Arts & Culture – Page 121

Chutzpah! tix now on sale

David Broza, left, and Ali Paris will perform in concert. (photo from Chutzpah! Festival)

Tickets are now on sale for the 17th annual Chutzpah! Lisa Nemetz International Jewish Performing Arts Festival, which will run from Feb. 16 to March 13, at venues including Rothstein Theatre, York Theatre, Scotiabank Dance Centre and the Biltmore Cabaret.

“We are all excited for another year of presenting an electrifying array of internationally acclaimed dancers, musicians, comedians and theatrical artists to our audiences in Canadian, Western Canadian and world premières. We’re headed for an energizing and thrilling journey from stand-up comedy to theatrical drama to rich global music to explosive and elegant dance!” said Mary-Louise Albert, Chutzpah!’s artistic and managing director.

photo - Italy’s Spellbound Contemporary Ballet returns to Vancouver, bringing with them Carmina Burana — Italy’s Spellbound Contemporary Ballet returns to Vancouver, bringing with them Carmina Burana. *(photo by Mariano Bevilacqua)*

As it does every year, the 2017 Chutzpah! Festival dance series presents some of the most sought-after contemporary choreographers in the world. This year’s performances include the return of Italy’s Spellbound Contemporary Ballet with their full-length Carmina Burana; Israel’s Yossi Berg and Oded Graf Dance Theatre with their acclaimed 4Men, Alice, Bach and the Deer; and Kyle Abraham/Abraham.In.Motion (United States) brings a mixed repertoire of some of Kyle Abraham’s most popular works in their Western Canadian première. Vancouver’s Shay Kuebler/Radical System Art première their completed and full-length version of Telemetry, while local choreographer and performer Tara Cheyenne Friedenberg and Italy’s award-winning Silvia Gribaudi navigate the role of comedy as a catalyst to questions of gender, culture and language and understanding – this is world première presented with the Dance Centre. As well, in Chutzpah! Plus (May 13-14), there is Birds Sing a Pretty Song (Canada/United States/Israel/Argentina), an exploration through dance, film, interactive media and live music created by Rebecca Margolick and Maxx Berkowitz during a yearlong fellowship in New York City with LABA: A Laboratory for New Jewish Culture.

Among the Chutzpah! Festival 2017 musical highlights is Grammy-winners the Klezmatics 30th Anniversary Tour (United States). In concert together will be David Broza, whose music reflects the three different countries in which he was raised (Israel, Spain and England), and Ali Paris, who fuses Middle Eastern and Western music styles, and plays the qanun, a rare 76-string zither that dates back to the 14th century. Also in concert together will be Shalom Hanoch – touted as “the King of Israeli Rock” and compared to musicians such as Neil Young and Mick Jagger – who will be joined on stage by his longtime music producer, partner and keyboard player Moshe Levi.

Now based out of Chicago, Marbin, founded by Israeli guitarist Dani Rabin and Israeli saxophonist Danny Markovitch, is a progressive jazz-rock band, and MNGWA [ming-wah] opens their performance, mixing elements of psychedelic rock, dub, African rhythms, and vocals in four languages. Israeli singer Maya Avraham, who is known by Chutzpah! audiences from her performances with the Idan Raichel Project, comes to Vancouver with her band of Israeli and American musicians, and Lyla Canté (United States/Israel/Japan/Argentina) also joins the festival – exploring the intersection of Sephardi, flamenco and Ashkenazi music. For Chutzpah! Plus (April 2), composer Landon Braverman and Friends put on an evening of musical theatre – while currently based in New York, Braverman is originally from Vancouver.

With respect to theatre, one of this year’s Chutzpah! highlights is Wrestling Jerusalem, created and performed by Aaron Davidman. Set in America, Israel and Palestine, the play follows one man’s journey to help understand the Israeli-Palestinian conflict. Davidman’s solo performance is a personal story that grapples with the complexities of identity, history and social justice.

Another theatre draw is Folk Lordz, high-speed and multicultural improv featuring two members of Edmonton-based Rapid Fire Theatre, which was co-created by Todd Houseman and Ben Gorodetsky and brings together the unlikely combination of Cree storytelling, Chekhovian character drama and spontaneous comedy.

Comedy highlights include Mark Schiff (United States), who has headlined major casinos and clubs and has appeared many times on both The Tonight Show with Jay Leno and Late Night with David Letterman. He has had HBO and Showtime specials, was a featured act at the Montreal Comedy Festival and regularly opens for Jerry Seinfeld.

Also on the comedy front, there is a double bill: Ali Hassan and Judy Gold. Canada’s Hassan appears in his one-man show Muslim Interrupted; Hassan is a stand-up comedian, actor, chef and radio and television celebrity, and is the host of Laugh Out Loud on CBC Radio and SIRIUSXM. Gold’s (United States) most recent TV appearances include guest-starring roles on Louie, Broad City, The Unbreakable Kimmy Schmidt and Inside Amy Schumer, and she has a recurring role on the upcoming series on TBS Search Party. Gold has had stand-up specials on HBO (Cable Ace Award), Comedy Central and LOGO and was twice nominated for the American Comedy Award for funniest female comedian.

After the success of Chutzpah’s first literary event in 2016, this year’s Chutzpah! features author Christopher Noxon in Hollywood Stories, a special pre-festival event. Noxon is an author, journalist and illustrator and his humorous and unflinching Plus One is a novel about an interfaith family set in contemporary Los Angeles. Noxon is married to television writer and producer Jenji Kohan, creator of Orange is the New Black. This event is presented with the Cherie Smith JCC Jewish Book Festival and will take place on Feb. 5.

Single tickets for Chutzpah! range from $23 to $50 and are on sale now from chutzpahfestival.com, the festival box office, 604-257-5145, or Tickets Tonight, 604-684-2787. Chutzi Packs are also available – see four different shows for $94 – and new this year is a special five-show dance pack for $115.

Tickets will be available in-person starting Jan. 30 at the on-site festival box office at the Jewish Community Centre of Greater Vancouver. For hours and other information, visit chutzpahfestival.com.

Sharing Muller’s table

Our Table is a beautiful hostess gift for that special occasion or that friend who loves cooking and never tires of inspiring culinary reads.

There are cookbooks you whip out of your kitchen cupboard 45 minutes before dinner in search of something easy, bright and new, and there are cookbooks you take to bed with you for reading pleasure. Our Table (Artscroll, 2016) by Renee Muller falls into the latter category, not because you won’t want to try her recipes, but because there’s a lot of reading involved in many of them.

Muller is a Swiss native who moved to the United States in 2002 and, by winning a recipe contest, landed a regular column in Whisk, a pullout food feature of the national Jewish weekly Ami Magazine. Our Table is a compendium of her favorite kosher recipes, “a cuisine that is heimish yet laced with aromas of my youth,” she writes in the introduction.

The dishes encompass all the usual categories – soups, salads, appetizers, fish and dairy, meat, chicken, snacks, desserts and breads. Many of them are laced with stories about family secrets related to the particular recipe, or how the recipe came into being. For her fragrant standing rib roast recipe, for example, there’s an essay on how and why she created the recipe, as well as tips on how far in advance to make it and how to prevent it from drying out. Her Sugo Della Nonna (Italian-style tomato sauce) contains a half page on the definition of comfort food and the feeling it delivers when she makes it. “I see myself, sitting at Nonna’s table, as a child, feeling nourished and happy,” she writes.

Muller’s insights are written in a conversational style with lots of anecdotes about her family thrown in. By the time you’re finished reading this book, you feel like you know her personally – and you can’t help but like this impassioned chef who adores cooking for her family and friends. That’s because Muller’s enthusiasm is contagious, but also because some of her dishes go way beyond the usual suspects. There is a recipe for onion crisps, a whole page on the art of roasting chestnuts, one on toffee apples, one titled “Really, really good whole wheat challah” and another for brown buttered pear salad. And the pictures? Whoa. They are amazing, mouthwatering bites of full-page color that will leave you salivating as you plan your next dinner party. Most of the recipes are not terribly complex either, they’re just new combinations of ingredients most of us know well and use regularly.

Muller is that friend we all want in our lives – the one whose cooking is fabulous, who isn’t shy about sharing her recipes and whose conversation is full of funny stories, notes from her past and sage bits of wisdom. There are times when the essays feel perhaps a tad too long but, nonetheless, Our Table is a 270-page hardcover recipe book worth having, a beautiful hostess gift for that special occasion (Chanukah?) or that friend who loves cooking and never tires of inspiring culinary reads.

Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.

Scholar talks at Peretz

Prof. Ester Reiter, author of A Future Without Hate or Need, points to the U.S. election as a warning that the issues the Canadian Jewish left dealt with are as timely as ever. (photo from Ester Reiter)

On Dec. 1, Prof. Ester Reiter will speak at the Peretz Centre for Secular Jewish Culture to launch her new book A Future Without Hate or Need: The Promise of the Jewish Left in Canada (Between the Lines, 2016).

Reiter’s book documents “the varied political and cultural activities of those who were part of the secular Jewish left” – the movements in which many Yiddish-speaking immigrants and their children took part during the first half of the last century, made up of Yiddish schools, theatres, choirs, dance troupes, drama groups, sports leagues, union activism, newspapers, women’s groups and summer camps. Their members were animated by a vision of what many of them would have called a shenere, besere velt (a more beautiful, better world). There were groups throughout the country, with the strongest ones in Montreal, Toronto and Winnipeg.

Many of these groups came together nationally in the United Jewish People’s Order (UJPO), founded in 1945. The book launch is being undertaken to commemorate the 90th anniversary of the founding of the Labor League – which later became part of UJPO – in Toronto in 1926. The launch is sponsored by UJPO, and co-sponsored by the Peretz Centre and the Shaya Kirman Memorial Foundation for Yiddish Culture. It will start at the Peretz Centre at 4 p.m.

Reiter, a sociologist by training and a senior scholar at York University in Toronto, grew up in New York in a milieu similar to the one she describes. “I grew up in the New York left, the sister version of the Canadian Jewish left. I was a child in the Yiddish shule [school] in Brooklyn and later the mittlshul [middle school] in Manhattan during the Cold War. Many of my teachers were well known in Canada – they were in the summer camps in Montreal and Toronto, and taught in Canada. The politics were virtually the same and shule materials used in Canada were produced in New York, particularly in the early years, the 1930s.”

This community was at its strongest from the 1920s to the 1950s. Yiddish-speaking immigrants were immersed in the secular Yiddish culture and literature that emerged in the late 19th century. “The Jewish left was the equivalent of a university for working-class women and men. The cultural activities – dance, choirs, orchestras – were accessible to both women and men. People working in the needle trades with no time to learn to read music would sing classical works in the choirs, learning them by heart.”

Reiter says of the Yiddish Arbeter Froyen Fareyn (Jewish Women’s Labor League) that, “the very act of getting together changed many of the women,” particularly in women-only groups, “where women felt more comfortable, they described how they learned to speak in meetings. Their political commitments, which involved activities such as walking picket lines, raising money for various causes, necessitated engaging in public life in a way that required and reinforced self-confidence. This participation in the wider world was empowering. They supported each other, made close friendships and had a lot of fun.”

Jews on the left in Canada, as elsewhere, were diverse – they included social democrats, Bundists, anarchists, Labor Zionists and Marxists. Reiter focuses on those whose outlook was Marxist and supported the Soviet Union after the 1917 October Revolution.

Reiter emphasizes that this sector of the Jewish left had a life of its own distinct from the Communist party. “The leadership were Communist party members, but approximately 95% of the membership of the UJPO and its predecessors were not. One could think and say what one felt in the Jewish left without concern over whether it was the ‘correct’ position. Many people came [to the Jewish left] because of the liveliness of the community, as well as the politics.”

Initially, Yiddish schools saw their purpose as conveying ideological values, but this later shifted to transmitting the Yiddish language and Jewish cultural identity for their own sake, including secularized versions of Jewish holidays and rituals. “In the early period, a Yiddish education in the shule was to ensure that the children learned they were the children of workers, and needed to care about racism and class exploitation. After Hitler came to power and antisemitism was growing, Yiddish was valued as an end in itself, and there was more acceptance of the different ways of identifying as a Jew. The community developed secular ceremonies around the bar/bat mitzvah, the High Holidays, Rosh Hashanah and Yom Kippur.”

The Jewish left experienced government harassment during the Cold War, especially in Quebec under premier Maurice Duplessis. Reiter notes that Canadian Jewish Congress defended civil liberties in the face of repression, but “dealing with pro-communist groups in their midst was a different matter.” UJPO was expelled from CJC in 1952 for dissenting from the Cold War consensus by opposing the postwar rearmament of West Germany and supporting the Stockholm peace petition.

The Jewish left for a long time saw the Soviet Union as a hope for a better society, in its outlawing of antisemitism and support for Yiddish culture in the 1920s, but their hope was shattered by the Stalin regime’s murder of Yiddish artists in the late 1940s and early 1950s. “For many years, people projected their idealism on[to] the USSR. When they found out about Stalin’s suppression of Jewish life, it was shocking. Most of the Jewish [Communist party] leadership from UJPO left the party. However, the rank and file in UJPO were never actually party people, so many felt that, although the USSR under Stalin was terrible, their activities in Canada – helping the unemployed, union support – were important and valuable.”

Reiter describes various factors in the shrinking of the Canadian Jewish left – Cold War persecution, disillusionment with Stalinism, the erosion of Yiddish by assimilation. However, UJPO itself has survived the disappearance of the milieu that gave birth to it, and has even attracted new members. Reiter reflects, “There certainly is a need. Our politics mean that we are inclusive of different kinds of families – gay, straight, trans, mixed racial and religious origin. Yiddish has pretty well disappeared, but the progressive politics remain. With respect to Middle East politics, there are a variety of views in the UJPO, but we all agree that criticizing the actions of the Israeli government does not mean that one is a self-hating Jew. We also continue with trade union support, First Nations solidarity, environmental activism. We exist because we have a community that has a good time together. As the organized Jewish community has moved to the right, we provide a place where one can have a Jewish identity and be progressive. Secular left Jews now have to think about what we have in common, not what separates us.”

Reiter points to the Nov. 8 U.S. election as a warning that the issues the Canadian Jewish left dealt with are as timely as ever. “The struggle against racism, sexism, homophobia and all this meanness and narrowness is an ongoing one – a call to remember and honor and value our own history and where we came from.”

Carl Rosenberg is a member of the United Jewish People’s Order and Independent Jewish Voices Canada. For many years, he edited Outlook: Canada’s Progressive Jewish Magazine.

Acoca launches book here

Rabbi Ilan Acoca has published his first book, The Sephardic Book of Why (Hadassa Word Press, 2016).

Why is a set of Sephardi tefillin different from an Ashkenazi pair? Why do Sephardim laugh during Havdalah, after reciting the blessing over the wine? Why do Sephardim not use the shamash to light the Chanukah candles? Why do Sephardim celebrate with henna before a wedding? These and so many other questions are answered by Rabbi Ilan Acoca in his book The Sephardic Book of Why: A Guide to Sephardic Jewish Traditions and Customs, just published by Hadassa Word Press.

The spiritual leader of Congregation Beth Hamidrash for 17 years, Acoca will return to the synagogue for the book’s local launch on Dec. 10, as part of a larger tour. Acoca and his wife Dina have been rabbi and rebbetzin of the Sephardic Congregation of Fort Lee, N.J., since they left Vancouver in August, and Rabbi Acoca is also rabbi-in-residence of Yeshivat Ben Porat Yosef, in Paramus, N.J.

photo - Rabbi Ilan Acoca will be back in Vancouver for the Dec. 10 book launch — Rabbi Ilan Acoca will be back in Vancouver for the Dec. 10 book launch. *(photo from Hadassa Word Press)*

“I would like to invite the entire community to the book launch,” Acoca told the Independent, “where I will explain what triggered me to write the book, as well as some singing and shmoozing.”

The rabbi shared a little of his motivation for writing The Sephardic Book of Why, which, he said, took three years to put together.

“Through the years, many people (Sephardim and Ashkenazim alike) asked me questions about Sephardic customs, trying to understand where each originated and what is the significance. At times, I had an answer and, at times, it intrigued me to research and find out more. One day, I was invited to a wedding as a guest and saw that the officiating rabbi had a Chabad rabbi’s guide. I knew that the RCA [Rabbinical Council of America] had an Ashkenazi rabbi’s guide so I thought to write one for Sephardic rabbis. A few days later, I sat down with my friend David Litvak and shared my idea with him. He thought about it for a moment and suggested a book that would include the entire Jewish and non-Jewish world. Immediately after the meeting, I opened my email and saw one from Hadassa press telling me they saw some of my classes on YouTube and were interested for me to publish a book with them. For me, that was a sign from heaven that I could not ignore.”

Adorned by a cover featuring the interior of Lazama Synagogue in Marrakesh, Morocco, The Sephardic Book of Why – Acoca’s first book – is divided into five chapters: Daily Rituals, Shabbat and Holidays, Lifecycle Events, Sephardic Culture, and Rabbi’s Musing. The last chapter comprises a selection of articles by Acoca that were originally published in the Canadian Jewish News. They cover a range of topics, including essays on “the middle path,” unity and the importance of diversity. So, having arrived in the United States from Vancouver only months before the presidential election, the Independent asked him if he had any advice to offer to Jews living in the United States (or Canada) about the polarity and divisions that were highlighted in the campaigns.

“It is pretty simple,” he said. “In order to move forward, we have to find things in common. There are so many things that unite but we often concentrate on what divides us. By finding things in common, we could understand each other, communicate and move forward.”

While there are a couple of other books on Sephardi customs, Acoca said, “My book is the only book that is in a question-answer format. It is more condensed, short, to the point, with sources.”

“The book is very thorough, yet easy to read,” writes Rabbi Elie Abadie, MD, of New York City’s Edmond J. Safra Synagogue and director of the Jacob E. Safra Institute of Sephardic Studies, Yeshiva University, in the book’s foreword. “It will please scholars and students equally, with good source material and footnotes. It covers the entire year-cycle of holidays and the lifetime milestones. It is a perfect book for Sephardim who, unfortunately, are just beginning to learn about their own traditions and for Ashkenazim who have just begun to interact with and learn about the Sephardim and their ‘different’ customs.”

Abadie puts quotes around the word different because, he notes, “In the overwhelming majority of minhagim [customs], the ‘Sephardi way’ was the ‘original and standard way’ of fulfilling a commandment, and the Ashkenazi community throughout the ages veered from the original minhagim and traditions, given the geographic region that they lived in and the circumstances that surrounded them.”

For those wanting to learn more about the “original” ways of Jewish practice, or to see a good friend while he’s in town, the Dec. 10 book launch, talk and signing starts at 8 p.m. People can also order a copy of the book from Hadassa Word Press.

Meditating mindfully

Or Shalom is hosting one of the leading innovators in the field of Jewish meditation next weekend – Rabbi Jeff Roth of the Awakened Heart Project will lead a half-day retreat at the synagogue on Dec. 4.

Roth, who has been practising and teaching meditation for decades, teaches his own synthesis of Eastern techniques with a Jewish heart, which he calls Jewish mindfulness meditation.

Rabbi Jeff Roth of the Awakened Heart Project will lead a half-day retreat at Or Shalom on Dec. 4. (photo from Jeff Roth)

“I was already a rabbi when I started studying Asian meditation,” he explained. “Everything I learned, I learned through a Jewish lens. I never took on a practice without altering it slightly.”

When asked if anyone has objected to his synthesis of Jewish spirituality with Asian contemplative techniques, the rabbi said, “What I integrate is the truth of the nature of mind and no one has any objection to that. I ask questions like, What is the influence of conceptual thinking on the mind? What are the effects of different thoughts?”

Roth teaches a type of meditation that involves experiencing the mind and body with a healing, nonjudgmental awareness. It is rooted in the mindfulness movement first brought to North America in the 1970s, which has steadily grown in popularity, even finding a significant place in new medical treatments and corporate environments. And Jews have played a large role in the movement, demonstrated by leading teachers like Jack Kornfield, Joseph Goldstein, Sharon Salzberg, Jon Kabat-Zinn and others.

Drawn to the mystical teachings of Judaism as a young rabbi, Roth said they remained “intellectual” for him until he began practising meditation. “In the quiet, in the silence, I became a mystic,” he said. “It became a direct experiential realization.”

Among his students now are many rabbis. “I teach rabbis they need to come to the silence, the witnessing, to have a deeper spiritual experience,” said Roth, referring to the practice of “just witnessing” that characterizes mindfulness meditation. By just witnessing thoughts, feelings and sensations, say its exponents, mindfulness meditation calms the body and mind and allows deeper, non-conceptual awareness of experience. “From a Jewish perspective, ‘just witnessing’ is not enough, however,” he said. “You need to be the compassionate witness.”

Roth said he draws his central inspirations from the teachings of the Chassidic masters, especially the Baal Shem Tov – Rabbi Israel ben Eliezer, 1698-1760, founder of the Chassidic movement.

“The Baal Shem Tov said ‘everything is God and nothing but God,’” Roth explained. “The whole thing to do is to align ourselves with the truth of being, which in the Torah is expressed as ‘ein od milvado’ (‘there is nothing else besides God’).”

A turning point in Roth’s development came in 1981 when he received teachings from Reb Zalman Schachter-Shalomi, the founder of the Jewish Renewal movement, which became the scaffolding of his theology of contemplation.

“Reb Zalman taught me about the four worlds, or levels of manifestation, that occur within the Holy One of Being,” said Roth. The contemplation of how the four levels of manifestation happen in our minds and bodies can guide our mindful exploration of experience, he said. “The four worlds have become a central metaphor in my teaching. I have been working out that teaching for the last 35 years.”

book cover - Me, Myself and God Roth’s latest iteration of that “working out” can be seen in his recent book, Me, Myself and God: A Jewish Theology of Mindfulness (Jewish Lights, 2016), from which he will be presenting practices and Torah teachings at the Dec. 4 session.

“We’re trying to understand the fundamental forces that alienate us in our experience of life, in order that we might live more from a place of awakened heart, which is connected to all experience and allows us to manifest with more love and compassion in our daily lives,” said Roth. “I want to emphasize that acting with love and compassion – that’s where we’re going with the whole thing.”

For more information on the retreat, which will take place from 2:30-5:45 p.m., and be followed by a potluck meal, visit orshalom.ca.

Matthew Gindin is a freelance journalist, writer and lecturer. He writes regularly for the Forward and All That Is Interesting, and has been published in Religion Dispatches, Situate Magazine, Tikkun and elsewhere. He can be found on Medium and Twitter.

Yiddish food’s long history

Michael Wex, author of Rhapsody in Schmaltz (St. Martin’s Press, 2016), will close the Cherie Smith JCC Jewish Book Festival on Dec. 1.

“Heavy, unsubtle and, once it emerged from Eastern Europe, redolent of an elsewhere that nobody missed, the food of Yiddish speakers and their descendants is a cuisine that none dares call haute, the gastronomic complement to the language in which so many generations grumbled about it and its effects,” writes Michael Wex in the introduction of his latest book, Rhapsody in Schmaltz: Yiddish Food and Why We Can’t Stop Eating It.

“This vernacular food continues to turn up in vernacular form in the mouths of people who have never eaten it, or who don’t always realize the Jewish origin of the strawberry swirl bagel onto which they’re spreading their Marmite,” he writes. “We’ll be looking at the aftertaste of Ashkenazi food as much as at the cuisine itself. But before we can do so, we have to go back to the Bible to see why Jewish food exists and what it really is.”

Toronto-based Wex – who is the author of many books, including Born to Kvetch: Yiddish Language and Culture in All of Its Moods and How to Be a Mentsh (& Not a Shmuck) – will close the Cherie Smith JCC Jewish Book Festival on Dec. 1. His topic, appropriately enough, is Jews and Food.

In Rhapsody in Schmaltz, Wex takes readers from the Exodus from Egypt – “Most national cuisines owe their character to flora and fauna, crops and quarry, domesticated animals and international trade. Jewish food starts off with a plague” – to the modern delicatessen, which “might no longer be the social hub it was for earlier generations, but the food that it serves is still recognized as Jewish, even when the ingredients are combined in ways that can’t help but pain an observant Jew.”

Michael Wex (photo by Zoe Gemelli / St. Martin’s Press)

While written in a tongue-in-cheek manner, Wex’s love of Yiddish culture, if not of Yiddish (aka Ashkenazi) food, is apparent in every page. And each page is packed with information – that he somehow compiled on his own, without research assistants.

“Although all of my non-fiction is rooted in subjects with which I was already quite familiar, I’ve found that it’s the research itself, the jump from one source to the next, that tends to produce the sparks that lead to the better ideas,” he explained to the Independent of his creative process. “I don’t think summarized works or lists of facts provided by an assistant would allow for the immersion that I, at least, need in order to write a book.

“It generally takes me about a year to research and write a book – maybe 18 months, if you count the preliminary research that usually goes into preparing a proposal for a publisher. I generally start with a specific, if somewhat vague, question and then try to answer it: What makes Yiddish different from other languages? Why do Jewish people go on eating traditional Jewish food even when they spend most of their time finding fault with it and have abandoned the rituals and ceremonies with which such dishes were associated?”

With nine pages of endnotes and a 13-page bibliography, one might assume that Rhapsody in Schmaltz is a dry read. It is anything but – Wex’s style is completely irreverent. For example, in writing about the formation of the dietary laws, he comments, “the Israelites aren’t supposed to feel any more deprived of the right to eat certain creatures than most of us usually do about the right to get high on crystal meth or pee in the street.” He openly discusses over-the-top kosher practices, bodily functions, etc. Perhaps surprisingly, his writing hasn’t ever gotten him into trouble with his religious compatriots.

“The only ‘trouble’ I’ve encountered has arisen from misunderstanding,” he said. “For instance, I received a vehemently condemnatory email from a woman who objected to my having used the phrase ‘goat or kid’ in describing the Passover sacrifice; she was afraid that non-Jews might take the word ‘kid’ as proof that we really murder gentile children and use their blood to bake matzah. Otherwise, though, the response has been quite positive. A number of rabbis – Orthodox, Conservative and Reform – have written to tell me that they’ve used material from my books in their sermons; Born to Kvetch is frequently cited in the language column of Hamodia, an English-language ultra-Orthodox paper published in Brooklyn.

“Most feedback about Rhapsody in Schmaltz has focused either on readers’ memories of the foods mentioned or on the ritual or halachic reasons behind the forms they’ve assumed or the occasions on which they are eaten, including questions relating to their viability in a world in which most Jews are not religiously observant.”

For many readers, some of Rhapsody in Schmaltz will serve as a memory refresher of the origins of certain rules of kashrut or the types of meals that are traditionally prepared for various holidays. But there is much readers will learn and, while Yiddish food may have been a topic with which Wex was familiar before he began his research, there were a few findings that surprised him.

“The whole Crisco-Manischewitz nexus and the things that grew out of it was probably the main thing I learned; I’d known how important Crisco was for kosher marketing, but until I looked into it, had no idea of why,” said Wex. “The other thing that really shocked me when reading through cookbook after cookbook was the surprising popularity of brain latkes at one time – I knew that brains were once popular, but had never heard of consuming them in latke form.”

Tickets to the closing of the book festival, which takes place at the Jewish Community Centre of Greater Vancouver, are $24 and the event features a food reception – brain latkes not included. To order, call 604-257-5111, drop by the JCCGV or visit jewishbookfestival.ca.

Best books for children

The top three picks of B.C. teachers for elementary school students.

As part of the B.C. Teachers’ Federation’s 100th anniversary, the BCTF encouraged members to recommend their favorite kids books to celebrate literacy and lifelong learning. It asked teachers: “What are the books you believe every student should read before graduating?” The result is a list of 100 books each for elementary and secondary students with an accompanying online resource and poster set to promote the books and the love of reading.

image - The top three picks of B.C. teachers for secondary school students — The top three picks of B.C. teachers for secondary school students.

“The BCTF received thousands of submissions from teachers throughout the province to make these best books lists,” said BCTF president Glen Hansman. “Some teachers told us they chose books that inspire, books that resonate with their students, and books that stand the test of time. Other submissions were made based on the outstanding quality of writing or the compelling stories told. The list is by no means exhaustive or scientific, but it reflects the enthusiasm and passion teachers have for literacy and reading.”

BCTF has created a new web page called bctf.ca/100bestbooks, which has links to every book to help visitors access descriptions and the publishers’ information. The release of the two lists in September coincided with International Literacy Day, which was Sept. 8.

“I encourage all teachers and others who love a great read to explore these best book lists,” said Hansman. “There is some excellent diversity represented and it shows how rich the genres of children’s and young adult literature are. Thank you to all the authors out there creating such wonderful stories!”

Fairy tale reimagined

Taylor Pardell as Gretel and Pascale Spinney as Hansel in Vancouver Opera’s adaptation of the classic fairy tale. (photo by Emily Cooper)

While Vancouver Opera is presenting the fairy tale Hansel and Gretel Nov. 24-Dec. 11, cast member Leah Giselle Field is living one of her dreams.

Field first moved to Vancouver from Calgary – where her parents had moved from Montreal the year before she was born – for an undergraduate degree in opera at the University of British Columbia. “I left for a two-year master’s program in Ontario and then came back for my doctorate,” she told the Independent. “I came back to Vancouver several times during those years away, so I feel like I’ve been a Vancouver resident for the last 14 years.”

In fact, her connection to Vancouver goes back even further.

“Vancouver has always felt a little bit like home,” she said. “After the war, surviving members of my maternal grandfather’s family moved to Canada. My grandparents settled in Montreal, and my grandfather’s sisters settled in Toronto and Vancouver…. Growing up in Calgary, my family would take road trips to Vancouver over spring break and in the summers, and the time we spent with my great-aunt and my mother’s cousins’ families was formative. Friends of theirs have been part of family events and celebrations for decades, and it’s always fun to catch up during holidays. I’ve been part of the Congregation Beth Israel High Holiday Choir for the past few years and enjoy catching up with my BI family each fall.”

Her professional experience includes appearing “in the title roles of Carmen and Julius Caesar, and as Marcellina in The Marriage of Figaro, Suzuki in Madama Butterfly, the Principessa in Suor Angelica, and Jennie in Maurice Sendak and Oliver Knussen’s Higglety Pigglety Pop!” notes her bio. “She is a past winner in the Western Canada District of the Metropolitan Opera National Council Auditions and a 2015 semi-finalist in the Marcello Giordani Foundation International Vocal Competition.”

photo - Jewish community member Leah Giselle Field plays Gertrude, the siblings’ mother — Jewish community member Leah Giselle Field plays Gertrude, the siblings’ mother. *(photo from Leah Giselle Field)*

In Hansel and Gretel, Field, who is a mezzo-soprano, plays Gertrude, the mother. All of the principal singers in the show, including Field, are 2016-2017 participants in Vancouver Opera’s Yulanda M. Faris Young Artists Program.

“My experience with Vancouver Opera so far has really been a dream come true,” Field said. “I still have moments of disbelief that I get to do this every day, that I have the opportunity to work and learn with such wonderful colleagues within an organization that treats its singers with so much respect. The eight of us in the Yulanda M. Faris Young Artists Program [YAP] have become really dear friends – we had ‘YAPsgiving’ together last month (because Thanksgiving fell between Rosh Hashanah and Yom Kippur, I brought matzah ball soup, round challah with raisins, apples and honey, and honey cake) – and our bass-baritone always says, ‘Goodnight, family,’ on his way out the door.

“Being part of this production of Hansel and Gretel has been amazing…. We have exciting, fresh perspectives from the director, conductor and designers to work with, the stage management team has been incredible, and the performers are so caring and supportive. It has been exciting every day – seeing the show come together is such a thrilling experience.”

Vancouver Opera is billing their Hansel and Gretel as a “family-friendly production” for ages 6-plus.

“There are all sorts of factors that make this production more family-friendly than our standard conception of ‘opera,’” explained Field. “First, the subject matter is familiar: anyone who has heard the Grimm story – about the brother and sister lost in the forest who find a house made of sweets and outsmart the witch who lives there – already knows the foundation of our story.

“We’re also performing an updated translation of the original libretto, so audiences will be hearing our story in English. [And] Hansel and Gretel is … an opera that involves child performers – we have a chorus of 14 children,” she said.

“Beyond the traditionally family-friendly elements of the opera, we have the most incredible design concept enhancing our production. This is a larger-than-life, technicolor world that brings to mind the dream world Maurice Sendak’s protagonist Max imagines in Where the Wild Things Are. This show is a co-production with the Old Trout Puppet Workshop, so costume pieces, the set, hand-held puppets and multi-operator puppet costumes help create this realm of ‘everyday spectacular.’ It’s such a visually rich presentation that audiences of any age will be engaged by the complete realm of story they see and hear.”

In addition, the new production has been shortened – it will run approximately two hours and 20 minutes, with one intermission – and the “youthful cast of emerging opera stars” will be conducted by 24-year-old Scottish-born conductor Alexander Prior. The original score by German composer Engelbert Humperdinck (1854-1921) has been adapted to suit the relatively small size of the venue – Vancouver Playhouse – and will be performed by “a 14-member ensemble of the Vancouver Opera Orchestra, which includes strings, woodwinds, brass, percussion, a saxophone and an electric guitar.”

While Field’s focus is classical music, she said she also has some musical theatre, folk, jazz and pop music in her repertoire.

“Some of the music I’ve performed most includes Yiddish songs I learned in elementary school,” she said. “Whenever I can fit it into a program, I try to include ‘Oyfn Pripetchik.’ That’s always been a special song to me. When we learned new songs in Yiddish class, I would sing them over the phone to my grandfather in Montreal. He’d always say, ‘That’s very nice, Ketzeleh,’ but when I sang ‘Oyfn Pripetchik’ to him, he sang along. We had a party for his 90th birthday in 2010, and he got up to sing ‘Oyfn Pripetchik’ again with me then. I’m sorry to say he’s declined significantly in the past few years, but we still manage a sing-along every now and then.”

“Oyfn Pripetchik” is a song about a rabbi teaching his students the alef-bet, and it was written by Mark Warshawsky (1848-1907). In addition to folk songs, Field said that, since elementary school, she has “been interested in music and art suppressed under Nazism.”

“My maternal grandparents are Holocaust survivors and interwar European culture provides a fascinating snapshot of life and art amidst tragedy,” she explained. “Mary Castello, our pianist in the Yulanda M. Faris Young Artists Program, and I are beginning to plan a recital of suppressed music for the new year and hope to present it across the country.

“Jewish-Canadian composer Srul Irving Glick was commissioned by the CBC to write a song cycle for the great Canadian singer, Maureen Forrester,” she continued. “He used the translated text of children’s poems salvaged from Terezin for his cycle ‘I Never Saw Another Butterfly,’ and I had the honor of performing ‘Narrative’ from this cycle with pianist Richard Epp for UBC’s honorary degree conferral ceremony for Elie Wiesel.”

In addition to the recital planned for next year, Field said, “I’m looking forward to Vancouver Opera’s festival in the spring, and getting to play the bad guy in a production of Puccini’s Suor Angelica in Ottawa in February.”

For tickets to Hansel and Gretel, call 604-683-0222 or visit vancouveropera.ca.

Israel’s complexities

Noa Baum, one of the presenters at this year’s Cherie Smith JCC Jewish Book Festival, is a professional storyteller who, in recent years, has dedicated herself to promoting peace between Israelis and Palestinians. She has taken a long road to get to where she is today.

Baum was born in the late 1950s in Israel and grew up in the “golden age” of Zionism, where, despite the many challenges and flaws of the young state, the shadow of controversial wars and of the occupation had not yet darkened the Israeli self-image.

book cover - A Land Twice Promised As recounted in her 2016 debut work A Land Twice Promised: An Israeli Woman’s Quest for Peace, Baum grew up with both a deep love of Israel and a keen sense of Jewish vulnerability and the wounds of the Holocaust. The narrative she grew up with about Israel centred on the heroism of its citizen army (“our boys,” she repeatedly calls them) standing up to the bewildering, relentless hatred of the Arab countries. She was deeply shaped by the experience of living through the 1967 Six Day War and the 1973 Yom Kippur War as a child.

Over the years, she developed a more nuanced view. She came to face the existence of a hateful, right-wing extreme in Israel and was bitterly disappointed by the actions of the Israeli government in the 1982 Lebanon War, particularly Israeli complicity in the Sabra and Shatila massacre. Her brother, himself named after an uncle who died defending Israel, also suffered post-traumatic stress syndrome from the Lebanon War, leading to a lifelong struggle with mental illness.

When Baum left Israel to move with her husband to the United States to support his career, she left with her simplistic narratives shattered, but an enduring deep love of Israel and the Jewish people.

In her youth, Baum had passionately loved acting and storytelling and, in the United States, she became a professional storyteller. As a tale-spinner, she played it safe, however, presenting upbeat material and folktales and not touching on the conflicts and contradictions of modern Israel. All of that began to change when she nurtured a relationship with another mother, a Palestinian she calls “Jamuna” in the book. As a result of their friendship and the advice of storytelling mentors that she needed to stop shying away from difficult material, Baum began listening to Jamuna’s heart-wrenching stories of growing up Palestinian in the land of Baum’s dreams, with an eye to telling Jamuna’s stories.

“Hearing how the soldiers of the IDF, ‘our boys,’ were to a young Jamuna the source of terror and hatred, was heartwrenching,” Baum told the Independent.

Baum began touring with a one-woman play called A Land Twice Promised, wherein she delivered monologues from the perspectives of herself, her mother, Jamuna and Jamuna’s mother. The show aimed to bring healing and be a contribution toward peace. As one would expect, it was received in many different ways. Baum was called a “traitor” and told she “should be ashamed” of herself; others said she had described their own Israeli or Palestinian experience perfectly. Both Israelis and Palestinians said the show was not balanced enough. One woman from Nigeria said the show made her realize Jews were human beings; others said they’d never felt compassion for Israelis before seeing the show. Some said it was the first time they empathized with Palestinians.

“In the beginning, it was terrifying,” said Baum. “Audience reactions would throw me into bouts of anxiety.”

Gradually, she developed the ability to process the diverse reactions and became confident in what she was doing, and she continued to actively evolve the show based on audience feedback that she solicited.

In 2015, after doing the show for 14 years, Baum was approached by someone interested in making it into a book. It was an offer she couldn’t refuse, though she had never written before. “I’m not really a writer,” she said. “I come from the world of performance, I’m a speaking artist.”

Despite Baum’s lack of writing experience, A Land Twice Promised is a moving, lucid memoir that powerfully evokes the Israeli experience in the last decades, and Baum’s personal and familial struggles to come to terms with it.

The book provokes empathy and insight, and will lead most readers to embrace a view of Israel and the Palestinian conflict that is both complex and compassionate. The book has received favorable reviews and even won many commendations, including one from Pulitzer Prize-winning author David Shipler, writer of Arab and Jew: Wounded Spirits in the Promised Land.

Baum will speak at the book festival on Nov 29 at 6:30 p.m. For tickets and the full festival schedule, visit jccgv.com/content/jewish-book-fest.

Creeps is a Canadian classic

Left to right, Aaron Roderick, Paul Beckett and Adam Grant Warren in Creeps, which is being mounted at the Cultch by Realwheels Theatre, Dec. 1-10. (photo by Tim Matheson)

David E. Freeman’s Creeps premièred in Toronto in 1971. Forty-five years later, it could still be considered radical, and most certainly remains relevant.

The 75-minute one-act play takes place in the washroom of a sheltered workshop, where the main characters – four men with disabilities – take refuge. Freeman, “who lived with cerebral palsy, was one of the first writers to put his own voice – a Canadian voice – on the stage in the early ’70s,” reads the description by Realwheels Theatre, which is mounting the production at the Cultch Dec. 1-10. “Tired of the way they’ve been treated, [the men] rebel and barricade themselves in the washroom. The brutality and hilarity of Freeman’s uncompromising and sardonic dialogue drives the show and expresses the tension of the oppressed with a raw ferocity and clarity.”

Realwheels’ mandate includes providing “respectful and accurate representation of disability, with a vision for full integration of people with disabilities in the performing arts.”

“We’ve cast three fabulous actors who live with disability in Creeps,” producer/dramaturg Rena Cohen told the Independent in an email interview. “They’re working alongside four of Vancouver’s top professional, able-bodied actors. To accommodate the stamina of the PwD [people with disabilities] cast members, we’re extending the rehearsal period to six weeks of part-time (four-hour) days – rehearsal duration for a professional show typically runs three weeks, full-time.

“As happens virtually anytime accommodations are made for accessibility, everyone in the company is loving and benefiting from this accommodation. The creative, interpretive process is given more time to germinate, allowing ideas to be explored and tested, and busy actors appreciate being able to take other gigs or auditions that come up during their free hours.”

The local production includes Jewish community members David A. Kaye and David Bloom.

Kaye plays four characters: Michael, Puffo the Clown, a chef and a carnival barker.

“Michael is a young man with cerebral palsy, which presents in him as both a physical and cognitive disability,” Kaye explained. “Michael works at a sheltered workshop, what the characters refer to as the ‘Spastic Club,’ a place where people with disabilities used to go to perform mundane tasks for pennies a day. For Michael, I’m doing a lot of textual sleuthing, because there’s more information about Michael between the lines than in the lines themselves.

“My preparation for Michael has taught me about the many ways that CP can present,” he continued. “Each case is unique, like a fingerprint. To prepare for Michael, I’ve interviewed and observed people who live with CP, watched documentaries and then, in rehearsal, I’m responsive to the other actors who are also making their way through the interpretive process. We’re also all learning about the history of sheltered workshops for people with disabilities.”

As for the characters of the clown and the chef, Kaye said they “live in a heightened reality that engages with the perceptions of people with disabilities through an ableist perspective,” whereas the barker “provides an ironic commentary, almost an infomercial or sales pitch for the worst-case scenario option for people with disabilities.”

Bloom plays what could be called the bad guy.

“I play Carson, the guy responsible for the facility,” said Bloom. “He doesn’t appear until the end, but he is talked about a lot before he arrives, mostly with disdain.

Carson is a representation of the patronizing, suffocating ‘support’ these guys receive at the hands of the institution they’re stuck in. During rehearsals, I’m learning a lot about my own lazy thinking about people with disabilities.”

Bloom has known of Realwheels’ work for many years and of Cohen’s involvement in the company, but only met her on the first day of rehearsals. Kaye became connected to Realwheels through Creeps’ director Brian Cochrane, with whom he has worked before.

”When Brian told me he was working with Rena and Realwheels, I was excited to come on board,” said Kaye. “It’s a unique experience! I can’t wait for audiences to witness the late, great David Freeman’s exposé on the lives of this fascinating group of guys.”

For her part, Cohen joined Realwheels in 2009, she said, after meeting its founder, James Sanders.

“James – along with two other Vancouver-based theatre artists, Bob Frazer and Kevin Kerr – had created and produced Skydive, one of the most successful productions to ever come out of Vancouver,” she said. “You couldn’t help but be struck by its technical innovation (in which a person with quadriplegia flies!), plus it had considerable impact on perceptions of disability. I’d been working in arts management and as a speech/presentations coach when James invited me to discuss the company’s next steps.

“Skydive’s remarkable triumph had been supported by a fairly rudimentary start-up company infrastructure. James needed help, and I saw an opportunity to bridge Realwheels’ early success to a more stable future.

photo - Realwheels Theatre managing artistic director Rena Cohen — Realwheels Theatre managing artistic director Rena Cohen. *(photo from Realwheels Theatre)*

“I was also drawn to the opportunities that come through greater insight into the lived experience of disability. Through James – who lives with quadriplegia – and his considerable network, I was exposed to the vitality and dynamism of the disability demographics. It didn’t take long for me to become passionate about Realwheels’ mandate: ‘to create and produce performances that deepen understanding of disability.’

“We’ve since mounted three more amazing professional shows, and built up our community practice – under the Wheel Voices banner. Our most recent community project was SexyVoices, an exploration of sexuality from a disability perspective. SexyVoices was created with and by the community participants, working with acclaimed director Rachel Peake. It offered incredibly funny, daring and moving performances, received national attention, and sold out its three-evening run!”

Last year, noted Cohen, Realwheels received the City of Vancouver Award of Excellence.

Though technically a part-time position, as with many who work in the nonprofit sector, the professional and volunteer lines blur and Cohen’s “efforts in any week are often significantly greater than a full-time job.”

“Embedded into my professional capacity at Realwheels is the need to authentically reflect the values of disability culture, and to serve as a liaison between the disability community and the theatre community,” she explained. “After James took leave of Realwheels due to medical reasons, I assumed responsibility for both management and artistic direction. I challenge myself to understand and to internalize the diverse voices of the disability community, and to convey those voices through the decisions and choices that we make with regard to projects, casting, mentorships, etc.

“My pure volunteer life in Vancouver has almost completely been centred upon Temple Sholom. I served as board president during the leadership transition planning years (2010-12), and before that I oversaw Temple’s strategic planning process. I’d co-chaired the religious school committee and, earlier, I served on Temple’s security committee, which was formed after 9/11. These days, I’m chairing the communications committee for the Syrian Refugee Resettlement Project, and otherwise just enjoying our Temple community.”

Of what she has learned from her years at Realwheels, Cohen said, “The PwD experience is the human experience. By that I mean that the state of ‘disability’ is not binary with a simple on/off. There is a scale or a ‘continuum’ of sorts. We are all challenged on some level and the human experience is defined by how we manage those challenges and how we optimize as a broader community to ensure everyone has the opportunity to self-actualize. I’ve learned that attitudinal barriers are far more challenging for PwD than physical barriers.

We need to challenge both, but attitudes and preconceptions about disability are the hardest to modify. I’m certainly continuing to work on challenging my own ableist privilege.

“I’ve learned that whenever accommodations are made to serve PwD, everyone benefits. One of my proudest achievements as board president at Temple Sholom was the Accessibility and Inclusion Project, which resulted in the installation of an interior ramp to the bimah. Overall, I think Temple has become safer, more inclusive and more accommodating to the diverse range of ages and abilities of all people who participate in Temple life. As I’ve said, I believe that disability exists across the broad spectrum of society, and that most of us are actually TAB (temporarily able-bodied).

“I’m continually learning about the tremendous diversity in the disability sector,” she added. “I attended the Cripping the Arts Symposium in Toronto a few months ago. One PwD artist there insisted, ‘I can’t possibly explain what [having a disability is] like, but I can show you through my artwork, and maybe you’ll get a better understanding of the struggle for survival.’ Yet another expressed: ‘How we experience the world is all based on who you are as a human being, not about being a PwD.’ Those are two nearly opposing positions.

“I’ve learned that, in Canada, the Charter of Rights and Freedoms recognized equality for those who live with disability in 1982, but there is still a great deal of work needed. The U.S., through the Americans with Disabilities Act (1990), is far more advanced than we are. The U.K. by far leads the way in terms of disability arts practices and inclusion.”

In addition to her involvement with the Temple Sholom community, Judaism and Jewish culture have influenced Cohen’s outlook on life and the work she pursues in other ways as well.

“My Jewish upbringing exposed me to critical thinking, to appreciation for the individual and for community, and provided me with exposure to the arts and theatre,” she said. “We have a rich storytelling tradition in Judaism, and a particular way of using humor to cope with life’s challenges. Exposure to that, combined with having a large, extended Jewish family when I was growing up in Montreal, definitely informed my worldview.

“The aching stories of the Holocaust, and the enormous victory of the establishment of Israel, also feel very personal to me. My parents (z”l) would tell you that, from the time I was little, I was a champion of the underdog, always ready to speak truth to power. I’m not so brave today, but I do feel very strong moral imperatives, whether about equality for PwD, or standing up to BDS [boycott, divestment and sanction] bullies, who are either misinformed about Israel or covertly antisemitic.

“My Jewish education also involved a lot of text analysis, including as a student at parochial school in Montreal. The shift to analyzing scripts was a natural segue for me.”

Cohen encourages people to join Realwheels “for an evening of savage wit and uncompromising truth-telling as we present Creeps, the award-winning dark comedy by David E. Freeman that changed Canadian theatre forever!”

And Bloom echoed her sentiments, “I feel very lucky to be part of this show,” he said. “Not only is it a seminal Canadian classic, but I’m working with a great company and an ensemble with real integrity.”

Tickets for Creeps, which previews Nov. 30 before its 10-day run, are $18-$40 from 604-251-1363 or thecultch.com/tickets. Tickets are only two for $20 on Dec. 3, which includes a post-show reception in recognition of International Day of People with Disabilities. There are also post-show discussions Dec. 4 and 6, and ASL and audio description on Dec. 4. Warning: mature content and offensive language.