Ever wondered what your leather-bound journal thinks about you? Your menorah? The bowl you made in a pottery class? What astrological sign your keepsakes might be? How they’d like to be handled, cared for? Where they’d like to be in your home?
For most of us, the answer is probably no … to all of the above. But Elisabeth Saake has thought of all these things. And, after reading her latest book, Tchotchkes and their F*cked-Up Thoughts: The Messed-Up Minds of Your Trinkets and Treasures (Collective Book Studio), you will too. It’s a follow-up to her 2023 Houseplants and Their F*cked-Up Thoughts: PS, They Hate You, which she wrote with Carlyle Christoff.
Divided into five sections, no knickknack is spared. Saake covers the whimsical (lava lamp, rubber chicken, etc.), vintage and collectibles (antique compass, souvenir spoon, etc.), cultural and artisanal (woven tapestry, ceramic urn, etc.), spiritual and mystical (worry stone, crystal ball, etc.) and functional and decorative (novelty salt and pepper shakers, participation trophy, etc.).
About your journal, don’t worry, it thinks “your poetry is profound” and is “totally listening and deeply moved”; it only appears to be setting itself on fire.
But your menorah would like to be treated as more than a “fancy candleholder”: “Fill my branches with holy oil from trees grown on the Mount of Olives, just a day’s worth, and watch me burn for eight! Or cram in cheap candles from your big box store’s Hanukkah display. That works, too. Way to honour your ancestors, nudnik.”
And your handmade pottery is a “real bowl,” even if it “was made in a beginner’s night class at the community college”: “I’m round enough, I’m stable enough and, doggone it, people like me!” Though, it’s “a bit wobbly,” so perhaps no soup … maybe just display it on a kitchen shelf, as the “mantel is for the perfect porcelain.”
Tchotchkes and their F*cked-Up Thoughts would make a great gift to any friend (with a sense of humour) who’s a collector of things, or to any friend who has judged others’ collections of things. It’s snarky, a little dark at times, but will bring many chuckles and laughs, even if every joke doesn’t land. It’s colourful and beautifully put together. Hopefully, it will think as highly of you, its place in your home and how you care for it – and have an astrological sign that’s compatible with yours.
Iris Bahr opens the Chutzpah! Plus Spring Edition on March 19 with Stories from the Brink: My Festive Near-Death Adventures. (photo from Chutzpah! Festival)
The Chutzpah! Plus Spring Edition kicks off with comedy, though the laughs will mix with thoughtful moments of reflection on life, family, being Jewish, and more. Live, all the way from New York, Iris Bahr will perform at the Rothstein Theatre on March 19, and Talia Reese will be on stage there March 20.
Bahr is coming to Chutzpah! with her show Stories from the Brink: My Festive Near-Death Adventures.
“I don’t want to give anything away,” Bahr told the Independent. “Let’s just say I talk about my childhood in the Bronx, where I had to lead a double life. My bacon-eating parents sent me to an Orthodox yeshivah, which, as you can imagine, was extremely stressful. I was also stung by an entire beehive. But there’s a lot more. Just come and see. I really look forward to sharing the story and coming back to the theatre. I’ve missed it. Vancouver’s one of my favourite places to perform.”
Bahr explained why she has ventured into the non-fiction realm with her performance work.
“Some very significant events happened in my life, like my mom’s stroke, which was the basis of my previous show See You Tomorrow, that I performed in Vancouver a few years ago,” she said. “I felt a need to not only share the story because it was a very dramatic story, but, even more so, as I was in the depths of caregiving for my mom [in Israel], first with a stroke and then with dementia, I realized how isolating it was, especially with a loved one with dementia. And I realized how important it was, as an artist, to create a new piece about it, because so many people undergo similar caregiving trials and tribulations. I’ve been doing that show for over three years, and the amount of people that come up to me after, thanking me and hugging me and telling me they found comfort and were also entertained and were able to find the humour thanks to the show, is truly the reason I keep doing it.
“With my current show, Stories from the Brink, I had been exploring this theme of near-death experiences for awhile, first on a podcast that I created and then near-death-themed stand-up shows, with guests sharing their own stories,” continued Bahr. “But, after Oct. 7 and my experience in Israel on that morning, which was obviously terrifying and gut-wrenching, and the rise in antisemitism and extreme anti-Israel sentiment, it was very important for me to create a show that was framed by that experience that I knew would reach people from all persuasions and attitudes. But that is only one small piece of the mosaic of the show which is also filled with a lot of other life shmutz and a lot of humour.”
For Bahr, humour is one of the ways in which she handles challenges.
“Any coping mechanism that can find light amongst the darkness is a highly effective one,” she said. “And, as someone who has always reveled in the world of humour and made it a living, it seems like an obvious go-to when dealing with dark times. It’s not even a conscious decision, it just exists as a muscle, an internal reflex.”
While See You Tomorrow was written as a long-form story, Stories from the Brink comprises vignettes. Bahr explained that See You Tomorrow “takes everyone on a ride and hyper focuses on one aspect of a story. There are some tangents there, but it really is this one event that has a clear beginning, middle and end in a finite time.”
She took a different approach with Stories from the Brink because, she said, “I have a larger theme that I’m trying to explore from many different facets. The vignettes kind of tackle that theme from different angles and ways. And, it’s also a very colourful way to put a show together. It’s like a mosaic and there’s something beautiful about a mosaic, as well. Mixes it up a bit, especially for those audience members that have short attention spans.”
But audiences don’t have to be concerned about remaining focused on Bahr, who is an accomplished storyteller. Being an engaging performer, she said, “comes from physicality to voice to emotional presence and being authentic, being in the moment. Especially with storytelling, you have to have that combination of performance and authenticity and live in the present as you are recounting these stories. Otherwise, you’re just kind of giving a clinical recap, as I tell my students. You also have to really paint a picture and create a world and you have to depict the characters, including yourself, in a very full manner.”
Reese, who went from being a comedian to being lawyer and back to being a comedian, agrees about the importance of being a good storyteller. It has served her well both as a lawyer and as a stand-up comedian.
“So, this is random, but I’m a really good summarizer,” she said. “At the law firms, my thing was summarizing case law for memoranda and stating the facts of a case succinctly but informatively in a pleading,” she explained. “I think I took that skill to joke writing. Word cutting is so important, saying just enough to get to your punchline then move on to the next.
“I also really enjoy telling stories, which is helpful in law and in comedy. I can tell a good story, ya know? That’s why Ihave a low tolerance for stories that dwell on unnecessary details. I zone out fast, which is why I think I was so tough on teachers. But I’m all about entertainment value. Entertain me or go away.”
Comedian Talia Reese takes to the Rothstein Stage on March 20. (photo by Limor Garfinkle)
Reese shared that she was the “class clown” growing up, which meant she was “thrown out of class a lot.”
“It really depended on the teacher though,” she said. “I was just so bored in middle school and most of high school and the teachers were such characters. Getting to act in plays was a saving grace for me. I enjoyed doing Neil Simon comedies so much. I wish I was still doing that.”
In high school, Reese said, “I was all about acting in comedies and then, in college, I was the director of a comedy troupe where I wrote all the sketches and played many wacky characters. Coming out of U of Penn, I felt tremendous pressure to choose a more traditional career path, so I did the law thing. Law school was an amazing education but the all-encompassing practice was not the life I would have ever envisioned for myself, so I took a stand-up class on a lark and wound up sticking with that.”
Coming from an acting and then sketch comedy background, Reese wasn’t sure she’d be good at stand-up. “But,” she said, “it was the only way to do comedy on my own schedule, after putting the kids to bed. I’d go to open mics and talk about my life, try out jokes, build setups around lines that I thought were funny. One by one my stories would pop, or a joke would come to life, and it was the most exciting thing since college, when I wrote those sketches. I think I found my voice, and am still finding it, when I started to talk more about my actual life, telling specific stories. And it always amazes me when something so random that struck a chord in me will get an audience going too. It validates that I’m not crazy. Or that I am, but everyone else is too.”
Reese, who describes herself as Modern Orthodox, grew up in a Reform environment, “but we always had a traditional Friday night Shabbat dinner at my savta and sabbah’s house,” she said. “I think, given that my father is Israeli and of Sephardic descent, having Shabbat with my grandparents and cousins every week gave me a strong sense of Jewish identity. Also, my grandparents on my mother’s side survived the Holocaust and I have childhood memories of being in the room when they played cards with their friends, most of whom were Polish and some had numbers on their arms.
“My ‘Jewishness’ played such a strong role in forming my personal identity that it wasn’t a stretch to become more religious for me, or for my parents and siblings, who consider themselves baal teshuva as well.”
She adapts her comedy routine to the situation, she said. “I try to be respectful of religious institutions that hire me to do a night of clean comedy. I know where that line is and I’ll go right up to it and then walk it back. I like to play with an audience’s expectations. Like I talk about my two failed marriages. Then mention that I’m still in one of them. As far as getting to know my audience, at a live show, I’ll usually do some crowd work to see what I’m working with, or throw questions out up top.”
As for how she works, she said, “If I make myself laugh with a thought, I write it down. If I make my friends laugh with a story, I write it down. Then comes the development. Will this be good for the stage? Are there enough moments in the build-up that keep it funny? Like, I was thinking about how my daughter’s name is too long for how much I have to yell at her. Isabella, too many syllables, it’s exhausting. So, just abbreviate. Isabreakfast! Isabedtime! Who knows, maybe that will make it into the act!”
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Spring Chutzpah! Plus
The Jewish Independent interviewed Jessica Gutteridge, artistic managing director of the Chutzpah! Festival and the Rothstein Theatre, in advance of the March 19-23 Chutzpah! Plus Spring Edition.
JI: Why has Chutzpah! decided to do a spring edition?
JG: Chutzpah! has for many years presented special programming outside of the main festival through our Chutzpah! Plus program. It has been a goal of the festival to expand this programming in order to deepen our engagement with audiences and to take advantage of artists’ touring schedules that bring them to the area throughout the year. In late winter 2024, we were delighted to offer a Winter Weekend of programming. Now, with a shorter fall festival, we are able to shift some of our programming into the spring, offering opportunities throughout the arts season for audiences to enjoy what the festival has to offer.
JI: Last fall, there was concern about the future of Chutzpah! How is it looking now?
JG: We were gratified to see the community come together to support Chutzpah! at a time of crisis, contributing generously and expressing a shared commitment to Jewish arts and culture. Adjusting our festival schedule to a shorter fall flagship festival plus our spring edition has also aided our sustainability. Important capacity-building support has come from philanthropic organizations like the Diamond Foundation and the Azrieli Foundation.
But significant challenges remain. The grant-funding landscape has not improved appreciably and, with more organizations competing for less funding, costs rising and the general economy precarious, it’s critical that we keep the momentum going. Not only is it important that the community continue to sustain us as donors and sponsors, we need audiences to “vote with their feet” and come out to festival shows and events – and bring friends. Showing support and getting to enjoy fantastic artists – it’s a win-win!
The Chutzpah! Plus Spring Edition runs March 19-23. Universus, a dance double-bill by Belle Spirale Dance Projects and Fernando Hernando Magadan is at Vancouver Playhouse March 21-22, 8 p.m.; Yamma Ensemble is at Rothstein Theatre March 21, 10 a.m., and March 22, 7 p.m. (for more about Yamma, see jewishindependent.ca/unique-in-style-rich-in-culture); and City Birds, a new project in the tradition of Americana by Tamar Eisenman and Sagit Shir, will perform music for families March 23, 11 a.m., at Rothstein Theatre. For tickets, visit chutzpahfestival.com or call 604-257-5145.
Itai Erdal, with his mom, Mery Erdal, z”l, on screen, in How to Disappear Completely, which opens at the Historic Theatre in Vancouver March 15. (photo from The Chop Theatre)
Itai Erdal’s award-winning How to Disappear Completely, which has toured the globe, will be at the Historic Theatre in Vancouver March 15-22.
Created by Erdal, with James Long, Anita Rochon and Emelia Symington Fedy, How to Disappear Completely premiered at the 2011 Chutzpah! Festival. The one-man show then toured internationally, being performed in more than two dozen cities around the world before COVID hit. The March run marks its first remount since the pandemic.
“It’s been a dream come true,” said Erdal about traveling with the production. “Performing this show is the closest thing I have to hanging out with my mom, so being able to introduce my mom to so many people around the world has been wonderful. I also got to do it in Hebrew – I performed the show in Jerusalem and Tel Aviv and many of the people in the audience knew my mom so that was really special.”
Erdal immigrated to Canada from Israel in 1999. The following year, he found out his mother had been diagnosed with lung cancer and only had months to live. He returned to Israel to be with her as much as possible and, during that time, encouraged by his mother to do so, he shot hours of film and took hundreds of photos.
“We laughed a lot, and you can see it in the show,” Erdal told the Independent in 2012, when How to Disappear Completely had its first remount. “It’s a tragedy turned to joyful memories,” he said about the piece, which also focuses on his approach to theatrical lighting. Erdal is amultiple-award-winning expert in lighting design.
“This was the first show I wrote and the first time I performed, so we had to come up with a theatrical device to explain why a lighting designer is standing on stage and telling this story,” Erdal told the Independent in an email interview earlier this month. “So, the premise was that this was a lecture about lighting design, and I ran all the lights from the stage. The connection between my mother’s story and lighting design wasn’t obvious at first, but when we started doing workshops, the audience loved all the lighting stuff and responded very strongly to it. I wanted to show how a PAR [parabolic aluminized reflector] can get warmer as it dims, so I took it down one percent at a time, and people got emotional because they thought about the life leaving my mom’s body. The show is full of these accidental metaphors, and the lighting became the emotional heartbeat of the show.”
Over the 14 years since he first wrote and performed How to Disappear Completely, Erdal – who founded the Elbow Theatre – has co-written and performed several other works: Soldiers of Tomorrow, Hyperlink, This is Not a Conversation and A Very Narrow Bridge. So, while How to Disappear Completely hasn’t changed much since it was written, Erdal said, “I am much more relaxed as a performer, so the show got better.”
He added, “The main thing that’s changed in the past 14 years is that I have become a father and I understand better why my mother said it was so important to be a parent. I often think about what a great grandmother my mom would’ve been and I wonder how she would’ve handled some tough parenting moments.”
Erdal doesn’t tire of performing How to Disappear Completely, and he sees how affected audiences continue to be.
“Creating this show has been the most exciting and rewarding thing I’ve ever done,” he said. “You would think that reliving the hardest moment of your life on stage every night would be a daunting task, but it’s a joyful experience. My mother was smart and funny and her personality really shines through. Every time I perform the show, there is a lineup of people waiting to talk to me after, wanting to tell me their stories about finding love and about losing their parents, and I love connecting with them and feeling that my show might help them a bit with their grief.”
And that’s what makes this very personal show widely popular.
“Unfortunately, almost everyone in the world knows someone who died from cancer, and the grief of losing a parent is something almost everyone can relate to, so the show has many universal themes,” said Erdal. “It also deals with loneliness and the search for love, which are also very relatable themes.”
We Are Here! We Are Alive! The Diary of Alfredo Sarano, with historical commentary by Roberto Mazzoli and translated from the Italian by Avigayil Diana Kelman, is a book of double magnitude.
We Are Here! We Are Alive! is a riveting diary, with fiction-like suspense and drama, written in northern Italy during the Second World War under Mussolini’s fascist regime and Nazi German occupation, combined with an outside scholar’s comments, which set the diary into its day-to-day historical events. To make the reading easier, the diary is astutely printed as though typewritten, while the commentary is in regular book font.
Originally published in 2017 by noted Italian publishing house Edizioni San Paolo, in Milan, We Are Here! We Are Alive! garnered wide praise in Italy’s general press and from the country’s leading officials and public figures.
It must be accented that first-person Holocaust memoirs were usually written after the war, and the memoirist had to choose from past events and sort them out in the calm of peace time. A diary like this, composed in situ, while in hiding, is rather rare – and likely more reliable than one written with the fluidity of memory after events.
“This is the story of how this chapter of the history of Italian Jewry unfolded, which I experienced day by day,” writes Sarano. Kept for more than 70 years in a drawer by his daughters Matilde, Vittoria and Miriam, Sarano’s diary reemerges from the past, adding new, precious pages of history to the record of the genocide of the Jewish people.
We Are Here! We Are Alive! is the result of Mazzoli’s research, the Italian literary scholar who brought Sarano’s diary to light, placing it in the historical context of the time. The book accents the heroism of Sarano, who portrays himself humbly and with modesty. Yet, he was the farsighted secretary of the Milan Jewish community, the man who saved thousands of lives by hiding from the occupying Germans the lists of community members. The fact that he knew the entire list by heart, names and addresses, bore heavily on Sarano, and he realized he would have to escape detection by the Germans for the safety of the entire community.
The Germans relied thoroughly on these communal lists in various cities for their roundups and deportation of all known Jews to the death camps.
One tragic incident revolves around the Venice list. When the Germans came, they ordered the president of the Jewish community, Giuseppe Jona, to hand over the list. He quickly found a secure place to hide it and then committed suicide before the Germans could get to him.
In Sarano’s diary, we also learn about, and take joy with, the Jewish soldiers from the Land of Israel who fought the Germans in Italy during the Second World War as members of the Jewish Brigade, and helped save countless Jewish lives.
In his introduction, Mazzoli describes the fascinating background as to how this remarkable book came to be written. It is the combination of persistence, good luck and serendipity.
Mazzoli had been looking for information about a good-hearted Nazi officer, Erich Eder, who, in 1944, when the German army had already occupied northern Italy, had at great risk disobeyed orders and helped save local refugees, including Jews, from deportation. Mazzoli had read a few details in a memoir written by an Italian friar and wanted to contact Eder, but in vain.
Then, through a series of coincidences, he ran across the three Sarano sisters and learned about their father’s diary. It is here that Mazzoli learned more about the humane German officer, whose family back home in Bavaria had also saved a Jewish woman by hiding her in their house.
When the Sarano sisters became acquainted with Mazzoli, they entrusted him with their father’s precious manuscript with the touching words, “These pages have been waiting for you.” And then Mazzoli spent several years reading and notatingthe diary.
In We Are Here! We Are Alive!, we learn how ordinary peasants and kindly friars in the small town of Mambroccio and other places were able to thwart the Nazi plan of total annihilation of the Jews by hiding them in remote villages and sustaining them until liberation. There is even a moving description of how the Sarano family, with the help of the villagers, was able to celebrate a seder while in hiding.
Sarano served for decades as the secretary of the Milan Jewish community, until he made aliyah in 1969. That year, some 25 years after the events, in the town of Bnei Brak (near Tel Aviv), a memorable, emotional reunion took place, when Padre Sante Raffaelli, the friar who was instrumental in saving the family, visited the Saranos.
We Are Here! We Are Alive! is a must-read, enthralling book. It is so beautifully translated from the Italian by Kelman that one would think this diary was originally written in English.
Curt Leviant’s most recent novels are Tinocchia: The Adventures of a Jewish Puppetta and The Woman Who Looked Like Sophia L.
Ten Purim Bears: A Counting Book for Purim introduces kids to Purim, numbers 1-10.
Fans of Once a Bear: A Counting Book by Ron Atlas (words) and Zach Horvath (illustrations) will be happy to find that their bear friends have returned – this time, in Ten Purim Bears: A Counting Book for Purim. Both 24-page board books are published by the Collective Book Studio, which has produced several well-written and -designed books reviewed by the Independent.
Ten Purim Bears features all the same adorable bear characters as the first book, and follows the same format. Each scene spreads over two pages, with the numbers one through 10 written out on top and appearing numerically on the bottom, as borders. In the middle are 10 chairs, the first scene with mostly empty chairs, except for the one on the far left, where sits a baseball-costumed bear wondering, “Where is everyone?” As we progress through the story, we get more bear bums on seats, each dressed in a different costume. As each new bear enters, the new number of bears is highlighted in white on both the top and bottom borders.
Adi, bear #6, takes her seat in Ten Purim Bears: A Counting Book for Purim by Ron Atlas (words) and Zach Horvath (illustrations), published by the Collective Book Studio.
Directed to readers up to 6 years old, their reader-helpers will enjoy a laugh or two, as well. For example, Flor, “who lives next door,” sits down and says, “I’m saving a seat for my friend.” Turning the page, Pete, “from down the street,” has sat next to Flor, saying: “I’m the friend.” I hear him doing it in a deadpan voice and it makes me chuckle every time.
There are two short narratives for each scene – one introducing the next bear and the bears talking among themselves. It’s a nice touch, kind of like having a parent narrator and then the kids’ views on things. As we are told by the narrator that Adi’s sister, Mandy, “brought some sweets – lots and lots of Purim treats,” we see Mandy handing them out: “There’s some for everyone,” she says. “Thank you,” says her sister. The hamantaschen that Amari Bear baked to share with his friends are his favourite, he says, while Adi agrees, “Yum!”
Kids learns not only how to count, but a bit about Purim and its traditions. Sharing, politeness and a sense of community are encouraged. As is a sense of fun, with the various costumes. And the arts! The bears have all gathered to watch a Purim spiel, of course. And we get to see a scene of the play, with quadruple-threat performers – acting, dancing, singing and playing instruments – looking like they are having a good time. The 10-bear audience certainly is.
Ten Purim Bears and Once a Bear can be purchased at thecollectivebook.studio. Check out the publisher’s website further when you’re there, as there will no doubt be another book or two you’ll want to add to your collection.
Roots and Wings at Zack Gallery features a wide range of artwork, including the painting “Princess Love” by Grace Tang. (photo by Olga Livshin)
Roots and Wings, the seventh annual exhibition of JCC inclusion services, opened at Zack Gallery on Jan. 30. The show marks February as Jewish Disability Awareness and Inclusion Month. Most participating artists are either members of Art Hive, JCC inclusion services’ art branch, or members of similar programs in other localities. Such programs offer people with developmental disabilities art classes and workshops, and help emerging artists with instructions and materials.
The show’s theme is Roots and Wings. On the one hand, roots represent a deep connection to our origins: biological, ethnic and geographic. On the other hand, wings denote our striving to fly towards new beginnings and new understandings.
“Shoes” by Jasmine Winkler Stobbe. (photo by Olga Livshin)
Many artists responded to the challenging theme. The exhibition includes paintings, ceramics and 3D installations. The images vary from detailed beaded jewelry by Mikaela Zitron to the flowery landscape “Walking through the Meadow Land” by Theresa Kinahan. Small raku ceramics of birds and hamsa (hands) by different Art Hive potters stand beside the colourful and whimsical acrylic “Paisley Cat” by Calvin Ho.
Trees and roots also served as the inspiration for a few pieces. Among them, the most unusual is “Shoes” by Jasmine Winkler Stobbe. Roots painted in a quiet blue palette enhance the standard black fabric shoes’ tops, inviting everybody to try them on.
But most artists went with the subject of birds, so fitting to the theme of wings. Small, everyday birds decorate Jerry Zhou’s charming totes. Strange, fantastic birds look haughtily at the viewer from Hadeeb Hamidi’s painting “Mystical Birds.” A regal peacock with its gorgeous tail struts across a simple landscape in Grace Tang’s “Princess Love.” And, while owls in several paintings are instantly recognizable, the driftwood bird sculpture “Fusion of Nature” by Melody Edgars feels like an embodiment of a proud sea bird with a powerful beak and a curious nature.
“Fusion of Nature” by Melody Lorna Edgars. (photo by Olga Livshin)
Many artists depicted chickens: small and large, yellow and multicoloured, familiar and exotic. Matthew Tom-Wing’s humorous “Nobody Here but Chicken” seems to represent this flock of chicken fairly well.
Some artists have participated in these annual shows before. For others, this is their first time at the Zack. One of the newcomers is Shiri Barak Gonen, the new inclusion services coordinator.
“My career went in a kind of crooked line,” said Gonen in an email interview. “I started working in the Israeli tech industry when I was 23, freshly discharged from military service. I worked with computers in both technical and managerial roles while I completed my bachelor’s degree in psychology, followed by a music therapy program, on evenings and weekends. Afterwards, I worked for a few years as a music therapist with kids of all ages and with a range of challenges. Some years later, I found my way back to the tech industry, until we decided to relocate to Vancouver. We arrived in Canada in 2024.”
Newly hired, Gonen has given lots of thought to her new position. “The inclusion coordinator role is composed of two aspects,” she explained. “First, the managerial tasks such as staff and budget management and strategic planning. The other aspect is the direct and intensive interactions with the inclusion population, which requires sensitivity and a constant awareness of the needs of others. Both aspects are reflected in my personality and in my previous jobs.”
She added: “My current position is very different from my past jobs. In my last role, I was writing software code … and managing teams. Before, when I worked as a music therapist, I had a chance to work with my students and their families, but being a therapist puts you at a different angle than a program instructor. My focus will always be therapeutic, but I find much more pleasure in sharing hot chocolate and a chat with a group rather than analyzing their behaviour as a therapist. The essence of my new job is to establish meaningful relationships and mutual trust. We are building such a connection now.”
Another newbie at the Zack Gallery is an experienced Vancouver artist – Pierre Leichner.
“I have always been artistic,” Leichner said in a telephone interview. “Photography, ceramics, other creative outlets. But, when I graduated from high school, my family and I decided that, for better employment opportunities, I should go into science. I didn’t mind. I liked science too.”
He became a psychiatrist and worked in the profession for more than 30 years.
“In 2002, I decided I couldn’t do it anymore,” he said. “The medical system turned too entrepreneurial, too corporate and dehumanizing.” So, he revisited his first love – art. He enrolled at Emily Carr University of Art + Design and received his bachelor’s in fine arts in 2007. In 2011, he completed his master’s in fine arts at Concordia University in Montreal.
“Mostly I do visual arts,” he said. “Sculpture, photography, videos and paintings. I also do some performing arts, and I dabble in theatre,” he said. “I have my own YouTube channel, which deals with environmental issues.”
Some of Pierre Leichner’s GrassRoots Project masks. (photo from Pierre Leichner)
A multidisciplinary artist with widespread interests, Leichner considers community involvement of utmost importance. In 2017, he founded the Vancouver Outsider Arts Festival, which provides opportunities to marginalized visual and performing artists. He still serves as its artistic director. He is also a member of the Connection Salon collective and sits on the board of the Community Arts Council of Vancouver.
“I like to explore the possibilities on the cusp of art and science,” he said. “There are similarities between the two, and both examine the foundations of human existence.”
The GrassRoots Project he presented for the current Zack show fuses science and arts and illustrates Leichner’s interdisciplinary approach.
“I saw the call for this show, and it fit my GrassRoots Project perfectly,” he said. “The project started in 2011, when Britannia Community Centre received a grant to celebrate people with the deepest grassroots contributions: teachers, artists, musicians.”
Over the years, Leichner has made about a dozen sculptural masks of those people, plus some of his friends and colleagues, employing a traditional Mediterranean technique. “I use wheatgrass,” he explained. “I make a mold of their face masks and plant wheatgrass within. The roots take the shape of the face, while the grass grows out like hair. It takes about three weeks to grow each portrait. The grass becomes part of the sculpture, the means of my artistic expression.”
Each mask is a symbol, echoing the synergy of humans and nature. “In this way,” the artist said, “nature imitated us in celebrating our community at this time of great ecological concern. We all need roots. We have them within our bodies. We also have them with our family and our community.”
Roots and Wings is on until March 2.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
The new historical novel by Vancouver writer David Spaner, Keefer Street, is as much about the idea of Keefer Street as it about the real East Vancouver avenue. This is appropriate, because the book is a reflection on the Spanish Civil War and its Canadian, especially its Jewish, volunteers. For the dead and the survivors, the war was a living hell. But for the survivors and anyone else with a direct or inherited memory of the 1936-39 conflagration, it is an idea. It has been called the Last Great Cause – and that is the underpinning of Spaner’s story.
Spaner takes part in the Feb. 26 JCC Jewish Book Festival event Jewish Fiction from Western Canada, in which Saskatchewan writer Dave Margoshes (A Simple Carpenter) is also featured.
Keefer Street toggles back and forth between the Spanish Civil War and a 1986 reunion of fighters and hangers-on (with occasional detours to family vignettes in other eras and areas). The storyline follows veterans of the Mackenzie-Papineau Battalion, the ragtag Canadian volunteers who made their way to Spain in direct defiance of their own government, joining American volunteers of the Abraham Lincoln Battalion, as well as French, Poles and others signing on in a pre-Second World War proxy against Hitler and Mussolini and their Spanish incarnation, Francisco Franco.
The narrator, Jake Feldman (later Jack Fields), is a Mac-Pap from the neighbourhood – that is, the Strathcona area of East Vancouver, specifically Keefer Street, where waves of immigrants have planted their first roots in Canada. By the time we join Feldman’s spirited (if predictably stereotypical) Jewish family, Strathcona’s Jews have already begun moving to the Oak Street corridor and its environs, but the Jewish element remains prominent among the multicultural milieu of the area.
Spaner, who has written extensively about Vancouver’s left-wing (see Solidarity: Canada’s Unknown Revolution of 1983, jewishindependent.ca/history-of-left-coast), list-ticks a raft of momentous and minor Vancouver signposts and events, including Stanley Park’s hollow tree, the Sylvia Hotel’s Jewish roots, the lost, lamented Woodward’s flagship department store, Theatre Under the Stars (still going), Eastside firebrand Rose Barrett and her boy Dave, the Carnegie Library turned Downtown Eastside community centre, and the blacklisted singer Paul Robeson singing at the Peace Arch for binational audiences.
Obscure local trivia is also tucked into the pages. The Industrial Workers of the World got their nickname Wobblies here in Vancouver. David Oppenheimer, Bavarian Jew, became the city’s second mayor and has an eponymous park in the Downtown Eastside where the fictional Feldman family frolics. Local gal Sadya Marcowitz became Mary Livingstone and married Jack Benny, going on to become a major radio star.
More momentous local events are introduced, including the On-to-Ottawa Trek, the 1935 Ballantyne Pier riots and the upheaval around the visit of the Nazi warship Karlsbad earlier that year.
The life of Jake/Jack takes on a bit of a Forrest Gump feel with his uncanny ability to be in the right place at the right time, such as when he just happens to be watching an amateur baseball game in Toronto when Nazis descend in what we know now as the infamous antisemitic (and anti-antisemitic counteroffensive) Christie Pits riots.
Keefer Street is sometimes a didactic (perhaps necessarily, given the times) 101 on antisemitism in Canada, including Toronto’s Swastika Club and Quebec’s philo-fascist Adrien Arcand.
The flashbacks feature the parents’ hardscrabble migrant experience and their engagement in the shmata and fur trades, as well as the moderately idyllic life of Vancouver kids and teens in the 1930s. Apparently before the advent of Netflix, something called “shooting pool” was a popular pastime.
Hindsight allows Jake to reflect on the legal proscriptions against enlisting with a foreign militia, then the socialostracism on their return due to the associations of Spanish partisans with communism, then McCarthyism, then the apathy and ignorance of the Me Generation and its aftermaths, in which successive generations don’t know the role the Spanish Civil War or its belligerents played in 20th-century history.
The 1986 reunion allows for the exploration of the emotions of former fighters, wondering what their impacts were and what their lives have become.
Jews played a major role in the Spanish Civil War, as Keefer Street’s central protagonists demonstrate. This was understandable as a first military salvo against fascism, but Spaner illuminates another massive historical consonance that may be overlooked.
“Along with everything else the Civil War stood for, it meant a Jewish return to Spain after centuries in exile,” says one of the characters at the reunion. “During the Spanish Inquisition of the 15th century, the country’s considerable Jewish population, though it had lived there for eons, was given the choice of conversion or expulsion. Many were expelled. In the 1930s, Jews returned to Spain, volunteering in disproportionately large numbers – over half of the American nurses, for instance, from a country three-point-something percent Jewish. One personal note. In 1937, I crossed the same ocean going to Europe that my parents had fled across, coming from Europe just a generation earlier. My parents fled the barbarism of pogroms, inquisitions. I came back to fight it.”
Says Spaner through his character Jake: “Funny how a short time can define a lifetime. For a lot of the volunteers, the Spanish Civil War years are the big memory but, when you think about it, the war lasted less than three years. I was there about a year-and-a-half and so much of it’s a blur.”
Last month, Ben M. Freeman spoke about his latest book, The Jews: An Indigenous People, as part of Kolot Mayim Reform Temple’s 2024/25 speaker series. (PR photo)
Ben M. Freeman, founder of the modern Jewish Pride movement, spoke from his home in London, England, about his work and ideas in a Zoom webinar on Jan. 12. Titled Building Jewish Pride and Recognizing Jewish Indigeneity, the virtual event was hosted by Victoria’s Kolot Mayim Reform Temple.
The author of Jewish Pride: Rebuilding a People and Reclaiming our Story: The Pursuit of Jewish Pride, Freeman’s latest, The Jews: An Indigenous People, will be released this month.
Freeman began by calling into question the perception that indigeneity implies people who have lived on the land and are primitive or oppressed.
“I have great issue with that because the idea of those things being inherent is to destroy the great diversity of the indigenous experience,” he said.
The United Nations, he explained, set up seven criteria used to determine the indigeneity of a people to a particular land. Freeman, in his writings and talks, argues that Jews are indigenous to the land of Israel even by the UN’s criteria.
“[The UN] also created rights for indigenous people: the ability to have self-determination, the ability to practise your own religion, have your own language, all of these different things. But, again, many of them are still rooted in this idea that indigenous people are inherently oppressed,” he said.
“We’re not here to say that indigenous people have not experienced oppression. That would be ludicrous. Many indigenous groups do experience that, but we can’t necessarily say these things are inherent….”
To view certain groups as only victims, he contended, strips them of agency.Freeman would define an indigenous people, rather, as a group whose collective identity begins in one specific land, and it is in that land they remain rooted either physically, spiritually or culturally.
“This is their home and is where they originated, developed and continue to be fixed through a connection to the environment and natural resources, living systems, culture and practice as a people, irrespective of their sovereignty in the land,” he said.
This definition, Freeman believes, not only applies to Jews in Israel but also refers to the experiences of the Maori in New Zealand and First Nations in Canada, and other peoples in other countries.
From his perspective, Jews were a small group of tribes that developed into a civilization over time. The Torah played a large part as it codified Jewish civilization by taking practices that already existed, reshaped some of them and retold some of the stories, creating a culture that contains religion.
“Almost all the practices were rooted in the land. Pesach was two different festivals: one was a matzah festival and one was a sacrifice festival. Rosh Hashanah, our new year, was the beginning of the agrarian year. Shavuot is an agricultural holiday,” Freeman said.
“One of the odd experiences of being Jewish is that we exist in this cognitive dissonance almost because we will describe ourselves officially in many ways as a religion, but then we have so much of our practice rooted in land.”
Freeman also put forward that a distinguishing characteristic of Judaism is that, unlike Christianity, it can be a religion but not exclusively a faith or creed.
“Christianity has creed. My partner is a Christian and I sometimes ask him, ‘Could you be a Christian without believing in Jesus?’ And he’s like, ‘no.’ We don’t have that,” said Freeman. “That’s why you can have atheist, secular or agnostic Jews who are part of Am Yisrael. There is nothing we have to believe to be Jews.”
Freeman went on to discuss Jewish pride, which, for him, bears three central tenets. The first is to encourage and empower Jews to reject the shame of antisemitism – to wear one’s Jewishness as a badge of honour.
The second point is to repudiate non-Jewish definitions of Jewish identity.
“I just feel it’s so egregious to me that non-Jews think they have a right to tell us what it means to be Jewish or any aspect of that experience. This is my identity. I will tell you what it means to be a Jew,” he said.
The third tenet is for Jews to go on a journey to explore their identity through a Jewish perspective. “We have to be able to say this is who we are,” he said, “but we have to humbly accept that takes time. We need to be doing real work to investigate our Jewishness and then, most importantly, [do it] through a Jewish lens.”
Freeman is scheduled to travel to Canada in March to discuss The Jews: An Indigenous People, with appearances in Toronto, Windsor and Edmonton. His schedule may include stops in Ottawa and Vancouver, as well.
Next up in the Kolot Mayim 2024/25 lecture series, on March 2, 11 a.m., is Jonathan Bergwerk, author of the Audacious Jewish Lives books, who will speak about Jewish innovators who changed the world. Go to kolotmayimreformtemple.com to register.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
“Jug Band” by Anita Colman, whose work is on display at the Cedar Hill Recreation Centre in Victoria through March 3. (photo from Anita Colman)
The distinctive, colourful characters that artist Anita Colman creates out of driftwood and various objects she discovers around Victoria are currently on display in hallway showcases at the Cedar Hill Recreation Centre in Victoria through March 3.
Her “wood friends,” as she dubs them, constitute a wide assortment of critters – from avians to insects, canines to felines. There are birds nested on a woman’s head, a jug band and a dog with a beanie. There is also a unicyclist and a schoolboy riding a pogo stick.
“Unicyclist and Pogo Stick Boy” by Anita Colman. (photo from Anita Colman)
Colman grew up in Montreal and studied fine arts at Concordia University. After graduation, with what she jokes were “no applicable skills,” she worked building fences, painting houses and selling produce at an outdoor market.
“Then, in 1980, a friend and I went on an epic road trip from Montreal to the San Francisco Bay and I ended up staying,” she told the Independent.
With a penchant for cartooning, Colman, while getting settled in the United States, freelanced for several greeting card companies, including American Greetings, Marcel Schurman Fine Papers, Andrews McMeel and Hallmark Cards, among others.
One day, Hallmark contacted her to say that they wanted her to work in-house at their headquarters in Kansas City.
“As a single parent at the time, a steady income with a health plan was an offer I couldn’t refuse,” she said. “I’ll never forget the day we landed at the Kansas City International Airport in August. As soon as we exited the airport, we were hit with a blast of hot, humid air. It was an inferno. All I could think was, ‘What have I done?’”
At Hallmark, she was part of Shoebox, an alternative humour studio, where she illustrated not only myriad cards but books and calendars, and designed logos and fonts. Her artwork also was applied to stickers, school supplies, mugs, T-shirts, and dog and cat bowls.
The company, Colman recollected, had a farm where artists would go for what she called “creative renewal.”
“The barn had a fully equipped woodshop and welding area. That’s where I learned woodworking. We built crazy birdhouses and robots that moved and lit up,” she said.
“There was also a small woodshop for artists at headquarters. It was located beside the model shop, where carpenters built displays for shows, etc. I learned a lot from them. Any free time I had was spent in the woodshop.”
Anita Colman’s creations are on display in Victoria. (photo from Anita Colman)
As a humour artist, Colman said she was continually developing different characters and critters. Now she does the same with wood.
“The elements of design are the same – line, form, texture, colour. Driftwood already has texture and shape that can look like a nose, ears or tail.”
Accompanying Colman on her hunts for items to turn into art is her rescue dog Bean.
“He’s my sidekick,” she said. “He comes along when I walk the beach looking for good wood or browse ReStore, Value Village and hardware stores with an eye out for objects I can incorporate in my pieces. Bean’s always on the lookout for treats and makes out pretty good.”
The whimsical wooden creations have become an increasingly familiar sight in the capital city. Last fall, they were exhibited at the library in Victoria’s Commonwealth Place. In January, Colman was featured in a CTV News Vancouver Island report by Adam Sawatsky, which showed her, along with Bean, scouring a Victoria beach for things that could be incorporated into her work.
“Some people like shopping for shoes, I like shopping for junk,” she said.
Bean, too, is a recipient of Colman’s artistic flair. In the CTV report, he was seen clad in a denim vest with flames and a dragon embroidered into the back; his hair was molded into a mohawk to make him look “like a tough little dude.”
Anita Colman creates distinctive characters, a wide assortment of “wood friends,” including dogs. (photo from Anita Colman)
Colman’s display at the recreation centre is part of a Family Arts Exhibition organized by the District of Saanich. One of the images the municipality’s website is using to promote the event is Colman’s woodwork of a cat ballerina. Other artists whose work will be shown are Tanya Bub, Randy Barron and Susan Wright.
In the midst of the exhibition, the recreation centre will host a Family Arts Festival on Feb. 17 (Family Day) from 11 a.m. to 3 p.m. in what the municipality is billing as “a celebration of imagination, creativity and discovery.” Among the activities will be mini-quilt design, tin foil sculpture and LEGO robotics.
Colman’s finished products are not for sale. They can, however, be viewed on her website: anitacolmanart.weebly.com.
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
Artist Olga Campbell and her grandson Arlo, for whom Campbell wrote her memoir, Dear Arlo: Letters to My Grandson. (photo from Olga Campbell)
Recently, Olga Campbell published her third book, a memoir, Dear Arlo: Letters to My Grandson. Campbell’s new solo show with the same name opened at the Zack Gallery on Jan. 9. It features a selection of paintings and sculptures from the book, as well as a short film.
“The film starts the exhibition,” Campbell told the Independent. “It contains my photographs of Vancouver and its people. It is called Everybody Has a Story. The show and the book portray one of those stories – my story. But millions of other people have their stories, too, and, in the film, in my photos, I tried to tell some of those stories.”
Campbell said, “The book and the show are my answers to the questions my grandson asks. He is interested in our family’s past. We are very close, he and I. We just went to Nepal together. I thought I would write this book for him, as my legacy.”
The book does not concentrate exclusively on pain and tragedy, on the deaths of her family members in the Holocaust. It also celebrates the power of art and writing as a transformational and healing tool. Besides letters to her grandson, the book includes Campbell’s poetry and art, essays written by the artist, and her family’s traditional recipes. (See jewishindependent.ca/a-multidimensional-memoir.)
The Zack Gallery show is a subset of the book, a selection of paintings and sculptures the memoir highlights. The paintings are mostly collages based on the artist’s photographs. Each photo is Photoshopped into infinity, so none of the faces in the paintings have any resemblance to their origins. Campbell likes to experiment with images, looking at them from different perspectives, applying different approaches. Like her inner child who never grew up, she plays with them, making up different stories for different levels of perception.
One of the paintings, “Corridor of Memories,” has a couple of faces looking at the viewer with thoughtful, slightly anxious expressions. Behind those faces, a long corridor stretches into an unknown distance. The memories that come from that distance seem diverse and unsettling, a mix of positive and negative, but different for everyone.
“Corridor of Memories” by Olga Campbell. (photo by Olga Livshin)
“There is bad there but there is also some good stuff there,” she said. “I played with the faces in that painting. I thought it would be interesting to make them three-dimensional. That’s how I came up with the sculptures in the show. They are the result of the images unfolding from 2D to 3D.”
Another painting that underwent a similar metamorphosis is “Shall We Dance? – self meeting Self.” Campbell explained: “I took this image from the confines of a frame and brought it to life by making it three-dimensional. The title, ‘self meeting Self,’ refers to the small self, the individual, the ego, meeting the Universal Self, and the ensuing dance of Self-discovery, joy and wonder of life.”
The 3D dancers – a thickened silhouette of the flat painted image beside it – rotate. They are accompanied by the song “Shall We Dance,” played by a tiny music box, when someone winds it up.
“The Sky is Falling” by Olga Campbell. (photo by Olga Livshin)
Sometimes Campbell’s reconstruction of images results not in an additional dimension but in a deepening complexity of the original idea. In “The Sky is Falling,” she took a person’s outline from the painting beside it and embellished it with everything that she felt was relevant to our hectic lives. Unlike most of the other paintings in the gallery, there is no face in this one. The grey danger hangs over all of us, regardless of our facial features or skin colour.
“There are lots of similarities in our world today and the one that preceded WWII,” said Campbell. “That’s why I put a crow in that painting. A crow is a traditional symbol of death, but also of transformation, of change and the future.”
Like the book it is based on, the show is not linear. It reflects the artist’s response to various events in her life, both happy and sad, from her coming of age, to the current war in Ukraine. Both the memoir and the show emphasize Campbell’s personal journey through the beauty and the trauma of life, so inextricably entangled together.
At the gallery on Jan. 23, 7 p.m., Campbell will discuss her book and her art in an event co-presented by the Zack Gallery and the JCC Jewish Book Festival. Campbell’s exhibit will be on display until Jan. 27. To learn more, check out the artist’s website, olgacampbell.com.
Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].
Divided into five sections, no knickknack is spared. Saake covers the whimsical (lava lamp, rubber chicken, etc.), vintage and collectibles (antique compass, souvenir spoon, etc.), cultural and artisanal (woven tapestry, ceramic urn, etc.), spiritual and mystical (worry stone, crystal ball, etc.) and functional and decorative (novelty salt and pepper shakers, participation trophy, etc.).
