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Category: Arts & Culture

Different but connected

Jews are not a homogeneous group in ritual, beliefs, thought or experience. We are diverse, coming from many different places, speaking countless languages, putting our unique spins on food, music and other cultural aspects. We are both a religion and a nation. Yet, despite the differences, we are connected to one another in myriad ways, linked by shared ancestry and core values, as well as by external forces that, all too often, are hostile.

“The documentary you are about to watch highlights the resilience and unity of the Jewish people, surviving thousands of years of persecution, violence and dispersion while staying connected, hopeful and shining light in the darkest times,” narrates Becky Wosk at the beginning of her film One Thread, which screens May 3, 1 p.m., at Fifth Avenue Cinemas, as part of the Vancouver Jewish Film Festival.

screenshot - Becky Wosk’s documentary One Thread, which highlights the BC Jewish community, screens May 3 as part of this year’s Vancouver Jewish Film Festival, which runs April 30-May 10
Becky Wosk’s documentary One Thread, which highlights the BC Jewish community, screens May 3 as part of this year’s Vancouver Jewish Film Festival, which runs April 30-May 10. (screenshot from Instagram)

The documentary is a reminder that, while there are so many reasons to be proud of being Canadian, many (most?) immigrants to Canada, Jews included, have come here from somewhere else not so much by choice, but because of adverse conditions in their home country. We must also remember that Canada has not always been a welcoming place for newcomers or, of course, for the peoples who were here before any Europeans arrived. Sometimes, Canada has completely closed its doors, as in the case of Jews fleeing the Holocaust on the MS St. Louis in 1939.

In One Thread, Wosk interviews 15 members of the BC Jewish community. They share brief overviews of their family histories, how they ended up in British Columbia. Most of their ancestors were fleeing persecution or arrived as a survivor of it. Their families sometimes traveled via other countries or provinces before settling here.

Wosk asks interviewees what being Jewish means to them, what they wish non-Jews knew about Jews and Judaism, their favourite parts about being Jewish, and other questions. The answers are both similar and different. They offer a glimpse into the challenges and joys of being Jewish.

Wosk has done a masterful job at editing some nine hours of interview recordings into a 42-minute documentary that includes some wonderful archival footage and photographs. She lets viewers know that Jews are roughly 0.9% of the Canadian population (2021 data) and 0.2% of the global population (2023). She bookends the film with two quotes that reinforce her themes of resilience, unity and hope, and she highlights Canada’s message to Jews wanting to come here after the Holocaust: “None is too many.” But, mostly, she lets her interviewees tell the story.

“I was a student in the Langara film arts program (directing stream) and the head of the program, Jonas Quastel, sent me the application for the Earl Parker Award for Jewish Film via the Edmonton Jewish Film Festival,” Wosk told the Independent about the film’s origins. “I applied with the idea to document some of the history of the Vancouver Jewish community, as well as the commonalities of Jews in the diaspora. As someone who is a documentary lover, and a genuinely curious human, I really wanted to share local community members and their stories.”

She found those community members by putting a call out through local organizations and social media groups. She wanted people from a range of ages and genders. While everyone she spoke with lives in British Columbia, some of them are from other places originally, including Argentina, the United States and other provinces.

photo - Becky Wosk, director of One Thread, which screens May 3 at Fifth Avenue Cinemas
Becky Wosk, director of One Thread, which screens May 3 at Fifth Avenue Cinemas. (photo by Kristine Cofsky)

Her own family history illustrates the different places from which community members have come and the impacts they have had here.

“My paternal great-grandparents came to Canada from Ukraine in the early 1900s,” said Wosk. “That side of the family was actually documented in the book by Shirley Barnett, Don’t Break the Chain: The Nemetz Family Journey from Svatatroiske to Vancouver. My paternal great-grandfather, Abrasha Wosk, was a pioneer of the Vancouver Jewish community. He secured the building and funding for the original Schara Tzedeck and helped start the Hebrew Free Loan Association.”

Her paternal great-grandmother, Abrasha’s wife, Chava (Nemetz), was a community builder in her own right.

“My maternal great-grandmother, Rose Cohen (Beckerman), came from North Dakota; her family came over from Eastern Europe. My maternal great-grandfather, Maurice Cohen, was from Lithuania, the rest of his siblings went to South Africa. He came to Prince Rupert and opened a dry goods store called Director, Cohen & Co.”

Wosk’s grandparents were all born in Canada, she said, except for her paternal grandmother, who was from Manchester.

“It reinforced the feeling of being part of something bigger than oneself, something very deeply rooted in ancient spirituality,” said Wosk about making the film. “I loved being able to chat with the interviewees about our favourite foods and holidays. I just love witnessing the common thread in our existence, the ties to our ancestors, and the genuine desire to learn.”

As winner of the 2024 Earl Parker Award for Jewish Film, One Thread screened at the Edmonton Jewish Film Festival in 2025.

“It’s one thing to create something, but to get it in front of an audience is a whole other matter, so having these opportunities is invaluable,” Wosk told the Jewish Federation of Edmonton’s HaKol at the time.

She is very excited to have the film now screen at the Vancouver Jewish Film Festival. “I want our community to know that we are stronger together, and we need to lift each other up – especially in the face of adversity,” she told the Independent.

“As a people, we face a lot of hate, especially online” she said. “It’s easy to open up Instagram and just be bombarded by antisemitic individuals and just awful comments. I try to find peace and strength in the fact that we do have this incredible community of resilient, strong and compassionate people. We are part of an ancient quilt, and we can always tap into that communal comfort whenever we need to.”

Currently working as a freelance director and videographer, Wosk said she will soon be starting a feature screenplay that relates to her family history and, separate from that, she is hoping to start a new documentary film in the next year or two. Her band, Hollow Twin, will be releasing some new music later this year.

The Vancouver Jewish Film Festival runs April 30-May 8 at Fifth Avenue Cinemas, which is a 19+ venue, and May 10 at the Rothstein Theatre. For the full lineup of films and tickets, go to vjff.org. 

Posted on April 10, 2026April 9, 2026Author Cynthia RamsayCategories TV & FilmTags BC Jewish history, Becky Wosk, documentaries, film, history, movies, Vancouver Jewish Film Festival
Musical celebration of Israel

Musical celebration of Israel

Local Israeli cover band HaOpziot will get people dancing at this year’s Yom Ha’atzmaut celebrations on April 21. (photo from JFGV)

“As we hold Israel close to our hearts, we are reminded that our connection transcends oceans,” wrote Ezra Shanken, chief executive officer of the Jewish Federation of Greater Vancouver, in a recent enewsletter. “We have the power to bring Israel closer, to feel it and to celebrate it together right here at home through our community’s signature Yom Ha’atzmaut event.”

On Yom Ha’atzmaut, April 21, 7:30 p.m., Israeli musician and producer Ben Golan will headline our local celebration of Israel’s 78th Independence Day. (See jewishindependent.ca/story-of-israels-north.)

Golan came onto Federation’s radar when Shanken saw him perform during a 2024 visit to our community’s partnership region in Israel, the Upper Galilee. Golan is from Kiryat Shmona, where he also runs a recording studio. 

In addition to his own performance, Golan will join local Israeli cover band HaOpziot for a couple of songs during their set.

HaOpziot is comprised of Goor Cohen (vocals, guitar), Kobi Gabay (vocals, guitar), Yotam Ronen (bass guitar), Avishai Weissberg (lead guitar) and Omer Yehi Shalom (drums). The group was founded by Ronen and the band’s former drummer, Maoz Kaufmann, in 2022. The pair posted a call-out on Facebook looking for musicians.

“The rest of us responded, we clicked instantly, and the Optziot were born,” said Cohen.

The band performs a few times a year, at clubs around Vancouver, as well as at the Jewish Community Centre of Greater Vancouver. To find out where and when they’re playing, people can follow the band on social media: Instagram, Facebook and/or YouTube.

When asked how to describe their musical sound or style, Cohen said, “In short: high-energy, loud and often fast.

“Our sound is a fusion of hard rock, punk and heavy metal, with subtle touches of Mizrahi influences, creating a style that strongly resonates with Israeli musical taste and culture,” he elaborated.

Each band member brings their different influences to the music, said Cohen, “ranging from mainstream to underground, old-school to contemporary, and classic to anarchistic. That diversity is a big part of what shapes our unique sound.”

Federation’s website page promoting the Yom Ha’atzmaut celebration highlights some of the songwriters whose music HaOpziot performs, including artists like Mashina, Eifo Hayeled, Berry Sakharof and Monica Sex.

The band’s popularity in the local Israeli community is how they came to Federation’s attention, their sound suiting the vibe that Federation would like the event to have, with the night ending in a dance party.

“This will be the biggest crowd we’ve played for so far,” Cohen told the Independent, “and we’re really excited to have more members of the community come see us in action.”

Unfortunately, Gabay won’t be able to make the Yom Ha’atzmaut concert. But no worries.

“For this show,” said Cohen, “we’ve asked Noga Veiman, our unofficial band manager, to join us on stage and take part as a band member – so, together, we’ll deliver the high-energy show we’ve been planning.”

The night, of course, will begin in a more sombre fashion, with the conclusion of Yom Hazikaron, the day of remembrance for Israel’s fallen soldiers and civilians who lost their lives in war and terror attacks. In Vancouver, the community’s memorial service will take place on April 20, 7:30 p.m., both in person and online. To attend or watch, register at jewishvancouver.com/zikaron.

For tickets ($36/adult, $12/youth, $75/family pack) to the Yom Ha’atzmaut celebrations on April 21, go to jewishvancouver.com/yh2026. 

Format ImagePosted on April 10, 2026April 9, 2026Author Cynthia RamsayCategories Local, MusicTags concerts, cover bands, HaOpziot, Israel, Jewish Federation, Yom Ha'atzmaut, Yom Hazikaron
Reclaiming Jewish stories

Reclaiming Jewish stories

Alix West Lefler plays Frida in The Fast Runner. (photo from thefastrunnerfilm.com)

The Fast Runner, a 15-minute short from director David Bercovici-Artieda is about a young girl’s courage during the Holocaust. (See jewishindependent.ca/balancing-education-and-art.) The film screens April 19, 7 p.m., at the Rothstein Theatre, as part of the event Out of the Shadows: Reclaiming Jewish Stories. 

The screening will be followed by a discussion with the filmmaker, Bercovici-Artieda, playwright Mark Leiren-Young and Simon Fraser University professor Dr. Lilach Marom; author and Globe & Mail columnist Marsha Lederman is moderator. The event is co-presented by Chutzpah! Plus and Pacific Legal Education & Outreach Society, with partial proceeds supporting the Antisemitism Legal Hotline (antisemitismlegalhelp.org). For tickets ($18/$36/$54), go to chutzpahfestival.com/out-of-shadows.

– Courtesy Chutzpah! Plus

Format ImagePosted on April 10, 2026April 9, 2026Author Chutzpah! PlusCategories TV & FilmTags Chutzpah!, David Bercovici-Artieda, films, Holocaust, panel discussions, The Fast Runner
Bema presents Perseverance

Bema presents Perseverance

Co-stars Evan Roberts, left, Jerry Callaghan, centre, and Carl Powell in rehearsal for Bema Productions’ presentation of Perseverance, April 22 to May 3. (photo by Becca Elliot)

photo - Jerry Callaghan and Andrea Eggenberger
Jerry Callaghan and Andrea Eggenberger (photo by Becca Elliot)

Bema Productions in Victoria presents Perseverance, by L.E. McCullough, from April 22 to May 3. The play is adapted from the 2019 memoir One Holocaust Survivor’s Journey from Poland to America, written by Melvin Goldman and his daughter, Lee Goldman Kikel. It brings to the stage a timely story of healing and renewal. 

Few visitors to the G&S Jewelry Store in Pittsburgh’s Squirrel Hill neighbourhood during the 1960s and 1970s were aware that the cheerful proprietor, Melvin (né Mieczyslaw) Goldman, had spent his teens enduring the horrors of Auschwitz before arriving in postwar America as a penniless refugee intent on reclaiming his life and reshaping his family’s destiny. The play depicts Goldman’s irrepressible spirituality and unflagging love for humanity as he worked to replace darkness with light, one piece of handcrafted jewelry at a time.

photo - Angela Henry and Jerry Callaghan (photo by Becca Elliot)
Angela Henry and Jerry Callaghan (photo by Becca Elliot)

Bema Productions’ mounting of Perseverance stars Jerry Callaghan, Andrea Eggenberger, Carl Powell, Angela Henry and Evan Roberts. All performances take place in Bema’s Black Box Theatre at Congregation Emanu-El. For tickets ($25), go to ticketowl.io/bemaproductions. 

– Courtesy Bema Productions

Format ImagePosted on April 10, 2026April 9, 2026Author Bema ProductionsCategories Performing ArtsTags Bema Productions, Holocaust, memoir, theatre
Art chosen for new museum

Art chosen for new museum

From a specific vantage point, the dispersed lines of Nicolas Baier’s Candelabra – winner of the Montreal Holocaust Museum’s public art competition for its new building – create the shape of a sphere. (photo from MHM)

The Montreal Holocaust Museum (MHM) has selected Montreal-based artist Nicolas Baier as the winner of its public art competition for its new museum opening in 2027. 

Baier’s artwork, Candelabra, will be installed on the museum’s rooftop terraces. The sculpture is a luminous, constellation-like network of polished stainless-steel lines and points of light set against the Montreal sky. The work is reminiscent of countless survivor stories about imprisonment in ghettos and concentration camps, where the only form of escape was looking to the night sky. Inspired by the human impulse to connect stars into meaningful patterns, the piece reflects bonds built between individuals, communities and generations.   

Rather than reproducing traditional constellations, Baier has created a new network based on astronomical data from the sky above Montreal. From a specific vantage point on the terrace, the dispersed lines create the shape of a sphere, evoking our shared planet and humanity. 

photo - Nicolas Baier’s Candelabra
Nicolas Baier’s Candelabra. (photo from MHM)

In a museum dedicated to Holocaust remembrance, Candelabra speaks to the fragility and resilience of human connection. The Holocaust was marked by the systematic destruction of Jewish life, the devastation of whole communities and the severing of social bonds. At a time when antisemitism and other forms of hate are on the rise, the sculpture serves as a reminder that societies are shaped by the networks we build and protect, and that, even in darkness, light endures.

The competition was held in accordance with Quebec’s Politique d’intégration des arts à l’architecture et à l’environnement des bâtiments et des sites gouvernementaux et publics, which mandates that approximately one percent of the construction budget of public buildings be dedicated to the commissioning of a work of art. 

The selection committee was composed of Marie-Blanche Fourcade (head of collections and exhibitions at the MHM); Adrian Sheppard (user representative); Renée Daoust (architect); Suzelle Levasseur (visual arts specialist); Stéphanie L’Heureux (ministry representative); Martha Townsend (visual arts specialist); and Helen Malkin (observer, chair and consultant for the new MHM). 

“Nicolas Baier’s proposal moved us because it expresses the importance of human connection,” said Rachel Gropper, Holocaust survivor and co-president of the museum. “In a place devoted to memory and education, this work reminds us that each individual life matters, and that together we have the responsibility to uphold compassion and hope.” 

To contribute to the MHM’s building campaign, Give Voice, go to museeholocauste.ca/en/give-voice. 

– Courtesy Montreal Holocaust Museum

Format ImagePosted on April 10, 2026April 9, 2026Author Montreal Holocaust MuseumCategories National, Visual ArtsTags art, Candelabra, development, fundraising, Give Voice, Montreal Holocaust Museum, Nicolas Baier, remembrance, sculpture
Story of Israel’s north

Story of Israel’s north

Kiryat Shmona musician Ben Golan will perform at the Yom Ha’atzmaut celebrations in Vancouver April 21. (photo from Ben Golan)

“Music for me is a way to say: we are still here, still alive, still building a future. It gives people a place to feel, and also the strength to keep going,” said Ben Golan, who will headline our local celebration of Israel’s 78th Independence Day, on April 21.

Golan is a musician and producer from Kiryat Shmona, a city in our community’s partnership region, the Upper Galilee, in Israel. He is the founder of the initiative Patifon.

“For 17 years,” he said, “I’ve been producing music and running a recording studio in the city. Over time, I realized that my work isn’t just about producing songs. It’s about building something that can sustain a real musical community in the north, giving a stage to local creators and creating a movement that feels connected to this place.”

Patifon, which means record player or turntable in Hebrew, serves as a hub for local artists.

“It all started simply, with jam sessions in the studio,” explained Golan. “People began coming to play, sing, meet and connect. Slowly, it grew, until the gatherings were too big for the studio to handle. There wasn’t enough space, but there was a hunger for music. Then, thanks to the youth centre and the amazing Elad Kozikaro, who gave us a budget and the perfect space, we got a shelter, which, in times like these, is a valuable commodity in the north. We moved in, completely renovated it and turned it into the most beautiful music lounge; a place where you can come and feel at home, even if it’s your first time there.”

The lounge morphed into Patifon.

“We started filming live sessions of artists and bands there, with proper sound and respect for the music,” Golan said. “All the sessions were uploaded to YouTube under Patifon and, over time, it started to catch on and reach more and more people. Suddenly, what began as a small local gathering became a stage watched by people outside the north.

“As the audience grew and we realized this needed more breathing room, we opened a community pub. Students from Tel-Hai College volunteer there as part of a scholarship program and help keep the place alive and running.”

For Golan, Kiryat Shmona is not just where he was born and grew up. He calls the city and the Upper Galilee his “inner language.” 

“In this city, I learned what the rhythm of a community really is: people who know each other, who will always help you when you need something. There’s a different kind of air here,” he said.

“I have a stream right by my house. It seeped into my music without me even intending it to – a mix of rough and tender, of truth and esthetics, of wanting to shout and needing a moment of quiet to breathe,” he explained. “The nature here, the open space and the distance from the centre taught me how to really listen – not to the noise, but to what lies underneath it.

“Continuing to create in the north, especially after Oct. 7, is not a romantic choice for me – it’s a stance,” he said. “The region went through a real upheaval: fear, evacuation, uncertainty and, also, a kind of pain that people who don’t live here sometimes don’t fully understand. Out of all of that, creativity becomes a tool for connection and healing.”

Golan chose to stay in Kiryat Shmona out of a sense of mission.

“I believe the periphery holds immense talent, real hunger and stories you can’t fake – it just needs infrastructure, a home and support,” he said. “I want the young people and artists here to feel that they don’t have to leave in order to become something. On the contrary – that this place itself can become a source of inspiration, an opportunity and a creative centre that generates culture rather than just consumes it.”

Coming to Vancouver for Yom Ha’atzmaut, Golan said he brings messages of resilience and hope – and he takes those words seriously.

“Independence, for me, is also the ability to choose to create despite the difficulty, to choose community, to choose light,” he said. “I want to bring the story of the north: people who continue to build, to organize events, to create music and to hold each other up even when reality is complicated. In my music, there is room for both joy and pain, because both are part of our lives – especially in this time.”

On April 21, Vancouver band HaOptziot will also take the stage at the community celebrations, playing covers of various Israeli hits.

For tickets ($36/adult, $12/youth, $75/family pack) to the Yom Ha’atzmaut celebrations, go to jewishvancouver.com/yh2026. 

Format ImagePosted on March 27, 2026March 26, 2026Author Cynthia RamsayCategories MusicTags Ben Golan, HaOptziot, Jewish Federation of Greater Vancouver, Kiryat Shmona, music, Patifon, Yom Ha'atzmaut
Art dismantles systems

Art dismantles systems

“I Betrayed Him and the Fate of Becoming Him” by Yongzhen Li is part of Li’s solo exhibit – Structures of the Unsaid – at the Zack Gallery. (photo from Yongzhen Li)

On March 5, the Zack Gallery opened its first solo exhibition by a non-Jewish artist in years. Called Structures of the Unsaid, it presents the work of Yongzhen Li, a recent immigrant from China. By coincidence, it is also Li’s first solo show, and the show’s name reflects the artist’s feelings about his native China’s patriarchal culture and collectivist society. 

“The art committee and I asked Li to be part of the Zack Gallery exhibitions over a year ago,” said Sarah Dobbs, the gallery’s curator. 

“His talent, the way he handles the surface of the paper and the themes that we felt resonate with the Jewish community were the primary reasons for selecting him for a solo show,” she said. “The way he works – using ink, rice paper and mugwort water, which stains the surface before the image appears – reflects his deep skills as an artist. This was the primary pull for us to exhibit him. In addition, the water residue acts as a form of embodied memory, recalling the imperative to remember – the surface carries what cannot be seen. 

“His practice emerges from absence, where the creation of each piece is a gesture of repair within fracture, like a quiet form of tikkun, a concept found in the Zohar,” she explained. “Painting is how he wrestles, remembers and remakes meaning. So, the conceptual nature of his work, combined with his skills, was a no-brainer. The committee and I just immediately voted him yes!”

Li and his wife, Jiamin, came to Canada in 2024, settling in Oshawa, Ont.

“I like the food here – so many Asian groceries,” he said with a smile. “But language is hard for me. It’s always been so, even before we came here. Language has always felt too thin. The words seem to flatten what I feel, while images allow it to remain alive.” That’s why he asked his wife to act as his interpreter during his interview with the Independent. 

Li’s road to the arts was not simple. 

“My father is a petroleum worker,” he said. “And so was his father before him. It is traditional in China that a son follows his father’s work. It is a good job, with a decent pay, and it was already arranged for me after I graduated, but I didn’t want to do it. I always felt like an outsider in my family. I didn’t want to know my future for the next 50 years. I knew it wouldn’t make me happy. I wanted to do art. I wanted to be free in my choices.”

That was his first rebellion, his first step against the established routine, but not his last.

“I was about 13 at the time…. By Chinese tradition, children of artists who follow their fathers into art start their artistic training at 6. I was already too old, but I needed to do it. Otherwise, I felt that I had nothing of my own. Fortunately, I had a good art teacher at school,” said Li, adding with a grin: “And I became popular with my classmates.” 

photo - “Underground World” by Yongzhen Li, whose solo exhibit at Zack Gallery runs to April 13
“Underground World” by Yongzhen Li, whose solo exhibit at Zack Gallery runs to April 13. (image from Yongzhen Li)

His next step upon graduation was the Academy of Fine Art in Xi’an, one of the largest cities in China, with an ancient history and a long artistic tradition. The famous Terracotta Army, a UNESCO World Heritage Site, is located just outside the city. The Xi’an academy is considered one of the best art schools in China, but Li didn’t like his time there. 

“There was no creative freedom,” he said. “The professors were rigid, wanted me to copy them, to follow their instructions without thinking. It didn’t work for me.” 

Once more, Li went against the established mode. He quit the academy and found a job to support himself and his wife. He worked with social media while teaching himself to be an artist.

“People thought I was crazy to quit,” he said. “My parents wouldn’t help financially – they didn’t approve of my actions. Besides, they were getting a divorce. And I was already married – we met at the academy. Jiamin was also a student there.” 

When COVID struck, the young couple experienced the restrictions that were placed on people worldwide.

“We became all isolated, had to stay at home,” Li recalled. “But we watched lots on the internet, especially YouTube videos. In China, the world internet is not available – it is illegal there to access YouTube or Google or Facebook. Chinese people have their own limited internet version, allowed by the government, but many young people ignore those restrictions and download apps to watch the real internet. We did too and we learned a lot. We could finally see for ourselves how the world worked. We decided to emigrate to Canada.”

Canada was a revelation to Li. “I’m free here,” he said. 

To make ends meet, Li works for a delivery company, but, in his spare time, he continues to paint and learn, and his art evolves. When he lived in China, his themes tended to be narrow, tied to certain events or ideas, but his latest imagery explores more complex issues of identity, memory and resistance.

“Art has become my emotional refuge as well as a method of self-liberation,” he said. 

It also allows him to process his inner tension and vulnerability, as he struggles for personal and creative autonomy. His large painting “Underground World,” finished in the past month, is symbolic of his current trend of using traditional Chinese motifs and media to address contemporary and universal topics.

The painting looks like a collage, denoting the artist’s inner journey; many aspects intertwine and contradict one another. Family history versus personal fragility. Government direction versus private uncertainty. 

“I am not searching for villains. I am dismantling systems,” Li says in his artist statement. “I refer to structures that appear normal: family control, humiliation disguised as education, and forms of care that carry hidden violence. Tragedy most often happens not through cruelty, but through what is socially justified, well-intentioned and unquestioned.” 

As for his life in Canada, Li said, “I’m thinking of taking some art classes here. There is so much choice, so much freedom for an artist.”

Structures of the Unsaid is on display until April 13. To learn more about Li, visit his website, yongzhenli.com. 

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Format ImagePosted on March 27, 2026March 26, 2026Author Olga LivshinCategories Visual ArtsTags art, China, immigration, painting, social commentary, Yongzhen Li, Zack Gallery

What is Jewish music?

On March 8, Joshua Jacobson, professor emeritus of music at Northeastern University in Boston, Mass., spoke on the topic Jewish Music: What’s That?

photo - Prof. Joshua Jacobson was the latest speaker in Kolot Mayim’s Voices of Jewish Music series
Prof. Joshua Jacobson was the latest speaker in Kolot Mayim’s Voices of Jewish Music series. (internet photo)

The Zoom lecture was the fifth of six talks in Kolot Mayim Reform Temple’s 2025/26 Voices of Jewish Music series.

How can music even be Jewish? Jacobson asked. Does music keep kosher? Is music circumcised? Did music have a bat mitzvah? He played an excerpt of African-American clarinetist Don Byron performing the klezmer number “Der Nayer Doyne.” 

“You don’t have to be Jewish to compose or perform Jewish music,” he said. “And that’s why I prefer the terminology, the music of the Jewish people. Although I will admit that, for the sake of convenience, I often do use the term Jewish music.”

But the question of what constitutes Jewishness remains. The word represents an ever-widening expanse, including an abundance of liturgical music, a vast array of music influenced by the cultures in which Jews have lived and the languages they have spoken, and the contributions of Jews who have entered the community by choice.

“There is no single Judaism, not anymore. It’s a big tent,” Jacobson said.

One school of thought Jacobson pointed to came from Swiss-American composer Ernest Bloch, who said, “Racial consciousness is something that every great artist must have. A composer who says something is not only himself, he is his forefathers. He is his people.”

Leonard Bernstein wrote in his senior thesis at Harvard University in 1939: “It is easily understandable that a composer whose parents were immigrants still maintains a close contact with the old racial traditions. If their traditions are part of his childhood, they are inevitably part of his life.”

Jacobson played Irving Berlin’s “White Christmas” to illustrate that any music composed by a Jew could be considered Jewish music.

The Nazis, however, defined Jewish in purely racial terms, Jacobson said. They would not allow any music written by a Jew to be heard or even studied in Germany and German-controlled countries. Nor would the Nazis allow Jewish-German conductor Bruno Walter to lead a concert of Ludwig van Beethoven’s works. Jews, the Nazis believed, would spoil the music with their “Jewish accent.”

Jacobson played excerpts of Beethoven’s Symphony No. 6, asking if members of the audience could distinguish between a performance led by Walter and one by conductor Wilhelm Furtwängler.

“How many of you think that the first one was conducted by a Jew? How many of you think the second one was conducted by a Jew? How many of you think that it’s a ridiculous question? – which, of course, it is. Did one of these have a discernible ‘Jewish accent’? No,” Jacobson said.

image - In his March 8 talk, Prof. Joshua Jacobson gave Irving Berlin’s “White Christmas” as an example of how any music composed by a Jew could be considered Jewish music
In his March 8 talk, Prof. Joshua Jacobson gave Irving Berlin’s “White Christmas” as an example of how any music composed by a Jew could be considered Jewish music. (internet image)

Defining what constitutes Jewish music by what exists within borders or, as in much of Jewish history, in exile, can be an equally insurmountable task. As an example, Jacobson played part of a track from Arab-Israeli hip-hop group DAM, which is in Hebrew.

Many Israelis write music that doesn’t sound geographically constrained, he said.

Nonetheless, the professor did offer a definition of traditional Jewish music in his talk, saying it is music that has been used – whether sung, played or listened to – by Jews more than by other people, and, therefore, it has become associated with Jewish people.

Cantillation, the way the Torah and other biblical books are chanted, is the oldest form of Jewish music, Jacobson said. Demonstrating the cantillation styles of Babylonian, German and Yemenite Jews, he showed that the practice is similar, although not entirely the same, in Jewish communities throughout the world.

“Some scholars think that these are variations on an ancient theme, he said. “The variations are due to acculturation. German cantillation betrays the influence of German music. Yemenite cantillation betrays the influence of the culture in which they lived, the Yemenite culture.”

Jacobson said we find Jewish music in many styles and periods, and perhaps the problem in seeking a definition is that there are so many Jewish “musics.” He returned to Bloch, who once said that he could not say what Jewish music is, but one knows it when it is heard. According to Bloch, “It is something that both you and I can recognize and feel, even if we cannot analyze it.”

To Jacobson, the term Jewish music “is itself a wide tent in which all may not agree on a definition, but it’s something that we cherish, and something that fulfils us.”

An authority on Jewish music, Jacobson is also the founder and director of the Zamir Chorale of Boston. He has guest-conducted many ensembles, including the Boston Pops Orchestra, the Bulgarian National Symphony and Chorus, the New England Conservatory Orchestra and the Boston Lyric Opera Company. He has written articles on various aspects of choral music and has published more than 100 compositions and arrangements.

The final speaker in this year’s Voices of Jewish Music series is author Michael Posner on April 12 at 11 a.m. Posner will explore Leonard Cohen’s Jewish heritage, philosophy and musical legacy – and how Judaism influenced Cohen’s lyrics, philosophy and life. For more information, visit kolotmayimreformtemple.com. 

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

Posted on March 27, 2026March 26, 2026Author Sam MargolisCategories MusicTags Jewish music, Joshua Jacobson, Kolot Mayim, speakers, Voices of Jewish Music

The hidden hand of hate

Warren Kinsella has spent much of his career studying the darker corners of political life. A lawyer by training, author of about a dozen books and a longtime political strategist, he has written about Holocaust denial, far-right extremism and organized hate movements. 

In his just-released book, The Hidden Hand: The Information War and the Rise of Antisemitic Propaganda, he follows these threads down the unseemly rabbit hole that has perplexed many observers since Oct. 7, 2023: the sudden and superficially spontaneous eruption of anti-Israel activism across Western campuses and cities in the aftermath of the horrendous atrocities of that day.

Kinsella’s thesis is straightforward and, to most readers of these pages, probably neither controversial nor surprising. The worldwide surge in anti-Israel protests, he argues, is not organic. Rather, it reflects a long-developed propaganda infrastructure – the “hidden hand” – involving the Iranian regime, Hamas, Hezbollah and a constellation of worldwide activist organizations that have spent years building networks capable of shaping Western public opinion.

Hamas, Kinsella argues, fights two wars simultaneously. One is the familiar military campaign conducted with rockets, bullets and suicide attacks. The other is an information war, waged through imagery, messaging and propaganda. Israel may well win the first war, he suggests, but the second – the battle for global public opinion – is far less certain.

The book opens with the immediate aftermath of the Hamas attacks of Oct. 7. While Israelis were still grappling with the scale of the massacre, demonstrations against Israel began sweeping Western campuses and cities. In the United States, a “national student walkout” took place within days of Oct. 7. Activists insisted these events were spontaneous expressions of outrage over the war in Gaza – but many of them took place before there was even a war in Gaza.

Many of the protests, Kinsella writes, appeared to have been organized rapidly with shared messaging, identical slogans and coordinated materials. Student groups that claimed to be independent grassroots organizations were often connected to larger activist networks. Manuals, posters and protest toolkits circulated almost immediately.

image - The Hidden Hand book coverThis pattern is central to the book’s argument. What looks like decentralized activism, Kinsella contends, often reveals indisputable signs of coordination.

One of the more striking anecdotes in the book involves Gary Wexler, a California professor who worked with the Ford Foundation on programs in Israel and Palestine during the Oslo peace process. Wexler recalls being warned by a leading Palestinian civil society coordinator that pro-Palestinian networks would one day rival – and surpass – the vaunted Jewish advocacy organizations in their ability to mobilize globally. Funding, the activist reportedly told him, would come from European institutions, Arab governments and wealthy donors.

Years later, Wexler began to see the prediction materialize in movements such as the push for boycott, divestment and sanctions (BDS), Israel Apartheid Week and international flotillas challenging Israel’s blockade of Gaza.

Kinsella stops short of claiming a single command centre orchestrating these movements. Instead, he suggests a looser ecosystem in which state actors, activist organizations and sympathetic nongovernmental organizations amplify one another’s messaging.

If there is a common theme running through the book, it is the power of narrative.

According to Kinsella, Hamas and its allies have been remarkably successful at shaping the language through which the conflict is discussed in the West. Terms such as “colonialism,” “apartheid” and “genocide” now dominate activist discourse, particularly among younger audiences. These ideas circulate widely on social media platforms, where emotionally charged content spreads faster than verified information.

The book devotes considerable attention to misinformation and the speed at which it travels. One example Kinsella cites is the widely circulated claim that Israel had bombed the al-Ahli Arab Hospital in Gaza, killing hundreds of civilians. The allegation ricocheted around the world within hours, sparking protests and diplomatic condemnations from the highest levels. Later evidence indicated the explosion was caused by a misfired rocket from Palestinian Islamic Jihad – and that the casualty figures had been exaggerated exponentially. The correction, of course, traveled neither as far nor as fast as the original claim.

Social media algorithms amplify this dynamic, Kinsella argues, pushing users toward increasingly extreme content. The phenomenon is not unique to Middle East politics. The same mechanisms drive conspiracy theories about vaccines, elections and countless other subjects. But, in the case of Israel, he suggests, the misinformation taps into something older and deeper: an antisemitic proclivity to believe the worst and most fantastical allegations about Jews.

In the contemporary context, antisemitic narratives often blend with modern ideological frameworks. In activist discourse, Jews are sometimes recast as embodiments of colonialism or “whiteness,” placing them on the oppressor side of social justice frameworks. The result, Kinsella suggests, is a rhetorical environment in which hostility toward Israel can slide easily into hostility toward Jews.

Polling data cited in the book underscores the generational divide in attitudes toward the conflict. Surveys in North America and Europe have found large numbers of younger respondents expressing sympathy for Hamas or believing that the 10/7 attacks were justified. Other polls show significant numbers of young people convinced that Israel is committing genocide. Such findings shocked even the pollsters who conducted them.

Kinsella argues that universities have played a significant role in shaping these attitudes. For decades, he writes, academic discourse has increasingly framed Israel through the lens of “settler-colonialism.” At the same time, foreign governments – particularly that of Qatar – have donated billions of dollars to Western universities.

The media also come under scrutiny. Western news organizations, he argues, routinely rely on casualty figures supplied by the Hamas-controlled Gaza Health Ministry, numbers that critical analysis suggests are inflated, particularly in terms of non-combatant casualties. Journalists reporting on what’s happening in Gaza frequently depend on local stringers who operate either directly under Hamas authority or in a context where anything but pro-Hamas reporting is existentially dangerous. This situation effectively grants terrorist propaganda the imprimatur of legitimate media platforms.

Because Kinsella is Canadian, The Hidden Hand is rife with Canadian content. This will be interesting to Canadian readers – and a meaningful contribution to the sad litany of incidents in this country – but it is additionally relevant because Canada has been among the worst places for these sorts of offences. Last year, an Israeli government report analyzing the problem worldwide called Canada the “champion of antisemitism.” So, while Canada may not be a major player in many of the world’s foremost competitions or concerns, when it comes to anti-Jewish discrimination, we regrettably find ourselves owning the podium. That makes what happens here – and how (or whether) we confront it – especially relevant.

The thesis of Kinsella’s book, of course, is that these problems know no boundaries (figuratively or literally).

Much of the evidence he presents is circumstantial rather than definitive. He has found no single document or intercepted communication that proves the existence of a centralized propaganda command. The accumulation of connections, coincidences and patterns is what gives the book its force, but Kinsella does not provide the proverbial smoking gun. This is partly understandable because, if there were incontrovertible proof linking ostensibly legal, legitimate activist groups in Canada and around the world with known terrorist entities, surely Western governments would have acted by now.

Ah, but there’s the rub. The very fact that someone like Kinsella, without, say, top-level security clearance, could amass such a damning catalogue of evidence begs the question of just how much effort governments and security services are devoting to this problem. That so many deeply problematic and potentially illegal cases in Canada, including here in British Columbia, have not resulted in charges or even, seemingly, any serious investigation, makes Kinsella’s book especially valuable. If there is this much smoke, where are the governmental and security agencies that are supposed to be the firefighters?

Whether one accepts all of Kinsella’s conclusions or not, The Hidden Hand forces readers to confront the possibility that the global conversation about Israel is shaped by forces far more organized and odious than many seem willing to believe.

If Hamas fights both with bombs and with words, as Kinsella argues, then the information battlefield may prove just as consequential as the physical one. And, on that battlefield, the outcome is still very much in doubt. 

Posted on March 27, 2026March 26, 2026Author Pat JohnsonCategories BooksTags antisemitism, books, government, media, propaganda, protests, rallies, The Hidden Hand, Warren Kinsella
Drawing on his roots

Drawing on his roots

Multi-instrumentalist and songwriter Ezra Ben-Shalom’s debut solo album, Known and Unknown, was released in 2025. (photo by Michelle Behr)

With his debut solo album, released last year, Kelowna musician Ezra Ben-Shalom shows off his personal side, with a uniquely Jewish touch. 

For Ben-Shalom, who reconnected to Jewish ritual practice around five years ago, Known and Unknown – his first solo project – is a deeply personal one. The focus of his music and daily life has become all about asking questions, he said. It’s about finding ways to be of service in the world and creating a connection with something larger than himself.  

“I’m doing my best to be of value to the world and to the culture. And, you know, you step in front of a room of people and take a deep breath and open your mouth and sing – I want to offer something that’s real, that’s authentic and that’s meaningful,” the 43-year-old said in a phone interview.

The album is highly Jewish-inspired, owing to his own reconnections – and, he said, he hopes it will encourage empathy among listeners.  

“I think the album title was maybe a hint to myself to come from that place of humility, that we don’t have the answers, as much as we think we know or that we learn,” said Ben-Shalom. 

The songs on Known and Unknown include some Hebrew words, and the sounds of a shofar on two tracks, though the lyrics are largely in English.

Jewish themes shape much of Ben-Shalom’s interpretation and highly personal expressions; however, he emphasizes that, while his path is Jewish, he sees the disc’s new compositions as something more broadly accessible. The songs, he said, are “about inner experiences and feelings and reflections, and they’re about living in the world as a human being, not as a Jewish human being.”

Themes of transformation, vulnerability and boldness underline the album’s adult alternative and folk-adjacent sounds, and Jewish references abound, with songs titled “Shechina,” “Shake the Dust,” and “El and Gil.” 

New name, old passion

Ben-Shalom is the new-ish musical handle of producer and multi-instrumentalist Ezra Cipes, who grew up in Kelowna and has played in bands since he was 14 years old, he told the CJN.

By the time he was 19, Cipes and one of his three brothers co-wrote a song with Indian-born Canadian punk/alternative music icon Bif Naked, who grew up in Winnipeg. He’s also performed regularly and recorded with the Calgary-born indie-pop-folk artists Tegan and Sara. (Bif Naked’s bassist, Chris Carlson, produced, co-wrote and played most of the other instruments on Ben-Shalom’s 2025 album.)

Prior to the new project, another band featuring the musical Cipes family had been nominated in 2022 for a Juno Award in the children’s music category for the second disc by the troupe, called the Oot n’ Oots. The five-piece band comprised Ezra; his three brothers, Matthew, Gabe and Ari; and his daughter, Ruthie, who was the singer.

When that project wound down following the end of 2023 summer festivals, the guitarist and keyboard player turned to exploring a different expressive musical language. He had set out on that musical exploration when the Oct. 7, 2023, attacks by Hamas in Israel, which triggered the Gaza war, refocused his artistic lens.

“Oct. 7 put a lot of things into focus and showed the ways that, really, we’re all lost in one way or another,” he said. 

The way the world responded after Oct. 7 was a “frustrating and painful” experience, he said.

“You think, ‘What can any of us do?’ And none of us can fix it – you can’t completely change all these cultural narratives and people’s ideas and correct the record or bring a higher perspective on our own, but we can do our part. We can stand strong in our own truth and share it, proudly and with strength and humility.” 

Explaining that he’s always needed “a little spiritual medicine in my life,” Ben-Shalom described reading at night, from literature and philosophy to spiritual and self-help books, and had long realized he needed to do that, even before he connected with Judaism.  

Pivotal turn to Judaism

Growing up, while his family – who own a successful organic vineyard – belonged to a local synagogue, they weren’t traditionally observant, though he became bar mitzvah and attended Jewish summer camp. 

But, as an adult, he reflected, he was “totally disconnected” when it came to traditional Jewish practice and observance. 

It was a moment in 2020, early during the pandemic, following a sweat lodge ceremony led by Ron Hall, a longtime family friend who’s an Indigenous artist and biologist, that brought Ben-Shalom an epiphany. 

“It [the sweat lodge] was one of those moments that really flipped a switch in my whole life, and it was just a hinge moment. I thanked him [Hall] for the ceremony, and I shared with him how powerful it was and how meaningful it was, how deep it was,” said Ben-Shalom.

“And I said to him that he’s lucky to have the traditions to draw on to connect with his own soul and with the creator and I said to him: ‘All I have is this shallow materialistic Western culture.’ 

“And he said, ‘What are you talking about, Ezra? You’re Jewish. You come from an Indigenous people.’”

Nobody had ever said that to him before, Ben-Shalom recalled, and it became a turning point.  

“I had grown up thinking it was cool to be Jewish and, like, neat, but also vaguely embarrassing to be Jewish, and it was something I didn’t really like to talk about or get into very much because … I always felt othered,” he said.

The COVID-era wave of social justice movements brought a resurgence of ideas “about decolonization and equality,” he said. “It’s good to support the Indigenous people keeping their culture, keeping their language, keeping their tradition, keeping the oral culture alive.”

He felt a tinge of hypocrisy. “And then I realized I was not honouring my own ancestors and I didn’t know my own language. I didn’t know my own story,” he said. 

Ben-Shalom now attends the local Chabad, lays tefillin and wears tzitzit and a kippah.

He described one of the first times he performed the new music at a live show at the Kelowna venue Revelry in 2024. 

“I got off stage and my whole body was sore, from holding myself and breathing and keeping myself grounded and keeping myself in a state of service,” he said. (Since then, he’s felt “a little bit more relaxed” performing the new material.) 

“The songs are almost like prayers, and you have to kind of get into that place to sing them, where there’s a genuine connection and not just notes and not just words.” 

Ben-Shalom hopes to bring the album in a live performance to audiences across Canada, and to ensure that includes Jewish audiences, he told the CJN. 

“I’d like to play for all audiences that will have me, but, in particular, I want to go and play for Jewish people,” he said. “I want to share these songs with Jewish people. I want to bring inspiration, pride and honour to our tradition, to Jewish people.” 

Jonathan Rothman is a reporter for the CJN based in Toronto. This article was originally published on thecjn.ca and is reprinted with permission.

Format ImagePosted on March 27, 2026March 26, 2026Author Jonathan Rothman The CJNCategories Local, MusicTags Ezra Ben-Shalom, Judaism, Kelowna, music, Oct. 7

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