binary Russian-Jewish poet who has more than seven years of facilitation experience. They’ve taught poetry workshops in schools, in libraries, with youth groups, in community centres, and at dozens of festivals across North America. Much of their activism has been devoted to queer and trans celebration.

The Sisterhood’s three Tikkun Atzmi panels are designed to fuel the action committee’s dedication to social justice. Future panels will invite participants to elucidate on ways of bringing awareness to systemic inequity and its impacts on the Jewish community. They will also delve into their Judaism and explore sacred teachings for guidance in caring for and making space for one another.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

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To watch the entire Tikkun Atzmi panel discussion, click here (the passcode for the video is !*n?RC1s).

Mussar & tikkun olam

Dr. Rachael Turkienicz (photo from Kolot Mayim)

At a Jan. 3 Zoom lecture organized by Kolot Mayim Reform Temple in Victoria, Dr. Rachael Turkienicz spoke about mussar (Jewish ethics), tikkun olam (repairing the world) and whether there is a commandment to build bridges.

Turkienicz, founder and director of the Toronto-based Rachael’s Centre of Torah, Mussar and Ethics, began at the beginning, explaining why the Torah starts with creation and not with the patriarchs and matriarchs or the first commandment in Exodus.

“We start with Genesis because it is the ‘common’ that all human beings will have, and so Judaism will begin with what we all have in common,” she said. “No person can ever say to another person, ‘My father is greater than your father.’ And Father in this instance can be capitalized. One person creates the great equalizer. We should never fight with one another over this.”

She then showed how tikkun olam follows from creation, and raised the questions, When did the world break and how did it break? As man is finite and God is infinite, cracks will occur in the process of creation, and it is up to humanity to repair them, according to Turkienicz.

How do we repair? Through free will, she explained. “Free will is the most powerful thing next to God. It is so powerful that I can use my free will to deny God.”

The problem, however, is that “nowhere do we have a program that teaches us what free will is and how to use it,” she said.

In the course of daily routines, free will can take a less prominent role in our thinking, as many of us coast along “on automatic,” i.e., we function without making choices. As a result, nothing is being repaired and the world is continuing as it always does, she explained.

One example of being on automatic is when someone poses the question to an acquaintance passing by: “How are you?” The response is frequently: “I’m OK.” Neither the person asking nor the respondent delves deeply into the subject before moving on.

Being able to use free will is further compounded by the number of choices we have in an open society. Citing academic studies, Turkienicz contended that having a vast array of options available can actually hinder our ability to make use of the power of free will.

Enter mussar, a spiritual practice founded on offering a solid framework on living an ethical life. Mussar differs from kabbalah (Jewish mysticism). Whereas kabbalah is knowledge one receives, mussar moves from a person into the world, said Turkienicz.

Mussar stems from the concept that it is all well and good to know the commandments and recite Torah. However, such knowledge in itself does not make someone a mensch. “Mussar is learning to use my free will to repair the world. The commandments are the utensils, the goal is tikkun olam,” Turkienicz explained.

While mussar has been around for more than a millennium, it expanded in the 19th century to communities throughout Eastern Europe. Before the war, it was studied at the top continental yeshivot, but nearly all the leading exponents of mussar were murdered in the Holocaust. Recently, though, there has been a resurgence of the practice in both Orthodox and more liberal branches of Judaism.

Turkienicz compared mussar with other ethical philosophies, using the scenario of a person seated on a bus when an elderly person boards. Most of us are taught that we should give up our seat in such a situation. But what if the elderly person declines the offer? Ethics would say to sit back down, whereas mussar suggests that one should stay standing, because the issue is not about the elderly person but rather one’s own free will.

“Inside of me something said it is not appropriate for me to sit while an older person remains standing. Whether the elderly person sits down or not changes nothing,” she argued.

According to mussar, we are in control of the personal ingredients that comprise us, be they spirituality or patience. We all have the same ingredients, only the measurements are different, said Turkienicz. A person who does not see himself as spiritual still has a degree of spirituality. Likewise, someone who deems herself impatient has an allocation of patience within her. Our free will distributes the measurements.

“My free will chooses what is my perspective and where will I focus,” Turkienicz said.

As to whether there is a commandment to build bridges, she quoted Israel Salanter, a 19th-century rabbi and founder of the modern mussar movement, who said, “A good Jew is not one who worries about his fellow man’s soul and his own stomach, but about his fellow man’s stomach and his own soul.”

Turkienicz concluded that, while there is no commandment to build bridges, “everything else shows us we should do so, because, if we choose not to, we have lived where that leads us, and we don’t want to go there.”

To view the presentation in full, go to kolotmayimreformtemple.com and search “lectures.” Turkienicz’s talk was part of the synagogue’s Building Bridges series, the next instalment of which takes place March 7, featuring University of Calgary art professor Jennifer Eiserman on Canadian Jewish art. Click here for more information.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Importance of food security

Plans are for Jewish Family Services to open a food centre in the Mount Pleasant neighbourhood this year. (photo from jewishvancouver.com)

The Tu b’Shevat More Than a Bag of Food program – a day of giving, of cooking and of education on food security in the age of COVID-19 – concluded with a panel discussion on the importance of good food, supply chain challenges, and the ensuing impacts and issues facing the Vancouver Jewish community.

The Jan. 28 program was presented by Congregation Beth Israel and Jewish Family Services (JFS), and the discussion event featured Mara Shnay, founding member and chair of the JFS client advisory committee; Cindy McMillan, director of programs and community partnerships with JFS; Dr. Eleanor Boyle, an educator and writer on food and health; Krystine McInnes, chief executive officer of Grown Here Farms, a company that supplies more than 1.5 million families with produce in Western Canada; and Dr. Tammara Soma, assistant professor at the School of Resource and Environmental Management at Simon Fraser University.

Moderator Bernard Pinsky began by highlighting the connection of the Jewish community and providing food. “Feeding the needy is an act of chesed,” he said.

“For people who are food insecure, it is not about having enough for food,” explained Shnay. “It is about not having enough money for anything – to buy a new pair of shoes, to replace a phone, to go to the dentist or to take one’s kids to the movies, and it is about living in that kind of poverty. In Vancouver, housing security is inextricably linked to food security. The income of many JFS clients is less than their rent,” she emphasized.

COVID-19 has exacerbated the circumstances of many JFS clients, particularly seniors, who are at higher risk of contracting the disease and, therefore, should refrain from using public transport or going to stores. Consequently, shopping has become increasingly expensive for them.

McMillan said the food needs within the Jewish community more than doubled in the past year, with children comprising 20% of those seeking food services. The number of Jewish families and seniors living in poverty has been rising for several years in the Lower Mainland, well before the pandemic started, she added.

To help combat the challenge, JFS will open an as-yet-unnamed food centre in the Mount Pleasant neighbourhood in the spring of 2021. “There will be a community kitchen, a place for social gathering, opportunities for general food knowledge, cooking classes, meals and a warehouse with increased storage for dry goods and perishables,” said McMillan.

The centre will also have a market-style food pantry for people to choose their food according to their customs and cultures, and the offerings will extend to outlying communities in the Greater Vancouver area through a pop-up van. The centre’s emphasis will be on supplying healthy food in a dignified manner to those in need, she explained.

Boyle spoke of food security in a wider sense – “We have food security when everyone is confident they can put adequate, healthy food on the table,” she stated.

There are systemic problems in Canada, she pointed out, as the country exports half the food it produces. “Food is treated like any other consumer good, like cars or shoes. It is run largely by private industry and, for business, social good is not a priority, profit is,” Boyle argued.

She advised involving government in the food industry, as is done in other sectors, such as education, transportation and health. More money, she suggested, should go to those who have trouble buying food, perhaps in the form of guaranteed income. The federal government could also pay farmers to grow certain amounts of healthy foods, like lentils, which would be available at below-market rates to everyone. This would in turn enhance food security and health for everyone with no stigma attached to buying this food; rich and poor would be paying the same price at the grocery checkout, said Boyle.

“There needs to be a shift from big agriculture to a more diversified local system,” she continued. “We created these current systems, and they should work for us. Change can happen. We will need to face down climate change and make food systems more sustainable,” she said, urging support for local food that is sustainably produced, as well as for people to waste less food and to eat a more plant-based diet.

McInnes elaborated on Boyle’s points by listing a number of problems in the supply chain, the agriculture and retail sectors, and government policy. “We are in a game in which corporate interests win and farmers lose, and consumers don’t understand that they are playing the card of the unwitting party that made it all happen,” she claimed.

Reeling off some concerning figures, McInnes reported that 85% of the space in grocery stores is controlled by four or five companies, that retail mark-up of local produce is 150% to 200% on average and that 92% of Canadian farmers do not have a succession plan.

Soma, meanwhile, spoke of food as spirituality and food as a right. She questioned, from an ethical perspective, the policies of big agriculture, which, for example, kills male chicks because they cannot produce eggs.

“Food as a right is not a secular concept, it is an act of spiritual justice to promote equity,” said Soma. “Food is a means of building relationships and a means of showing that you care and love someone.”

She added, “Without food security, we will not have peace and we will not have unity. The further the distance between the food and the one who eats it, the more the waste. There is a loss of connection.”

To watch the food security panel discussion or the Hilit Nurick and Rabbi Stephen Berger cooking session that took place earlier on Jan. 28 (and to download their red lentil soup recipe), visit bethisraelvan.ca/event/tubishvat5781.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Protecting children’s rights

Dr. Jennifer Charlesworth, British Columbia’s representative for children and youth, presented the Dean’s Distinguished Lecture and the Janusz Korczak Medal for Children’s Rights Advocacy on Jan. 27. (photo from the Office of the Representative for Children and Youth)

The University of British Columbia’s faculty of education presented the Dean’s Distinguished Lecture and the Janusz Korczak Medal for Children’s Rights Advocacy on Jan. 27, International Holocaust Remembrance Day. Dr. Jennifer Charlesworth, British Columbia’s special representative for children and youth, gave the talk and the medal was awarded to Dr. Kimberly Schonert-Reichl, an applied development psychologist at the University of Illinois, Chicago.

Born Henryk Goldszmidt, Janusz Korczak (1878-1942) was a Polish-Jewish pediatrician, journalist and educator. His advocacy for children is still recognized today through his writings, which served as a basis of the United Nations Convention on the Rights of the Child.

Prior to the Second World War, Korczak was the director of an orphanage in Warsaw. Although he was offered freedom during the Holocaust, he chose to stay with his orphans when they were forced to board a train to the Treblinka extermination camp in 1942. He, members of his staff and more than 200 children were murdered.

Korczak considered children as partners, equal to adults, insisting that there are no human rights without children’s rights. His pioneering work and enduring legacy were felt throughout the recent event. In the words of B.C. Lt.-Gov. Janet Austen, who introduced the main speaker, “Korczak was an extraordinary man who reimagined the relationship between children and adults. A man of great personal courage and a revolutionary thinker, he understood, whoever saves one child, saves the whole world.”

Charlesworth began her talk on Korczak’s connection to the contemporary era by encouraging the Zoom audience to “think of how far ahead of his times Korczak was in suggesting that each child must be respected. He was rejecting the ideas of his time. His commitment to children is awe-inspiring.”

According to Charlesworth, the first indisputable right of a child is to articulate their own thoughts. Those working with children need to nurture the capacity to listen and understand, to be curious and receptive. Further, practitioners have “to place child’s rights at the centre of their practice, to have both ears open to a child’s voice.” Too often, she said, the individual voices of children can be lost in operational systems.

Charlesworth spoke about advocacy and highlighted the fact that those who work with children will have a significant impact on their lives. Korczak’s advocacy for children, she said, “set the bar very high.”

Adults should want to help children realize their potential, and the relationship between adults and children should never result in the appearance of a struggle for rights. Charlesworth emphasized that, without prioritizing youth voices, there would be no Greta Thunberg, the Swedish environmental activist, or Katherine McParland, co-founder of the B.C. Coalition to End Youth Homelessness.

“We are living in a time of great change and uncertainty. Children and youth sense this, too, and we stand to learn a lot from them as well,” Charlesworth said.

Writer and child survivor Lillian Boraks-Nemetz, a board member of the Janusz Korczak Association of Canada (JKAC), which partnered on the event, drew further on the prescience of Korczak’s work and its continued importance. “Today’s children do not have the same sense of normalcy and routine as before COVID-19,” she said. “At times like these, my thoughts turn to Korczak and a child’s right to education, respect and love.”

Afterwards, JKAC president Jerry Nussbaum and Charlesworth presented this year’s award to Schonert-Reichl, an expert on social and emotional learning, whose nearly four-decade career has been dedicated to children’s rights and well-being. Formerly an educator in British Columbia, she was at the forefront of the province’s revitalized education curriculum, which is often heralded internationally for its advancements in social and emotional learning.

“I am so honoured,” she said upon receiving the award. “And to be in a group where so many are advocating for children’s rights.”

The evening also saw the giving of the Janusz Korczak Graduate Scholarship in Children’s Rights and Indigenous Education to Cayley Burton, a third-year master of arts student in early childhood education at UBC and an instructor in the Indigenous Early Childhood Education Program at Native Education College. Her thesis delves into gender-inclusive teaching practices for preschool children through LGBTQ+ picture books.

“It’s an inspiring, overwhelming honour to have Dr. Korczak’s name associated with the advocacy work that I do alongside and on behalf of young children who are marginalized in Canada,” Burton said.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Human rights above all

A poster in Marseille, France, in July 2020, calling for Nasrin Sotoudeh’s release from prison.

The National Council of Jewish Women of Canada spotlighted the remarkable story of Iranian lawyer and human rights activist Nasrin Sotoudeh during a showing of the eponymously titled film, Nasrin, on Jan. 10.

Narrated by actress Olivia Colman, the film takes us into Sotoudeh’s life in Tehran, where she has been a stalwart in defending a wide array of people: political activists, women who refused to wear a hijab, members of the religiously oppressed Baha’i faith, and prisoners sentenced to the death penalty for crimes allegedly committed while they were minors. Her work has come with a tremendous amount of personal sacrifice, including prolonged periods in jail.

Among the notable cases brought up in the film is that of Narges Hosseini, who, in 2018, stood on an electricity box on Tehran’s Revolution Street and removed her headscarf to protest Iran’s mandatory hijab law. She was immediately arrested, and Sotoudeh soon took up her cause. At her trial, the prosecutor claimed she was trying to “encourage corruption through the removal of the hijab in public.”

Iranian filmmaker Jafar Panahi is another of Sotoudeh’s clients. In 2010, Panahi was given a 20-year ban on making films, but he has nonetheless continued to create widely praised cinematic works, such as Taxi, in which he played a Tehran taxi driver – Sotoudeh was one of his passengers. The movie won the top prize at the 65th Berlin International Film Festival in 2015. Together with Sotoudeh, Panahi was co-winner of the European Parliament’s Sakharov Prize for Freedom of Thought in 2012.

And there is the unassuming hero we encounter in Sotoudeh’s husband, Reza Khandan. His unflagging loyalty to his wife and family is underscored throughout the film. He, too, has been imprisoned several times, most recently from September to December 2018, after he wrote about human rights violations in Iran on Facebook. He was accused of operating against Iran’s national security by backing the “anti-hijab” movement. Khandan currently faces a six-year prison sentence.

The film relies on secret footage, made possible by intrepid camerapeople within Iran who took on incredible risk to record Sotoudeh in both her professional and private lives. In the midst of filming, in June 2018, Sotoudeh was arrested for representing several women protesting Iran’s mandatory hijab law. Due to health concerns, she was briefly released from prison late last year, but has since been incarcerated again.

During Sotoudeh’s furlough, she was scheduled to undergo tests to monitor her heart. At one time, she was moved to intensive care in a Tehran hospital after a 46-day hunger strike, protesting the conditions political prisoners in Iran have to endure. She also has pressed for their release during the time of the pandemic.

Shortly before her own release from the Qarchak women’s prison, Sotoudeh contracted COVID-19 but has since recovered.

Following the film’s presentation, a panel discussion took place with the film’s director, Jeff Kaufman; its producer, Marcia Ross; activist Shaparak Shajarizadeh; and former Canadian minister of justice Irwin Cotler. The discussion was led by NCJWC president Debbie Wasserman.

“One of the intents of the film is to say it is not just about Sotoudeh and Iran, it is about applying her standards to our countries and ourselves. Let’s take her example and make it global,” said Kaufman.

The filmmakers said they wanted to tell Sotoudeh’s story because she personifies a commitment to democracy and justice, and represents the power of women to shape society. Further, Sotoudeh holds a deep conviction that people of all faiths and backgrounds deserve equal opportunity and protection.

Both Kaufman and Ross spoke of the extraordinary caution taken to preserve the anonymity and security of those shooting the footage in Iran.

Asked about her reaction upon seeing the screening, Shajarizadeh said, “I cried the whole time. We could see ourselves in every minute of the movement.” Shajarizadeh, who now resides in Canada, was a women’s rights activist and political prisoner in Iran – she fought against the country’s mandatory hijab law for women.

“Nasrin is not only the embodiment of human rights in Iran, but a looking-glass into the persecution of all those who are imprisoned in Iran,” Cotler said.

Cotler advocated for “showing the film as much as we can, and [to] have the sort of conversations we are having now, and mobilize the different constituencies that she has been helping.”

Ross said the film will be out later in the year on Amazon and iTunes.

Established in 1897, NCJWC is a voluntary organization dedicated to furthering human welfare in the Jewish and general communities locally, nationally and internationally. To learn more, visit ncjwc.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.