Arts & Culture – Page 133

Duo’s message is “laughter heals”

The comedy team of Rabbi Bob Alpert and Ahmed Ahmed on their August 2015 Laugh in Peace Tour. (photo from Laugh in Peace)

“Both Jews and Muslims have a lot in common. What are we fighting over? Jews and Muslims don’t eat pork, we don’t celebrate Christmas, we both use ‘ch’ in our pronunciation, and we are both hairy creatures of God,” says comedian Ahmed Ahmed. “The only real difference between Jews and Muslims is that Jews never like to spend any money and Muslims never have any money to spend.”

So goes one of the dozens of jokes featured in the Laugh in Peace comedy routine of Ahmed and Rabbi Bob Alper. It’s one Arab, one Jew, one stage. The unlikely duo’s show was in Israel (Jerusalem, Tel Aviv and Haifa) and the Palestinian territories (Ramallah) for the first time from Aug. 12-17. Together, Ahmed and Alper have performed more than 150 times during the last 14 years – throughout the United States, Canada and England – at synagogues, churches, mosques, theatres and college campuses.

Their story began as a gimmick by a savvy publicist, said Alper, a Reform rabbi who spent more than a decade at pulpits in New York and Philadelphia – or, as he calls it, “14 years of performing in front of a hostile audience.”

Alper admits he was at first resistant to the idea of the combined show. “My publicist calls me one day and says, ‘Bob, why don’t you do a show with an Arab comedian?’ I said, ‘Do you have any other ideas?’”

Ahmed was skeptical, too. “I got this call, ‘My name is Bob Alper and I am a Reform rabbi.’… He says, ‘I have an idea. I thought it would be great to do a show together.’… Well, I said, ‘That sounds good, where do you perform?’ He says, ‘Well, I perform in synagogues.’ … I thought someone was playing a joke on me.”

But the timing was right. In 2001, at the height of the terrorism of the second Palestinian intifada (uprising) in Israel, people were primed for comic relief. Alper says, when people are tense or sad, “comedy is even more important.”

Over time, the two have been more than just a successful and sought-after show. They’ve become good friends. The women in Alper’s small Vermont town fell in love with Ahmed through his visits and regularly inquire about his well-being. Alper has eaten in Ahmed’s parents’ California home.

“Ahmed’s dad asked about my family,” Alper recalled. “When I told him my wife would be having shoulder surgery the following month, he looked gravely at me and ordered, ‘You must stop twisting her arm.’”

They also believe they have played a role in breaking down barriers between Muslims and Jews. On college campuses, where Jewish-Muslim tension and antisemitism run rampant over the issue of Israel, Ahmed and Alper perform for mixed audiences. Jewish males wearing yarmulkes and females in hijabs sit side-by-side, smiling and laughing.

“When people laugh together, it is hard to hate each other,” said Alper, recounting how at the University of Arkansas it occurred to him that they were guests of the Razorbacks – a Muslim and a Jew performing at a school whose mascot is a pig.

They keep their shows apolitical, though they do touch on their personal religious experiences in the 90-minute performances, which generally are divided between solo acts of 30-35 minutes and a joint opening and closing. The closing includes stories from their travels.

Holocaust memorial music

Musical memorials to the Holocaust tread on sensitive ground. On one hand, they perform a crucial function for humanity’s collective memory. On the other hand, there is significant risk of belittling the topic in the name of artistic expression. Two composers who have successfully navigated the risky waters of this endeavor to produce musically significant works with dignity and veneration are Charles Davidson and Sheila Silver. Released by the Milken Archive of Jewish Music earlier this year, Out of the Whirlwind: Musical Reflections of the Holocaust gives both works their rightful place in the archive’s pantheon of music of the American Jewish experience (milkenarchive.org/volumes/view/19).

Davidson’s I Never Saw Another Butterfly cantata is based on the 1960s publication (of the same name) of poems written by children interned at Terezin, a ruse camp set up by the Nazis to throw off the scent of those who suspected the mass murder of Jews under Hitler’s reign. Though it was simply a waypoint en route to the Auschwitz death camp, Terezin depicted a scenario where prisoners enjoyed relative freedom and produced significant artistic output.

Davidson’s tribute to the child poets comprises nine poem-settings for children’s choir and piano, performed here by the San Francisco Girls Chorus. From touching beauty to foreboding, despair and all points in between, his composition gives unique expression to the range of emotions contained in the poems while conveying its own identity as a work of art. I Never Saw Another Butterfly has been performed more than 2,500 times, including in 1991 at Terezin, in the presence of former Czech president Václav Havel.

Silver’s string trio To the Spirit Unconquered was inspired by the writings of Italian poet and Holocaust survivor Primo Levi. Silver uses a variety of techniques to convey different aspects of the concentration camp experience described in Levi’s writings: fear, through dark string tremolos and crashing, dissonant piano chords; memory, through floating piano lines and swooning strings; barbarism, through quick, syncopated rhythms, staccato stabs, and angular melodies; transcendence, through the soaring melodies of the final movement. In a 1998 interview with the archive (milkenarchive.org/videos/view/112), Silver claimed To the Spirit Unconquered as her most successful piece, stating that it had been widely performed and won over audiences skeptical of modern music. In her own words, it is “about the ability of the human spirit to transcend the most devastating of circumstances, to survive and to bear witness.”

Though both of these works can be appreciated on their artistic merits alone, their grounding in the maxim to never forget imbues them with an inescapable urgency. They command listeners of all faiths and backgrounds to approach them with undivided attention.

Refugees painted village blue

“Running Again” by Joyce Ozier, part of her current exhibit at Fazakas Gallery. (image from fazakasgallery.com)

Chefchauen is a village in Morocco. Founded in 1471, it was home to many Jewish refugees escaping the Spanish Reconquista during medieval times. No Jews live in this village now and haven’t since the late 1940s, but this little tourist town in the Rif Mountains was the inspiration for Vancouver artist Joyce Ozier’s latest exhibit, Blue Refuge.

“I discovered Chefchauen by accident,” Ozier told the Independent. “Last year, while I was getting ready for my show at the Zack Gallery, I received lots of emails and newsletters. One of them mentioned Chefchauen, a blue town in Morocco, and included a few photographs. I was knocked out by the magic of its blue colors, but my first response was purely esthetic. I imagined how these different shades of blue – blue stucco walls, blue doors, blue roofs – would change throughout the day in the strong Mediterranean sunlight.”

photo - Joyce Ozier — Joyce Ozier *(photo by Pink Monkey Studios)*

After her initial fascination wore off, she became curious. What was the reason for the town being blue? “There was a one-line explanation for the unusual color: a group of Jews running from the Nazis in the ’30s painted the town blue in gratitude for it being a safe haven. After I read that line, I wanted to know their story,” she said.

Ozier started researching the history of those Jews who gave the town its charming blue attire, while simultaneously creating her own visual narrative – the nine abstract panels reflecting their intriguing story. But, while her artistic endeavors were successful, her research path was littered with disappointments. Nobody knew much or even anything about Chefchauen and its Jewish history.

Determined to learn all she could about the people who made the town blue, she embarked on a quest to understand those long-gone Jews. After various online searches, she tried the Isaac Waldman Jewish Public Library, but to no avail. “Then I found a Jewish tour company in New York that specialized in Jewish Morocco,” she said. “I called them, thinking that they would be able to answer my questions, but they had no idea either. Their advice was to try the Jewish museum in Casablanca, Morocco.”

She made the call and spoke with the museum’s curator, but still no luck. “By this time,” she said, “I decided to imagine my own version of what had happened, how those Jewish refugees got to Chefchauen, what they went through, why they decided to paint everything blue, and what happened after. Over the years, I’ve read many personal accounts of the Holocaust and, based on those, I wrote the texts for my show, the short write-ups on each of the nine panels that comprise the show.”

Ozier wrote about the hardships the refugees would have encountered on their flight from the Nazis, about their joy at finding a safe haven, and about why they painted the town blue.

“Blue is the symbol of divinity in Judaism, being the color of sky and ocean,” she explained. “Observant Jews are required to have a blue thread in their prayer shawls, so when they pray, they are enveloped in divinity. To express their appreciation for being alive, for being able to reach Chefchauen, the refugees painted the whole village in shades of blue. The divine blue created an environment that gave them the hope they needed to go on. It helped them stay positive in a terrifying and insecure political situation. It prodded them to resume relatively normal lives once they had settled in.”

Unfortunately, as soon as the Vichy government took over Morocco, the persecution of Jews started there, too. “Their safe haven was a dream,” Ozier wrote, and her panels follow the rest of the story, as most of the Jewish citizens of the blue town left. Nobody knows what happened to them, but Ozier hoped they had headed for Israel.

“My show was almost ready, but then I panicked,” she recalled. “I needed a confirmation for my fictional story. Was it based on fact, or even a possibility of fact, or was it just my imagination?” The Vancouver Holocaust Education Centre came to her rescue.

“Phillipa Friedland, the centre’s education coordinator, was wonderful,” said Ozier. “She had not heard of Chefchauen and its blue world but she was visibly excited to see the photos and hear my story. She suggested that I contact Yad Vashem, the Israel Museum in Tel Aviv, the Museum of Jewish People in Tel Aviv, the Leo Baeck Institute in Jerusalem and the Museum of the Diaspora at the University of Tel Aviv.”

One by one, Ozier contacted each of the leads Friedland gave her, but most of the institutions couldn’t help. Some only did family research. Others specialized exclusively in the war years. “I wrote an official request for information to Yad Vashem and got a response from them much sooner than I expected. Timorah Perel from their reference and information services explained to me that most of their testimonials are written in languages other than English and would require translation. She sent me the only English testimony that came up in her search in English. It was very interesting but it did not mention Chefchauen.”

Eventually, Ozier’s persistence paid off. She contacted Tel Aviv University. “The receptionist who answered the phone told me that they had a professor who specialized in the Jews of Morocco, Dr. Yaron Tsur. She gave me his university telephone number and his email address. Excited to have a real lead after all the dead ends, I immediately wrote Dr. Tsur a long email, explaining my upcoming show and including all my photos and my texts. I asked him whether he thought my story could be based on reality or it was a total fantasy.”

She received no reply, and no response to several phone calls. “Frustrated, I called the receptionist again, thinking perhaps I’d written down the wrong number. This time, she told me Prof. Tsur was in America. He was on sabbatical this year.”

Ozier finally was able to reach him. And Tsur confirmed her story, saying in an email that “the story of the Jewish refugees that you relate and the asylum that some of them found in Morocco is historically true.” She could go ahead with her show.

“They still paint the town blue,” Ozier said, “even though no Jews live there any longer. It’s a tourist attraction now, and the local government pays for the paint, so they could retouch it annually. One more little factoid I found in my research: the blue changes during the day, resembling running water. It repels mosquitoes.”

Blue Refuge is at Fazakas Gallery, at 145 West 6th Ave., until Dec. 17.

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

Israel as a problem, not a partner

Ambassador Dennis Ross was in Winnipeg as part of the city’s Tarbut Festival to promote his new book. (photo by Rebeca Kuropatwa)

Ambassador Dennis Ross was in Winnipeg earlier this month to promote his latest book, Doomed to Succeed: The U.S.-Israel Relationship from Truman to Obama (Farrar, Straus and Giroux). He was one of the participants in the city’s Tarbut Festival.

Ross is the William Davidson Distinguished Fellow at the Washington Institute for Near East Policy, as well as a Distinguished Professor in the Practice of Diplomacy at Georgetown. He has been very involved in American peace efforts in the Middle East, especially during the administrations of presidents George H.W. Bush and Bill Clinton. Among other accomplishments, he helped Israel and the Palestinians reach an interim agreement in 1995, helped broker the Hebron Accord in 1997 and facilitated the 1994 Israel-Jordan peace treaty.

In his new book, Ross explores the attitudes and approaches of every U.S. president toward Israel, and the Middle East in general. He highlights some of the lessons that could have been learned from leader to leader, but were not, and how American presidents have shaped their country’s policies toward Israel.

Ross’ Nov. 15 talk in Winnipeg sold out a week in advance, with more than 200 in the audience at Rady Jewish Community Centre’s Berney Theatre. He began with a few words about the Paris terrorist attacks, describing them as “a sobering event.”

“This was an intelligence failure,” he said. “You had three terrorist cells that were able to operate, to acquire a substantial amount of weaponry, to wear suicide vests with explosives – to orchestrate, plan, and carry it out. My guess is they did rehearsals before they did this.”

Ross then discussed the spate of terrorist stabbings that has been occurring in Israel, referring to this as “a new normal” that we will need to get used to for the next while.

According to Ross, every administration, from Harry Truman to Barack Obama, has had people in the back office advising their president against siding with Israel. As such, to varying degrees, every president has considered Israel a problem, and not a partner.

“This mindset that tends to look at Palestinians and Arabs as something we have to be careful around … if we are going to be criticizing them, it will create a backlash against us … this is a mindset that has existed in every administration,” Ross said.

In his book, Ross conveys that the only American president who did not listen to these back-office advisors was Clinton, who saw the United States as Israel’s only friend.

“Because of that, we can have differences with Israel, but he [Clinton] believes that if we create a gap between us and Israel, it will give encouragement to Israel’s enemies,” said Ross. “With Clinton, the constituency existed, but it had no influence.”

Jumping from one president to the next, Ross provided glimpses of the eras and issues covered in his book. For example, Ross said, Ronald Reagan was “the only one to suspend [the supply of] F-16s to Israel as a punishment … because the Israelis bombed a [nuclear] reactor in Iraq. Reagan later acknowledges that it wasn’t a bad thing,” meaning Israel’s actions.

“Reagan goes back to his roots of being a very strong friend of Israel,” said Ross. “He feels a deep moral obligation to the state of Israel … going back to who he was, to his instincts. He believes the U.S. has a moral obligation to Israel.”

With the Reagan administration, Ross said, “For the first time, you have a constituency that arises with expertise that counters the other constituency, and sees Israel as a partner and not a problem … sees Israel as someone the U.S. should be working with.”

In Ross’ view, the constituency that views Israel as a problem has been guided by a set of assumptions that have endured since before Truman to today. In Doomed to Succeed, he lists three assumptions: “If you create distance from Israel, you’ll gain with the Arabs; if you cooperate with Israel, you’ll lose with the Arabs; [and] you cannot transform the Middle East unless you solve the Palestinian problem.”

Ross provided supporting evidence for each of these assumptions. “I’ll give you some examples from the book,” he said. “The most outrageous example was [Richard] Nixon. In March of 1970, Nixon decides to suspend F4 Phantoms to Israel. Now, I said that Reagan suspended F16s as a punishment. Nixon doesn’t do it as punishment. He’s trying to reach out to [Egyptian president Gamal Abdel] Nasser. He thinks if he suspends arms to Israel, he’ll gain with the Egyptians, gain with Nasser. What makes this an outrageous example is that he did it at the very moment that the Soviet Union was sending military personnel to Egypt.” While Nixon expected to be rewarded by Nasser, Nasser instead demanded more.

About the title of his book, Ross said, “Fundamentally, we [America] and Israel share interests and threats. That has always been true. It’s especially true now, as you look over the next 10 to 20 years, the struggle with ISIS and also Iran. We have two proxy wars. Who will dominate the region? The fighting is over identity. You fall back on the fundamental instincts.

“You have the Arab state system itself under threat now. Against that backdrop, there’s one state that actually has institutions – a rule of law, a separation of powers, independent judiciary, elections where the loser accepts the outcome, where there is freedom of speech, of assembly, and where women’s and gay rights are respected. Israel is the only democracy in that region and that’s why the title of the book is called Doomed to Succeed.”

The talk concluded with a few questions from the audience. Ross was asked about the Iranian nuclear deal and how he felt about it. Ross said he felt the deal needed tweaking to ensure a positive outcome.

“Sanctions would erode, eventually,” he said. “I still wasn’t prepared to favor the deal because, after 15 years, Iran gets treated as if it’s Japan or the Netherlands. They can build as large a nuclear infrastructure with no limitations at all. So, I identified, for me, five conditions that need to be met before I could support the deal. These conditions have to deal with how to bolster deterrents. I felt you can’t wait for 15 years to say, ‘Now, we are serious.’

“I wanted a firewall now if we see them moving toward a weapon. If we don’t do that, I can’t support it. I wanted us to make our declaratory policy much blunter, to make it clear they can’t use enriched uranium after 15 years. I wanted us to spell out now what happens if there are violations along the margins. For every transgression, there’s a price. They don’t escape. I wanted us to target new sanctions.

“I’ll tell you, the Iranians will cheat around the margins. They will test the verification. When they do, there has to be a price. If you buy 15 years, what do you do with it? I laid it out publicly before the deal was done. I wasn’t shy about this.”

In thanking Ross at the event’s conclusion, attendee Howard Morry said, “You asked the question, ‘Who has been the best friend to Israel for the past 30 years?’ It could be argued that you’ve been Israel’s best friend in the White House.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Winston wins literary prize

Simon Fraser University professor Mark Winston’s book on his lifetime as a world-leading bee expert – Bee Time: Lessons from the Hive – won this year’s Governor General’s Literary Award for nonfiction. According to the awards jury, Winston’s book “distils a life’s devotion to the study of bees into a powerful and lyrical meditation on humanity. This compelling book inspires us to reevaluate our own relationships both with each other and the natural world. Vital reading for our time.”

photo - Mark Winston — Mark Winston *(photo from SFU Communications)*

In Bee Time, Winston investigates the many influences bees have had on human society, and what we can learn from how bees have responded to their own societal challenges. Earlier this year, the book, published by Harvard University Press, was lauded with a Canadian Science Writers’ Association award.

“I look to the Governor General list every fall for good books to read, so for Bee Time to be on the list is an enormous thrill, and an extraordinary honor,” said Winston, who shares his reflections on three decades as a bee biologist in his award-winning book.

As one of the world’s authorities on bees and pollination, Winston has devoted his career to research and teaching, as well as writing and providing commentary on bees, environmental issues and science policy. Now a professor and senior fellow at Simon Fraser University’s Centre for Dialogue and founder of the Semester in Dialogue program (launched in 2002), he has written six previous books on topics from bees to the environment, and has been a consistently sought-out expert by national and international media.

“From altering our understanding of agricultural ecosystems to how urban planners are looking to bees to design more nature-friendly cities, I tried in Bee Time to offer practical views about the many lessons we can learn from bees, but also to express how grateful I am to bees for what they’ve taught me about collaboration, communication and interaction,” explained Winston, who continues to write a blog, winstonhive.com. A New York Times editorial he wrote (July 15, 2014) on the book was the most read NYT article for two consecutive days.

Among his many accolades, Winston is a co-winner of the Science Council of British Columbia’s 1992 Gold Medal in the natural sciences for his role in discoveries that resulted in an entirely new understanding of how bees communicate.

Governor General’s Literary Award recipients receive $25,000 and are celebrated at a gala event at Rideau Hall. This year, nearly 1,000 titles were submitted for the seven English-language categories. The awards are presented annually by the Canada Council for the Arts. For more details and a complete list of winners, see ggbooks.ca.

Make time for Chutzpah!

Gallim Dance (photo from Gallim Dance)

Tickets are now on sale for the 16th annual Chutzpah! Lisa Nemetz International Jewish Performing Arts Festival. The 2016 festival will run from Feb. 18 to March 13, and it will once again showcase theatre, comedy, music and dance performances and workshops by international, Canadian and local artists.

The Chutzpah! Festival’s Dance Series includes Canadian and North American premières from Italy’s Spellbound Contemporary Ballet; Israeli dance company Maria Kong performing their much-lauded Open Source; and New York-based Gallim Dance in their repertory work Wonderland by choreographer Andrea Miller, which Dance Magazine praised as “Gutsy. Wild. Smart. Original.” New to the international scene, New York City’s all-male company MADBOOTS appears in a double bill with a world première from Chutzpah’s resident dance company, Shay Kuebler Radical System Art; and Ballet Kelowna presents works by artistic director Simone Orlando, James Kudelka, Heather Myers and John Alleyne, with Toronto’s Continuum Contemporary Music accompanying (Chutzpah!PLUS, May 4-6).

photo - Baladino — Baladino *(photo by Omri Barel)*

The global landscape of music presented this year showcases performers from Israel, Mexico City, New York City, Canada and Cuba. Highlights include Israel’s sister group A-Wa; Juno Award-winners Odessa/Havana; trumpeter and composer David Buchbinder and Grammy-nominated Cuban piano master Hilario Durán joined by a team of jazz and world musicians; Mexico City band Klezmerson; Baladino’s interpretations of Sephardi and Ladino melodies, with Mediterranean-Gypsy grooves, electronics, improvisation and vocals; and Israel’s Victoria Hanna’s ongoing experimentation with the vocal and conceptual boundaries of language, presenting sacred Hebrew texts and spirituals in a modern context, integrating music, spoken word and video. Also on the music roster are Israel/New York jazz artists Rotem Sivan Trio; mandolinist and clarinetist Andy Statman from New York with Jim Whitney (bassist) and Larry Eagle (drummer and percussionist); and Israel’s Avishai Cohen Quartet, featuring award-winning trumpeter Avishai Cohen, described by the New York Times as “an extravagantly skilled trumpeter, relaxed and soulful … deftly combining sensitivity and flair.” (Chutzpah!PLUS, May 7)

Chutzpah!’s theatre and comedy lineup includes a world première from Israeli-Canadian B.C.-based playwright, performer and lighting designer Itai Erdal in collaboration with Maiko Yamamoto (Theatre Replacement) and Anita Rochon (Chop Theatre). The audience will enter the Jewish Community Centre of Greater Vancouver’s Dayson Boardroom for a humorous and moving play, A Very Narrow Bridge, that reveals the complexity of living between cultures and family relationships. Erdal re-lives a trial in order obtain a get (religious divorce). Joining him are local actors Patti Allen, Tom Pickett and Ryan Biel.

The festival also features two separate stand-up comedy performances from New York City comedians Jessica Kirson and Jon Steinberg, a perennial favorite on CBC Radio’s Debaters.

New this year, as part of Chutzpah!PLUS (April 2), is a memoir book reading and interview with Jennifer Teege, the bi-racial granddaughter of Nazi commandant Aon Goeth, portrayed by Ralph Fiennes in Schindler’s List. In her memoir, My Grandfather Would Have Shot Me (co-written with journalist Nikola Sellmair and newly translated from German), Teege reveals the moment she discovered her ancestry after being given up for adoption, and recounts how this discovery shook her life to the core.

Celebrating its 16th year, Chutzpah!’s artistic and managing director Mary-Louise Albert said, “Another great year with world premières by B.C. dance and theatre artists and a focus on the continuation of our established and well-warranted excellent reputation of bringing numerous outstanding international music, dance and comedy to our audiences!”

Chutzpah! performances will take place at Rothstein Theatre, Biltmore Cabaret, the J, Fox Cabaret and Frankie’s Italian Kitchen. Single tickets are $21 to $36 and can be purchased online at chutzpahfestival.com, by phone at the Chutzpah! box office (604-257-5145) or Tickets Tonight (604-684-2787). Chutzi Packs are also available: see four different shows of your choice for $89.

Creating artistic storm

Shevy Levy’s Storm Brewing is at Zack Gallery until Dec. 6. (photo by Olga Livshin)

This month, Zack Gallery is dedicated to abstract art. The exhibition Storm Brewing introduces gallery patrons to an unusual artist, Shevy Levy. Nobody looking at her daring, color-splashed paintings, throbbing with élan, could guess that Levy is an amateur artist. In her professional life, she is the owner of a software company, Lambda Solutions.

“I don’t have a formal art education,” Levy said in an interview with the Independent. “I always liked art and design, painted at school, and my mother encouraged my interest in art. She urged me to take classes, to study, but I was drawn to science, too. When the time came to choose between art and science as a career, I chose science and got a math degree. Much more practical,” she laughed. “But art was always in my life. You could say it is in my blood. I heard that math and creativity originate in the same part of the brain.”

Levy has taken classes with many famous artists, first in Israel, where she was born, and then here, in Vancouver, after her family immigrated. “I’m still learning, still enrolling in art courses. It’s a lifelong study,” she said, “an ongoing journey to learn new techniques and skills, develop them. The better your skills, the wider their range, the more they allow you to express yourself.”

Levy’s visual language consists mostly of colorful abstract compositions. Colors flow and clash, tinkle and thrum like an orchestra, twirl like dance strains and float like snowflakes. “I like nature and colors, not so much shapes,” she explained. “When I paint, I don’t plan. I just want to express myself. What color would fit here? What color should be there? It’s all intuitive. I want tons of energy on my canvases and I pour it out through colors.”

Light and darkness interlink in her paintings as they do in our lives, and in her own life, which hasn’t been easy or straightforward. “We came to Canada in 1993,” she recalled. “My husband retired from the Israeli air force and I took a sabbatical from teaching math. Our children were 10 and 15 at the time. We decided to travel for a year and came here. I did my master’s degree at SFU [Simon Fraser University]. We stayed.”

Of course, it wasn’t that simple. The life of an immigrant is never simple. It requires much time and energy to build a new home in a new country, to integrate into a new culture. There was no time for art.

“I painted a lot while in Israel, but when we came here, I stopped for awhile,” she said. “I started painting again about 10 years ago, and now I don’t see myself stopping. I’m busy with my work, I love it, but I love painting, too. I paint in the evenings and on the weekends. It’s my way to meditate, to relax, a distraction from real life.”

Levy also started taking classes again, and every new class offered a new discovery. “I always thought I had an intuition for colors, how they fit together. Then I took a class on colors at Emily Carr, and it explained so much. It was very helpful to know what the colors mean, alone or in different combinations. It is like there is a conversation of colors in my paintings.”

The sense of communication, of wordless discussion through the paintings comes from the artist’s original approach. “I always paint several pieces at the same time. I can’t do just one. I need continuity, from one painting to another. Sometimes I paint on top of older paintings. It might be beautiful, esthetic, but if there is no ‘umph,’ I have to fix it. I need to see a story in each painting, a conflict, a tension, where color clusters interact with empty space.”

For the current show, the story is all about storms – both in art and in life. “The idea for this show was not only to investigate the storms in nature but also to reflect on what storms make us feel,” said Levy. “We are facing storms all the time in our lives. There are darker clouds and lighter moments. But storms are not necessarily black. I wanted to know how a storm would look in pink. Could it be white? It was an exploration of the theme, and every painting has a title that came from music, from songs. I couldn’t live my life without music. I always put on music when I paint. I love classical music, jazz, rock.”

Like notes that build into melodies, the paintings of the exhibit create a concert of colors on the gallery walls. Some pieces are like symphonies, deep and powerful, while others look like doodles coming alive, buzzing with current and bursting with the artist’s emotions.

Levy seems to be drawn towards the darker spectrum of the palette, where happiness is tempered with concern. “Sometimes I force myself into a ‘cheerful mood’ but generally I think life is darker,” she said. “My sister is going through a serious illness now. Maybe the darkness in my paintings comes from it.”

Storm Brewing opened on Nov. 12 and will continue until Dec. 6.

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

It’s all about people

William Samples and Christine McBeath in People, now at Jericho Arts Centre until Nov. 29. (photo by Adam Henderson)

Character actors are like wine – they only get better with age. Nowhere is this more evident than in the United Players production of English playwright Alan Bennett’s satirical farce People, currently playing at Jericho Arts Centre. Directed by Jewish community member Adam Henderson, it’s cheeky fun served up English style.

Two sisters, Dorothy (Christine McBeath), an aging former model, and June (Kate Robbins), an archdeacon of the local church, have to deal with the decay of their 500-year-old Yorkshire ancestral home, Stacpoole Manor. Dorothy, who lives in the home with her companion Iris (Nancy Amelia Bell), wants to sell off the contents to a London auction house, while June wants to endow the house and its grounds to the National Trust.

The trust is an English charitable institution that preserves and maintains historic homes for the benefit of the “people.” But that means lots of tourists invading the home with their questions and cameras, and Dorothy is a recluse who basically doesn’t like people. By chance, one of her old flames, Mr. Theodore (William Samples), happens upon the manor, and he offers a third option to the sisterly impasse – renting out the home for a porn film shoot. This could get interesting.

The play opens with a glimpse of a porn actor caught in flagrante delicto. Cut to the suave London auctioneer Bevan (Brian Hinson) and then the smarmy National Trust evaluator Mr. Lumsden (Matt Loop) as they traipse through the house eyeing the contents for their respective purposes, each man trying to convince his patron sister of the strength of his option. The audience is introduced to valuable papers, artifacts and a collection of chamberpots famous for their users: George Bernard Shaw, Rudyard Kipling and T.S. Eliot, to name a few (with the original contents still intact).

In the meantime, Dorothy, unbeknown to June, opts to let Mr. Theodore and his company into the home to make their film.

The action really picks up in the second act, with the stage transformed into a periodesque bedroom shoot of the porn film Reach for the Thigh (tastefully done, no nudity please, we’re British). Colin (Kevin Hatch) as the male actor and Brit (Charlotte Wright) as his female counterpart (who knits between takes) are hilarious in their four-poster bed passionate romp.

Of course, during the shoot, the bishop (Hamish Cameron) makes an appearance with June to check out the home – luckily, he was having trouble with his new specs and could not really see what was going on. If you haven’t had your fix of double entendres for the night, these scenes ought to satisfy you.

The crew – cameraman Les (Peter Robbins), wardrobe mistress Louise (Demi Pedersen), fashionista grip Bruce (Eric Keogh) and assistant director Nigel (Sidartha Murjani) – rounds out the cast with small, albeit memorable, roles.

McBeath and Samples are superb, and Bell really brings out Iris’ dotty character. Collectively, the actors – many of whom are ex-pat Brits so the accents are authentic – make it all work. The fact that at least half of the cast is over 65 adds to the reality of the production.

The set morphs from decrepitude and decay into sophistication and grace. Kudos to Marcus Stusek for this work and to Marci Jade Herron for her costume designs, from shabby chic for the Stacpoole women (mink coats and sneakers) to edgy togs for the film actors. Charming song and dance routines and nostalgic music from the 1960s (think “Downtown” and Petula Clark) complete the mix.

In the media release, Henderson notes, “We really don’t treat age with much respect, and it’s a youth-obsessed culture. This play goes a long way in dealing with those issues.”

So, you can take the opportunity for deep consideration of contemporary issues or you can just sit back and enjoy a good laugh. Your choice.

For tickets and more information, visit unitedplayers.com or call the box office at 604-224-8007, ext. 2. People runs through to Nov. 29.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Survivors’ immense impact

Holocaust survivors who came to Canada after the Second World War remade this country’s Jewish community.

Before survivors arrived in numbers, beginning in 1947, Canada’s Jewish community had a few poorly resourced social service agencies. The demands created by thousands of new arrivals – many with significant emotional and physical challenges – spurred the growth of Jewish communal organizations across the country. In turn, those survivors have had an impact on the community in the successive seven decades that is incalculable. The impact of the Holocaust – and the arrival of its survivors – is perhaps the defining factor in the development of Canada’s Jewish community.

photo - Adara Goldberg — Adara Goldberg *(photo from Cherie Smith JCC Jewish Book Festival)*

“The Holocaust is a watershed moment and the scale of this watershed resettlement was unprecedented,” said Adara Goldberg, a Vancouverite and author of Holocaust Survivors in Canada: Exclusion, Inclusion, Transformation, 1947–1955. “Many of the agencies across Canada only came to be as a result of the Holocaust. Jewish Immigrant Aid Services [JIAS] did exist, but this was a small organization that only dealt with small numbers up to this point. Having some 35,000 people come in, in less than a 10-year span, really trampled the organizations.”

Survivors who moved to the United States joined a vibrant Jewish community already in progress, while those who came to Canada found a Jewish community with little infrastructure. What exists of the Jewish community and its social service agencies today was built, in large part, for the survivors and, subsequently, by them.

To an extent, there was an unwillingness among Canada’s existing Jewish community to address the Holocaust experiences of the newcomers – those who did not experience the Holocaust may have been afraid of opening wounds or been unwilling to hear the horrors others experienced. There was also a history in Canada of immigrants getting off the boats and throwing themselves instantly into building a new life, leaving the past behind.

Still, Goldberg said, there was a recognition by people like the head of JIAS that these immigrants had some very particular needs.

“The problem was availability,” she said. “This is uncharted territory. Social workers themselves and the Canadian Jewish community were only learning with the survivors about how to treat victims of trauma … the idea of post-traumatic stress didn’t really exist.”

Getting the newcomers integrated was not only a matter of meeting social needs, she added.

“There is also a legal element to that,” Goldberg said. “The fact is, refugees who came to Canada under the auspices of either the Canadian Jewish Congress, or who received support from JIAS or who had relatives sponsor them, were liabilities. If they didn’t find work, if they didn’t have a home, if they became dependent, they risked deportation. They risked becoming a drain on the existing Jewish community, which was already really reaching its max in terms of what they could do.”

A symbol of success is that very few fell through the cracks, although many of the case studies in the book indicate that some survivors were miserable in their assigned living conditions or workplaces.

There was a realization after the war, as the magnitude of what would come to be called the Holocaust dawned, that Canada had failed the imperiled Jews of Europe in the 1930s, when there was still time.

“After the war, relationships changed and there was significant international pressure on Canada to help do its part in relieving the postwar refugee crisis of Jewish and also non-Jewish displaced persons,” Goldberg said. “On the one hand, we can say this was a humanitarian gesture.… There’s also a practical element that we can’t overlook in that Canada stood to gain something from allowing in the Holocaust survivor refugees. There was a need for skilled laborers and this is how most survivors did come in, they came in for skilled labor posts, so Canada benefited.”

The equation of immigration and Canada’s need for labor is underscored by the fact that there was no ministry of immigration at the time – until 1950, Canada’s immigration policy was administered by the ministry of mines and resources. The influx of Jewish and non-Jewish refugees postwar familiarized the Canadian government and public to the concept of receiving refugees on humanitarian grounds. The first major instance of this reconsideration came in 1956 after the Soviet Union crushed the democratic uprising in Hungary. Canada admitted 37,000 refugees in the course of a year.

Goldberg’s book begins with a refresher on Canada’s abominable record in the prewar period. Chapters then take on topics such as the unique requirements of young orphaned refugees; the double-edged sword of interned “enemy aliens” – Jews from enemy states, mostly Germany and Austria, whose nationality, in the eyes of Britain and its Canadian dominion, trumped their status as endangered victims of Nazism; the various programs under which refugees were admitted to Canada and how established Jewish communities, especially their women’s organizations, cared for refugees’ personal needs; the creation of social clubs and synagogues by and for survivors; the development of an ultra-Orthodox and Chassidic community here; and “transmigrants,” those who came to Canada after a sojourn elsewhere, often in Israel. She has included the stories of survivors who didn’t want to be found; those whose experiences in Europe led them to hide their Jewishness and their past as they began a new life in Canada. It is a monumental work.

A Toronto native, Goldberg wrote the book in fulfilment of her PhD at Clark University in Massachusetts and, while there are differences between the dissertation and the book, which was published in September by University of Manitoba Press, the book avoids the academic jargon that can exclude ordinary readers.

“As a social history that was created with the research that I did both in archives as well as through interviews and other sources, it was written with a wide readership in mind,” she said.

Goldberg eschews statistics in favor of personal case studies both from in-person interviews and records of social service agencies from decades past. The result is an introduction to hundreds of individuals and their stories, as well as a testament to the resilience of the survivors and the history of a small Jewish community rising – not always flawlessly – to the challenge of welcoming tens of thousands of co-religionists who had suffered unspeakable horrors.

The dissertation took about three years to complete and, after Goldberg moved to Vancouver, where she worked for three years as education director at the Vancouver Holocaust Education Centre, she took the opportunity to do additional research that incorporates more local content. The book is enriched by her background as a trained social worker, which underpins a deep analysis of the successes and failures of social service agencies in those early years.

Refugees are the top global news story today and Goldberg sees lessons for the present in her book.

“It’s a very different crisis,” she said. “I think what we can do is, without trying to compare individual experiences, to remember the risk of nativist attitudes and what happened when Canada had very discriminatory, restrictive immigration policies 75 years ago. Canada accepted the fewest number of Jewish refugees of any country in the Western world … Canada had an opportunity at that time to distinguish itself, to take a very restrictive policy and widen the gates. They could have done this and they elected not to. What we can do now is reflect on the result of this inaction. History does not need to repeat itself. Canada can distinguish itself as a world humanitarian leader.

“Similarly,” she continued, “Holocaust survivors have contributed to all aspects of Canadian society. I imagine that so, too, do other refugees to Canada and so will other waves that come in the future. There is so much that we can gain.”

The Vancouver launch of Adara Goldberg’s book takes place on Nov. 25, 5:30 p.m., at the Vancouver Holocaust Education Centre, as part of the Cherie Smith JCC Jewish Book Festival. Admission is free.

Life-changing lecture

Avrum Nadigel (photo from Avrum Nadigel)

Not only is there no quick fix to making a relationship work, but there’s no quick fix for absorbing the main points of Avrum Nadigel’s Learning to Commit: The Best Time to Work on Your Marriage is When You’re Single. Its lessons can’t be summed up in a few bullet points – you’re going to have to read it.

That being said, Nadigel will have to make the audience at the Cherie Smith JCC Jewish Book Festival “fall in love with” his book in less than 180 seconds. He’s part of the event A Literary Quickie, which takes place on Nov. 22, 10 a.m., at the Jewish Community Centre of Greater Vancouver. The brunch event lineup includes authors Richa Dwor, A.D. Gentle, Rosa Harris, Revital Shiri-Horowitz, Paula Hurwitz, June Hutton, Evelyn H. Lazare, Olga Medvedeva-Nathoo and Marina Sonkina. Admission is by donation.

Nadigel has been a therapist for more than 15 years. He received his master’s of social work from McGill University in Montreal in 1997, and did post-graduate training with the Western Pennsylvania Family Centre, which teaches Bowen family systems theory. He also received supervision via Skype from author and family therapist Dr. David Freeman (who died in 2010). In Learning to Commit, Nadigel doesn’t just offer theories, but advice gained from personal and professional experience. Advice that changed his life, and he’s hoping it’ll help others.

Though Nadigel only lived in Vancouver for about six years, from 1999 to 2005, it was here that he first encountered Freeman, who was speaking at a singles event at the J. His words had a profound impact on Nadigel.

“For all I thought I knew about relationships (I was a practising therapist at that time), Freeman debunked many of my own assumptions, for example, that poor communication is the cause of relationship problems,” writes Nadigel. “He introduced novel ideas about romantic love, providing subtle warnings that the very things that cause a young lover’s heart to flutter can, down the road, be the catalyst of dissatisfaction and divorce. He encouraged us to focus on our own interests, because the more interesting we are to ourselves, the more we have to bring to the table in our relationships.”

Nadigel had come out west, lured by the Rocky Mountains. “From that moment on,” he said, “I knew I had to live near mountains, but also in close proximity to a Jewish community. Vancouver was an easy choice.”

He told the Independent, “It was a total ‘head west young man’ move. I was 30 years old. I sold everything I owned, loaded all of my guitars, some clothes and CDs (remember those?) and headed west. No job, no family, no relationship and only one friend in B.C.

“For money, I worked as a child protection worker, and then as an addiction therapist and family therapist…. Most importantly, I took courses at Emily Carr, composed music for films and learned how to mountain bike.”

He also came here to meet a local Jewish woman but, he said, “true to [his] commitment-phobic self,” he “couldn’t find anyone in Vancouver (or Victoria, Seattle or Calgary) to settle down with.” Eventually, on frumster.com, he met the woman who would become his wife, Dr. Aliza Israel – from Richmond. At the time, she was living and studying in Toronto. “Anyway, we dated long-distance (perfect for a commitment-phobe), and then I agreed to move wherever her residency would be. She was accepted into the Toronto psychiatry program, and the rest is history.”

The two were married in June 2007 at the J here because that’s where Nadigel first heard Freeman, which led to his rethinking about marriage and other things. “The JCC in Vancouver holds a very special place in my heart,” he said.

And so still does Freeman, one of the people to whom Learning to Commit is dedicated, “for providing me with a lighthouse; a way to navigate the rocky seas of my relationships.”

At least one of the ideas in the book seems counterintuitive – the admonition to not compromise.

“Too many relationship books/ speakers assume that compromise is the key to a successful relationship, and so our culture embraces this opinion – and that’s all it really is. And good people use this to avoid growing … discomfort, fear, etc.,” explained Nadigel. “Compromise is no virtue if it’s the first thing you reach for to avoid difficult discussions or situations. Now, more mature people are able to compromise without feeling like they’re betraying their values/principles, because they’re clear on what they stand for, and what they won’t put up with. They won’t compromise on big-ticket items, and will be willing to face the sting/consequence of staying true to their principles.”

In Learning to Commit, Nadigel writes, “According to Dr. Murray Bowen, togetherness and individuality are two opposing forces that we are all born with. We spend the rest of our lives trying to reconcile their often-contradictory impulses.” A well-differentiated person – someone who is confident of their values and principles, and doesn’t change their opinion or action “just to defuse tension” is able to balance those opposing forces.

“Differentiation is not selfishness,” stressed Nadigel. “It is not about a focus on my needs, damn everyone else. It’s about living a life guided by well-thought-out principles, some of which will address who I want to be/act/think with my partner, children, parents, colleagues, friends, etc. It’s about balancing feelings with good, clear thinking. Actually, one could say that immature, high-feeling-centric people are so fragile that the mere thought of considering another person’s point of view is crushing, whereas higher differentiated people can choose to be guided by their partner’s best interest. But the key here is choice!”

The lessons in Nadigel’s book are relevant for all relationships – in fact, he writes, “one of the main tenets of family systems theory [is]: ‘You will only succeed in future relationships in ways you have already succeeded with your parents, siblings and/or extended families.” They are also useful in dealing with controversy or difficult issues, in developing the ability to hear what you need to hear, even though you may not want to hear it.

To remain open, he explained, “you need two things – curiosity and (if possible) playfulness. These things are very hard to come by in high-tense situations, i.e. acrimonious marriage, Middle East discussions, anything involving high emotions mixed with perceived/real threats. Which is why I believe, as a blogger recently noted while discussing my book: ‘Doing some self-examination and exploration … while we are single might be the best marital therapy we’ll ever have.’ Curiosity and playfulness is much more likely when we’re single, or dating, than when mired in the marital muck of resentment, etc…. I think the best that one can do – in any area – is to share your thoughts as clearly as possible, and without any expectation that people are going to support your thinking or applaud your efforts. When you think about the qualities of great leaders/leadership, these attributes apply.”

For the full book festival schedule, visit jewishbookfestival.ca.