Arts & Culture – Page 126

A tapestry at the Zack

Valeri Sokolovski’s work forms part of A Tapestry of Cultures, the group art exhibit now on display at the Zack Gallery. (photo by Olga Livshin)

A Tapestry of Cultures opened last week at the Zack Gallery. Run in conjunction with Festival Ha’Rikud, which took place May 12-15, the group show also commemorates the birthday of Israel. As such, I expected it to reflect the blend of cultures that together make the multicultural tapestry of Israeli society, but the exhibit was much more global in scope.

With the exception of a few identifiably Israel-focused pieces – mostly photos by Avie Estrin – the rest of the artwork on display could have been created in any country, by an artist from any part of the world.

The Tel Aviv apartment building in Nancy Stern’s photograph wouldn’t be out of place in Vancouver or Prague. The sandals in a large painting by Rina Lederer-Vizer could have been lying on a beach in Spain or hiding under a park bench in San Francisco. The flapper dress from a small piece by Vladimira Fillion Wackenreuther could have been on sale in any fashion store from Moscow to Tokyo.

The exhibition as a whole announces that we all belong to one nation, cosmopolitan in the best sense, regardless of our country of citizenship or our mailing address. We live on the same planet and share similar values.

The theme of music and musicians appears in paintings by several artists in the show. Eternal and borderless, music wanders where it will, crossing barriers, especially now with the internet. Valeri Sokolovski’s images illustrate the concept perfectly. One could encounter his musicians almost anywhere. Their ethnicity is vague, but their passion soars in his paintings. Sokolovski’s musicians play with such intensity, the viewer can almost hear the notes, the syncopated beats and the soulful melodies.

In between his blue players, Karen Hollowell’s trumpeter introduces a much mellower tune, sunny yellow and flowing. The painting has a romantic quality. Her musician is not here on a street corner, but is somewhere else, behind the veil of imagination.

Not so with Iza Radinsky’s dancers. They strive to twirl off the wall and into the room, their skirts flashing, their feet performing to a jolly rhythm. The artist’s brushstrokes are blurry, but the dancers’ joy is crystal clear, and it transmits outside the frame, sprinkling everyone who passes the gallery.

In contrast to Radinsky’s dancers, Lauren Morris’ image is abstract and colorful, echoing the charm of dreams. Colors splash on the canvas in fanciful profusion and the viewer wonders, Is it a choir singing hymns? Is it a flock of birds on a wire, lost in their lofty trills? Or maybe it’s a flowerbed of exotic orchids, each one a song?

Meanwhile, a crowd of musicians populates David Akselrod’s “Gathering.” The painting is almost a metaphor of the show itself, gleeful and whimsical. The musicians are as cheerful and diverse as the artists who gathered for the exhibit’s opening. They play different instruments and have different skin colors, but they congregate in the same place, they mingle and laugh, and they share the delight of their art with each other and with the viewers.

The motif of unity – of all of us sharing, depending on each other – underlies Orly Ashkenazy’s “The Butterfly Effect.”

“It’s about the 12 tribes of Israel,” said the artist. She even inserted the names of the tribes in Hebrew into the painting. They intertwine with each other like a faint pattern of gold arabesques on a butterfly’s wing, a design mirroring real life, underscoring our own interconnections and effects on each other and the world around us.

It is impossible to mention all of the artists participating in the show in one short article, but all their creations complement and enhance one another.

“In my opinion, the calibre of work in this show is particularly high,” said Linda Lando, the gallery director.

A Tapestry of Cultures is on until May 29.

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

Revealing psychiatry

Dr. David Goldbloom (photo by Ksenija Ho)

It was not that long ago that seeing a psychiatrist meant that people saw you as unstable or abnormal in some way. While societal views on many things have broadened, the stigma of mental illness remains. So, how do we go about changing these perceptions? According to Dr. David Goldbloom, a psychiatrist at the Centre for Addiction and Mental Health in Toronto, this is something achievable in baby steps. And a step he has taken is to publish a book that not only looks at his patients’ experiences, but his own.

Goldbloom originally hails from Montreal.

“I come from a long line of pediatricians. If heredity was going to play any kind of role or environmental influence, you might think I would have ended up in that field.”

But Goldbloom’s father-in-law was Nate Epstein – a well-known figure in Canadian psychiatry. Epstein was formerly the chief of psychiatry at the Jewish General Hospital and, later, the founding chair of the department of psychiatry at McMaster University. “My exposure to him at close range was a formidable influence in terms of my ultimate career decision,” said Goldbloom.

The complexity of psychiatric illness in terms of its biological, psychological, social and cultural aspects, which requires one to think broadly about solutions to sufferers’ problems, drew Goldbloom to the field. And, during his career, he has written many books targeted to medical professionals, but only recently did he choose to write a book explicitly geared to non-professionals.

“It’s a very different kind of writing,” he said. “I would say it’s much tougher than writing a textbook. I wrote it with Dr. Pier Bryden. She and I cooked up the idea together.

“It was driven by a wish that we shared to make psychiatry better understood by the general public – not reducing it to some cartoonish stereotype. People who have mental illness themselves or those who treat them, we always thought there was a measure of curiosity in the general public about what the reality is versus the Hollywood or TV depiction.”

How Can I Help? A Week in My Life as a Psychiatrist uses, as its title says, one week in Goldbloom’s professional life as its narrative framework. While Bryden is also a psychiatrist, she does not feature in the book.

In How Can I Help?, Goldbloom and Bryden explore the world of psychiatry, and talk about how it intersects with Goldbloom’s personal life, as they know that people are curious about how health professionals deal with the inevitable sorrows and joys of working in the field.

The book “contains some very real stories of real patients with their real names used with their real permission,” he said. Other patients described in the book are fictional composites, “masterfully disguised.”

Goldbloom himself is more revealed. “We felt, if these individuals were going to be candid and courageous enough to talk about their own experience, then I had better match them in terms of talking about my own reactions, including my reaction to the very real suicide of one of my patients.”

While Goldbloom said this was not the only time in his 30 years of practice that he has experienced a patient’s death, both he and Bryden felt that this one instance was particularly poignant. They also took the opportunity to write in more general terms about the impact of suicide on physicians.

“One of the other things the book does is use the events of the week to springboard into some of the larger issues within psychiatry,” said Goldbloom. “It’s not just a narrative, but it looks at some of the historical [elements], controversies, stuff like that.

“Whereas most people think of a psychiatric practice as being set in a secluded, private office, with somebody coming in Tuesdays at four to talk about themselves in a manner interminable, the reality of acute psychiatric care in a modern hospital is very different.”

According to Goldbloom, possibly the first thing a reader might be struck by is the variety of different settings in which they find him. He consults in his office, of course, but also through videoconferencing to reach distant areas, in emergency rooms and acute care units, as well as out in the community.

Readers will be able to learn of the varied roles psychiatrists in Canada play, and Goldbloom hopes the book will highlight the breadth of experiences – the professionals’ as well as the patients’.

When asked if another book project is on his radar, Goldbloom said, “I have to wait and see how the first book does. It’s encouraging that it was on the bestseller list, within a week of its publication, in the Globe and Mail and the Toronto Star … but, you know, it’s early days yet.”

How Can I Help? is available in most major bookstores, as well online via Amazon and Indigo.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Outside play is vital for kids

As children, most of us at least once created a space of our own built of cushions, sheets, cardboard, branches, tables, almost anything – a space of our own that mimicked the house in which or near which it was built. This is a cross-cultural phenomenon that serves to help children establish their identities, according to David Sobel.

Sobel is a faculty member in the education department at Antioch University in New England. The author of Children’s Special Places: Exploring the Role of Forts, Dens and Bush Houses in Middle Childhood, he teaches conceptual development in science education, a course called the Ecology of Imagination Childhood.

“I’m teaching upcoming teachers in a master’s program, so folks with undergrad degrees, most of whom have done other stuff and are coming back,” he said. “The first thing that is interesting [about kids building their own spaces] is that this is a fairly cross-cultural phenomenon. Not necessarily all children do it, but a lot of children do it in different cultures and settings around the world. They tend to do it between the ages of 6 and 12, therefore, it suggests this is some sort of genetically determined behavior that serves some kind of survival value.”

According to Sobel, there are a couple of different goals achieved through this practice. One is that they are creating another world or a home away from home. Young kids will do this inside the house. As they get to the ages of 5, 6 or 7, they start to do it outside, but near the house.

book cover - Children’s Special Places: Exploring the Role of Forts, Dens and Bush Houses in Middle Childhood “They will gradually do it further away from the house, as a home they’ve created rather than that their parents have created, and it’s a way for them to establish themselves as unique individuals out in the world,” he said. “So, it has the function of identity creation … a special place or den, as a chrysalis out of which a butterfly will emerge. The butterfly is the self of the child that will emerge around the ages of 12 or 13.”

Sobel believes the behavior is instinctual, not a culturally transmitted one, though he admitted he has not yet unequivocally eliminated cultural influence as a variable in the cases he has observed. The behavior, Sobel thinks, is a mechanism to increase bonding with the natural or physical world.

“The theoretical model of Joseph Chilton Pearce, who wrote about the magical child, says that children are moving around [age] 6 or 7 from the family matrix, from being bound and held in the family, to moving out to the earth matrix, the physical world matrix,” he explained. “Kids are establishing a relationship with the natural world. It’s becoming a safe place for them, a source of energy, from the perspective of developing a healthy relationship with the natural world, eventually an environmental citizenship. Creating a home in the world that’s often made of natural materials gives them a sense of safety in a place that can feel a little scary or dangerous.”

Sobel contends that, in many cases, kids are discouraged from creating this sort of space or are not given access to the appropriate materials to do so, making it into less of a phenomenon and more of a function of parental and cultural permission or restriction.

“It’s good for parents to recognize it as a healthy behavior,” he said. “So, if kids show the impulse, it’s good to encourage it rather than discourage it. Also, in the natural play areas, there’s the theory of loose parts, which essentially says that what children want in a play landscape is a variety of loose parts or pieces that they can disassemble and assemble to create their own places.

“It’s great for parents to provide loose parts or for city parks to provide loose parts, so kids can construct things – branches, sand, stone and cardboard boxes – to encourage the creation of kid places.”

Sobel understands the hesitation of parents and public stewards to provide such tools, seeing them as accidents waiting to happen, but he thinks it is appropriate to allow a moderate amount of risk while also eliminating the most dangerous hazards.

“You want to encourage safe tool use,” he said. “So, if kids are going to be using pocket knives, make sure they know how to use them correctly, and you take them away when they don’t abide by those rules. With my son, as an example, when he was 7 or 8, I came home and found little fire scars on the concrete floor in the barn, which is our garage. He was interested in building little fires. In the barn, this was not a good idea, so I constructed a fire ring for him and made him a fire kit with matches and appropriate things. I told him he could build fires if he wanted to, but only here … that he has to respect the impulse, but also limit [it] … giving it some structure.”

Sobel suggested reading children’s literature that includes stories about the creation of such spaces as a great way to lead to positive building behavior.

He added that, while the impulse is fine indoors at the beginning, it eventually wants to be outdoors. When doing it outdoors, he advised becoming aware of the city’s zoning laws, as there will be areas in which the construction of subsidiary or outlying sheds, buildings or forts is not permitted. Another modern-day complication, he added, is “the digitalization of kids lives.” The time “not just for fort building, but any kind of natural play experiences outside, is getting eroded because of the lure of digital entertainment. But also, parents feel like digital entertainment is safer than the woods or exploring the neighborhood.

“With all this digitalization, kids are less likely to have an interior sense of balance, they are more overweight and they are having more vision problems as a function of not exercising certain kinds of motor development in their eyes,” he said. “The sedentary lifestyle is unhealthy for children.

“Place creation is part and parcel with having kids with more physically active lifestyles. It’s important for kids to understand the motor diversity of outdoor natural play, as opposed to just having them involved in a sport, which tends to limit motor skills to certain kinds of behaviors.”

According to Sobel, there is a vein of Jewish theology that can be drawn upon which supports nurturing our relationship with the natural world. He is helping organize a conference of Jewish early childhood programs in the New York area, where topics such as nature preschools and forest kindergartens for the Jewish early childhood community will be discussed.

He also said that there is a vibrant nature-based education community in Victoria and Vancouver, giving the example of educator Dr. Enid Elliot at Camosun College in Victoria.

Rebeca Kuropatwa is a Winnipeg freelance writer.

An aerobic experience

Daniel Brenner’s klezmer aerobics workout and performance was inspired by the Klezmorims. (photo from Daniel Brenner)

Rabbi Daniel Brenner – who grew up in the small Jewish community of Charlotte, N.C. – has come up with an aerobic workout set to klezmer music.

Brenner graduated from the Reconstruction Rabbinical College which, at the time, was led by Rabbi Art Green. He began performing in 1987 with the late comic legend Chris Farley at the Ark Improvisational Theatre, and has been doing theatre ever since.

In rabbinical school, Brenner created the one-man-show Faster, Rabbi, Drill! Drill!, which won an All Out Arts New York playwriting award (2000). He also wrote a series of Chassidic folktales/plays for Philadelphia’s Theatre Ariel and has had a play produced by New York’s Vital Theatre, in addition to producing a handful of Purim shpiels. Today, he performs regularly with the band Midnight Nosh, on guitar, and lives with his wife Lisa and their three children in Montclair, N.J.

“Growing up, my home was a place that other people came to experience Judaism,” Brenner told the Independent. “There were no other Jewish families on my street, so my home was a site where many non-Jewish people experienced Judaism for the first time.”

photo - A big part of Daniel Brenner’s inspiration came from the Klezmorim’s Streets of Gold — A big part of Daniel Brenner’s inspiration came from the Klezmorim’s Streets of Gold. *(photo from Daniel Brenner)*

Brenner’s love of music came early on, as he listened to a mix of Shlomo Carlebach and contemporary American folk. In the 1980s, Brenner’s parents went to a Klezmorim concert and came home with their record Streets of Gold.

“I was ecstatic listening to the music,” said Brenner. “I couldn’t believe that we had music that had so much soul. As a kid, I was enthralled with Michael Jackson – music you can dance to. But, when I heard the Klezmorim, I was like, this music is just as good for dance. I loved it.”

While working out and listening to klezmer, Brenner thought of how amazing it would be to lead a class using this music. Originally, he thought of pairing it with Zumba, but then decided that klezmer aerobics would be the best fit.

As he worked on the idea, he realized this could be more than just another class. “I really tried to think of what story it wants to tell,” he said. “That really helped me get to the place where it was a full narrative, and a full show about the relationship between someone in the 1980s and someone in the 1880s.

“I thought about it in terms of the two great shifts in human past civilization, recent history – the shift away from agricultural, industrial, rural to urban that happened in the 1880s, and then also the 1980s, the shift between the industrial era and the digital era. I wanted the story that I told to be about that shift.”

Brenner started researching moves that would reflect, as closely as possible, the 1880 dance fashion. He discovered Steven Lee Weintraub, who teaches Jewish traditional dance, and engaged him in private lessons. Brenner videotaped these lessons and practised intensely to get a good handle on the movements and to effectively incorporate them into his repertoire.

“I told my beloved, I told her, keep in mind that I want to do this over the next decade, so she understands I’m definitely thinking long-term about what I want to do with the project,” he explained. “My goal really will be to work together with local klezmer bands in various places around the world to create an experience for people – to perform a show as a way to not only teach dance and tell the story, but as a way to connect people to the local klezmer scene who may not experience it otherwise.”

Brenner has created ’80s Klezmer Aerobics, a family-friendly, interactive dance-storytelling workout wherein “the 1880s meets the 1980s.” In the show, Brenner plays an aerobics instructor and leads an audience-participation workout, as he tells the story of a dancer, Levi, and his apprentice. The audience learns the traditional Old Badchen dances that Levi learns and creates when he runs off to Warsaw.

“I feel that the fun ’80s Klezmer Aerobics and the experience is going to be a draw for a lot of people,” he said. “Then, I also feel like giving people the opportunity to hear live klezmer music is a rare thing. In anyway I can, I want to help people dig the stuff I dug when I was a boy in N.C., putting that record on for the first time.”

In addition to the family-friendly version, Brenner has been considering splitting the experience into two parts – one as a matinée for the family and one in the evening, attracting a different crowd.

Since being performed last November, there have been a few shows in different venues so far. Brenner is working with some Canadian friends to create shows in Canada, having received a few inquiries about it from Jewish community centres.

“I’ve also heard from New York, Atlanta and North Carolina,” he said. “I hope to take it around the Jewish world.”

For more information, visit klezmeraerobics.com or check out Klezmer Aerobics’ Facebook page. There are also videos available on YouTube.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Prize winners tour Canada

Filmmakers Aleeza Chanowitz, above, and Prague Benbenisty will be in Vancouver for the Sir Jack Lyons Charitable Trust Film Prize and to help the Jerusalem Foundation celebrate its 50th anniversary. (photo from Vancouver Jewish Film Centre)

Two up-and-coming Israeli filmmakers are bringing their films – and themselves – to Vancouver this month.

The Sir Jack Lyons Charitable Trust Film Prize event, being presented on May 16 at the Rothstein Theatre by the Jerusalem Foundation of Canada with the Vancouver Jewish Film Centre and Chutzpah!PLUS, will feature a screening retrospective and the 2016 winning films, followed by a question-and-answer period with the Jerusalem filmmakers, Aleeza Chanowitz (Mushkie) and Prague Benbenisty (Blessed).

The Lyons Prize is awarded annually to two students from Jerusalem film schools. There is a monetary component to the prize and the jury-selected students are also invited to present their films at the Israeli Film Festival in Montreal and other festivals in Canada. “By traveling to Canada and being introduced to established film industry professionals,” reads the prize material, “the award winners are given an important stepping stone in their creative and professional development.”

photo - Prague Benbenisty — Prague Benbenisty *(photo from Vancouver Jewish Film Centre)*

Chanowitz and Benbenisty have presented their films in Jerusalem, and Chanowitz’s Mushkie premièred at this year’s Berlin Film Festival. They started their time in Canada in Montreal, and also presented their work in Toronto. During their stay in Vancouver, the filmmakers will tour Emily Carr University’s 3-D film-capture and virtual reality projects, as well as visit studios.

“I’ve had a couple of face-to-face meetings, a ton of phone calls and emails with Nomi Yeshua since mid-November 2015,” said VJFC executive director Robert Albanese about planning the event. Yeshua, who grew up in Vancouver and made aliyah about 25 years ago, heads the Canada Desk of the Jerusalem Foundation. The May 16 event will also celebrate the foundation’s 50th anniversary.

“Nomi had the plan to bring the winning filmmakers to Canada and I was totally on board to make this happen,” said Albanese.

As for Chutzpah!PLUS, Mary-Louise Albert, who runs the annual Jewish performing arts festival, and Albanese have been running a cooperative series of films for the past two years, so she, too, was on board to co-present, he said.

“We’re looking forward to engaging the whole community, especially young adults,” said Albanese. There is no charge to attend the event. At the reception, Yeshua will make a brief introduction, and then attendees will move into the Rothstein.

“I’ll be making a selection of past year’s winning short films and screening those,” said Albanese, “then bringing up this year’s winners to the stage and, after some brief words, screening both of their films and bringing them back up to the stage for a talkback.”

Both Chanowitz and Benbenisty began their studies at the Sam Spiegel Film and Television School in 2012, and wrote and directed their respective films in their third year of study. Chanowitz, who was born in Brooklyn, made aliyah a couple of months after receiving her bachelor’s degree; Benbenisty was born in Tel Aviv. Their films are very different, in part because of their differing geographies.

Chanowitz’s Mushkie, which runs just over 12-and-a-half minutes, is a day (or two) in the life of two recent olim (immigrants) from the United States, best friends Mushkie and Sari. Chanowitz plays the title character, who is secretly exploring life outside of the boundaries of her religious upbringing, and gets into a little trouble while doing so. Chanowitz’s sense of humor shows not only in the film, but in the credits, where she thanks, among many others, her parents, who, she writes, “… I hope will continue to support me, but never see my work.” Given Mushkie’s sexual explicitness, the sentiment is understandable.

Benbenisty’s 15-minute Blessed offers viewers a glimpse into Sephardi – specifically Moroccan – culture in Israel. While in the biblical story, it is the younger Jacob who steals older brother Esau’s blessing from their father, in Blessed, it is the older, overlooked and unmarried sister, Zohara, who steals – at least initially – from her soon-to-be married younger sister the blessing that is given to all brides before their wedding day. The blessing gives Zohara the ability to see the love that has always been around her, and changes not only her relationship with her sister, but herself.

And there is more to this short film. In attempting to catch Zohara’s attentions, a shy but determined suitor recites to her a poem, “Zohra Al Fassiya,” by Erez Biton. Al Fassiya (1905-1994) was a well-known and popular Jewish Moroccan singer who, when she had to leave her home country, emigrated to Israel in 1962. She fell into anonymity and represents the negation of Sephardi culture by the Ashkenazi majority in Israel until recent years. That Blessed’s Zohara hears and is affected by this poem adds significant meaning to this short film.

The Sir Jack Lyons Charitable Trust Film Prize event starts at 7 p.m. on May 16 in the Zack Gallery.

Making your own cheeses

Once a full-time organic farmer, David Asher offers workshops through his Black Sheep School of Cheesemaking. He has also recently published his own book, The Art of Natural Cheesemaking. (photo by Kelly Brown)

Have you ever wanted your own cheese cave? If not, David Asher might convince you to crave one.

Based on British Columbia’s Gulf Islands, the former full-time organic farmer is the author of the recently published The Art of Natural Cheesemaking: Using Traditional, Non-Industrial Methods and Raw Ingredients to Make the World’s Best Cheeses (Chelsea Green). His book covers all the details one needs to know to make a variety of cheeses at home – and, yes, creating a “cave” to age it. Step-by-step recipes include paneer, cheddar, feta, blue cheeses, gouda, and about a dozen others.

“It’s as easy to make cheese at home as it is to make good bread at home,” he said.

For the past seven years, Asher has been offering workshops through his Black Sheep School of Cheesemaking to teach others the “lost” art of creating their own natural cheeses without unnecessary additives. But he wasn’t always a cheese fan – in fact, for most of his life, just the opposite.

“We weren’t a cheese-eating family. We only ate that stack of kosher cheese slices stuck together without plastic wrapping in a slab. I suffered through really terrible cheese as a child,” he said.

Like his favorite food, though, his taste has ripened with age.

As a young boy, he was introduced to “Italian immigrants’ guerrilla gardens” by Montreal’s railroad tracks, where he would relish plucking carrots and harvesting kale. Eventually, he created his own garden and, by his 20s, he was volunteering at community farms.

It was during an organic farming apprenticeship, traveling around visiting other farms, that he met a home cheesemaker, who was “making some inspiring rounds of moldy goat’s cheese” in her home with milk from her very own goats.

“She made this alchemy happen,” he said. “To make this beautiful cheese … without any specialized tools or equipment, I thought, ‘I can do this.’”

On a mission, Asher consulted the go-to cheesemaking guidebooks to find out how to start creating, but he was not inspired by the recipes or by the techniques suggested. Part of the problem, he said, was that the recipes called for freeze-dried packaged cultures.

“I didn’t want to have to purchase these culture starter packages to make my cheese, because I knew that traditional cheesemakers didn’t use these,” he said. “I knew there had to be a better way, but there weren’t really any resources.… There were no references as to how traditional cheesemakers grew their white rinds, their camembert, almost as if that information had been lost.” Truly, he was “feta” up with the lack of “gouda” details.

Through trial and error, he explored and learned natural methods used long ago, for want of a mentor. And then, much like a wheel of provolone, things came full circle.

“After years of experimenting, I felt confident with my techniques. I then decided that I’d write a book,” he said, adding that it also serves as a resource for his students.

Asked if he thought any decent commercially made cheese can be found in mainstream supermarkets, he responded with a deep sigh. “You don’t want me to answer that,” he said. “Call me when you’re ready to make your own.”

For those wanting to make their own, there are three cheesemaking seminars this month: with the Clever Crow Sea Salt Co. in Black Creek May 7-8, with Linnaea Farm on Cortes Island May 14-15 and in Chilliwack at the Valley Permaculture Guild on May 28-29. For more information, visit theblacksheepschool.com.

Dave Gordon is a Toronto-based freelance writer whose work has appeared in more than a hundred publications around the world. He is the managing editor of landmarkreport.com.

A complex cultural mosaic

Think you know everything about Israel? Looking for an extraordinarily special book to give to someone who has been to Israel or is interested in the unusual aspects of the country that rarely, if ever, get press coverage? The answer to both of those questions is Unexpected Israel: Stories You Never Read in the Media (Gefen Publishing House, 2016) by Ruth Corman.

Corman is a British photojournalist and art consultant who splits her time between London and Jerusalem. Her first publication was with photographer David Rubinger, and his book Israel Through My Lens: Sixty Years as a Photojournalist, which she co-authored and edited.

book cover - Unexpected Israel With her latest book, with 84 vignettes, she writes, “I decided to try a side of Israel that rarely receives attention – the creative, amusing, quirky and moving aspects of the country.” She used the services of Alon Galili, a guide, and John Harlow, a consultant. Many of her tales have appeared in the Jerusalem Post. Her husband, Charles Corman, was the book’s editor.

Writes Corman on the publisher’s website, “Four years ago, I embarked on an expedition through the complex cultural mosaic that is Israel to introduce readers to aspects of the country that never appear in the media…. I was introduced to places that few know about, fossilized trees in the Negev dating back 120 million years and a leopard shrine from a mere 10,000 years ago. I marveled at magnificent pure white chalk hills near the Egyptian border and discovered sculptural rock forms near Timna, the remains of copper mining. I was delighted by a derelict Mandate-era spa by the Dead Sea where hand-painted murals depicting regional topography adorn the walls, and fascinated by the history of perfume production at Ein Gedi and the efforts to recreate the scent that so captivated our ancestors.”

Corman also “encountered some unforgettable individuals.” Her entries begin with Tsegue-Mariam, a 93-year-old Ethiopian nun who has written original music and plays the piano. It ends with “A Happy Ending: Rescue in the Skies,” the story of a young child who was on an El Al flight with her. The child was heading to London to undergo a liver transplant, and Corman helped raise from the passengers the money the girl needed. Corman did not keep in touch with the child, who must be over 30 by now.

In between are stories about typical and atypical Israeli aspects – the camel, falafel, floor cleaning (sponga), garinim (sunflower seeds), folk dancing, Machaneh Yehudah (where this author leads weekly walks in English), sabras (the fruit), standing in line, sheshbesh (backgammon), the Temple Mount sifting project (which originated with a friend of this author, Prof. Gaby Barkay), volunteerism and more.

For those who know – or want to know – Israel, it is a delightful read that you won’t be able to put down. There is humor, there is wit, great research and special photographs.

If you happen to be in Jerusalem on May 15, the official book launch of Unexpected Israel will take place at Menachem Begin Heritage Centre. Guests will include Daniel Taub, former ambassador to the Court of St. James, and Steve Linde, editor-in-chief of the Jerusalem Post. Corman will present stories and images from the book. RSVP to [email protected] or via gefenpublishing.com (or 02 538 0247).

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 weekly walks in English in Jerusalem’s market.

The story of Miriam Peretz

Those of us who live and work in Israel as journalists and book reviewers for international publications often have to wait until an Israeli bestseller is translated from Hebrew into English. I, for one, am very excited when this occurs, and especially for a biography like Miriam’s Song: The Story of Miriam Peretz (Gefen Publishing House, 2016) by Smadar Shir.

Shirat Miriam was published in Israel in 2011 and became a bestseller, with more than 20,000 copies sold. It is Peretz’s story, as recounted to Shir, who is a prolific author and composer, as well as a senior journalist at the newspaper Yedioth Ahronoth.

Peretz was born in Casablanca, where her family lived until she was 10 years old. In 1963, they immigrated to Israel, initially living in an immigrant camp in Beersheva. After graduating high school, Peretz went to Ben-Gurion University and became a teacher.

When she was 21, she met Eliezer Peretz, who was 31, also Moroccan. They married, and he returned to his work in Sharm el-Sheikh. She eventually joined him there, until the city was evacuated. Meanwhile, she began teaching, and they started their family, ultimately having six children.

In November 1998, Uriel, their 22-year-old son, a Golani (special forces) officer was killed in Lebanon, while in the army. Peretz kept going.

“My husband was overcome with sadness and wouldn’t go to work, but I had no choice but to continue functioning,” she says.

Peretz got a master’s degree in educational administration. Her second son joined the army, while she and her husband continued processing their grief for Uriel. She began visiting schools and military bases to talk about her son.

In 2005, her husband died – only 56 years old. And then, in March 2010, her son, Eliraz, married with four children, was killed while in the army.

In December 2010, then-Israel Defence Forces Chief of General Staff Lt.-Col. Gabi Ashkenazi awarded her a medal of appreciation. He said: “Miriam’s ability to continue to express her deep pain and channel it into a contribution to the education and formation of future generations, serves as an example and model of inspiration for us all.”

The next chapters of Miriam’s Song are told by each of Peretz’s four surviving children.

Miriam left her principal position after 27 years to become a Jerusalem district supervisor with the education ministry. After Miriam’s Song was published in Hebrew, Peretz began to travel to the United States for the organization Friends of the Israel Defence Forces. In 2014, she was a torchbearer on Israel Independence Day.

For a feature on International Women’s Day this year in the Jerusalem Post, Peretz was interviewed and photographed along with two other mothers who had each lost a son. Journalist Tal Ariel Amir writes, “these three courageous women have risen from the ashes of their despair.”

People ask what it is like to live in Israel. Although Miriam’s Song is replete with courage, faith and commitment, it is also about tragedy and sacrifice. It is a book to read to understand what it means to be a woman, a wife, a mother in Israel today.

Comic book radio show

The Intergalactic Nemesis: Target Earth comes to York Theatre April 30 and May 1. (photo from Jason Neulander)

The story takes place in 1933. And, were it not the full-color cartoon panels being projected onto a large screen, you might feel as if you were also back in 1933 while watching the live performance of The Intergalactic Nemesis: Target Earth at York Theatre April 30 and May 1.

Target Earth is the first instalment of a trilogy that follows “Pulitzer Prize-winning reporter Molly Sloan and her intrepid research assistant Timmy Mendez,” as they “team up with a mysterious librarian … named Ben Wilcott. Together, they travel from Romania to Scotland to the Alps to Tunis to the Robot Planet and finally to Imperial Zygon to defeat a terrible threat to the very future of humanity: an invading force of sludge-monsters from the planet Zygon!”

The dozens of characters are voiced on stage by three actors. They are joined by a Foley artist, who creates all of the sound effects, and a pianist/organist who provides the music soundtrack. The full-color comic book is projected onto a movie screen. In Vancouver, the actors will be Rachel Landon, Brock England and Jeff Mills, with Kelly Matthews in charge of the sound effects and Harlan Hodges on piano and organ.

The series – comprised of Target Earth, Robot Planet and Twin Infinity – is produced and directed by Jason Neulander.

photo - Jason Neulander — Jason Neulander *(photo from Jason Neulander)*

Neulander grew up in New Jersey and went to college at Brown University in Providence, R.I., where he majored in theatre.

“Right out of school, I founded a company called Salvage Vanguard Theatre in Austin, Tex., where we developed and produced new plays. The Intergalactic Nemesis came out of that company, originally as a radio play,” he told the Independent.

“I ran Salvage from 1994 to 2008 and built the company up to a point where it’s now something of a local institution. They’re still going strong without me. In 2008, I decided to focus entirely on The Intergalactic Nemesis and got invited to bring the show to the Long Centre for the Performing Arts [in Austin]. The venue there was 2,400 seats and I felt like that was too big to house my little radio play. So, I came up with the idea of projecting comic book artwork to create a visual spectacle to fill the room. That version of the show premièred in 2010 and we’ve been on the road with it ever since.”

Based on an original idea by Ray Patrick Colgan, the touring show was adapted from the radio drama by Colgan, Neulander, Jessica Reisman, Julia Edwards and Lisa D’Amour. The comic-book artwork for Target Earth is by Tim Doyle with Paul Hanley and Lee Duhig; the sound effects were created by Buzz Moran; and Graham Reynolds was the composer. Others, of course, helped bring the whole production to fruition.

For his part, Neulander said his biggest inspiration for The Intergalactic Nemesis was his kids. “I wanted to make something that I could enjoy with them,” he said. “That’s actually worked out pretty well! Artistically, this show is all about pushing my own inner-kid buttons. I was 7 when Star Wars came out (the first one) and 12 when Raiders of the Lost Ark came out and I love that kind of storytelling.

“One of my favorite memories as a kid was watching the old Flash Gordon serials and the old Ray Harryhausen movies on TV with my dad on Saturday mornings. When I was a little older, I got really into golden-age sci-fi short fiction, like Bradbury and Asimov and those guys. When I was a young adult, I discovered golden-age Hollywood movies for myself – His Girl Friday hugely influenced our script. I kind of backed into both radio drama and comic books, so maybe those are actually a little less influential on the show than those other things.”

While there is no overt Jewish aspect to the story, Neulander said his sense of Jewish heritage played a role in its creation.

“This show is all about the heroes defeating the bad guys more through smarts than through violence,” he explained. “The main male character is a librarian, so I feel like there’s got to be some Talmud in there somewhere. But, more than that, I think my upbringing taught me that if you work hard, you can succeed against all odds. I’m not sure if that’s solely a Jewish thing, but it’s definitely what the story of this show is all about.”

And Target Earth won’t just take you to another time, but place.

“It’s so much fun!” said Neulander. “It’s like getting to watch an animated movie and seeing how they do it all at the same time. The visual images are just beautiful to look at and then you have three voice actors playing so many characters, often in the same scene, you have one person using all these unusual objects to make sounds you never thought they could make (my favorite is a trail from a box of mac and cheese), and the music just soars. You really do get taken to another world.”

While Neulander is taking a creative break from the Intergalactic world – “I’m just wrapping up a script for a thriller, which will be my film directing debut” – the series’ shows keep touring. This summer, said Neulander, “we are taking Twin Infinity to the fringe festival in Edinburgh in what we think will be a very splashy U.K. première.”

But first, Target Earth and target Vancouver.

“We’ve been itching to get to Vancouver for a few years now,” said Neulander. “I think that your city really is one of the ideal places for this show. I just think audiences are going to eat it up! Can’t wait to get there!”

Shows are April 30, 4 and 7 p.m., and May 1, 2 p.m. Tickets start at $25 from tickets.thecultch.com or 604-251-1363.

Ballet BC dances Bill

Ballet BC dancer Gilbert Small is among those who will perform Program 3. (photo by Michael Slobodian)

Ballet BC finishes this season with Program 3, which features the remount of artistic director Emily Molnar’s 16+ a room and of Finnish-born choreographer Jorma Elo’s I and I am You – as well as the Canadian première of Israeli choreographer Sharon Eyal’s Bill.

Already in Vancouver setting Eyal’s work for Ballet BC is Osnat Kelner, who has been choreographing since 2001. In addition to her own creations, Kelner is an assistant choreographer for Eyal and American-Israel choreographer Barak Marshall.

“I met both Sharon and Barak for the first time when I was dancing in the ensemble Batsheva in 2000 and they created pieces for the company,” Kelner told the Independent.

“I started setting Sharon’s pieces in 2005 after working with her again, this time as the rehearsal director of ensemble Batsheva, where she created another piece.

“I started working with Barak as his assistant in 2008. A year earlier, I met him in Israel, after his long absence. He discussed the option of coming to create a new piece, said he still remembered how great it was to work with me, and that he’d like me on his team.”

Eyal, who is based in Tel Aviv, is former resident choreographer of the Batsheva Dance Company. She currently is artistic director of L-E-V, a company she and Gai Behar formed. For Bill, she again collaborated with Behar and musician, drummer and DJ Ori Lichtik. In the work, notes Ballet BC, “Eyal combines dance, music and design into an instantly recognizable whole of raw, unexpected beauty created with equal parts ebb and flow. Premièred by Batsheva Dance Company, Bill showcases Eyal’s trademark shifts from large group to smaller ensemble, which, in turn, morph into breathtaking solos.”

“In order to set another choreographer’s pieces,” explained Kelner about her role in the production, “you firstly need their trust, you need a really good memory, the ability to see the big picture and the smallest details, and a way with people. It means you are responsible for passing information to dancers who have never worked with this choreographer before, and you try to stay as honest to that person’s vision as you understand it.”

Kelner also has her creative vision, which she focuses on more than one artistic endeavor.

“As a freelancer,” she said, “I do many different things. I choreograph, I stage other choreographers’ pieces, I work as rehearsal director for independent projects, I make costumes for dance and theatre, I sometimes perform myself and I’m the mother of a 19-month-old boy. I can’t imagine it any other way. I love being involved in many different projects, in different roles, and sometimes at the same time. I only grow and learn from it, as an artist and a person.”

Audiences at Program 3 will also see Molnar’s 16+ a room, set to music by Dirk Haubrich and inspired by the work of writers Jeanette Winterson and Emily Dickinson. According to the press material, it “displays Molnar’s unique choreographic language through a complex study of time, transition and stillness, where the space between is as important as the space occupied, where one is left with the feeling of both liberty and disappearance.”

Finally, Elo’s I and I am You, first performed by Ballet BC in 2013, features “Elo’s signature virtuosic vocabulary and lightning-fast musicality interspersed with moments of enormous intimacy and tenderness.”

Program 3 is at Queen Elizabeth Theatre May 12-14, 8 p.m. Tickets, which range from $30 to $90, can be purchased at 1-855-985-2787 or ticketmaster.ca.