Arts & Culture – Page 125

Her mother’s 100 favorites

In my collection of cookbooks is The Complete International Jewish Cookbook by Evelyn Rose. For more than 30 years, she was food editor of the London Jewish Chronicle. When I received the press release that 100 Best Jewish Recipes (Interlink Books, 2016) by Rose with Judi Rose was being published, I was sure it would be as lovely as the earlier one and was saddened to learn that Evelyn Rose was no longer living – she died in 2003.

Judi Rose had quite a task when she began working on this book, as she narrowed down the thousands of recipes from her mother’s career into the ones their family loved best. She ultimately decided on 100 of her mother’s best-loved recipes – “some of her personal favorites, as well as those of her fans.”

Judi Rose is a food writer, consultant and culinary expert. She and her mother cooked together for more than 30 years and wrote two cookbooks together. The recipes she has chosen epitomize her mother’s principles of “incorporating thinking on health and nutrition, and using new technology to save time and effort.”

“My mother passionately believed that each dish must have ta’am – that extra something that makes it taste special and worth the effort for busy people to put on their table,” writes Rose.

There are 128 recipes in this new cookbook, enhanced by 38 color photographs. After a foreword, an introduction and an essay on festivals and food, the chapters are listed: small plates (10 recipes), soups (13 recipes), poultry (12 recipes), meat (16 recipes), fish (11 recipes), vegetables and side dishes (23 recipes), bread-bakes and desserts (21 recipes) and basics (22 recipes). A final essay is on adapting recipes for the kosher kitchen.

One thing missing from the recipes is whether they are meat, dairy or pareve. Other than that, each recipe has how many servings, how long it will keep in the refrigerator (a clever inclusion not generally listed with recipes), how long it can be frozen and a little introductory note.

Styles include Middle Eastern and Sephardi, and the places from where the recipes come include Austria, Lithuania, Syria, Russia, France, Hungary, Germany, Spain, Turkey, Persia, Morocco, China, Italy, Greece, Holland, Britain, Israel, Sicily, Egypt, Indonesia, Armenia and Denmark. As the publisher notes, these are traditional and contemporary recipes, for family meals and special occasions, for both novices and experienced cooks.

Here are a few of the traditional, classic recipes.

CHICKEN LIVER PATÉ

3 eggs
1 finely chopped onion
1 crushed garlic clove
4 tbsp soft margarine or rendered chicken fat
5-10 grinds sea salt
12 oz ready-koshered chicken livers
15 grinds of black pepper
1 good pinch of freshly grated nutmeg
warm French bread, crackers or sliced challah

Hard boil eggs for 10 minutes, drain, return to pan, cover with cold water and leave to cool.

Fry the onion and garlic gently in the margarine or fat until very soft and a rich brown. As the onion cooks, sprinkle it with sea salt.

Peel the eggs and cut in half. Put one aside.

Put the onion and garlic with cooking juices into a food processor, process until smooth. Add two eggs, livers, pepper and nutmeg. Process until smooth. Taste and add more seasoning if necessary.

Turn mixture into a terrine or oval gratin dish or divide between individual ramekins. Cover with plastic wrap and chill overnight. Refrigerate extra egg.

One hour before serving, remove paté from refrigerator to return to room temperature. Pass the remaining egg through a food mill or sieve to decorate the top of the paté.

Serves six as an appetizer, eight to 10 as a spread. Keeps five days in the fridge and freezes for one month.

TRADITIONAL CHICKEN SOUP

1 whole or half chicken with wings and giblets
7 1/2 cups water
2 tsp salt
1 pinch white pepper
2 halved, peeled carrots
leaves and top 2 inches of 2 celery ribs
1 sprig parsley
1 very ripe tomato

Put bird and pieces in a large pot with water, salt and pepper. Cover and bring to a boil. Remove foam with a large metal spoon.

Peel and halve onion and carrots, and add to pot with celery, parsley and tomato. Bring to a boil. Reduce heat, cover and continue to simmer three hours until chicken feels very tender when a leg is prodded.

Strain soup, reserving giblets and carrots in a separate container. Cover and refrigerate soup. Next day, remove congealed fat and return soup to the pot.

Cube giblets and carrots. Add to soup. Serve with matzah balls or noodles.

Serves four to six. Keeps three days in the refrigerator and three months in the freezer.

TRADITIONAL KICHELS

1 cup cake flour
1 to 1 1/2 cups all-purpose flour
3 tsp baking powder
2 large eggs
2/3 cup superfine sugar
1/2 cup sunflower or other flavorless oil
zest of 1 orange
1 tsp vanilla extract

Preheat oven to 350˚F and line two baking sheets with parchment paper.

Mix flours and baking powder. In a separate bowl, whisk the eggs until thick then gradually whisk in the sugar, followed by the oil, orange zest and vanilla.

Stir in enough of the flour to make a rollable, nonsticky dough. Knead until smooth then roll onto a floured board until a half-inch thick.

Sprinkle the dough with sugar, roll lightly to press it in. Cut into shapes with cookie cutters and arrange on prepared trays, leaving room for cookies to spread. Bake for 20-25 minutes or until pale gold in color. Leave on wire racks to cool.

Makes about 50. Will stay fresh two weeks in an airtight container and freezes for three months.

Sybil Kaplan is a journalist, foreign correspondent, lecturer, food writer and book reviewer who lives in Jerusalem. She also does the restaurant features for janglo.net and leads walks in English in Jerusalem’s market.

Challenging films at VIFF

Soon after he discovered he was Jewish, Csánad Szegedi reached out to Rabbi Boruch Oberlander. Szegedi’s transformation from virulent antisemite to Orthodox Jew is the topic of the documentary Keep Quiet. (photo from Gábor Máté/AJH Films & Passion Pictures)

While this year’s Vancouver International Film Festival holds much that will be of interest to Jewish Independent readers, the list is short when it comes to specifically Israeli or Jewish-related films that will appeal.

Perhaps surprisingly, the Israeli films are harsh critiques of Israel. Beyond the Mountains and Hills (Israel/Germany) is about a dysfunctional family (a metaphor for the country), Junction 48 (Israel/Germany/United States) is about an Arab-Israeli rapper who faces racism, among other Israeli-inflicted ills; Between Fences (Israel/France) is a documentary about Israel’s internment of African refugees at the Holot Detention Centre and Vita Activa: The Spirit of Hannah Arendt (Israel/Canada) is about Hannah Arendt, who, among other things, was critical of Jewish leadership during the Holocaust and did not approve of the state of Israel as it was founded.

Among the other film offerings is Keep Quiet (United Kingdom/Hungary), a documentary about Csánad Szegedi, the staunch antisemite who helped found Hungary’s far-right party Jobbik and its Hungarian Guard, which has since been banned. As a member of the European Parliament, he continued to foment hatred until a fellow nationalist and racist outed him as being Jewish – his grandmother had not been the adopted daughter of the Klein family, as she told him, but their daughter. The documentary includes interviews Szegedi did with his grandmother (about her imprisonment in Auschwitz, and other matters) and a conversation with his mother, who also found out later in life that she was Jewish. He asks both women about his increasing embrace of antisemitism over the years, why didn’t you stop me? Their responses are thought-provoking and sad.

Keep Quiet does not accept Szegedi’s transformation unquestioningly and gives speaking time to the doubters, as well as the cautious believers, such as Rabbi Boruch Oberlander, head of the Orthodox Rabbinical Council in Budapest. Oberlander has supported and taught Szegedi since the former antisemite contacted the rabbi for help. The event that ends the film is Szegedi’s attempt in 2013 to speak in Montreal about his Jewish journey – he wasn’t allowed to stay in the country. Before being put on the next plane home, however, Szegedi recorded a lecture, which was played at the event, with Oberlander fielding the hostility it wrought in some attendees. In Oberlander’s view, we must love every Jew, no matter how wicked. Of his choice to help Szegedi, he says, “I pray that I shouldn’t be disappointed.” Even Szegedi is unsure as to whether he would ever turn his back on Judaism – maybe, he admits, but not likely.

The way in which the filmmakers present Szegedi’s story is informative and balanced, and viewers get a sense of the man and his deeds, as well as about Hungary and how a political party as racist as Jobbik can find success there.

photo - Hannah Arendt — Hannah Arendt *(photo from the Hannah Arendt private archive via Zeitgeist Films)*

Vita Activa also does a good job of including both fans and critics of Arendt’s work, but mainly uses Arendt’s own words to explain her thoughts and analyses. The film uses as its foundation the Adolph Eichmann trial, about which Arendt wrote Eichmann in Jerusalem: A Report on the Banality of Evil (1963), describing Eichmann as “a typical functionary,” and thus an example of the “banality of evil.” (Viewers should be warned that there are many disturbing Holocaust-related images in this film.)

“Eichmann was quite intelligent but he had that dumbness,” she tells an interviewer in one of the clips included in the documentary. “It was that dumbness that was so infuriating, and that was what I meant by ‘banality.’ It has no depth; it isn’t demonic. It’s simply the unwillingness to ever imagine what others are going through.”

Another of Arendt’s theories – about refugees – remains relevant. With no rights, refugees are considered “superfluous” by a regime, she argued, and denationalization and xenophobia become a powerful weapon of totalitarian politics.

In Keep Quiet, a political journalist describes Hungary as a “part of the world where history has been manipulated” and the effects that such manipulation has upon generations. Arendt broadens that view beyond Europe, saying, “It has been characteristic of our history of consciousness that its worst crimes have been committed in the name of some kind of necessity or in the name of a mythological future.”

In addition to her early work, Vita Activa touches upon Arendt’s personal life, which offers some further understanding of the philosopher, who was seen by many to lack empathy. In one interview, she talks about how Auschwitz shouldn’t have happened, how she could handle everything else but that. Yet, she criticized the Jewish leadership who cooperated with the Nazis – the councils and kapos – and hypothesized that, if there had been no such leadership, there would have been chaos and suffering and deaths but not six million. One professor interviewed for the documentary calls Arendt’s comments “irresponsible,” another says they showed her complete ignorance of history, yet another says she regretted her remarks later in life.

The film also notes Arendt’s change from supporting Zionism to condemning elements within it. Among other things, she said, “A home that my neighbor does not recognize is not a home. A Jewish national home that is not recognized by and not respected by its neighboring people is not a home, but an illusion, until it becomes a battlefield.” And she pointed to tendencies within Zionism that she considered “plain racist chauvinism” that do “not differ from other master race theories.”

The documentary also covers Arendt’s 1951 Book of Thoughts, in which she contemplates the nature of forgiveness, revenge, reconciliation. For her, the latter doesn’t forgive or accept, but judges. When you take on the burden of what someone else did, she believed, you don’t accept the blame or absolve the other of the blame, but take upon yourself the injustice that occurred in reality. “It’s a decision,” she said, “to be a partner in the accountability, not at all a partner to the guilt.”

photo - A “theatre of the oppressed” workshop at the Holot Detention Centre in Israel — A “theatre of the oppressed” workshop at the Holot Detention Centre in Israel. *(photo from Vancouver International Film Festival)*

Reconciliation and forgiveness don’t enter the picture in either the documentary Between Fences or the fictional (but based on a real person) Junction 48. They each highlight important, even vital, issues in Israeli society, but do so in such a condemnatory, predictable way that anyone but the choir won’t be able to sit through these films.

Without much context, Between Fences looks at the poor situation in which asylum seekers from Eritrea and Sudan find themselves when they reach the safety of Israel. In many countries, these asylum seekers face problems, but viewers wouldn’t know that from this documentary, nor would they begin to understand the atrocities being committed in their homelands. However, they will learn how Israel doesn’t recognize their refugee status and makes every effort to send them back, how racist Israelis are towards these newcomers and a host of other problems with Israel and its people. Not one government official or Israeli is interviewed, although some Israelis participate in the “theatre of the oppressed” workshops in Holot on which the film focuses. In addition to leaving many questions unanswered, the film also begins and ends confusingly and is slow-paced.

Bias also makes Junction 48 almost unwatchable for anyone who would like to see the Israeli-Palestinian conflict resolved, so that both peoples’ rights and safety are ensured. From the second sentence of the opening, the perspective is made clear: “The Israeli city of Lod is the Palestinian city of Lyd, which once sat on the main railway junction. In 1948, tens of thousands of Palestinians were exiled from Lyd in order to resettle the town with Jews….”

photo - Samar Qupty and Tamer Nafar in Junction 48 — Samar Qupty and Tamer Nafar in Junction 48. *(photo from VIFF)*

We then meet Kareem, an aspiring young rapper, whose parents are worried about his involvement with drug dealers and his future in general. His friends not only deal and take drugs, but visit prostitutes and dabble in other criminal activity. Nonetheless, every Israeli they encounter is the real bad guy, from the police to other rappers to the government, which is knocking down one of their homes to build a coexistence museum. Oh, the irony.

The only entertaining and thought-provoking aspect of this film is the music by lead actor and film co-writer Tamer Nafar, which is available online.

In the end, the Jewish Independent chose to sponsor what a VIFF programmer called a “classic Jewish comedy,” though, having seen a screener of the film, the Jewish aspect is hard to discern. While much lighter (and non-political) fare than the other offerings, it has much to say – or show, really, as the dialogue is minimal – about social awkwardness and a lack of direction in life. The protagonist, Mike, works at a pizza place in New Jersey and has the energy level of a slug and the magnetism of zinc. Yet, somehow, he has friends, albeit not great ones.

Short Stay is one of those films that moves apace with its main character, so slowly and in all different directions, as Mike both physically wanders the streets and mentally wanders to destinations unknown. Viewers don’t gain insight into what motivates Mike, who seems unperturbed by his lack of career, social skills, direction and future, but they root for him, empathize with what must be his loneliness.

photo - The social awkwardness of the protagonist of Short Stay, Mike, is obvious in his exchanges with others — The social awkwardness of the protagonist of Short Stay, Mike, is obvious in his exchanges with others. *(photo from VIFF)*

Short Stay director Ted Fendt best describes the acting of the nonprofessional cast, many (all?) of whom are his friends. “The film contains a range of performance styles from the fairly natural (Marta and Meg), to Mark and Dan’s B movie ‘villains,’ who might have stepped out of an Ulmer or Moullet film, to the quasi-Bressonian, unaffected manner Mike delivers his lines.” And therein is a Jewish link, Edgar G. Ulmer.

Another Jewish filmmaker – Vancouver’s Ben Ratner – will be premièring his short film, Ganjy, at this year’s festival. About a former boxer suffering from dementia pugilistica, who is in desperate need of help when three friends visit, Ganjy was inspired in part by Muhammad Ali. Its creators are looking to fundraise enough to take the film to other festivals, as well as contribute to the Muhammad Ali Parkinson Centre. For more information, visit indiegogo.com/projects/ganjy-film#.

For more information about and the full schedule of films playing at VIFF, visit viff.org.

Note: This article has been edited so that it is clear Hannah Arendt was speaking of tendencies within Zionism that she considered “plain racist chauvinism” that do “not differ from other master race theories,” and not condemning Zionism as a whole.

Son honors father’s legacy

For the Love of Spock explores Spock actor Leonard Nimoy’s legacy and his relationship with his son, Adam. (photo from For the Love of Spock via space.com)

When Leonard Nimoy announced in 1949 that he wanted to be an actor, and was leaving Boston for Hollywood, his Russian-Jewish parents were stunned.

“My grandfather said that he should take up the accordion,” said Adam Nimoy, Leonard’s son and the director of the new documentary For the Love of Spock. “You could always make money with the accordion. Those were Max Nimoy’s words of wisdom to my dad, if the actor thing didn’t work out.”

He needn’t have worried. Not because Leonard Nimoy eventually made it after 15 years of bit parts in movies and TV shows, thanks to Star Trek. Or because his talent and curiosity propelled him into singing, photography, poetry and film directing. Nimoy had a deeply ingrained work ethic, independent of the arts, that perpetually drove him. From folding chairs at the Boston Pops and selling vacuum cleaners in his hometown to installing aquariums in Los Angeles, Nimoy was determined to support himself and his family. But his ambitions assuredly lay elsewhere.

“He had a tremendous hunger to achieve, which was the dream of his parents coming over here, to achieve something in American society,” explained his son. “This is why he was so able to relate to Spock. My dad felt like an outsider, of a minority, of an immigrant background in a very defined neighborhood of Boston with other immigrants, and with a desire to assimilate himself into the greater culture.”

Nimoy, who died last year at the age of 83, is front and centre in For the Love of Spock.

The public often conflates an actor with a role. The documentary is wilfully guilty of that, too, delving into Nimoy’s personal life only so far as it relates to Spock or to Adam’s relationship with his dad. But it does include the story of how Nimoy took a childhood memory of seeing elders in synagogue making the “shin” gesture and adopted it as a Vulcan greeting.

“He was very connected to his Jewish roots and very proud of his Jewish roots,” Adam Nimoy said during a recent interview. “He repeated the story of the Spock salute hundreds of times, literally, with great pride about where he got it – that Spock is an embodiment of some of Judaism.”

He added, “It’s become a universal symbol. My dad, through Spock, has spread this tradition of Judaism to the world. The magnitude of that fact alone, that so many people all over the planet salute my father with a ‘shin,’ is just mind-boggling to me.”

Of course, not everything Leonard Nimoy did endeared him to his son. Driven to make the most of what might be a short-lived gig on Star Trek – NBC canceled the show after three seasons, in fact, although it found greater success in syndication – Nimoy accepted every personal appearance he was offered.

“It took a toll on us, we had challenges we had to deal with, without him around, without his involvement in the family,” said his son. “His career was number one. This is what caused a lot of friction between the two of us because I just didn’t feel like I had that much of his attention early on. He had a great love and respect for the fans, but trying to get him to look at me was very challenging for me.”

Alas, that experience continued beyond Adam’s adolescence. He was at University of California Berkeley in the late 1970s, on his own path to getting a law degree, when his father made a stop at Wheeler Hall on a college speaking tour.

“I waited for him to finish,” Adam recalled with a painful clarity. “I thought we were going to go to dinner together. He came up the aisle, signed some autographs and came up to me and said, ‘I have to catch a plane. I got another commitment I got to make tomorrow in Los Angeles, and I’m leaving.’

“I was devastated. ‘What am I, borsht?’ It wasn’t until later in his life that it was less about Leonard and his career and more about ‘what’s going on with my kids and my grandchildren.’”

Adam and Leonard were estranged for a stretch, exacerbated by the actor’s drinking and his son’s drug use. When asked if it was difficult to forgive his father, though, he doesn’t hesitate: “No, because I’m in 12-Step, and that’s a huge part of what 12-Step’s all about.”

Resentments and setbacks play only a passing role in For the Love of Spock, which is an unabashed tribute to Leonard Nimoy’s contributions as an actor and a man to a character who was and is widely embraced for embodying intelligence, science, fairness and integrity. (And for being different, of course, and living on the margins of mainstream society.)

The film omits the elder Nimoy’s record as a major benefactor of Jewish causes: the Israel Philharmonic Orchestra, a childhood centre at Temple Israel of Hollywood and the career counseling centre at Beit T’Shuvah, a Jewish recovery house.

It also leaves out the degree to which the actor passed down his pride and love of being Jewish.

“I would say that I am more religious than my father was,” said Adam. “I like to study Torah, I like to go to services on a regular basis on Friday night. Particularly the weekly Torah study has been very meaningful to me over the past couple of years. It’s just mind-boggling to me about the divine inspiration of the written word and how it always applies to something going on in my life. This is what enriches my life, and brings new meaning to my life.”

For the Love of Spock has two remaining screenings at Park Theatre in Vancouver: Sept. 18, 9:45 pm., and Sept. 20, 6:45 p.m.

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

Living with prostate cancer

Sima Elizabeth Shefrin’s new book, Embroidered Cancer Comic, will be launched on Sept. 15 at the Roundhouse.

Cancer is a word often whispered. Sex is certainly not spoken of in polite company. Yet Sima Elizabeth Shefrin tackles both topics in her new book, Embroidered Cancer Comic (Singing Dragon, 2016), which receives its Vancouver launch on Sept. 15 at Roundhouse Community Centre.

The comic begins with Shefrin’s husband, Bob Bossin, coming home from the doctor with a diagnosis of high cholesterol. “Oh, he also said my PSA was up,” Bossin tells Shefrin. After some understandable delays, Bossin gets the needed biopsy. While the couple are enjoying a funny movie together, the call from the doctor comes: prostate cancer.

In a mere 30 pages, with text and illustrations by Shefrin, Embroidered Cancer Comic shows Bossin’s uncertainty over treatment options, his efforts to learn more about the cancer, the emotional stress on him and Shefrin, as well as the effects of the cancer and its treatments on the couple’s sex life.

“The strain of the prostate cancer journey on relationships cannot be overstated, yet patients and their partners are left to figure this out for themselves,” writes Dr. Peter Black of Vancouver Prostate Centre – Bossin’s surgeon – in a brief commentary at the end of the comic, where both Shefrin and Bossin also share more of their story.

Helping others was one of Shefrin’s goals.

“I’m hoping the book will help couples in this situation be able to communicate,” she told the Independent.

Already, it’s had an impact.

“I thought it had potential for being a major project, especially after I got the publishing contract,” said Shefrin. “But then, of course, you don’t leave that in the hands of the gods. Singing Dragon has been very good for getting publicity in Britain, in both the comic and the medical worlds. In Canada, I’ve done most of it myself.

“I believe that this book can do real good in the world,” she said, sharing that a man in Quebec had written her “about what a difference it had made to both him and his wife.”

She said, “That’s what I’m hoping to do. I believe in the comic, so I’m willing to do whatever pushing I need to, to get it out into the world.”

Shefrin is a noted fabric artist, her website name – stitchingforsocialchange.ca – perfectly describing the nature of her work.

“I have often used my art to work through life events and to create awareness and conversation about taboo or contentious subjects,” she writes at the end of the comic book. “But nothing has made me feel as vulnerable as the creation of this comic. At the same time, it has helped me realize that, when you’re there, cancer becomes a part of daily life, like buying groceries or washing dishes.”

It took Shefrin three years to sew the embroidered line drawings, which were then photographed for the book. When asked if she ever thought of creating the images in a more expedient way, Shefrin said, “Fabric is my medium. The books I illustrated are mostly paper collage, but even when I work in paper, I think like a fabric artist. I did drawings first and then embroidered them, and I always liked the embroidered result better than the original drawing.”

The book “started out as a piece of art,” she said. “I thought I might self-publish or maybe simply photocopy a kind of catalogue for a show. But, one day, I came across the Graphic Medicine site and realized that there was a whole world out there of people making comics about medical issues. I’d had no idea.

“So, I started looking at the site regularly as well as at their Facebook page. Occasionally, there would be postings for people looking for comic strips on this and that and, if it was vaguely relevant, I’d send out my work. I do this a lot and often it comes to nothing. But, a couple of months later, I got an email from Jessica Kingsley saying they might be interested in publishing my work. It took me about an hour to figure out who they were and how they found me. They published it through their imprint, Singing Dragon. After that, the focus shifted and became about creating the comic, a story with a beginning, middle and end, instead of an art series. Now that it’s in print, I’m back to creating the quilts for the art series.”

The book has received many very positive reviews, including one in the U.K. medical journal The Lancet – and, according to the book’s Facebook page, it earned “a lovely personal note from Judi Dench,” who is mentioned in the comic. Specifically, when Shefrin asks her husband, “Who really excites you?” his answer is Dench.

The most touching review of the book comes from Bossin. “And because you live with cancer, whoever you live with lives with it, too, as Elizabeth’s comic shows so tenderly,” he writes. “For me, there is no one I would rather live with cancer with. No one.”

Those curious about what Dame Judi said and other stories behind the comic’s creation can ask Shefrin and Bossin at the Sept. 15 launch, which starts at 7 p.m. The quilted original illustrations are on display at the Roundhouse’s Window Gallery until Oct. 30.

Dance links cultures

Sula Boxall will perform with Flamenco Rosario in Flamenqueando on Sept. 17 at Vancouver Playhouse. (photo by Tim Matheson)

The Vancouver International Flamenco Festival Sept. 10-20 features a lineup of local and international flamenco artists – including local Jewish community member Sula Boxall.

Founded by Flamenco Rosario in 1990, the festival is apparently one the few devoted to flamenco outside of Spain. It features both free workshops and ticketed performances by several different groups and, this year, “celebrates flamenco’s Spanish Gypsy origins with the Vancouver première of Mercedes Amaya Company (Mexico/ Spain).”

Boxall will perform with Flamenco Rosario in Flamenqueando on Sept. 17, 8 p.m., at Vancouver Playhouse. They will open for Mercedes Amaya Company.

“I am honored that Rosario [Ancer] asked me to be a part of Flamenco Rosario’s performance on Sept. 17. These types of opportunities do not come along very often in Vancouver,” Boxall told the Independent. “It is an amazing opportunity to grow as a dancer and be a part of her creative process and experimentation. To be dancing in the same performance as the renowned Mercedes Amaya is humbling and intimidating. Being able to watch other performers and learn from them is a chance for professional development; I’m looking forward to the other performances and workshops that the festival has to offer.”

Boxall was born in Vancouver. “My parents had moved to Canada three years previously from South Africa,” she said. “I grew up in the Kitsilano area, attending Trafalgar Elementary and the Prince of Wales mini school. I moved to Victoria to study at UVic before continuing my studies at UBC. Currently, I am an elementary school teacher in Vancouver and teach children’s flamenco classes at Centro Flamenco.”

She has always wanted to dance.

“Since I was able to walk, I’ve been dancing,” she said. “When I was in preschool, I would create performances in my living room for my parents. I begged for dancing lessons until my parents agreed to start me in ballet at age 5. I continued to dance for the next 11 years. After a nine-year break from dancing, I was drawn back into it with flamenco. For the last eight years, it has grown into another important part of my identity. Dancing is something that is a part of me and I am a better person because of it.”

According to her bio, Boxall studied ballet, modern, jazz and character dance at Arts Umbrella. When she returned to dancing in 2008, “she found a way to renew her love of dance with flamenco at Centro Flamenco” and Ancer’s mentorship was “an integral part of her development as a dancer.”

Boxall started Flamenco Rosario’s three-year professional training program in 2010, she traveled to Spain in 2012 and studied there, she regularly attends workshops in Vancouver and, in 2013, she had her first solo performance. She regularly performs around Metro Vancouver, and also participated in the Vancouver International Flamenco Festival in 2014.

“Flamenco is an art form that has connections to many cultures, including the Jewish culture. I feel that my love of the traditional Jewish melodies is closely tied to my love of flamenco music,” said Boxall about why she is particularly drawn to this dance form.

“Having the opportunity to move and feel through flamenco dance allows me to express myself,” she added. “Flamenco is incredibly complex and diverse and demands lifelong learning. It takes years of study to understand flamenco and, even then, there is always more to learn. The challenge is what draws me to continue and work on improving my skills and understanding.”

As for other aspects of Judaism or Jewish culture that play a role in her life, Boxall said, “When I was growing up, I regularly attended the Peretz Centre in Vancouver. Through the Peretz, I was allowed to explore different parts of Judaism and gain a greater understanding of my cultural background. The culture, traditions and history continue to be very important to me and my identity, in particular the elements of family and community. With my family and friends, I continue to celebrate the holidays and enhance friendships in the Jewish community.

“I’ve especially been drawn to the music and the way it moves my soul. My mother gave me a large book of Jewish music for Chanukah years ago and I continue to find joy in learning new songs.”

It is interesting to connect the secular humanist philosophy of the Peretz Centre with the way in which the weeklong flamenco festival is described on its website. Since it began, the festival has “grown to a mature understanding of Vancouver’s multicultural audiences by nurturing the form’s hybridized roots in Sephardic, Persian, Gypsy and Indian cultures, and by striving to reflect and connect its diverse sociocultural identity through work narratives underlining flamenco’s universal message of humanistic tolerance.”

For tickets and information about the Vancouver International Flamenco Festival, visit vancouverflamencofestival.org or call 604-568-1273.

Chagall lithograph exhibit at Zack

Susanna Strem, owner of Chali-Rosso Art Gallery, in front of a Marc Chagall lithograph. (photo by Olga Livshin)

Marc Chagall needs no introduction. But perhaps not everyone is aware that there is a gallery in Vancouver that specializes in original graphic works by Chagall, as well as a few other 20th-century European masters.

“We opened the gallery in 2005,” Susanna Strem, owner of Chali-Rosso Art Gallery, told the Independent. “Since then, I always wanted to have a Chagall show at the JCC. I was familiar with the community and liked it. When I first immigrated to Canada and arrived in Vancouver, I often went there.”

Now, she finally will have her wish. On Sept. 15, she is bringing her selection of Chagall’s lithographs to the Sidney and Gertrude Zack Gallery at the Jewish Community Centre of Greater Vancouver.

Strem considers herself not just a gallery owner but also an art educator. She is passionate about art and she longs to share her passion and her knowledge. She often discusses multiple aspects of the arts with gallery guests and she loves answering their questions. A recurring question concerns the nature of lithographs.

“Not everyone realizes that lithographs are original works by the artists,” she explained. “First, the artist creates an image on a stone block and then he transfers it on paper. It’s a time-consuming process and, after the artist makes a set number of copies, the stone image is destroyed. It is called a ‘limited edition.’ A limited edition could consist of 50 or 100 copies, or however many the artist had decided upon, but each copy has a number and is signed by the author. They are all originals, and that’s what we sell in our gallery. That’s what we’ll be bringing to the Zack.”

Lithographs, or prints on paper, while originals, are not unique. Consequently, they are more affordable than other works by the same artist.

“Some people, when they think of art at all, they think oil on canvas,” Strem mused. “But most artists create in different media. Creative minds always try something new and interesting. Salvador Dali, one of the artists we represent, created many amazing sculptures. Pablo Picasso worked on pottery. Both Picasso and Chagall enjoyed printmaking. When we first decided to open the gallery, we knew we wanted to represent graphic works on paper because of their relative affordability, compared to the oils. Oil paintings by Chagall could go for enormous prices, but a lithograph by Chagall could cost only a couple thousand dollars.”

Strem started her professional life far from the artistic field. She was born in Hungary and studied art history and computers in Budapest. After graduating from university, she worked as a software developer and IT consultant for many years, first in Hungary, then in several European countries and, for a short spell, in Israel. None of those places suited her for long.

“Europe has too much history and culture; it’s too heavy a burden. That’s why Canada, and specifically Vancouver, work for me,” she said. “It is a new world here, it is lighter, more accepting.”

In 1994, Strem settled in Vancouver and resumed her work with computers. For the first decade she lived here, she worked as an IT specialist, until the moment came when she knew it was time to embark on a new career.

“When my husband and I opened the gallery, it was a big change. It would have been impossible in Europe. People there don’t switch careers: once an engineer, always an engineer. If I decided to open a gallery in Europe, after being an IT person for years, everyone would look at me and think something was wrong with me. But it was OK in Vancouver.”

Chali-Rosso first opened on Granville Gallery Row – a short strip of Granville Street between Broadway and the bridge – where many major Vancouver galleries still reside.

“Art collectors knew to come there if they wanted some art,” she explained. “It was the right place to open a new gallery.”

A couple years ago, after their collection quadrupled in size, they moved the gallery to a new and larger facility in downtown Vancouver, on Howe Street.

They chose the name Chali-Rosso for their gallery because of the artists that comprise the majority of their collection: four European masters of the first half of the 20th century.

“The gallery name is an acronym of their names: Marc Chagall, Salvador Dali, Joan Miro and Pablo Picasso,” said Strem. “We focus on these four, although we have some works by other artists, too, including a small but wonderful piece by Rembrandt.”

For Strem, opening a gallery on the West Coast is a challenge.

“I like Vancouver, like living here,” she said, “but it’s not easy for any art gallery to engage people’s attention. Western Canada is still too new, too young. Most people are attracted more by the outdoors than by art. To spend $300 on bicycle gear is fine, but $800 on a piece of art is too much. There is no centuries-old tradition here, no art on the street. In Europe, people are surrounded by art, but here, art is not an integral part of life. It’s up to us, gallery owners and artists, to change the situation here. We’re pioneers.”

Marc Chagall’s Bible Suites opens at the Zack on Sept. 15, 7 p.m., with a reception to which the public is invited. The exhibit runs until Oct. 26.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Melancholic adaptation

Natalie Portman in a scene from the film A Tale of Love and Darkness. (photo by Ran Mendelson/Focus Features via houstonchronicle.com)

A Tale of Love and Darkness may seem like a nondescript and even coyly evasive title, but in fact it expresses the essence of Natalie Portman’s textured film of Amos Oz’s book.

An unfailingly sensitive though necessarily compressed adaptation of Oz’s acclaimed 2004 memoir, the movie portrays Oz’s nurturing yet fraught childhood with his immigrant parents in Jerusalem in the years just before and after the declaration of the state of Israel.

In the film, Amos possesses both character and potential, but there are rocks in the path of every promising child. Almost every frame of A Tale of Love and Darkness is imbued with a brooding, ominous tension that derives in various measure from Old Country suffering, the nascent nation’s Holocaust trauma and Amos’ mother’s depression.

Shot in a hard-edged, anti-nostalgic palette of black and green, the story unfolds in a constrained world where both the past and the future exert immense weight on the present. That said, Portman infuses her richly engrossing feature directorial debut with welcome dashes of poetry and humor.

Amos (Amir Tessler) is an exceedingly smart and empathetic child, instilled with a love of books and words by his academic father Arieh (Gilad Kahana) and an appreciation for the allusive power of fables by his quietly adoring mother Fania (Portman).

Because the viewer (likely) knows that Amos will grow up to be a great writer, we immediately presume that Arieh is his primary influence. In one of the film’s most rewarding turns, we come to realize that Amos received the gift for storytelling from his mother.

Amos doesn’t make that connection either, until much later. Even an observant child can’t recognize or understand the import of most events as they happen, whether they are as familiar as his paternal grandmother’s perennial disapproval of Fania or as dangerous as foraging for empty bottles on the outskirts of Jerusalem during the War of Independence.

Although Fania, Arieh and Amos are tightly connected, they also inhabit private universes. Arieh is subsumed by his goal of being a popular scholarly author, first reveling in the publication of his esoteric debut and gradually frustrated by the reality of his modest place in the world.

Fania’s inner life is deeply mysterious, with dark memories of her youth in Poland alternating with curious dreams, or fantasies. She has a recurring vision of a hunky, sandy-haired kibbutznik, a “new Jew” and the diametric opposite of her husband, who is a spiritual descendant of the yeshivah bochers of the shtetl.

Amos, who was born in Jerusalem – as was Portman, more than four decades later – tries to make sense of everything, from the late-night United Nations vote for the partition of Palestine and the creation of Israel, to the Neanderthal schoolyard bullies who take his sandwich, to his mother’s catatonic fugues.

The film’s guiding light, Amos navigates this terrain with uncommon aplomb and resourcefulness. The impact of A Tale of Love and Darkness, though, is in its evocation of the currents of memory, sorrow, dread and pride that swirl through Jerusalem’s streets.

The elderly Amos (voiced by Moni Moshonov), a welcome albeit melancholy presence, provides occasional, wise narration about his city, as well as his parents.

“Jerusalem,” he muses at one point, “is a black widow who devours her lovers while they are still inside her.”

It’s a metaphor, yes, but it could be a synopsis for a parable that Fania might tell Amos. Ultimately, A Tale of Love and Darkness is about the power – and the limits – of stories to change our lives.

A Tale of Love and Darkness (in Hebrew with English subtitles) opened last week at Fifth Avenue Cinemas.

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

Working to heal, entertain

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JI: Thus Heal Thyself?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JI: Nervous? Why?

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

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

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

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

Khalifa joins the circus

Jared Khalifa toured with Cirque de Soleil this year. (photo from Jared Khalifa)

Last November, Jared Khalifa’s career was at a low point. He had just come back from Denmark, where injuries in both ankles and one knee had limited his performance representing Canada at an international competition for tumbling, a high-intensity form of gymnastics where, after a running start, one tumbles, cartwheels and twirls at high speed down a course before coming to an artful landing at the end of the track. He was having a hard time getting motivated to get back up on his feet when he was contacted by a talent scout who had first spoken to him months before – a scout for the internationally renowned Cirque de Soleil.

Montreal-based Cirque de Soleil, famous for its innovative blend of music, narrative, dance and acrobatics, is now the largest theatrical producer in the world. The scout had expressed interest in Khalifa after seeing him perform previously but had told Khalifa, then 17, that he was too young. But, at 18, only weeks after his time in Denmark, Cirque wanted Khalifa to submit a demo.

Khalifa submitted a mixed demo reflecting his broad mix of skills – singing, dancing, martial arts and gymnastics – and was told he had made it into the final selection for singers. He would be invited to make a live audition when the circus was next in town.

photo - Jared Khalifa did a two-month tour with Cirque de Soleil — Jared Khalifa’s two-month tour with Cirque de Soleil tool him from Louisiana to New York. *(photo from Jared Khalifa)*

A month later, he was contacted by another branch of Cirque’s talent scouts who were unaware of his possible selection as a singer – they were interested in offering him a training contract doing teeterboard. Teeterboard is a circus mainstay, where two performers collaborate on different ends of a giant teeter-totter, propelling each other into the sky to twirl and tumble in the air. The circus was coming for Khalifa from multiple angles, and soon he was signed to do a show. He joined Cirque de Soleil for a two-month American tour, traveling from Louisiana to New York. With between five and eight shows a week, he did around 50 shows in those eight weeks.

Khalifa said he has had “a thrilling year,” which is surely putting it mildly. He said he learned a tremendous amount on the road with the troupe of perhaps 40 performers and 100 support staff.

“The troupe became very close,” said Khalifa, who is still friends with many of the performers he met. “Despite the exhaustion, I was exhilarated every day.”

How did Khalifa – who went to Vancouver Talmud Torah and King David High School – get to Cirque de Soleil?

He began studying capoeira, the Brazilian martial art that integrates acrobatic and dance elements, at 3 years old. That led to an interest in gymnastics and dance and, when he was 8, he also began studying musical theatre. He attended the summer musical theatre program at the Jewish Community Centre of Greater Vancouver, Gotta Sing! Gotta Dance! And, by his teen years, he was training in competitive tumbling. “It’s all about the elegance you bring to it,” said Khalifa, whose Instagram feed is a study in bending the laws of physics.

Since his return to Vancouver, Khalifa has signed with a film and television acting agency. He is part of the local troupe ShowStoppers and has also started studying hip-hop and urban street-style dancing. Khalifa – whose skills, as has been mentioned, include capoeira, musical theatre, dancing, singing, gymnastics, tumbling and circus performance – said, without a hint of irony, that his focus now is to become “more well-rounded,” an athlete and artist.

Matthew Gindin is a Vancouver freelance writer and journalist. He blogs on spirituality and social justice at seeking her voice (hashkata.com) and has been published in the Forward, Tikkun, Elephant Journal and elsewhere.

Mazal tov, Golde

August’s Gotta Sing! Gotta Dance! crew. (photos by Hannes Photography)

This August’s Gotta Sing! Gotta Dance! crew did a wonderful job of bringing Perry Ehrlich’s Break a Leg! to the Rothstein stage, as did the July graduates, no doubt. Ehrlich outdid himself on the script, which had more witty lines than groaners, with humor on so many items currently in the news; notably, the presidential race. In Ehrlich’s musical, Fiddler on the Roof’s Tevye actually does break a leg and Golde, who knows all his lines, steps in to take the lead role. She becomes the star, flipping traditions on their head as she rises beyond the theatre and into the political spotlight. Every one of the 76 young performers seemed to have a blast performing the show, and there were many, many talented singers, dancers and actors. The full-house audience certainly enjoyed themselves. The entire Gotta Sing! Gotta Dance! faculty is to be commended.