Music – Page 17

Help Passion to Israel

Dr. Peter Gary discusses A 20th Century Passion, which is set to première in Jerusalem Oct. 17, in a documentary-in-the-making by Hilary Pryor and David Malysheff. (screenshot from a20thcenturypassion.org/documentary)

For most of his life, Dr. Peter Gary never spoke of the three years he spent in Majdanek, Dachau and Bergen-Belsen from the ages of 17-21, or that he and his mother were shot and left for dead on Christmas Eve, 1941. Yet, in 1993, after immigrating to Canada and British Columbia, he founded the Victoria Holocaust Remembrance and Education Society and began to lecture in schools up and down Vancouver Island and in coastal British Columbia. Over the years, he has spoken to more than 65,000 children and youth, college and university students – imparting his message that you can’t live with hate, you can only die with hate.

A 20th Century Passion is an oratorio Gary has composed that depicts the story of the Holocaust and the years preceding and following it, from the end of the First World War through the Nuremburg trials. It is a huge piece – the score alone is 587 pages – that requires a full orchestra, an adult and a children’s choir as well as four soloists plus the conductor. That’s more than 100 people involved in the performance, which is set to première Oct. 17 in Jerusalem – if there is enough to finance the rehearsals, logistics and everything else needed to bring it to life.

Gary’s wife, Judy Estrin, talks about the fundraising project in a video at gofundme.com/20thcenturypassion. She and others involved in the project are asking that people give today. Instead of a latte, give to the music. Challenge your friends to give. If each of the 65,000-plus students who heard Gary’s message over the last 25 years gave $2 to $5, the concert would be funded, a documentary made – Hilary Pryor, executive producer, and David Malysheff, documentarian, have already more than 14 hours of film “in the can” – and there would be funds to donate to help the dwindling number of survivors left.

Gary, a classically trained composer, wrote both the score and the libretto of A 20th Century Passion in the 1970s as a remembrance of the children murdered by the Nazis. The piece has never been performed. (For more on the work and a planned concert in British Columbia that was canceled, see jewishindependent.ca/holocaust-survivor-peter-garys-oratorio.)

In his talks to high school students, Gary speaks about hate, about bullying, about the Holocaust. He leaves them with a message: stamp out hate. This message is more important than ever, as the horrors visited upon Gary and his family are being repeated.

Here is an excerpt from the libretto of A 20th Century Passion by Gary:

Why do you hate me so much?
What have I done to you? –
You really haven’t, but you are a Jew!
For this alone you have to hate….
Why don’t you see me as human, awake?
You must have some feeling,
So many of us, not knowing – just killing….
Whether it’s many that I kill or few
Matters so little, since you are a Jew!
Look at our women, they’re mothers like yours;
Our whimpering children, the frightened old….
Don’t you have young ones, or fathers who….
Oh yes we have them, but none of them Jew!
Our leader decided for all you to die!
We are the masters and do as told….
Being big, strong and hardened and bold….
Look how I’m smiling the same smile you have,
Whenever I’m bleeding my blood is the same red.
I’m speaking the same voice,
Our hands are the same….
I told you, you fool Jew, I told you in vain….
You are not worthy, not human, that’s that!
I pity you man –
When you finish killing – you too are dead.

For more details about the concert and documentary, visit a20thcenturypassion.org. To donate, visit gofundme.com/20thcenturypassion.

Milken launches site

This two-album anthology was created to celebrate the launch of the Milken Archive’s new website. It features a sample track from each of the archive’s 20 thematic volumes.

The Milken Archive of Jewish Music: The American Experience has launched a new website (milkenarchive.org) that allows visitors to experience virtually every piece of music and every composer that the archive has recorded since its founding in 1990.

The extensive collection – which includes more than 600 works comprising 1,800 individual tracks, 200 composers and 800 hours of oral histories – is organized into webpages that contain links to all of the available related media content collected and created in the course of the archive’s historic work.

“This new site is a vast repository of a musical culture that has continually redefined and reinvented itself as it has responded to the opportunities and challenges of life in a land of freedom,” according to Milken Archive curator Jeff Janeczko.

The new mobile-friendly platform offers a rich experience on a variety of devices to accommodate the diverse needs of Milken Archive’s audiences. From documentary videos and photographs to extended oral histories and articles, each page exists within the context of the cultural and historical narratives that have defined Jewish life in America for the past three-and-a-half centuries.

In celebration of the new site, a digital anthology is available free to all individuals who sign up at the archive’s website. Ten winners will also receive five albums of their choice; five winners will choose 10 albums. A grand-prize winner, chosen at random, will have unprecedented access to all 1,800-plus tracks contained within the archive’s 20 thematic volumes. The deadline to sign up for the free album and contest is Sept. 26.

The Milken Archive repertoire on the free two-album anthology features one sample track from each of the archive’s 20 thematic volumes.

On Album 1, there is: 1. Ikh Bin a “Boarder” Bay Mayn Vayb (I’m a Boarder at My Wife’s) by Rubin Doctor; 2. Celestial Dialogues: IV, Adonai Melekh (The Lord is King) by Ofer Ben-Amots; 3. L’kha Dodi (Welcome, Sabbath Bride) by Aaron Bensoussan; 4. Eshet Hayil by Benzion Shenker (arranged by Stanley Sperber); 5. Hear O Israel: IV, Sh’ma, by Jonathan Klein; 6. Violin Concerto in C Minor, “Nushkaoth,” by Sholom Secunda; 7. Two Hannah Szenesh Poems: II, Ashrei Ha-garfur, by Max Helfman; 8. Amar Rabbi, Elazar, by Moishe Oysher; 9. Stempenyu Suite: III, Freilechs, by Joseph Achron; and 10. Di Naye Hagode: Riboyne-Sheloylem (The New Haggadah: Master of the Universe) by Max Helfman.

Album two comprises: 1. Mayn Rue Platz (My Resting Place), anonymous, arranged by R. Williams; 2. Canticles for Jerusalem by Vivian Fine; 3. Kol Nidrei, Op. 47, by Max Bruch; 4. Ki K’shimkha by Paul Discount; 5. Shofar Service: I, Malkhuyyot, by Herman Berlinski; 6. Genesis Suite: IV, Cain and Abel, by Darius Milhaud; 7. The Day of Rest by Sholom Kalib; 8. Aleikhem Eda K’dosha, traditional; 9. Akavya ben Mahal’el Omer by Lazar Weiner; 10. The Merchant and the Pauper, Act II, Scene 4 (excerpt) by Paul Schoenfield.

Since its creation by philanthropist-businessman Lowell Milken, the Milken Archive has achieved a reputation that extends internationally. The 50 CDs released by Naxos American Classics between 2003 and 2006 gained widespread recognition, including Grammy and ASCAP awards, and the nationally broadcast radio series hosted by Leonard Nimoy has introduced the archive to countless listeners.

“The Milken Archive of Jewish Music is a living project, one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical genre,” said Milken. “The sacred and secular body of work that has developed over the centuries since Jews first arrived on these shores provides a powerful means of expressing the multi-layered saga of American Jewry.”

Working to heal, entertain

Steven Page describes his latest recording as “all about finding humility. I’m exploring my own foibles.” (photo from Steven Page)

Has it already been 25 years since we first heard radio hits “If I Had a Million Dollars” and “Be My Yoko Ono”?

In early 1992, Toronto-based Barenaked Ladies’ first label recording, Gordon, was released. It also produced classics “Enid,” “Grade 9” and “Brian Wilson.”

It didn’t take much time for stardom to follow, particularly after the next series of hits, “One Week” and “Pinch Me,” and a string of infectious melodies emanating from a dozen albums to come over the next 17 years.

It’s been said that frontman (and lantzman) Steven Page, who began the group with childhood chum Ed Robertson, wrote or contributed to 97 out of the 113 original Barenaked Ladies tunes. Since 2008, however, Page has pursued a divergent path.

Beginning with a split from the band – hastened by his much-publicized 2008 cocaine bust – Page has carved out a solo musical career, while also, in the past few years, candidly speaking to a variety of audiences about his battle with mental health issues.

In 2010, his inaugural solo album of original material, Page One, was released. And, earlier this year, its followup, Heal Thyself Pt. 1: Instinct.

Jewish Independent: How does it feel to have wrapped up Heal Thyself?

Steven Page: It feels like a total relief. In the weeks coming up to its release I was in full panic mode, because it’s hard to let go of something that you’ve been working on, especially this one. I’ve been working on it for a long time.

You spend all your time kind of obsessing over it and massaging it and fixing it and redoing parts. I learned a long time ago not to over-produce something so it just gets slick. But, for me, it was actually just a matter of trying to get what I heard in my head coming out of the speakers. And that takes some tweaking, but it can lead to some pretty obsessive behavior as well. I had thought, is this going to get ignored? Is everybody going to hate it, or not going to understand it the way it was meant? Did I do my job properly? And then it’s out there. And you can’t control it anymore.

JI: But you’ve never made anything that anybody’s hated? Have you?

SP: No, I don’t think so. But I think most artists have those conversations in their heads. They write their own worst reviews before it’s actually released. But the wonderful thing is, people have been so positive about this record, in a kind of shockingly, exorbitant way.

It’s out of my studio and actually in front of people. Sharing it, it’s really a nice feeling.

JI: What are you trying to say with the album?

SP: One of the things that I’ve struggled with a lot over the last 20 years has been: what is the value of what I do for a living? Am I creating a product people may or may not buy? Am I expressing myself and, if I am, who cares? Why would anyone want to listen to me? So, all those kinds of struggles I think a lot of artist ask themselves, especially when art is becoming more devalued. It’s like, where do we fit?

At the end of the day, the record becomes all about finding humility. I’m exploring my own foibles.

I think anybody else of my age comes to a point where your kids get older, your parents get older and, obviously, you do, too. And you can’t fix everything, and you can’t be responsible for everything, but you can at least find some peace in what your contribution is.

JI: Thus Heal Thyself?

SP: Exactly. With that title also, it’s both sincere and ironic at the same time. It obviously comes from “physician, heal thyself,” which is a biblical quote from Jesus; it means don’t judge anybody else until you fix your own self. But, when you take it out of context, it sounds ridiculously snarky. In Jesus Christ Superstar, “heal yourselves, heal yourselves,” he says to the lepers. I thought that was kind of a funny dual meaning, but also is that sincere personal side.

JI: You have been known, over the course of your career, as this kind of funny guy, beginning with the Barenaked Ladies. What is underlying that funny or witty within the songs?

SP: Humor is still a big part of how I approach the world, whether that’s with a sense of sardonic, even some snark; sometimes, it’s also self-effacing. But I think I’ve finally moved past the full-on self-deprecation of some of my older material. And now it’s about finding the humor of the situation when you’re in the worst times. That’s how I look at the world, even when I’m in a pretty dark place. And I think I work really hard on my lyrics. I try not to have any throwaway lines or throwaway words or phrases. Everything is there for a reason. Sometimes a line just makes you laugh your head off when it’s in there.

JI: You spoke about dark places and I want to veer into it. You’ve spoken a lot about your bout with mental illness to audiences over the years. How has your perspective changed in your struggles?

SP: I think the biggest change for me is just that I’ve learned to lose the romance. I think it’s pretty easy when you’re in the arts to romanticize, especially depression and anxiety, neurosis. I mean, a lot of my favorite filmmakers and musicians and artists have multiple lives, and most of those are marked by anguish and mental health struggles.

I’ve realized over the years that, when I’ve struggled the most, I’ve been the least productive and the least creative. The hard times have given me perspective. Sometimes, it has given me an angle to write about, because I’m able to step back when I’m in a better place and assess it, and write about it and think about it.

I’ve learned to take it more seriously and learned to try to take care of myself, where before, I think, I would just let it go, because it seemed almost acceptable to me. We always see these images of the symphony conductor throwing a tantrum on the back of the stage, and that would be completely unacceptable if your band did it. It’s not that different. How you treat other people, the fallout from your behavior, how your illness influences you, is serious.

JI: Sometimes, people are frightened to seek help. They’re not sure if the help they get is going to help.

SP: I think what people are afraid of is medication, and I don’t blame them. Nobody wants to be on anti-depressants for the rest of their lives and, if it’s the wrong medication, then it can totally mess you up. I mean, it’ll make you sleepy, it’ll make you sad, you can never have another orgasm again, like all these horrible things.

There are all kinds of side effects to this stuff and the biggest problem, frankly, is that most people get their prescriptions from their family doctors and they get one prescription, because the family doctor says, “this one seems to work the most” or “haven’t heard any complaints.” You have to be able to go back and keep working until you find the right dosage, the right medication, the right cocktail of medications. The person who can prescribe should be a specialist and a psychiatrist.

So, what you end up doing is you get this one prescription and it makes you feel bad, or it makes you temporarily feel better after a couple of months, and you go, “OK, I’m better now,” and you stop taking it. I hear this all the time from people and I did it myself for years. You don’t follow up, you don’t follow through.

Depending on what their mental health struggles are, there are therapeutic talk therapies that don’t involve any medications at all. I work with a therapist who practises CBT, cognitive behavioral therapy, and it basically challenges your ingrained assumptions about yourself and gives you skills to learn how to defeat what I call the “sick brain,” by reminding yourself that sometimes your brain lies to you when you’re sick.

It’s not so much about mental health but mental fitness. It’s about having a relationship with somebody you trust.

People go to one therapist and feel judged, or feel they don’t have a connection, or they feel like they are in a relationship like they are with a parent or a teacher, [it] makes them feel uncomfortable and they don’t go back. People have to know that they should be able to audition people until you find the right match. One of the problems for most people is they can’t afford that.

JI: The health-care system needs to heal itself, too?

SP: Exactly. It needs to take mental health far more seriously.

I think people just need to keep reminding politicians that it’s a priority. Mental health, if it was treated with the same weight as physical health issues by the public – we have a prime minister now who’s dealt with this firsthand, with really horrific mental health issues with his mother, and she’s been such a great and open advocate – hopefully that would start to help. I really hope that he starts to help push the public perception in the right way.

JI: Songwriting, performing. What for you requires the most emotional strength or drive to do?

SP: There are several things. When it comes to writing, I’m both a workaholic and a procrastinator at the same time, if that makes any sense.

I’ll find a lot of ways to not commit to finishing a song. That’s why I love collaboration with another writer, because you push each other to go, whereas when you are by yourself, you have so much more space and so many more places to explore.

So, what I’ll do is, I’ll start to write something and then I’ll just start another song at the same time. I’ll work for 16 hours, but I didn’t finish a song.

The finality of a song is a bit scary to me, so that can be a challenge. But there are very few things that are as rewarding as finishing a song that you are proud of. And someone comes along and tells me they love a certain line, and it connects with them.

What is also hard is that there are times I’ve gone on stage and been a bit nervous.

JI: Nervous? Why?

SP: I’m not 100% sure. I might need more therapy for that.

I don’t do bad shows. But I want my show to be the best of mine they’ve seen, so there’s that added pressure on me.

Sometimes, I just have to trust myself and go into it, and try to get to that place where it’s transcendental for both me and the audience.

Dave Gordon is a Toronto-based freelance writer whose work has appeared in more than a hundred publications around the world.

New hand chime choir

Chabad of Richmond’s new Chabad Hand Chime Choir is looking for additional members. (photo from Chabad of Richmond)

“We wanted to have more creative activities for seniors, something music-oriented,” said Rabbi Yechiel Baitelman about Chabad of Richmond’s new Chabad Hand Chime Choir. “Music helps with focus, builds concentration. Many of our seniors always wanted to have music in their lives, acquire musical skills, but they never learned to play, for various reasons. Now, with this choir, they can play wonderful music, be part of a team.”

The choir was formed after the federal government approved Chabad of Richmond’s application for a New Horizons for Seniors grant. The choir officially started in May and the first intake for members took place soon after; the second intake starts this month, and the third will begin in January.

The rabbi said that the first concert of the group was a big success. “They played at our annual summer barbeque,” he said. “The music included some Jewish tunes, popular songs. They are recording a CD now.”

Hand chimes were chosen, said Baitelman, “because most of our participants can’t read music notations. With hand chimes, each musician only plays one note on his chime, a part of a chord.”

Many music educators consider hand chimes the best instrument for beginners. Essentially, a hand chime is a percussion instrument, an aluminum tuning fork with a small mallet permanently attached to the handle. The length of the tines of the fork is responsible for the sound, which is one clear note. When a musician moves his hand holding the chime in a certain way, the mallet strikes the fork, and the chime resonates. The sounds produced are melodic and breathtakingly beautiful, and they last until the musician “damps” the chime by holding it to his hand or shoulder, thus stopping the vibrations.

Hand chimes are fun to play and easy to learn, which contributes to the self-esteem of the player, which is why they are often used in music therapy.

Hand chimes are cousins to hand bells and an ensemble of hand bells or hand chimes is called a choir, even though the musicians don’t sing. Like hand bells, hand chimes have a long history, dating back to China thousands of years ago. Those ancient chimes were made of bamboo, and the sound was created not by a mallet but by hitting the chime against a stationary object. Later, a musician would play his chime by striking it with a stick.

Since then, numerous inventors and manufacturers have strived to discover the best material for the chimes’ split fork and the mechanisms attaching the mallets. Amid these endeavors, between the two world wars, several radio stations used hand chime tunes – a few notes – as their audio signatures. By the early 1980s, hand chimes finally arrived at the design the Chabad Hand Chime Choir – and many other groups – are using today.

The Chabad choir includes seniors in their mid-60s to seniors 90-plus, and each rehearsal session usually counts 10 to 14 people. “Not everyone can come every week, for health reasons,” the rabbi said, “but all the members of the group are very enthusiastic about their music.”

Ron Philips, chosen to lead the new group, has years of experience in a variety of musical fields. “We wanted someone who knew not only music but also musical therapy and working with seniors, and Ron Philips answered all our needs,” Baitelman said.

“I wear many hats,” Philips told the Independent. “I’m a composer and a musician, an arranger and a voice teacher. I play several instruments – piano, guitar, bass, drums, flute – and I write music for films and various music projects.”

Having loved music in all its forms since childhood, Philips graduated from Douglas College with a music degree. He was the composer behind a number of locally produced films, including the award-winning Complexity (2011). He was involved with the Richmond Community Orchestra and Chorus and has worked on many other projects where music and community interests intersected. At the moment, he runs the Steveston Music Centre.

“When I was asked to conduct the Hand Chime Choir for Chabad of Richmond, I was glad to take on this new experience,” he said. “I believe this Hand Chime Choir gives the seniors participating in it a new connection to music.”

No prior music experience is required to be part of the choir. “We accept anyone who comes, as long as they have the love of music, the desire to learn and the willingness to participate in a team,” said Philips.

Anyone interested in trying out for the Chabad Hand Chime Choir should call Chabad of Richmond at 604-277-6427.

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

An afternoon of song

JCC Showtime performers in action, left to right: Nassa Selwyn, Jocelyne Hallé, Marshall Berger, Dawn Hurwitz, Daniella Givon, Debbie Cossover and Arnold Selwyn. (photo by Binny Goldman)

Sunshine and song greeted the 120 people who gathered to enjoy a BBQ lunch and watch the sensational JCC Showtime perform on June 27 at Congregation Beth Tikvah.

Toby Rubin, executive director of the Kehila Society of Richmond, welcomed everyone and explained the event’s agenda. She then highlighted two of the society’s outstanding volunteers, Stacey Kettleman, who at one time had been co-president with Rubin, and Sylvia Yasin, a 90-year-old dynamo who had directed the set up of the whole room.

Marilyn Berger, president of the Jewish Seniors Alliance, which partnered with Kehila to present the afternoon’s program, noted that it was the fourth and final session in this year’s Empowerment series. The lunch’s theme, “A smile on your face – a song in your heart,” was brought to fruition through the dedicated efforts of Gyda Chud and Shanie Levin. The food – salads, beef and vegetarian burgers, fruit and chocolate cake – was catered by Kettleman and her staff.

JCC Showtime’s Debbie Cossover explained that the troupe consisted of volunteer performers who have been together 13 years, with their next show making a total of 200 performances so far. The group was created by Beryl Israel, who immigrated from South Africa in 2002; he had been involved with a similar group there and was inspired to establish one here.

The afternoon’s program began with Marshall Berger singing “Showtime,” accompanied by the group’s pianist, Muriel Morris, and aided by sound technician Gary Zumer. The crowd was transported down memory lane with nostalgia-laced songs such as “Chattanooga Choo Choo,” complete with suitcase; Cossover’s foot-stomping rendition of “You Can’t Get a Man with a Gun”; heart-tugging duets by Arnold and Nassa Selwyn, which included “Together,” “Do You Love Me?” from Fiddler on the Roof and the particularly crowd-pleasing “I Remember It Well.”

The “Hello, Dolly!” number charmed the audience, as well, as it actually included a visit from “Dolly,” a life-size doll that danced in the arms of Berger and Selwyn, both men vying for her attention. Another fun number was a chorus of cowgirls sequence, which required precisely timed twists and turns. And “Tzena Tzena” and “Hava Nagilah” set everyone’s hands to clapping, as the audience joined in with Berger and Selwyn on the last stop on a world tour of songs.

Clever costumes, with outfit changes accomplished in mere minutes, and intricate choreography achieved the illusion of instant scene changes and delighted the audience, which showed its appreciation by loud, sustained applause.

Rubin remarked in thanking the performers that she doesn’t mind growing old now that she has seen what seniors can accomplish. She noted that audience members were from the Weinberg Residence, Louis Brier Home and Hospital, L’Chaim Adult Day Centre, Jewish Seniors Alliance and, of course, Kehila Society.

Attendees left wanting more – some smiling, some singing – all buoyed by the afternoon’s session. I’m still humming.

Binny Goldman is a member of the Jewish Seniors Alliance of Greater Vancouver board.

Songs with meaning

Geoff Berner brings his hard-hitting, eminently entertaining klezmer to the Vancouver Folk Music Festival on July 16 and 17. (photo by Fumie Suzuki)

Geoff Berner doesn’t mince words. An excellent musician, he puts them to melodies that range from mournful to joyous to angry, sometimes all in one song, sometimes all at the same time. There are lyrics that inspire and those that disturb. Every song makes you think, feel, move. Berner will no doubt draw an enthusiastic crowd at the Vancouver Folk Music Festival next weekend.

His latest CD, We Are Going to Bremen to be Musicians (2015, Oriente Musik/COAX), was produced by Socalled, aka Josh Dolgin, who also contributes piano and vocals to the recording. The title song is a reinterpretation of the Brothers Grimm fairy tale Town Musicians of Bremen.

“I had an urge to retell that fable,” he told the Independent in an email interview. “At the time, I didn’t know why. I just became obsessed with it. It’s so strange. It’s a kids story about talking animals who are condemned to death but instead run away, with the plan of becoming professional musicians. Then they drive some thieves from their den, and take over the den and all the stolen goods. ‘The End.’ What?”

The animals in Berner’s song, who “people say” are “too used up to be allowed to live,” head to Bremen to be musicians, “to speak of death another day and have a sacred feast with what we stole from the thieves.” The donkey fearlessly leads his small troupe, “realism is something he’s not needing. People talk like they understand the world but they may find, when it kicks them in the head, it’s liable to change their mind.” The rooster, meanwhile, “thinks he can predict the future. Actually, he’s just a rooster. If he could read his own entrails he would see the comfort-giving chicken soup that is his destiny.” Finally, the “dog is full of moral confusion, but the cat is under no illusion. The dog did his killing out of loyalty, and for pay, but the cat knows why he would have done it anyway.” The animals are on their way to Bremen to be musicians: “They’re going to build a statue of us in the square. To commemorate the fact that we were never there.”

Berner told CBC that he thought that his obsession with the story was connected to the loss of both of his parents from cancer within a short amount of time of each other (2013-2014). “Grappling with the story,” he said, “was me trying to find a back door to processing what was going on in my life at the time … contemplating and dealing with mortality of people who were really great parents and very important to me.”

Raised in Vancouver in the Reform and Conservative traditions, Berner’s lyrics, while mostly English, are steeped in Yiddish culture and his style is most definitely klezmer.

“My grandparents spoke Yiddish,” he explained to the JI, “but it was not seen as something worth teaching to their children. So, to a certain extent, I’m trying to reclaim my heritage. We listened to some klezmer music at home and at Hebrew school, and a lot of other stuff, too.

“I originally learned music playing improvised blues piano. I love all kinds of music but, by bringing klezmer into my songwriting, I get to connect with a part of myself that I’d otherwise feel was missing from my life. And I feel strongly that there’s a radical left-wing Jewish culture that deserves to live, as much or in fact more than the nutso Orthodox tradition that represses women and worships a toxic, murderous form of Zionism.”

Berner has strong opinions, that’s for sure, and his songs can be highly critical, no doubt – just ask Gregor Robertson or Stephen Harper, among many others who have made their way into Berner’s discography. But, while he may be tilting at windmills, Berner is trying to rouse action and, with his music, he is trying to do something himself to change the world. Which is why a description of Berner in the Ottawa Citizen as “eternally cynical” doesn’t quite ring true, nor do other similar categorizations.

“I guess I get more of a thrill than a lot of people out of somebody saying flat-out, unvarnished, just how bad a thing really is,” Berner told the JI. “Does that mean I’m a cynic? I don’t know. I like the way George Orwell defined himself, as ‘an independent man of the left.’ That’s how I would define myself, politically. Am I cynical if I believe that a lot of public figures are lying and don’t have the public interest at heart? OK, so be it. Am I cynical if I don’t believe that the narrative of the human story is ‘progress upwards’? OK, so be it. I believe that there’s genuine, eternal divinity residing in the act of fighting the good fight, even if you strongly suspect you’re going to lose. To me, God lives there, so I don’t need optimism in order to feel hope.”

One of the most fun and, at the same time, discomforting songs on Berner’s latest recording is “Dance and Celebrate,” which doesn’t just talk about celebrating the “misfortunes of people we hate” but wishes misfortunes on people, and lumps together the likes of Joseph Stalin, Margaret Thatcher, Ariel Sharon and Harper.

“That song is more about allowing yourself to feel so-called ‘negative’ emotions like, for instance, white-hot, burning hatred, without judging yourself,” Berner explained. “I’m a big believer in that. What you then do with those feelings, that’s another thing. I think the Irish peace process is a good model for other conflicts because, in that case, instead of demanding a utopian, inhuman level of forgiveness from enemies, it asked less of people. Let’s not worry about whether or not we love each other, or whether or not, deep down, everyone is the same, blah, blah, blah. Let’s just begin by not actually killing each other – today. Then take it from there. If we acknowledge our real emotions, truthfully, maybe that’s a better way to begin improving the situation than to ask for the moon.”

Realism – unnecessary to the Bremen-headed donkey and so many of us – is at Berner’s core, and it sets him apart. A Georgia Straight article earlier this year was headlined, “Geoff Berner finds the humor in being a Lotusland outsider.”

“I don’t know if I really am on the outside – I have loads of privileges – but I feel like I’m on the outside,” he told the JI. “I feel apart from this culture that we’re living in, which seems floridly insane to me. In this world, there are half the birds that there were the year when I was born. Half the birds are gone. It doesn’t seem to matter to anyone. People go to plastic surgery and pay thousands of dollars to cut themselves up to look more like magazine covers. Christmas. Weddings. ‘Camping.’ What the hell? None of the things that seem central to this culture make any sense to me. I need an alternative culture to belong to, so I don’t just feel like everyone else is right and I’m a monster. So, my writing is a way to try to be part of building that. The feedback I get is that some people appreciate it. And, of course, some people don’t.”

Many people have appreciated We Are Going to Bremen to be Musicians, it seems. In addition to the recording, Berner created a book of the tale, with illustrations by Tin Can Forest. Tin Can Forest Press’ first printing of it, published in 2015, sold out; the second printing will be available next month.

Berner has also written a novel, Festival Man (Dundurn Press, 2013) – wherein “[m]averick music manager Campbell Ouiniette makes a final destructive bid for glory at the Calgary Folk Festival” – which was well received, and he has a second novel on the way, called The Fiddler is a Good Woman, expected in late 2017.

On Berner’s website, the Bremen story is described as “an absurd tale of irrational hope and optimism in the face of horror, and that’s where the story connects with the songs on the album.” Berner describes the album “as a compendium of strategies against despair.”

He’s right – as serious as Bremen is, it’s uplifting. There is much humor, as song titles such as “I Don’t Feel so Mad at God When I See You in Your Summer Dress,” readily attest, and much with which Vancouverites in particular will relate – take the song “Condos,” for example. And where else will you hear David Bowie’s “Always Crashing in the Same Car” in Yiddish?

Berner is one of more than 60 performers scheduled to perform at the Vancouver Folk Music Festival this year. The festival, which takes place at Jericho Beach July 15-17, also includes Israel’s Yemen Blues with Ravid Kahalani. For a 2011 interview with Kahalani, click here. For the full lineup and tickets of the folk festival, visit thefestival.bc.ca.

Jazz to benefit refugees

Maya Rae performs April 9. (photo by Robert Albanese)

Only 13 years old and already a veteran of the Vancouver International Jazz Festival. Only 13 and already dedicating her time and talents to helping others.

Maya Rae and her Rhythm Band perform an evening of jazz and soul at Temple Sholom on April 9.

“This show is a benefit concert for the settlement of two Syrian refugee families,” Rae told the Independent. “If my music can make a difference towards helping people and making the world a better place, I can’t think of anything else that I’d rather be doing. Tikkun olam is about the pursuit of social justice and I believe strongly that we need to help refugees of all parts of the world to find a safe place to settle.”

She added, “Right now, the Syrian refugee crisis is one that is very prominent, and of epic proportions. Millions of innocent people have been displaced with nowhere to go. I felt compelled to participate and to do something meaningful at a local level. Our rabbi at Temple Sholom, Dan Moskovitz, has urged the Temple Sholom congregation to take action, and this is my way of doing so.”

Scheduled to join her at Temple Sholom are Luis Giraldo (piano), Eli Bennett (saxophone), Ayla Tesler-Mabe (guitar), Ethan Honeywell (drums), Evan Gratham (double bass) and Benjamin Millman (piano and ukulele).

The Grade 8 student at York House started taking singing lessons when she was in Grade 3. “My first official performance was for the jazz festival in 2012. I remember singing the solo part of ‘Lean On Me’ by Bill Withers, with Cecile Larochelle’s Anysing Goes choir supporting me with the beautiful chorus line. It was an extremely memorable experience for me.”

Earlier this year, she was asked by the organizers of the jazz festival – Vancouver Coastal Jazz and Blues Society – to perform in the Women in Jazz series, which took place in March. “As part of that preparation,” said Rae, “I was introduced to some wonderful young musicians who I asked to support me for those two shows. As we were preparing for those performances, I was inspired to do a benefit concert in my synagogue with the same set and the same musicians…. I’ve since decided to add another set, and a few more musical friends and surprises to expand the show. I’m really happy with the results so far and can’t wait for April 9th.”

Rae said she chooses to cover “songs that deliver meaningful messages through their lyrics. I also like to pick songs that could have impact on the listeners, and also spark awareness about the significant issues we are facing in this generation.”

She has a YouTube channel on which there are a few videos, including for the song “I’m Still Waiting for Christmas,” which was released last year and is on sale on iTunes, as well.

“I have co-written a few songs with various artists/musicians that will be released in the near future,” she said, adding that she is hoping to have more time to write this year.

“My goal is to continue to enjoy playing and making music with others,” she said. “It would certainly be a dream come true to make a living through my music.”

This summer, she’ll be busking on Granville Island, and she invited everyone to “please stop by.”

More information about Rae’s upcoming events and recordings can be found at mayaraemusic.com. For now, though, her focus is on the April 9 concert, which starts at 8 p.m., at Temple Sholom. Tickets are $18 for adults, $14 for children/students, and the proceeds will aid two refugee families. RSVP to Temple Sholom at 604-266-7190 or register at templesholom.ca.

A-WA to electrify Biltmore

A-WA plays at the Chutzpah! Festival on March 12. (photo by Tal Givony)

For a breakup song, “Habib Galbi” is pretty darn upbeat. And the three women in the video – who are singing of a lover who has left – don’t seem too crushed. In fact, they end up dancing the Yemenite step with three young men in tracksuits and baseball caps, who seem to have popped in from a hip-hop video. Colorful clothing contrasts with bleak desert, a traditional melody pulses with a pronounced electronic beat. In a word, A-WA.

The three women are sisters Tair, Liron and Tagel Haim. They hail from the village of Shaharut in southern Israel. The video for the title track of their first CD was filmed nearby, though the sisters have been based in Tel Aviv for about five years now. “Tel Aviv is one of our favorite cities in the world and one of the coolest places in terms of culture, food, fashion and music,” they told the Independent in an email interview.

And they have been to many cities in recent years, touring all over Israel, Europe and now North America. On March 12, they perform at Biltmore Cabaret as part of the Chutzpah! Festival. The week later they’re in Toronto. The only other place they’ve performed in Canada to date is Montreal. “We had so much fun and we can’t wait to be back again!” they said.

A-WA’s CD Habib Galbi (The Eighth Note, 2015) is described as “electronic, funk/soul, folk, world and country”; its style, “Afrobeat.” Produced by Tomer Yosef of Balkan Beat Box, it comprises 12 traditional Yemenite songs that have been modernized with the help of Yosef’s unique vision, for sure, but the Haim sisters grew up listening to, creating and/or performing an eclectic musical mix, from “Greek music, Yemenite music, jazz, R&B, hip-hop, reggae, progressive rock and more,” according to their website. And they grew up in a culturally mixed household, with their father’s parents having come to Israel from Yemen and their mother being of Ukrainian and Moroccan heritage.

“We grew up in a very musical family,” they explained to the Independent. “Our parents are both music lovers and they used to play records around the house all the time; a lot of Middle Eastern stuff, but also a lot of great pop from the West. Our dad used to play his bouzouki and guitar every day – he’s obsessed with old Greek music. We have one brother and two younger sisters and they all sing and play instruments. Our brother is a sound engineer and he helped us from the very beginning to record demos for the album. Our littlest sister, Tzlil, is working on composing the film score of her dreams.”

When the sisters heard the recording by Yemeni singer Shlomo Moga’a of “Habib Galbi,” they were hooked. “From there,” reads their website, “a door was opened [to] a hidden treasure of ancient Yemenite women’s chanting, that was passed from generation to generation for centuries and has been recorded a few times. Moga’a was one of the only chief curators of these songs and after passing has left a legacy just waiting to be discovered.”

“When we released the track ‘Habib Galbi,’ we had no idea how people would react to it, but we loved it and wanted to share it with the world,” the sisters told the Independent. “We always had a good feeling but the fact that it went viral so fast and reached so many people worldwide is still overwhelming for us. It was such an awesome surprise!”

In an August 2015 article in the Forward, writer Madison Margolin describes A-WA – pronounced Ay-Wah, and meaning yes or yeah in Arabic – as “part of a movement that celebrates Jewish-Israeli cultural roots in Arabic. Now, after decades of discrimination, the younger generation of Mizrahim is rediscovering their Jewish ethnic identity as Middle Easterners and reclaiming their heritage.”

“It seems like there is a revival of Mizrahi culture and also a longing for the magic and simplicity of old times, not only in Israel, but in the whole world, and we think it’s great,” the sisters told the Independent. “People feel a strong desire to explore their histories, especially artists, who are constantly seeking inspiration from their roots. For us, Yemenite culture was always really fascinating and something we are very proud of.”

The sisters said that, in school, they all took dance, theatre, art and voice lessons, and performed as much as they could around the area. But then they went their separate ways for a spell. Tair got a BA in music and did her master’s at Levinsky College of Education, Liron got a degree in architecture and interior design, and Tagel studied illustration and visual communication.

“We started A-WA,” they said, “because we were always already playing music together and just wanted to keep creating, so the project was born. Music was always our passion and having our own band is a dream come true. We actually are best friends (really!) so working together is a lot of fun and it keeps our bond strong.”

About touring, they said, “Being on tour means having a very dynamic schedule with long hours of traveling, but the chance to meet new people, see cool places for the first time, expand our own perspectives, and opportunities to try a lot of different food, make it all worth it. It is also really challenging because of the feeling of being away from our home and family and close friends, but, in a way, it keeps us and the whole band very united.”

While they’ve already started working on their next album, the sisters said, “We’re mainly focused right now on the release of our debut Habib Galbi in the U.S. and Europe, but, in the meantime,” they admitted, “we’re already jotting down songs for the next album and finishing up collaborations with some musicians we’re really excited about. We will always keep true to our funky Yemenite sound and might mix in some English stuff, but as for the Greek” – the music their father loves so much – “we’ll have to wait and see.”

For more on A-WA, visit a-wamusic.com. Their March 12 performance at Biltmore Cabaret, 2755 Prince Edward St., starts at 8:30 p.m. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com.

Yom Ha’atzmaut confirmed

Achinoam Nini (photo from Federation)

The Jewish Federation of Greater Vancouver has confirmed that it has invited Israeli singer Achinoam Nini (Noa) to perform at the Vancouver Jewish community’s Yom Ha’atzmaut celebrations on May 11 at the Chan Centre.

After initial controversy because of Nini’s political views, including a petition that has stalled at just over 430 signatures and the withdrawal of funding by JNF Canada, Pacific Region, support has grown.

The Jewish Independent was one of the first to publicly support Federation’s decision, telling the Canadian Jewish News in a Feb. 19 article that the controversy was “unmerited,” and following up in a JI editorial that was published online Feb. 22 and in the newspaper last Friday. (jewishindependent.ca/lets-talk-about-nini) Also on Feb. 22, a group of more than 30 Israeli Canadians sent a letter urging Federation to “stick” to its invitation.

On Feb. 23, Federation announced two new event sponsors: the embassy of Israel in Canada and the consulate general of Israel in Toronto, which is the official representative office of the government of Israel in Ontario and the Western provinces. “We were thrilled when both the embassy and the consulate approached us with offers to be official sponsors of our Yom Ha’atzmaut celebration,” said Stephen Gaerber, chair of the Federation board, in a statement. “As official representatives of the state of Israel, we see support from the embassy and the consulate as strong messages that there is room for diversity both within Israel and within our community. We are also very happy that the deputy consul general is once again planning to represent the state of Israel at our Yom Ha’atzmaut celebration.”

JNF Canada chief executive officer Josh Cooper and president Jerry Werger issued a statement on Feb. 25 clarifying JNF’s position: “We want to be absolutely clear that JNF Canada is not protesting, boycotting, delegitimizing or censoring this event. After hearing from so many of our donors, we simply are not comfortable using charitable funds to support this particular artist.

“JNF Canada is a non-political organization which believes in strengthening the state of Israel for all of her citizens. It remains our position that Yom Ha’atzmaut celebrations and other community events should be inclusive.”

Last week, Federation received letters of support that are cited here and can be found in their entirety at jewishvancouver.com.

In addition to saying, “in no way can we allow for differences of opinion to undermine those core values which unite us in our desire for a strong Jewish future with a strong Jewish democratic Israel at the centre,” Natan Sharansky of the Jewish Agency for Israel wrote, “As one who has often had the pleasure of enjoying Noa’s outstanding voice and spectacular talent, I applaud the Vancouver Federation and I know your Yom Ha’atzmaut celebrations will be wonderful.”

The director general of the Jewish Agency for Israel, Alan Hoffmann, also issued a supportive statement: “Canada and Israel share the same democratic values that allow for a wide range of opinions, including diverse expressions of Zionism. An inclusive dialogue about Israel is at the heart of JAFI’s efforts to build a thriving Jewish future and a strong Israel.”

Former CEO of the Jewish Federation of Greater Vancouver, Mark Gurvis, who is now executive vice-president of Jewish Federations of North America, wrote, “In today’s political environment, which is so highly polarized, it has become all too common to brand political opponents as enemies – disloyal, treasonous. It isn’t unique to Israel – we see it today in every Western democracy. It is a phenomenon that is ultimately a far greater threat to communal or national cohesiveness than the different ideas themselves.”

Gurvis spoke of the compromise that was necessary to arrive at the recent landmark decision in Israel to create an egalitarian prayer space at the Kotel. He concluded that there should be a place at the celebration of “Israel’s central place in our collective Jewish gestalt … for the broadest possible cross-section of people who love Israel. The only way we have a future together as a people is if we make our tent larger, and not smaller. It doesn’t mean we have to agree with one another. It just has to mean we recognize and accept each other’s place in our collective journey.”

Julia Berger Reitman and Linda Kislowicz of Jewish Federations of Canada-UIA also stressed the importance of pluralism and the need to “support the values of Israel and Canada where democracy and freedom of expression are promoted.” They pointed out, “Artists often play a unique social role. Not only do they entertain us, they also help us to confront issues and stretch beyond the usual sensibilities. They help us find new forms of expression through their art.”

From several local rabbis, Federation received letters of support, or was copied on letters that thanked Israel’s representatives for Israel’s support and/or discussed the importance of a large tent and a multiplicity of opinions in Judaism. Writers included Rabbi Dan Moskovitz of Temple Sholom, Rabbi Andrew Rosenblatt of Congregation Schara Tzedeck and Rabbi Philip Bregman of Hillel BC. Beth Israel Rabbi Jonathan Infeld wrote a letter thanking Israeli Ambassador to Canada Rafael Barak and made a short video for his congregation, which can be viewed on the home page of jewishindependent.ca.

Members of the Rabbinical Association of Vancouver – Moskovitz, Infeld, Rosenblatt, Bregman, Beth Tikvah Rabbi Howard Siegel, Har El Rabbi Shmuel Birnham and Or Shalom Rabbi Hannah Dresner – expressed their “appreciation to all of those that have come out in support of our community’s Yom Ha’atzmaut concert and celebration…. Our community, like others, has a spectrum of opinion about Israel, its policies and politics. We are grateful that the spirit of democracy, which is one of Israel’s trademarks in the Middle East, has been championed in Vancouver by Israel’s diplomats.”

The RAV letter concluded with the hope that members of the community would include the May 11 concert “among their observances of Yom Ha’atzmaut.”

More than 50 Jewish community organizations support the annual event.

Exploring sound and space

Israel’s Victoria Hanna is coming to Vancouver for the Chutzpah! Festival (photo from Chutzpah!)

Victoria Hanna is unique. There is no doubt that her concert at the Chutzaph! Festival on Feb. 23 will be one of the most uplifting and intriguing performances you’ve ever seen.

A longtime vocalist and performer, Hanna’s mainstream popularity skyrocketed last year when the video of her song “Aleph-Bet (Hosha’ana)” went viral. She describes herself as a voice artist, and the phrase does best describe her work. Though music is a large part of it, Hanna explores the sounds that we make when we speak, the physical mechanics required to form letters, diacritics (the nekudot in Hebrew) and words, their meanings and those of the space into which they travel. She uses her whole body as an instrument, singing, voicing beats, gesturing with her arms, tapping her chest, stamping her foot. She is mesmerizing to watch and hear.

“I am very curious about voice and speech,” Hanna told the Independent. “I had a stuttering problem and it made me enter deeply into the act of voice.”

When Forbes Israel chose the Jerusalem-based artist as one of the 50 most influential women in 2015, it noted as one of her most important messages: “If you have a disadvantage you can turn it into a kind of gift.”

Hanna grew up in Jerusalem in a religious family, “in which the language and elocution of prayer were valued, above all other arts,” notes her bio. Hence, her source material: texts such as Sefer Yetzirah (Book of Creation, traditionally ascribed to Abraham) and the writings of 13th-century kabbalist Rabbi Abraham Abulafia.

“I grew up hearing both Iraqi-Persian and Egyptian liturgy,” she said, “and it influenced my art in the sense that I am completely intrigued by the scales and accents.”

The way in which Hanna presents the melodies and the rhythms of the texts gives listeners a sense of meaning even if they don’t understand the words.

“When I sing in ancient Hebrew for audiences who do not speak Hebrew,” she explained, it provides “a better understanding that language is sound, and music crosses boundaries.”

She also crosses boundaries between the seen and the unseen, making tangible the intangible. She uses letters, nekudot (or vowels), syllables and her whole body to create choreography in the space sound inhabits. She refers to it as “voicing space.”

“The concept,” she said, “means ‘to fill the space with voice,’ giving the voice action. Voice in action has to react to space. When you intend to put the voice into space, then it is called ‘voicing space.’”

Her art includes song and spoken word.

“Singing has to do with the purity of voice and speaking has the intention to deliver information,” she explained. “These two levels are mentioned in the kabbalistic scripts as two different dimensions.”

Her performances also include theatre, music, of course, and video or some form of visual. In a 2015 lecture-performance at Tel Aviv University (TAU), which she has posted on her website, she uses a dry-erase board to illustrate various concepts.

A graduate of Nissan Nativ Acting Studio, Hanna has performed around the world – in Mumbai, Berlin, Sao Paolo and Boston, to name only a handful of the diverse places she has been. Her Chutzpah! show in Vancouver marks her first visit to Canada.

Hanna recently released her second single, “22 Letters,” a “kabbalistic rap from Sefer Yetzirah.” In the TAU lecture, she explains that there are 22 letters (in Hebrew). These foundation letters are engraved by the voice, carved with breath set in the mouth in five places: in the throat, in the palate, in the tongue, in the teeth, in the lips. With these 22 letters, God depicted what would be formed and all that would be formed; He made nonexistence into existence. She connects the creation of letters, writing, to human conception, birth. Therefore, our souls are full of letters, from head to foot, and the letters combine with the nekudot, alternating sounds, back and forth, in many melodies.

Her work is thought-provoking as well as entertaining, but is there some specific understanding that she is seeking, or that listeners are supposed to glean? “The exploration is the purpose,” she said, examining the “meeting point between voiced language and space.”

And it’s a journey that many are now following her on. As to what about her personal search speaks to so many people, she said, “I think that voice is a universal code, the basis of everything. The word was created by sound.”

For more on Hanna, visit victoriahanna.net. Her Feb. 23 performance at Rothstein Theatre starts at 8 p.m. For tickets ($29/$25/$21), call 604-257-5145 or visit chutzpahfestival.com, where the entire festival schedule can be found.