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Category: Arts & Culture

Yom Ha’atzmaut love, spirit

Yom Ha’atzmaut love, spirit

Shlomi Shaban will be joined by Ninet Tayeb (right) at Metro Vancouver’s celebration of Yom Ha’atzmaut on April 18 at the Chan Centre. (photo from Jewish Federation)

Two award-winning veteran musicians, not to mention good and longtime friends, will be headlining our community’s Yom Ha’atzmaut celebration on April 18 at the Chan Centre for the Performing Arts. Tel Aviv’s Shlomi Shaban will be joined by Los Angeles-based Ninet Tayeb.

“I have performed once outside the country on Yom Ha’atzmaut,” Shaban told the Independent. “It was Israel’s 60th anniversary. It was in Stockholm, Sweden. A lot of musicians and myself traveled over there, like Beri Sacharov, Eran Tzur and many others. We had a great show over there. But, beside that, I can’t remember performing outside Israel on Yom Ha’atzmaut, mostly I’m here in Israel, performing across the country or just being with my family, it depends.

“I’ve never been to Canada before, so, naturally, I’m very, very excited,” he said. “I’ve heard a lot of really great things about Vancouver and I’m really looking forward to just hang there, travel around and explore the place, although we’re going to be there for too short [a time] I’m afraid, two days, but I hope to catch as much as I can.

“I remember my friends Jane Bordeaux performing there last year,” he added, “and they came back really excited about the crowd and the place.”

Shaban was born in Tel Aviv and has lived there his whole life, except for a few years, when he was in London, England, to study classical piano. “I’m in love with Tel Aviv,” he said.

Like Tel Aviv, music has always been a part of Shaban’s life.

“I started learning how to play the piano when I was 6 years old,” he said. “I started privately, like a lot of kids. Then I went to a conservatory, and studied there for 10 years. And then, in London … I received an artist’s diploma from the Royal College of Music. I’m very proud of that, though I haven’t looked at that diploma since I got it.

“I always wrote little songs, since I was 10, I think, and always considered that as kind of a hobby, or kind of an intermission – I was practising a lot of piano, five hours a day, six hours a day, and more and more, and I always saw that as kind of a comic relief from practising…. When I was 21, I started thinking, maybe I went the wrong direction, so to speak, and the little hobby that I considered to be a comic relief, might be my main interest, and tried to publish my songs. I was very lucky, I was signed by a major label, here in Israel, of course, and faded away from the classical world, and never went back.”

Shaban now has four albums under his belt, and has won several awards for his work.

“In terms of career highlights,” he said, “I would mention two. As I said, I left the classical world but, five years ago, or six years ago, I was approached by the Israel Philharmonic. They celebrated their 75th year, and they asked me to do a concert of my music, my songs, with the orchestra.

“It was a great closure for me because, when I was 17, I played with the orchestra as a classical pianist with Maestro Zubin Mehta. I was a kid, so, naturally, very excited and very nervous, and now I came back through the main door with my own songs. It was another exciting and, again, nerve-wracking in a way, event for me. I had to practise piano again because I played my own songs and a little classical music we mixed throughout the songs. That was definitely a highlight.

“Nowadays, I’m touring with Chava Alberstein,” he continued. “She’s Israel’s, let’s say, Edith Piaf. I don’t know. She’s Chava Alberstein – she has more than 60 albums. I recorded a song with her four years ago, and asked her to consider touring with me and being her pianist – just me and her, she sings and I play…. We planned to do four or five shows, and now the tour has evolved and it’s sold out, and we are adding more and more shows. I sing only one song during the show, the song that I wrote for her…. It’s a great, great pleasure for me and I learn so much and enjoy so much doing it. So, that’s another big highlight for me.”

Shaban has been inspired by many musicians.

“I’ve covered many artists, Israelis and non-Israelis,” he said. “Mostly, I tend to cover storytelling songs, people like Bob Dylan, Leonard Cohen … I’m going to play a few songs by him in the show.

“I was trained as a classical musician and, when I left it and began hearing popular music, in a weird way, my heart went to very simple music, very text-based music, people, as I say, Dylan and Leonard Cohen, Tom Waits, Lou Reed, all that gang. And, during the years, they have remained my main love and inspiration, but I have listened to a lot of other music – new music, old music, jazz. I love jazz pianists and composers, people like [Thelonious] Monk … Miles Davis, and many, many others. I’m not interested in a specific genre, just getting as much inspiration as I can from different genres. But, as I said, my main interest always was the lyrics, funnily enough, and the story that the song conveys, and that hasn’t changed.”

In terms of his creative evolution, however, Shaban has been focusing more on the music. He described his early composing as “very functional,” something he used mainly to help the story to come across. “Nowadays,” he said, “I’m writing more rich music. I think, in that way, I’m heading backwards to the classical time and thriving on inspiration from all kinds of music, and not just folk music or rock music.”

photo - Ninet Tayeb
Ninet Tayeb (photo from Jewish Federation)

Shaban is excited to be performing in Vancouver with Tayeb, who he described as “one of the best singers I have ever heard.” He added, “She’s a great friend of mine, so that’s another bonus, meeting her in Canada – she’s in L.A. now and I rarely see her, so I’m looking forward to that, and meeting you all.”

For her part, Tayeb has recorded five albums and, like Shaban, has been recognized numerous times for her work. Also like Shaban, music has been a lifelong passion.

“Music has been my life ever since I was a little girl,” she told the Independent. “I started writing my own music at the age of 23. To be able to express myself through music is the most amazing gift I could have.”

Tayeb said, “My style is a mixture between Israel, L.A., Berlin and New York, kind of a Middle Eastern rock ’n’ roll with a slight hint of electronic. Music keeps evolving all the time and so do I – thank God! – and, for me, the most important thing is to keep moving forward and keep my mind open.”

It was this drive to continually enrich her knowledge and creative spirit that took her to Los Angeles, she said. She moved there from Tel Aviv.

On Yom Ha’atzmaut, said Tayeb, “The show will be me singing with Shlomi and Shlomi will sing alone, as well. One thing I can promise you – the show will be full of love and true spirit.”

For tickets ($18) to the April 18, 7:30 p.m., concert at the Chan Centre, visit jewishvancouver.com.

Format ImagePosted on March 30, 2018March 29, 2018Author Cynthia RamsayCategories MusicTags Israel, Jewish Federation, Ninet Tayeb, Shlomi Shaban, Yom Ha'atzmaut
Unique coming of age

Unique coming of age

Richard Newman and Gina Chiarelli in Bar Mitzvah Boy, at Pacific Theatre until April 14. (photo by Damon Calderwood)

The number 13 means different things to different people. To a baker, it’s that extra pastry that he adds to a dozen; to the superstitious, it’s considered bad luck to the extent that some buildings do not have a 13th floor. To a Jewish boy, it means his right of passage into manhood, a journey fraught with both angst and joy.

But what if you missed that momentous occasion, for whatever reason, and now, as a grandfather, as your grandson’s bar mitzvah approaches, you have an urgent need to have a bar mitzvah ceremony? This premise forms the basis of local playwright Mark Leiren-Young’s Bar Mitzvah Boy, a two-hander being staged at the intimate Pacific Theatre in Vancouver until April 14. It won the American Jewish Play Project’s prize for best new Jewish play last year, with successful staged readings in New York, Boston and Charlotte, N.C.

Joey Brandt (Richard Newman) is a successful Vancouver divorce lawyer who wants to study privately with Rabbi Michael (Gina Chiarelli) in order to have his bar mitzvah before his grandson’s big day. He is surprised to learn that she is female, and even more surprised when she refuses him as a student, suggesting that he join Cantor Rubin’s bar mitzvah class instead. Joey is obviously a man used to getting his way and, not surprisingly, his stint in Rubin’s class turns into a fiasco, as Joey disrupts the class and takes all the boys out for Hawaiian pizza (you know, the kind that has ham on it). The rabbi eventually relents, in light of both Joey’s advocacy skills and a big donation to the synagogue’s renovation fund.

The chemistry between the two actors is palpable. The audience is led through a witty pas de deux, and both teacher and student experience personal metamorphoses through their weekly interactions. Joey – who has not been to shul for 52 years – learns to put on tefillin, as well as studying the liturgy and history of his people, in a crash course in Judaism. Meanwhile, the somewhat bohemian rabbi (she jogs and smokes marijuana – for “medicinal purposes” only) works through her own demons, which include an almost-12-year-old daughter with cancer and a husband who cannot cope with the illness. In an engaging twist, the professional roles reverse as the players grapple with the existential question of whether G-d is a metaphor or a real entity on which to base our faith.

Newman, who says that he is “Jewish on both sides” is stellar in his role as Joey (and his Hebrew is not too bad, either) but it is Chiarelli who steals the show with her sublime portrayal of a working mom having to deal with a sick child and an unsupportive husband. Kudos to Chiarelli, who is not Jewish, but who has mastered the dialogue and rituals of the script.

The set design is sparse but effective. One side is a backlit bimah with a lectern and a dove-shaped eternal flame hanging above. The other side does double duty as the rabbi’s study (replete with a library that includes Kosher Sex by Rabbi Shmuley Boteach and the Kama Sutra) and Joey’s office. The costumes are simple and the music – klezmer, what else.

Leiren-Young peppers the play with local references that will resonate with some of the community audience – names like Cantor Rubin, Rabbi Solomon, Schara Tzedeck, the astronomical prices of the real estate – some contemporary quips about the Broadway musical hit Hamilton and singer Kenny Rogers, and a multitude of Jewish clichés. He is the master of witty repartee, as anyone will know who has seen his play Shylock, which was, most recently, at Bard on the Beach last year.

“I had a truly crazy bar mitzvah at the Beth Israel,” said Leiren-Young when asked in an email interview by the JI about his own bar mitzvah experience. “There was a snowstorm and my mom’s car was hit en route to the shul for Friday night services. After that, standing at the bimah

and singing was easy! I drew a lot of inspiration for this play from real experiences – a mix of my own and stories from friends – but I just realized I left out the snowstorm. Maybe that’ll go in the movie.”

As to whether or not you have to be Jewish to get the play, he said, “No more than you have to be Catholic to ‘get’ Doubt or Mass Appeal or Sister Mary Ignatius (three ‘Catholic’ plays I love). But there are definitely moments that will hit harder for a Jewish audience and, I suspect, there will be jokes only Jewish audience members will laugh at.”

It is somewhat ironic that the world première of this play is being held in the basement of an Anglican Church, but that is part of its cachet.

The audience take-away from any play is deeply personal but, as Joey says in his bar mitzvah speech at the end of this journey into his faith: today, I am a man here to honour my family and ancestors, to celebrate being a Jew and becoming a member of a community with all the rights and responsibilities that go along with that membership. And, to that, we say, amen.

For tickets, visit pacifictheatre.org or call the box office at 604-731-5518.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on March 30, 2018March 29, 2018Author Tova KornfeldCategories Performing ArtsTags Judaism, Mark Leiren-Young, Pacific Theatre, religion, Richard Newman, theatre
Miller play remains relevant

Miller play remains relevant

Arthur Miller’s Incident at Vichy is set in a Nazi detention centre in Vichy France, where a group of prisoners are being held. (photo from Theatre in the Raw)

Theatre in the Raw is bringing Arthur Miller’s Incident at Vichy to the Studio 16 stage April 11-22.

The play was chosen and recommended to the theatre’s board of directors in 2017, said Jay Hamburger, artistic director of Theatre in the Raw and director of the theatre’s production of Incident at Vichy. “It had been a piece that had been suggested previously as well,” he said. “But, with the recent political developments in the U.S. as well as worldwide, I felt that, as a theatrical piece, it spoke closely to issues today perhaps even more so than when it was written in the 1960s, and these events were behind the popular consciousness in some way.”

In Incident at Vichy, Miller – whose most popular plays include Death of a Salesman, The Crucible and A View from the Bridge – explores our moral responsibility to act in the face of intolerance and hate. The one-act play, which was first performed in 1964, is set in a Nazi detention centre in Vichy France, where a group of prisoners are being held. “Their unease, fear and confusion is stirred up as they contemplate what may divide or unite them. And what fate awaits them,” reads the press material.

Panel discussions will follow each performance and explore the question, Can it happen here?

“That is the overall and main question placed before the audience as well as to ourselves,” said Hamburger. “Can fascism, or a wave of totalitarian, racially dividing politics take place in Canada? We see fragments of such distressing political and socially oriented movements happening worldwide. Even in the U.S., so close to Canada, there are semblances of divide and conquer. Sadly, it seems to come from the current administration in Washington, D.C. This is cause for real concern.

“Now more than ever this may be the time to warn people that eternal vigilance is key to the well-being of our daily lives, especially given the rise of violent hate crimes against Jews, Muslims, South Asian and First Nations communities, even in Canada…. The play finds a way to touch on economic and class concerns related to the increasing gap between the rich and the poor. It notes that certain people are at an insurmountable disadvantage in seeking ways to survive. Certain characters in the play point out the way prejudices are manufactured and fomented, often condemning people because of misconceived notions concerning races of people, ethnicities or religions.”

Incident at Vichy doesn’t only examine how genocide can happen, however, but what people could do to prevent it.

“Each character in the play has their own experience and background in relation to being interrogated for being Jewish or perhaps seen as an ‘undesirable’ in some way,” explained Hamburger. “The play is basically a dramatized account of events that took place in 1942 in the unoccupied ‘free zone’ of Vichy France,” he said, and it presents many of the attitudes that “people had who weren’t quite ready to accept the extent of what was happening around them until it is completely undeniable – and too late.

“It also includes as an important aspect the perspectives of characters who are non-Jewish Germans, and Austrians as well,” he added. “It implores members of the society to not be complacent in the face of governments and demagogues that wish to grab power by lying and oppressing the large swaths of society.

“A question and statement is placed forward within the play: who is responsible for such horrendous acts of cruelty leading to genocide? At what point must one consider themselves also responsible? The play suggests it is for all in society to give a damn or have a sense of responsibility to such terrible events. There is an important act of human kindness in the play, but I won’t give away the ending here. But, obviously, Miller is writing about shattering events, with shreds of hope that a holocaustal deluge will not repeat itself, that such human massacres will not happen again.”

Audiences should come away from Incident at Vichy with some answers, but perhaps as many questions about the nature of evil, how we perceive it and deal with it.

“I think the play is trying to answer the question, How did things get so far out of hand without people rising up and stopping the madness?” said Hamburger. “The play tries to answer that question, even though you get the impression of how relentless the evil and suffering was once certain powers were in control and the momentum of a horrific madness got going…. I think the play insists that ordinary people are instrumental in realizing evil actions, without necessarily wanting to see the bigger picture themselves. Thus, a vigilant eye is necessary on governments and draconian racial laws implemented upon a citizenry. Such policies must be watched, debated and fought against in a fair and free manner without fear of punishment or reprisal.”

photo - Theatre in the Raw artistic director Jay Hamburger directs the theatre’s production of Incident at Vichy
Theatre in the Raw artistic director Jay Hamburger directs the theatre’s production of Incident at Vichy. (photo from Theatre in the Raw)

Theatre in the Raw’s mission statement is on their website. Part of it is to be “risk-takers, willing to give exposure to voices seldom heard, striving for artistic excellence, in the presentation of unusual, awakening and exchanging theatre.”

“We are an independent grassroots theatre that has been in production and functioning for 24 years, residing on the Eastside of Vancouver,” said Hamburger. “We have produced comedies, tragedies, radio play works, original one-acts and full-length mainstage plays, as well as original and revived musicals of quality and enjoyment. Our process is to take the art of theatre and performance seriously and to present it first on a local level to Vancouver audiences and then beyond.”

The audition process for Incident at Vichy started seriously in early January and continued to the end of February.

“We saw dozens of actors (actually over 50 for weeks on end) that also included an extensive call-back set of days,” said Hamburger. “A few actors were called in to audition because I attended the unified general auditions that the Greater Vancouver Professional Theatre Alliance provides for theatre company members in the province. That proves an invaluable resource for those involved in the theatre arts.”

Rehearsals started at the end of February and will continue until the opening of the play on April 11 at Studio 16, which is housed in La Maison de la francophonie de Vancouver. “We are meeting three to four times a week, as well as individual meetings and sessions with each of the 15 actors cast in the show,” said Hamburger.

Incident at Vichy features some longtime Theatre in the Raw company members, he said, naming Roger Howie, Jacques Lalonde, David Stephens, zi paris, Brian Leslie, Stanley Fraser, Michael Kruse-Dahl and Ralston Harris. Hamburger is also part of the cast, as are Rob Monk, Julie Merrick, Daniela Herrera Ruiz, Laen Avraham Hershler, Giuseppe Bevilacqua and Simon Challenger, with Amanda Parafina as stage manager.

“We are fortunate to have such a dedicated and hardworking group of able thespians on the boards for the April run of the show Incident at Vichy,” said Hamburger, adding that fellow Jewish community member Cassandra Freeman also has been helpful.

“Cassandra has been an invaluable advisor and advocate for a number of years with Theatre in the Raw,” he said. “She has been a coordinator with the Tuesday night Vancouver Actor’s Drop-In sessions. We have cast at times from those evening sessions for some of our shows. She is a creative writer and has made the effort to report about Theatre in the Raw in a column or two she does for the press.”

Tickets for Incident at Vichy are $25/$22 and can be purchased from theatreintheraw.ca or 604-708-5448.

* * *

In his interview with the Jewish Independent, Jay Hamburger, artistic director of Theatre in the Raw and director of the theatre’s production of Arthur Miller’s Incident at Vichy, said, “A question and statement is placed forward within the play: who is responsible for such horrendous acts of cruelty leading to genocide? At what point must one consider themselves also responsible? … There is an important act of human kindness in the play, but … Miller is writing about shattering events, with shreds of hope that a holocaustal deluge will not repeat itself, that such human massacres will not happen again.”

Hamburger added, “The sentiment reminds and brings forth four related historical quotes that speak directly to significant parts of the play”:

“How can we expect righteousness to prevail when there is hardly anyone willing to give himself up individually to a righteous cause. Such a fine, sunny day, and I have to go, but what does my death matter, if, through us, thousands of people are awakened and stirred to action?” – Sophie Scholl, a member of the anti-Nazi White Rose group, who was executed for treason by the Nazis

“Of course, the terrible things I heard from the Nuremberg Trials, about the six million Jews and the people from other races who were killed, were facts that shocked me deeply. I was satisfied that I wasn’t personally to blame and that I hadn’t known about those things. I wasn’t aware of the extent. But, one day, I went past the memorial plaque which had been put up for Sophie Scholl in Franz Josef Strasse, and I saw that she was born the same year as me, and she was executed the same year I started working for Hitler. And at that moment I actually sensed that it was no excuse to be young, and that it would have been possible to find things out.” – Traudl Junge, one of Adolf Hitler’s secretaries

“I don’t believe that the big men, the politicians and the capitalists alone are guilty of the war. Oh, no, the little man is just as keen, otherwise the people of the world would have risen in revolt long ago!” – Anne Frank

“I’ve found that there is always some beauty left – in nature, sunshine, freedom, in yourself; these can all help you. Look at these things, then you find yourself again, and God, and then you regain your balance. A person who’s happy will make others happy; a person who has courage and faith will never die in misery!” – Anne Frank

Format ImagePosted on March 30, 2018March 29, 2018Author Cynthia RamsayCategories Performing ArtsTags Arthur Miller, genocide, Holocaust, Jay Hamburger, theatre
Inspired by cultures, nature

Inspired by cultures, nature

Artist Monica Gewurz’s “Woven Tallit” was inspired by her father.

Judaism’s history, traditions and clothing and my Peruvian upbringing are always latent in my inspirations,” artist Monica Gewurz told the Independent.

Gewurz will be one of more than 90 exhibitors at Art! Vancouver, which takes place April 19-22 at the Vancouver Convention Centre East.

“Both of my parents were Polish Jews,” said Gewurz. “My mother left Poland before the war to Palestine as part of the youth aliyah to help establish Israel. My father left Poland to study in France where, after completing his studies, he went to Peru to work for a French mining company. During the British Mandate, my father volunteered to help build the underground tunnels as part of the Jewish resistance. He met my mother and, in three weeks, they were married. My father had to return to work in Peru, where they both stayed. I was born there and left in 1976.”

Though Gewurz’s mother was a nurse, she “had a passion for rendering still life in pastels and watercolours.”

Gewurz left Peru, she said, because of the military situation there, “and the increased level of antisemitism in Peru and in South America in general.” She obtained both her bachelor of science and her master’s in landscape architecture and environmental planning from the University of Guelph, in Ontario, then worked for the federal government in Ottawa until 1987. She moved to Montreal, she said, “to work in the private sector for pension funds and, later on, for Canadian Pacific Railway, working on both environmental decontamination and commercial real estate planning, marketing and sales until December 1997. I moved that year to Vancouver because of the rise of the separatist movement in Quebec and the lack of professional opportunities because I was not fully bilingual.”

photo - Monica Gewurz will be participating in Art! Vancouver, which takes place April 19-22. (photo by Tatiana Rivero Sanz)
Monica Gewurz will be participating in Art! Vancouver, which takes place April 19-22.

During her career, Gewurz has worked in both large-scale commercial real estate development and sales; eco- and cultural tourism planning and marketing; environmental assessment; and for the Canadian government dealing with aboriginal issues. Her work in jewelry, photography and painting began as hobbies. However, in 2014, she received a fine art certificate from Emily Carr University of Art and Design, and embarked on a new career as a professional artist. She is currently enrolled in Emily Carr’s advanced study certificate in painting.

“My textured paintings strive to reflect and connect cultures through the use of ancient and modern materials, colours and techniques,” she said. “I use texture to blur the line between painting and sculpture, integrating man-made elements such as paper, natural elements like semi-precious stones and gravel, and traditional textile designs from various cultures, including Israel and my native Peru.”

Gewurz also travels a lot, which has allowed her to study different art forms, she said. She has been to Peru, Chile, Argentina, Brazil, Bali, France, Germany, Italy, Greece, Switzerland, Spain, Portugal, India, Israel, Turkey, China and several islands in the Caribbean. She said she always tries to visit museums and historical sites when she’s traveling. Last summer, for example, she participated in a guided art tour through the rivers of Holland, which included visits to UNESCO sites.

Her travels and love of archeology and tribal symbolism inspire her art, she said, and lend it broad dimensions.

“I am attracted to the abstraction of stylized figures done in wood, metal or in textiles that are decorated with simple colours … the myriad high relief textures and multicolour metallic patinas that have been created by weathering and the use of metals to indicate status or ceremonial purposes.

“I am also attracted by their simplicity, honesty and inventiveness, and the fact that they are all made with natural materials and pigments,” she said. “Distorted yet primal in its raw geometry, it provides my inspiration to create a new artistic language with new forms, colours and meanings.

“In my paintings, I use an earthy, quiet palette echoing the colour found in metallic patinas, Raku pottery and ancient glass. To accomplish the above, I use intense turquoises, luminous teals and yellows, haunting blues, earthy ochres and siennas, deep burgundies and mysterious charcoals and blacks. I also use metallic paints and foils to accent textures to give my paintings more luminosity.”

Gewurz really does seem to communicate with the earth. Her sea- and landscapes are alive with colour and texture. In some paintings, it’s almost a wonder how the water stays within the frame, its flowing movement captured somehow into a moving stillness.

“My studio is located amidst the rainforest with an ocean vista,” she said. “I am surrounded by the subtleties of changing skies and rhythms of the ocean. Hikes into the local mountains, forests and beaches up the north coast inspire my abstract work.

“The abstraction of the constant changing of shapes, colours and patterns of light in the reflected water and changing skies during sunrises and sunsets mesmerize me and are a source of my inspiration. I am fascinated with the contrasting nature of the organic and how that can provide an escape to a dream-like place.”

As for works in which her Jewishness played an important role, Gewurz offered the Independent a few examples.

The mixed media piece “Woven Tallit,” she said, “was inspired by the one my father wore until he passed away.” It not only depicts a tallit in the early stages of being made, but also symbolizes, she explained, “the tapestry that we call life, where individually we are nothing much more than a single thread intertwined with others, and also the ‘woven’ aspect of the various cultures and religions that have come together to create modern Israel.”

Gewurz created “Rachel de Matriarch I” and “Rachel de Matriarch II” to honour her mother, whose name was also Rachel, and who was “an artist, and had similar abilities and qualities as Rachel the matriarch,” one of the four spiritual matriarchs of the Hebrew Bible, she said, noting that “Rachel means a small lamb, and she is described as ‘beautiful of form and beautiful of appearance’ (Genesis 29:17).”

“Although she is no longer alive,” said Gewurz of her mother, “she continues to guide me in my daily life and artistic journey.

photo - Monica Gewurz’s “Rachel de Matriach” was inspired by her mother
Monica Gewurz’s “Rachel de Matriach” was inspired by her mother.

“In terms of symbolism,” she added, “the pose of Rachel is of deep thought, dreaming and hoping for the well-being of all people in the world. The texture, patinas and colour palette of copper, earth tones and turquoise are inspired by the simple but colourful clothes, jewelry and headdresses that Rachel would have worn while working in the fields.

“The many layers of this painting are reminiscent of the layered depth of a person’s life, and like looking into ourselves. While the surface layer is easily recognized and understood, deeper exploration is needed to reveal the complex and veiled richness of the person within.”

The last example Gewurz gave was her “Friendship Shawl,” which she described as “an abstraction of a silk and gold scarf which can be wrapped around the shoulders of two friends. Friendship is one of the key values of Judaism and a fundamental building block of the global community.” This painting was also inspired, she said, “by the patterns formed by the warp and weft of the friendship bracelets woven over the centuries by aboriginal people from Central and South America. According to tradition, a person will tie a string or fabric bracelet around the wrist of a friend while making a wish or prayer for them … the wish will come true if the bracelet is worn until it falls off by itself.”

Gewurz is represented by four different galleries. “I have been represented by Ukama since 2016, the Kube Gallery and Sooke Harbour House Gallery since 2017 and, this year, I will be also represented by Mattick’s Farm Gallery in Victoria,” she said.

In addition to paintings, Gewurz also creates “wearable art.”

“They are all based on my paintings,” she said of these works. “I take a portion of the image and expand it so it is an abstraction of a painting rather than the whole painting. I have been doing it only for one year, mainly as part of participating in the Slow Clothes fashion show held as part of the Harmony Arts Festival every year, and to give them away as a thank you for people that buy my artwork, i.e. somebody who buys a large painting receives a scarf or a pillow as a gift.”

Gewurz also donates a percentage of her sales to the Brooke Foundation, whose mission is to improve “the lives of working horses, donkeys and mules” around the world, and to the SPCA (Society for the Prevention of Cruelty to Animals) in Vancouver. She has donated art to numerous organizations, including the B.C. Cancer Foundation, the Children’s Heart Network Foundation and the Stephen Lewis Foundation’s Grandmothers to Grandmothers Campaign.

“It is a way of giving back to the community that has supported me in the past and continues to support me,” she said. “I like to donate art, money and time: ‘it’s better to give than to receive.’ I also like doing something useful and helping others, which makes me feel good about myself, which increases my self-esteem, and greater personal empowerment and better health.”

Other Jewish artists in the exhibition include Art! Vancouver director Lisa Wolfin – “I am doing a forest with a pipeline going in front of the forest to show what is going on in B.C.,” she told the JI. As well, Wolfin’s sister, LeeAnn Wolfin, and daughters, Taisha Teal Wayrynen and Skyla Wayrynen, will be showing their work. The event also features artist demonstrations and workshops, speakers and panel discussions, dance and other performances. For schedule and ticket information, visit artvancouver.net.

Format ImagePosted on March 30, 2018March 27, 2020Author Cynthia RamsayCategories Visual ArtsTags Art! Vancouver, Judaism, mixed media, Monica Gewurz
Separate but connected lives

Separate but connected lives

“I remember the deep pleasure I had as a child when I first began reading,” author Méira Cook told the Independent. “It was like climbing into a book and pulling the covers down over my head. When I write, I feel as if I’ve returned to that world. My greatest wish is that readers experience the absorption in reading my novels as I’ve had in writing them.”

Cook’s latest novel – her third – is Once More With Feeling (House of Anansi Press Inc., 2017). Readers will be immediately drawn in by the cheerful, optimistic and a bit naïve Max Binder, whose “many friends tend to exaggerate the dozens of half-full glasses – and some of them considerably less than quarter-full, it’s been pointed out by a couple of the more sour and dill-picklish ones – that he has eagerly poured into another until presto, not only is the glass full but it runneth over.”

Because, for Max, “hope is not merely a feathered thing, a bird, or an equation for water and glass. Hope is where he lives, where he hangs his hat and unbuckles his belt.”

So begins Once More With Feeling, with Max at the airport – where he’s never been “without running into someone he knows, however tangentially” – to pick up a visitor he’s invited as a surprise for his wife Maggie on her 40th birthday. The light tone lulls readers unfamiliar with Cook’s previous work into the expectation of a nice, light read, albeit one full of insight into human nature and wry observations on life. But, while there is much humour throughout, the novel is substantive and serious, and the writing demands that readers do some work.

The story of the Binder family – Max, Maggie and their two sons – and the community they live in, Once More With Feeling “explores how different family members are affected by tragedy, and how the Binder family’s trauma ripples out into the larger community,” explained Cook. “The novel began as a series of linked short stories centring on the Binders, but also veering off into other characters and situations. The structure I’d envisioned was of a year in the life of a city (Winnipeg), with each story taking place during a different month. I loved that sense of turning seasons and changing weather that we prairie folk experience so keenly.

“In the process of writing Once More With Feeling,” she continued, “I began to realize that, while we often like to believe that we are the protagonists of our own autonomous stories, really we are all connected, all linked in hidden and sometimes unexpected ways, all parts of a larger novel. In Winnipeg, we cherish the fond belief that we’re connected by two degrees of separation rather than the customary six degrees. I wrote my novel with this in mind – that people who live in different parts of the city, different neighbourhoods, are nevertheless connected not only through mutual friends and acquaintances but also in their shared humanity.”

The connections aren’t always easy to make in Once More With Feeling, and readers who like linear narratives will find the novel challenging. Some of the chapters have little to nothing to do with the Binders. But Cook is a master at creating characters – and Winnipeg would be one of the many in this book – that seem real, like people we know or have known, or who resemble ourselves in ways. The writing is excellent; many passages are hilarious, others are breath-catching. Cook is a perceptive observer and intelligent commentator. Perhaps not surprisingly, she was a journalist in her home country of South Africa.

“I came to Canada in the early nineties and lived for a couple of years in a small town three hours north of Winnipeg,” she said. “I’d previously lived an entirely urban existence in a large, bustling city, Johannesburg, where I was a film and drama reviewer. Suddenly, I found myself in a very small town (the population was about 500), where I could no longer work as a journalist. I’d never seen snow before and, since I’d arrived in February, there was an awful lot of it. I experienced culture shock as a devastating loss of identity, the loss of everything I’d known before. When I looked out my window, the snow seemed as white and blank as a page. I began to write – first poetry, later fiction – as a way of leaving my mark on that page.”

In addition to her three novels, Cook has published five books of poetry. In Canada, she also has lived on the West Coast for a spell.

“My husband and I lived in Vancouver for four years while we were studying. In those four years, I received my PhD in Canadian literature and had three children,” she said. “Despite how fertile a place Vancouver was for us, we returned to Winnipeg for work reasons. (Perhaps we were afraid that if we remained in Vancouver we’d have another three children!) My daughter had her naming ceremony and my twin sons had their britot at Beth Israel Synagogue on Oak.”

image - Once More With Feeling coverOnce More With Feeling has numerous Jewish aspects, from several characters, including Max, to topics such as the Holocaust, and how we remember and learn from it.

“Maggie isn’t Jewish but I didn’t have a specific reason for this in the sense of wanting to portray an intermarried couple,” said Cook. “I was interested in representing a city that is as diverse and vibrant as the Winnipeg I live in.”

For Cook herself, she said, “Judaism has always been important to me but I didn’t always feel that I was important to Judaism. When I was growing up in Johannesburg, my family attended an Orthodox synagogue and I often felt excluded and sidelined as a young girl and, later, as a woman.

“Through the years, I found my way back to my lost religion via the Conservative movement. My family attends an egalitarian synagogue in Winnipeg, where we sit and pray together, and where my daughter had her bat mitzvah six years ago. Watching my daughter reading from the Torah was such a deeply meaningful experience; it inspired the section of the book related from the point of view of the mothers watching their children grow up and become sons and daughters of the commandments.”

This chapter – called “Tree of Life” – is especially poignant, while also providing a critique of various social mores with wit and tenderness. And Cook doesn’t only put a lens on the Jewish community, but also on larger societal issues, such as racism toward First Nations people and the problem of homelessness.

“I don’t censor myself when I write but I certainly do when I revise,” she said about tackling controversial subjects. “Stephen King once said: ‘Write with the door closed, edit with the door open.’ And Hemingway is supposed to have advised: ‘Write drunk, edit sober.’ The model I follow is less decadent but similar in intent: write in a dream, edit when you wake up.”

And how does she know when to step away from the keyboard?

“There is a point where the writing doesn’t feel personal anymore. The story that has for so long been floating in your head or been messily transcribed from longhand notes to a Word document, that story hardens into conviction, becomes real.”

Format ImagePosted on March 23, 2018March 23, 2018Author Cynthia RamsayCategories BooksTags fiction, Méira Cook, Winnipeg
Music that entertains, heals

Music that entertains, heals

(photo from jaegerreidmusic.com)

An unexpected kindness reignites a passion for music, which offers an outlet for grief, as well as a new career path. A chance meeting turns into a mutually supportive, productive and enduring musical collaboration. We often forget how much of a role luck – fate, destiny, whatever we call it – plays in our lives. For Judi Jaeger, two occurrences stand out, with relation to her singing and songwriting.

From Way Up Here is Jaeger’s first CD with Bob Reid; she has two prior solo recordings. Released last summer, From Way Up Here features original music by both Jaeger and Reid, as well as covers of some of their favourite songs.

While Reid “is a California native and a fourth-generation Californian on his father’s side,” Jaeger told the Independent, he lived in “Calgary for awhile in the ’70s and also hitchhiked across Canada along the Trans Canada Highway in 1969.”

Jaeger, who lives near San Francisco, moved to California more than 20 years ago, after living in Seattle for almost 10 years, she said. “We moved here because of my husband’s job. We settled here and this is where we have raised our two children, our son Nick, who is 19 and a freshman in college (first year), and our daughter Emma, who is a junior in high school (Grade 11).”

But Jaeger was born in Ottawa. And she spent her teen years in Vancouver – “I went to Eric Hamber High School … where I sang in the swing chorus, played the flute in band class and was in some of the musicals” – as well as attending University of British Columbia. “I am still Canadian deep in my soul despite living in the States for many years,” she said.

Jaeger learned to play guitar when she was 15 – her brother, who is five years older, taught her the basic chords. “I played and sang folk songs for myself, and for friends when I went to Young Judaea summer camps,” she said. “When I was 20, and very busy – I was in college (I went to UBC for a few years and Carleton in Ottawa) – I put it away and didn’t touch it for 25 years.

“I picked it up again through some serendipity when a woman who was working for us as a nanny took my guitar, unbeknownst to me, to be restrung and presented it to me saying, ‘Here it is, now you can play it again,’ because I had been making noises about writing a song to deal with the lingering grief over my mother’s passing a few years before.

“So, I started playing it again after many years. And then, I wrote a song about my mother, which is called ‘Greedy Crime.’ I didn’t know anything about songwriting,” she admitted, “I just wrote a song – sat down and wrote the lyrics in one sitting and then, about a week later, sat down with my guitar and wrote a melody.”

One listen to this beautiful and moving song, which was released in 2007, and it’s obvious that Jaeger has natural talent. But she wanted more from herself.

“Once I had written a song,” she said, “I decided to learn something about songwriting, so I began to take a class at a local guitar shop in Palo Alto, Calif. From there, I began going to open mics to sing and play my original songs.”

Jaeger played in a band for a few years and was in another duo for about five years.

“Through my songwriting community, I learned about an acoustic music camp for adults called California Coast Music Camp,” she said. “It is a nirvana experience where about 100 adults attend a one- or two-week camp to study and play acoustic music. You can learn a new instrument or work on the one you play already. There are concerts and workshops and classes. It is collaborative, supportive and educational all at once. It was the best experience. I went about five times.

“That is where I met Bob Reid. He was one of the instructors at the music camp one of the years I went. On the last night of camp, they always have an enormous Beatles jam. Imagine 40 or 50 people sitting around in a large circle, playing guitar, ukulele, banjo, mandolin, bass, etc., and singing songs together. So, I was standing on the outside of the circle, singing, and Bob was walking around the circle singing harmony with people (he is particularly talented at harmony singing, and part of what people love about our duo is our blend) and he just happened to stop next to me and we hit a note that made him look at me and say, ‘wow.’ That was the extent of our meeting at the camp, but we ran into each other a few more times in the Bay Area, always at music camp events and there was always playing and singing at these events, and people kept saying, ‘Your voices sound so good together.’ So, after awhile, we decided to do something about it, and we formed a duo.”

Reid has sung and played guitar and many other instruments for his whole life, said Jaeger. “He grew up in a musical house – his parents owned a record store in Berkeley, Calif., his mother was a singer and songwriter in the ’60s and ’70s, and his father was a gospel music promoter,” she said. “Bob has played music for adults and for children, in schools and in concerts and at festivals all across the United States.”

Jaeger also grew up in a “home that was filled with music,” as well as “the beautiful cultural aspects of being Jewish, like wonderful food, family gatherings and loving extended family,” she said. “I went to Young Judaea summer camps for years, where there was always singing and dancing and plays. My mother played guitar, my brother played guitar, and my father loved music. We had a record player and lots of records. So, while I am not religious, and not even practising any faith, I have very warm feelings about Jewish culture.”

Jaeger is the daughter of Max Roytenberg – an occasional contributing writer to the Jewish Independent, and the proud father who alerted the JI to Jaeger’s latest CD – and Lorraine Davidson, who died in White Rock, in December 2004, at the age of 71. “And she had been declining for at least 10 years,” shared Jaeger. “So the ‘loss’ began when she was very young. She had a degenerative brain disease like Alzheimer’s.

“I felt cheated and thought she was cheated, too, and I felt angry that she didn’t get to enjoy her senior years or her children and grandchildren as she might have – my children were 3 and 6 when she passed away. I carried those feelings around for a couple years. One day, I just started thinking about this idea, that I would write a song about how I was feeling, even though I had never written a song before. I thought about this for a few months. I love music and always have, and I’ve always loved to sing. Then my guitar came back into my life with fresh strings (as I explained) and this gave me my outlet.

“I thought that maybe if I talked about how I was feeling that it might help other people who were dealing with or had dealt with the same problems and feelings,” she explained. “I can’t tell you how many times after a concert when we have sung ‘Greedy Crime’ people have come up to me and told me how much it meant to them, how they had experienced something similar and how moved they were. I had previously recorded ‘Greedy Crime’ and included it on an earlier solo album but that was many years ago and the song was overproduced. Bob is the one who encouraged me to include it, sung our way, on our first album as a duo because he feels it is such a powerful song. And, with his harmony, it is even more powerful.”

CD cover - From Way Up HereAnother powerful song on From Way Up Here is Jaeger’s “Love Caught Her,” written for the organization Community Overcoming Relationship Abuse (CORA). Jaeger was a lawyer, until she retired from the profession in 1997.

“As a family law attorney,” she said, “I saw domestic violence in my practice. It was there. I began to support my local domestic violence prevention organization (CORA) and I became friends with the executive director. Many years later, when she learned about my songwriting, she asked if I would consider writing some songs for them, and coming to perform them at a fundraiser they were having. I agreed and I wrote two songs for them in 2011. One of them, ‘Love Caught Her,’ is on our Jaeger & Reid album; the other song has never been recorded.

“Then, a couple years ago, the director asked if Bob and I would come to sing at an event they were having to honour people who had died from domestic violence. It was called Voices Not Forgotten. We agreed. When we couldn’t find just the right song to sing at this event, we decided to write it instead. Bob and I wrote a song called ‘Not Another.’ We have played it for CORA two years in a row at the same event. There is a video of this song on our Jaeger & Reid Facebook page, facebook.com/jaegerreidmusic.”

Jaeger and Reid play “house concerts and listening rooms in many different cities in the United States.” The pair came to Vancouver and Salt Spring Island last August, soon after their CD release, and they are hoping to get back to Canada this year.

From Way Up Here was recorded by multiple-Grammy-nominated producer Cookie Marenco at OTR Studios in Belmont, Calif. The title track, explained Jaeger, “is a song that was written by Malvina Reynolds (who wrote ‘Little Boxes’ and ‘Turn Around’ and some hits for the Seekers) and she gave the lyrics to her friend Pete Seeger, who wrote the melody. Bob, who was close friends with Pete and Toshi Seeger for 25 years, had always wanted to hear that song with harmony. It’s his arrangement on our album and is a powerful song.”

As for the original songs on the CD, Jaeger said, “We picked each for its story and its sound and then we brought in other musicians, all friends of either Bob or me, to add their own touch. We recorded so many songs when we were working in the studio that we have enough extra to almost release our second album. But, we have been writing new songs together for the past couple years now, so we have many new ones to record, as well. It is our goal to get our second album recorded and completed quickly.”

If it at all compares to their first recording, it is an album to eagerly anticipate. For more on Jaeger and Reid, visit jaegerreidmusic.com.

Format ImagePosted on March 23, 2018March 24, 2018Author Cynthia RamsayCategories MusicTags Bob Reid, folk music, Judi Jaeger
A grandfather’s sins

A grandfather’s sins

Prof. Roger Frie’s  Not in My Family rises above the merely personal (image from cenes.ubc.ca)

Forty-three years ago, at Vancouver’s first Holocaust Symposium, for which I was the chair, the keynote speaker was the Lithuanian partisan fighter Leon Kahn. His presentation to a large group of high school students described, among other things, how he watched, in hiding, while his mother and sisters were raped and murdered by members of the Einsatzgruppen – the murderous “task forces” mandated to kill Jews by gunshot (the so-called “Holocaust by bullets”) in German-occupied countries. Approximately two million Jews were murdered by the Einsatzgruppen.

After Leon was finished speaking, a tall, blond, blue-eyed boy walked slowly up to the podium. He was, he said, of German origin, and wanted to apologize to Leon. His face revealed how devastated he was. Leon shook his hand and told him, “Look, it wasn’t your fault. Now go on and live your life.”

That was my first experience with deutsche Schuld, German guilt.

There are literally hundreds of books and websites approaching deutsche Schuld from every angle. The author of Not in My Family: German Memory and Responsibility After the Holocaust (Oxford University Press, 2017) is Roger Frie, a Simon Fraser University professor and locally practising psychotherapist who is a third-generation German-Canadian. Based on his profession, he addresses the issue of German guilt in the present book from a personal psychological perspective, using his fear of being exposed as a “bad German,” along with his experience with inherited guilt, as his templates.

Frie’s Not in My Family was triggered, he says, by his mid-life discovery, long hidden by his family, of his beloved grandfather’s Nazi past. The book invites us to follow him as he slowly builds up the courage to go to the archives in Berlin to find the documentation revealing his grandfather’s Nazi membership and wartime activities.

“Opa” was hardly a high-ranking Nazi functionary, it turns out: he was “an ordinary German,” who operated, for all intents and purposes, as a minor motorcycle repairman. (Frie writes more about this apparently apolitical “motorcycle club” later in the book, but one is still left to wonder how the author, already heavily burdened with inherited guilt, would have felt if his Opa were discovered to have been say, a camp guard, or a member of the Totenkopfverbaende, the infamous Death’s Head Units.)

Ironically, Frie has professionally analyzed children of Jewish survivors, and some of his most intimate reflections arise from his wrestling, during these sessions, as to whether or not to reveal that he is himself of German heritage.

image - Not in My Family book coverConstantly throughout Not in My Family, Frie reiterates that he “has an obligation to remember the past” and, while remembering, he has many sincere reflections on post-Holocaust German guilt and responsibility, complicity, prejudice, cowardly denial and “shameful silence” of past issues, as well as, of course, the “need for redemption” and “the problematics of trauma,” especially of his own, rooted in a questionable notion of vicarious perpetration, three generations down the line.

On this last point, clearly, there was a therapeutic dimension for the writing of Not in My Family: it reflects on every page. But the book rises above the merely personal. For example, Frie is brutally honest in rejecting the moral camouflage of the “Germans suffered too” ilk, and on the need to be suspicious of Germans who feel “deluged” with the Holocaust.

Near the end of Not in My Family, Frie reflects that “writing can be a form of discovery, of examining life and making sense of the past.” This book, for him, he admits, was “personally meaningful” and “emotionally draining.” But if, as he puts it, the book “creates a space for dialogue and reflection on the nature of German memory and the Holocaust,” it is a valuable contribution to an ever-growing body of knowledge about how the greatest crime in human history came to be perpetrated by, among others, affectionate, family-loving, probably not dogmatically antisemitic, minor motorcycle repairmen.

Graham Forst, PhD, taught literature and philosophy at Capilano University until his retirement and now teaches in the continuing education department at Simon Fraser University. From 1975 to 2010, he co-chaired the symposium committee of the Vancouver Holocaust Education Centre.

Format ImagePosted on March 23, 2018March 23, 2018Author Graham ForstCategories BooksTags deutsche Schuld, history, Holocaust, intergenerational trauma, Roger Frie
Londres foresaw fate of Jews

Londres foresaw fate of Jews

Albert Londres was a Parisian journalist born in 1884. He became an international reporter who chose to chronicle human suffering and expose injustice and cruelty. He denounced inhuman conditions in mental asylums, the ordeals of black workers, conditions in a penal colony. His journalistic philosophy: “our profession is not to give pleasure nor to do harm; it is to twist the pen into the wound.”

Why was I drawn to Londres’ The Wandering Jew Has Arrived (Gefen Publishing House, 2017)? For one, I had spotted it in Israel and it was produced by Gefen, a familiar name in the publishing world. Its founder, Murray Greenfield, his late wife, Hana, and I once visited Terezin together and his son, Ilan Greenfield, published a book about the Buchenwald boys I co-wrote with Judith Hemmendinger back in 2000.

Secondly, I quickly read the introduction by Rav Daniel Epstein. He described Londres as a non-Jewish Parisian reporter with an insatiable curiosity. He wanted to inform his French readers, “nurtured for centuries on a teaching of contempt and antisemitic clichés,” about the world of Jews, a world he also did not understand. So he learned. He observed. He made a brief visit to Poland in 1926 and was exposed to the reality of pogroms and ghettos (his word for shtetls). Who would not want to join him on his journey?

In 1929, he began to familiarize himself with the London Jewish community of Whitechapel. Then he traveled to Poland, Russia and Romania. He described observant and secular Jews, Zionists and anti-Zionists, Torah scholars, yeshivah students. From all that he observed and experienced, Londres concludes “the passion for learning is uniquely Jewish,” and links this passion as “undoubtedly the real mystery of Israel and the secret of its survival.”

He discussed the dangerous circumstances of Jews living among hostile nations in 1929. “The Jew,” he writes, “is guilty of one crime; that of being Jewish.” He elaborates, “A Pole or Russian chases a Jew from a pavement as though the Jew who is passing by, is stealing his air.” Londres travels as well to Palestine to witness and observe a “metamorphosis: the cowering Jew of the ghetto now holds his head high … he finds the wandering Jew in Jerusalem.”

Londres’ translator, Helga Abraham, writes, “Still widely read in France, the book came to my attention when the Hebrew translation was published in 2008 (Nahar Books). Surprisingly, I discovered that no English translation was available. An English translation had been published in 1932 but soon was out of print. I use the word surprisingly because it is hard to read this work without being arrested by its enormous significance – as a unique eyewitness account by a non-Jew of a pivotal period in Jewish history, as a major literary work in itself and as a masterful example of journalism at its best.”

Let me take you through some of his journey. In the opening chapter, “A Bizarre Personage,” he describes meeting in London the Jew who would squire him on his journey – a Polish Galician rabbi on a fundraising mission in London.

Londres wrote, “But I had to begin in London. Why? Because England, 11 years ago, had proclaimed to the Jews the same words that God, sometime before, had proclaimed to Moses on Mount Horeb,” assigning him the land of milk and honey.

This time the proclamation had come from Lord Balfour. Londres records both proclamations adding, “England knew how to defend its interests better than God His: God had given Palestine and Transjordan in one stroke. Lord Balfour kept Transjordan.”

image - The Wandering Jew Has Arrived book coverLondres writes of the 1917 Balfour declaration as well as the betrayal of the Jews following the declaration, because, although the San Marino conference legalized the promise, by 1922, 78% of the British Palestine mandate was severed from becoming a potential Jewish area. And, only 10 years later, in 1939, unbeknown to Londres, who died in 1932 in a fire that broke out on the boat returning him from Shanghai, the slaughter of Europe’s Jews began.

It is all forecast by him, as he describes Jewish history to that time and modern Jewish history from the days of Theodor Herzl (1860-1904). Herzl became a journalist in Paris, where he witnessed the Dreyfus Affair. He wrote a book called The Jewish State. He was particularly shocked by hearing the cry, “Death to the Jews” in Paris, particularly in France where, “if the suspicion that rested on an individual (Alfred Dreyfus) was projected onto all, it meant that a Jew, even in this privileged country was not in his own home.”

Herzl set out to convince monarchs and leaders to establish a home for the Jews. He visited heads of state, royalty and philanthropists, and reunited Israel as a nation, in Basel, for the First Zionist Congress. In London, 10,000 Jews came to hear him. In Vienna, another 10,000.

His schedule was hectic, his leadership challenged and he succumbed to illness at age 44. Londres notes: “Herzl is dead. His dream lives on!” Londres writes, “Three thousand two hundred forty-seven years after Moses, he succeeded Moses.” And, “He awoke a people that had slumbered for nineteen centuries.”

And so, Londres embarks on his mission to describe “the state of the Jews in the world to the French.” In London, he speaks with immigrant Jews and recognizes that, in countries like Poland and Romania, due to antisemitism, “A Jew over there is always a Jew. He may be a man, but he is neither a Romanian nor a Pole. And if he is a man, he must be prevented from growing.”

Londres places into historical perspective the Lord’s designation of Abraham as the patriarch and assigning to him the land of Canaan around 1920 BCE, and the assignation of the land at the San Remo conference, also in 1920, but CE. At San Remo, the Supreme Allied Council gave England the mandate to establish a “Jewish national home” in Palestine. Londres notes wryly that from 1920 BCE to 1920 CE, “the Arabs have not stopped creating an uproar. They deny that Palestine is the cradle of the Jews.”

Londres describes the development of Jew-hatred; the loathing of Jewish adherence to the laws of the Torah, followed by the birth of Christianity and then dispersion to hostile nations. They were ghettoized, marked with yellow badges, forced to give up Judaism in Spain and blamed for cholera in Germany, whereupon they moved to Poland followed by Chmielnicki, the leader of Ukrainian Cossacks, who “passed through all the ghettos to massacre 300,000 Jews.”

The French Revolution led to greater acceptance of Jews, less so in Vienna. But Londres was familiar with the Jews of the West. He wanted to see those in the East, and journeyed to Prague and followed others to Mukachevo, in Subcarpathian Russia. Jews were driven from their homes in Moravia, Poland and Russia into misery and poverty, all described by Londres, the roving journalist.

Even in Prague, in a more civil society in the heart of Europe, he notes, “Chased, beaten, mocked, unable to leave their concentration camp, accused of witchcraft, sorcery, illnesses, their garments marked with a yellow badge, they walk stooped, pale and thin, beards flowing, down the little alleys of yore, with big strides, heads bent, toward this old synagogue. It was their sole homeland.”

What is the vision that prompts him to use the words “concentration camp” for the Jewish area they cannot leave and the yellow badge to mark them, in the year 1929?

The reader will soon enough discover what Londres began to envision. For he discusses as well the absence of Jewish rights, their lack of political power combined with the ever-increasing torment of pogroms, forced conscription and soul-destroying laws. Londres emphasizes that Jews without a land of their own create a space in which to worship and temporarily escape the travails of their wretched lives. He knows there is no future for these Eastern European Jews who happen to number six million, without including those in Germany, France and the Netherlands.

He describes the pogroms of Kishinev in 1903 and the great pogrom of 1918-1920 in Ukraine and eastern Galicia, where 150,000 Jews were murdered and 300,000 wounded. Londres notes there is no particular reason for pogroms except one: “the fundamental cause of pogroms is loathing of Jews. Then come the pretexts.” In Bessarabia, he meets a chalutz (pioneer) from Palestine urging Jews to leave their misery. Alter Fischer had survived a Cossack pogrom and fled to Palestine. Now a proud Palestinian Jew on a mission, he attempts to inspire the Jews of Kishinev. At one point, he rages, “By dint of waiting for him [the Messiah], they will all end up slaughtered. They are like the inhabitants of Stromboli, waiting for the volcano to erupt.”

In contrast to “the wild Jews of the Marmarosh Mountains, the frightened Jews of Transylvania, of Bessarabia and of Bukovina, the begging, beaten Jews of Lwow” stands Warsaw, which is, in Londres’ words, “the Jewish queen of Europe.” Three hundred and sixty thousand Jews – but living in a country where, “One of the main pillars of Poland’s political program is to ‘crunch the Jews.’ A Jew cannot work for the government, or the army, or a university.”

Londres’ descriptions of the depth and intensity of Jewish life reflect an admiration of the commitment to study and education. But, he worries. His travel companion from Prague, Ben, offers these words, “The Jews of Russia? They know they are enjoying a truce now. Bolshevism has brought them peace. But every regime that follows Bolshevism will bring them war. And they will pay the price. It will be even worse than Petliura’s pogroms. Everyone knows this and it will be ghastly. In Poland? The situation is worse than it’s ever been. In Romania, the antagonism is blatant. In Czechoslovakia, there is neutrality but also neglect. That’s the picture. Who wouldn’t want to get out?” Ben adds, “All of us here are not at home. But we are no more than guests wherever we live.” It is 1929.

Londres travels to Palestine on a vessel, the Sphinx. He exclaims, “Here is the sun! I left Warsaw in the year 5690” (on the Hebrew calendar). “Now I enter year 10” (roughly a decade after the Balfour declaration). Londres exults in the discovery of “Herzl Street! Edmond de Rothschild Boulevard! Max Nordau Street! The synagogue, the main monument in the process of being completed, seems to say it all. It is like a flag, floating over a camp. The sole, unrivaled flag. No crosses in its shadow, no minarets in its radius. Just as when the Temple dominated Jerusalem, before the Church of the Holy Sepulchre and the Mosque of Omar.”

In discussing the defeat of the Ottoman Empire and its 400-year occupation, Londres states simply, “Victory came. England puffed its cheeks and exhaled. The Arab kingdom vanished. Israel took its place.” He writes, “There is no point labouring over historical texts. Whether the settlement of the Jews in Palestine is called a ‘national home’ rather than a ‘Jewish state’ does not alter the fact. And the fact is this: this time, the Jews were arriving not as beggars, but as citizens. They were no longer asking for hospitality – they were taking possession of the land. They would no longer be a tolerated people, but equal.”

Londres’ remarkable work – of a period of time wedged in between two world wars, the latter resulting in the destruction of European Jewry – deserves a wide readership. Londres, the journalist, captures the essence of Jewish life and foreshadows what is to come through his awareness that Jewish survival is not possible and that the wandering Jew is destined to return home.

Dr. Robert Krell is professor emeritus, department of psychiatry, University of British Columbia, distinguished life fellow of the American Psychiatric Association and founding president of the Vancouver Holocaust Education Centre.

Format ImagePosted on March 23, 2018March 23, 2018Author Robert KrellCategories BooksTags Albert Londres, antisemitism, history, journalism
The telling of stories

The telling of stories

Left to right: Yoo Ra Kang (Asaka, Mother of the Earth), Ricardo Pequenino (Agwe, God of Water), Alexandra Quispe (Erzulie, Goddess of Love) and Sari Rosofsky (Papa Ge, Sly Demon of Death) in Fabulist Theatre’s production of Once On This Island, which opens April 6. (photo by Tina Clelland)

None of us mere mortals is a god. But some of us get to play one on the stage.

Sari Rosofsky takes on the role of Papa Ge in Fabulist Theatre’s upcoming production of Once On This Island. Papa Ge is one of four gods who affect – for better and for worse – the life of the main character, Ti Moune, a peasant girl living on an island in the French Antilles.

“What I love about Papa Ge is she’s the evil one!” said Rosofsky. “Ever since I was a child, I’ve always loved the bad guys more than the good because I felt they had more depth and dimension to them, and they always had the cooler songs. I think what is the most challenging part of this character is how to be a villain without being crazy – while I still want to portray the darkness and depth Papa Ge has to offer, I want audience members to be drawn to her despite her being the bad guy. It’s a delicate balance for sure, but I’m certainly up for the challenge.”

Based on the novel My Love, My Love; or the Peasant Girl by Rosa Guy, the one-act musical (with book and lyrics by Lynn Ahrens and music by Stephen Flaherty) “includes elements of Romeo and Juliet and Hans Christian Andersen’s The Little Mermaid,” explains the press material. Ti Moune “uses the power of love to bring together the different social classes living on her island.”

“Right now, I’m auditioning for a wide variety of shows, as I want to do as much theatre as possible to gain experience,” Rosofsky told the Independent about how she landed her role. “I saw the call [for Once On This Island] and saw that the production team had some familiar names, and knew I wanted to work with them – the music director, Amy Gartner, was actually in a show with me at the time I saw this call. I approached her and asked about the auditions and she strongly encouraged me to submit. So, I did, but, sadly, the auditions were during a time when my show had some important rehearsals. Thankfully, the production team decided to have me audition during the callbacks when I was available, and had me sing for multiple roles, Papa Ge included. And the rest, you can say, is history!”

Traditionally, director Damon Jang told the Independent in an email, the role of Papa Ge is played “by a man, but portrayed by a woman in the Broadway revival version.” Rosofsky, he said, “was the best person for the part, so we cast her.”

According to her bio, Rosofsky has “a passion for the arts, whether that be in singing, acting or modeling.” In addition to starting voice lessons at age 12, she started auditioning for school plays. She won her first role in Grade 8 – as a sailor in Shakespeare’s Twelfth Night. Her first musical came the next year, when she was part of the ensemble of Kiss Me Kate. She continued singing and acting through university, but did her degree in earth and ocean sciences.

Starting her sciences degree at the University of Waterloo, she finished it at the University of British Columbia. “While at UBC,” notes her bio, “she rediscovered her passion for musical theatre with the show Guys and Dolls, where she played Big Julie.”

Rosofsky has released two songs – “Save Me” and “Turn Around” – under the name Sari Rose. In her everyday life, she goes by the name Sari Chava Rosove. Rosofsky is her stage name, she said.

“My name alone is very difficult to pronounce for most people so I wanted to change it to something that rolls off the tongue slightly easier, but still maintain the uniqueness,” she explained. “It turns out my family already had this one taken care of for me – while Rosove is my legal last name, Rosofsky was the original family last name before they immigrated from Russia in 1901. They changed it to Rosove, as they were Jewish refugees and wanted to avoid antisemitism when they came to Canada. And so that’s where my stage name comes from, by paying homage to my roots.”

Rosofsky grew up in Seattle, where, she said, she spent most of her Jewish childhood at Herzl-Ner Tamid. “I went to Sunday school, along with additional after-school classes to prepare for my bat mitzvah, and, after that, I just kept going!” she said. “One of the most memorable things I did growing up at this synagogue was a program my mother actually ran, where a group of us would get together and make sandwiches that would be donated to a group that would hand out paper bag lunches to the homeless in Seattle. Of course, I also attended summer camp for a few summers at Camp Solomon Schechter.”

Rosofsky graduated from UBC in 2013, and then studied musical theatre at Capilano University.

“It’s a three-year, full-time program – and they truly keep you very busy,” she said. She attended Capilano from September 2014 to April 2017. “The entire program was so much fun. I learned a lot not only about the industry but about myself as a performer from some truly inspiring instructors.”

Recently, Rosofsky was in the ensemble for Merrily We Roll Along, put on by United Players, and played the wife in Draining the Swamp, by Curious Creations Theatre. “In between all of my endeavours in theatre,” she said, “I also dabble in competitive pole dancing which, in actuality, can be quite a performance! I competed and placed in my division back in October and will be training at Tantra Fitness for the upcoming competition in September, in between my other projects.”

Once On This Island is at the Red Gate Revue Stage on Granville Island April 6-14, 8 p.m. The show is approximately 90 minutes with no intermission.

The production is Vancouver’s first semi-professional cast of Once On This Island, according to the press release. Added Jang, “We wanted to cast based on the culturally diverse community of performers who make up Greater Vancouver and might otherwise be underrepresented in the city. We fully acknowledge that the story is a largely set in Haiti, but we wanted to use the story as a platform to address the more universal themes of love, death, and fighting against the class system. At the end of the day, these are storytellers telling a story.”

For tickets to the show, visit ootivan.brownpapertickets.com.

Format ImagePosted on March 16, 2018March 21, 2018Author Cynthia RamsayCategories Performing ArtsTags Damon Jang, Fabulist Theatre, musical theatre, Sari Rosofsky
Foxtrot steps on toes

Foxtrot steps on toes

Itay Exlroad as Dancer Soldier. (photo by Giora Bejach, Courtesy Sony Pictures Classics)

An audacious work of art that melds raw emotion and absurdist allegory into a blistering assessment of contemporary Israel, Samuel Maoz’s Foxtrot deserves to be seen and demands to be discussed.

Winner of the Silver Lion at the Venice Film Festival – where Maoz’s taut debut, Lebanon, won the Golden Lion in 2009 – and eight Ophir Awards (Israel’s Oscars), including best film, director and actor, Foxtrot uses a small-scale story to examine some of Israel’s deepest issues: the concept of military sacrifice, the oppression of Palestinians and the legacy of the Holocaust.

Skilfully strewn with ironies all the way to the final shot, Foxtrot was shortlisted for the Academy Award for best foreign language film but did not receive a nomination.

The film begins with a middle-aged man (the sublime Lior Ashkenazi, who played a fictitious prime minister last year in Norman and Yitzhak Rabin in this month’s 7 Days in Entebbe) opening his door to the worst possible news for a father with a son in the army. Even as the gravity of the situation and the intensity of his response wallops us in the face and grabs us by the collar, Maoz counter-intuitively undercuts the emotional naturalism with precision camerawork and a stylized set design.

It appears, at first, that the filmmaker is evoking the surreal, detached and alienating experience of being struck with a life-changing bulletin. But we get the nagging feeling, from Ashkenazi’s character’s black-humour interactions with the army representatives to the off-centre introductions of his wife and daughter, that there’s more on tap than the melodrama of domestic tragedy.

Indeed, Maoz pulls the rug out from under us, then cuts from the climate-controlled setting of a high-in-the-sky condo to an isolated checkpoint in the barren, forgotten north of Israel. This is where the son, Yonatan, is assigned the “mission” of guarding a remote, nonessential road with a handful of other bored young men.

The tilted shipping container that comprises the soldiers’ base and barracks fronts on a puddle-strewn mudfield, which they must trudge across to the checkpoint. The roadblock itself is cartoonishly minimalist, resembling a set you’d see onstage more than a military installation, and putting us in mind of surrealist (anti-)war films like Apocalypse Now and Catch-22.

Nothing happens in this God-forsaken spot, and everything happens here. Each detail has significance, though one must pay close attention because it may not be clear until events play out. In fact, the meaning of a close-up or sound cue often remains obscure until the movie is over, at which point the viewer is required to arrive at his or her interpretation.

Two key events occur at Yonatan’s base: one at the checkpoint involving a carload of Palestinians heading home from a party and the other in the barracks when the soldiers are killing lonely downtime. The latter scene, in which Yonatan relates an anecdote from his father’s youth, is the most astonishing passage in this taboo-trampling movie.

photo - Left to right: Danny Isserles as Official Military Officer, Yehuda Almagor as Avigdor, Michael’s brother, and Lior Ashkenazi as Michael
Left to right: Danny Isserles as Official Military Officer, Yehuda Almagor as Avigdor, Michael’s brother, and Lior Ashkenazi as Michael. (photo by Giora Bejach, Courtesy Sony Pictures Classics)

Yonatan has rendered his memory into a graphic novel, and Maoz brings it to life in the form of animation. This harrowing episode connects the Holocaust – and the self-reliance, persistence, shared sacrifice and residual faith that survivors applied to building the Jewish state – to a modern Israel, where idealism has curdled into a pursuit of temporary pleasures, and worse offences.

To be sure, in every land and every age, older generations castigate young people for ignoring tradition and abandoning their core values. But this parable takes place in Israel, so Yonatan’s father’s hormone-driven rashness hearkens to Esau swapping his birthright for a bowl of stew.

Threaded through Foxtrot is a critique of Israel’s leaders for maintaining a culture of cynicism and corruption that results in the unnecessary deaths of young soldiers. Furthermore, each loss is described as heroic regardless of the circumstances.

This is not unique to Israel, of course, but it’s harder to push back against the military spin when you’re a small country surrounded by enemies than a superpower. Maoz satirizes PR functionaries in the opening scene, in fact, and never stops spearing sacred cows.

Maoz’s triumph, finally, thanks in large measure to Ashkenazi’s unexpectedly vulnerable performance, is tracking the human cost amid the not-quite-real scenarios and sociopolitical commentary. Foxtrot is an altogether remarkable work, not least because it is a beautiful film about ugly truths.

Foxtrot is in Hebrew with English subtitles, runs 113 minutes and is rated R for some sexual content, including graphic images and brief drug use. It opens at Vancity Theatre on March 23, and runs to April 1.

Michael Fox is a writer and film critic living in San Francisco.

Format ImagePosted on March 16, 2018March 15, 2018Author Michael FoxCategories TV & FilmTags Foxtrot, IDF, Israel, military, movies, war

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