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Category: Arts & Culture

Cookbooks for the summer

While it might be hard to contemplate cooking on these hot summer days, there are a few recent cookbooks enticing enough to draw you into the kitchen – with savory results.

image - Jewish Soul Food: From Minsk to Marrakesh by Janna Gur book coverJewish Soul Food: From Minsk to Marrakesh (Schocken Publishers, 2014) is Janna Gur’s third cookbook. It follows The Book of New Israeli Food: A Culinary Journey (Schocken, 2008), and she also edited and published Fresh Flavors from Israel (Al Hashulchan, 2010).

Gur’s family immigrated to Israel from Riga, Latvia, in 1974. She completed a bachelor’s degree in English literature and art history and a master’s degree in translation and literary theory. In 1991, she and her husband founded Al Hashulchan, a Hebrew food magazine.

In an interview with thekitchn.com, Gur explains that she wrote this new cookbook “to give the North American audience a taste of what Jewish foods could be – how diverse and wonderful they are, and how possible it is to make them a part of our modern cooking.”

Gur’s aim was to make a focused, edited and approachable collection of 100 recipes from as many Jewish communities as possible. She wanted them to be authentic, to fit the modern kitchen and to answer the question, What is the soul of the dish “that makes us relish it and want to make it ours?”

The eight chapters include starters, salads and noshes (23 recipes); cozy soups for chilly nights (14 recipes); meat balls, fish balls and stuffed vegetables (10 recipes); braises, pot roasts and ragus (13 recipes); meatless mains (12 recipes); savory pastries (11 recipes); Shabbat state of mind (10 recipes); and cakes, cookies and desserts (20 recipes).

There are 94 color illustrations, which are beautiful and mouth-watering.

For me, as a cook, the three most useful aspects of a cookbook are all here: every recipe has its country of origin, a brief story and numbered instructions.

And what wonderful countries of origin for these recipes – Morocco, Hungary, Bulgaria, Romania, Algeria, Libya, North Africa, Georgia, Kurdistan, Russia, Persia, Syria, Turkey, Bulgaria, Iraq, India, Yemen and America. As the book’s promotional material notes, the cuisines from most of these countries may be “on the verge of extinction … because almost none of the Jewish communities in which they developed and thrived still exist. But they continue to be viable in Israel, where there are still cooks from the immigrant generations who know and love these dishes. Israel has become a living laboratory for this beloved and endangered Jewish food.” And the hope for Jewish Soul Food is that it will help “preserve traditional cuisine for future generations” by encouraging people to cook it.

For more about Gur, visit jannagur.com.

***

Former Wall Street lawyer Ronnie Fein decided to become a freelance food and kitchen appliance writer. This led to the Ronnie Fein School of Creative Cooking, lecturing and cooking demonstrations – and cookbooks. She has written several, but describes Hip Kosher: 175 Easy-to-Prepare Recipes for Today’s Kosher Cooks (Da Capo Press, 2008) and The Modern Kosher Kitchen: More than 125 Inspired Recipes for a New Generation of Kosher Cooks (Fair Winds Press, 2014) as “more labors of love.”

image - The Modern Kosher Kitchenby Ronnie Fein book coverShe writes on her website (ronniefein.com): “They are, like this website, my efforts to bring the world of kosher cooking into 21st-century America. Just as our kosher ancestors cooked the same foods as their neighbors in Eastern Europe or the Middle East or wherever they happened to live, and adapted it to the dietary laws, why shouldn’t we, right here in America?”

Fein says she wrote The Modern Kosher Kitchen “to try to inspire all home cooks who keep kosher and would like to prepare the kinds of foods that informed, sophisticated – hip – folks want to cook today.”

And the focus is, indeed, on modern American recipes – “multicultural, innovative and interesting.” Every recipe is marked meat, dairy or pareve, and every recipe has some introductory remarks, which I think make the recipe so much more personal and interesting. As well, every recipe has a “Did you know?” or serving suggestions and substitutions. Most recipes also have a boxed tip, piece of advice. When a recipe runs to a second page, it is always opposite, so the cook does not have to turn the page while working.

The 12 chapters include appetizers; soups; salads; grains, beans, pasta and vegetarian dishes; fish; meat; poultry; vegetables and side dishes; breakfast, brunch and sandwiches; budget meals; Passover dishes and desserts. Ingredients are listed in imperial measurements as well as metric.

Although there are 127 recipes, there are only 39 beautiful, mouth-watering color photographs – but that is certainly not a reason to pass up this book. My only criticism about the cookbook is that the instructions are in paragraphs and not numbered, which I find easier to follow.

***

Rounding out these reviews is not a kosher cookbook per se, however, by eliminating the cheese or using pareve chicken stock, some of the recipes could be adapted.

image - The Ultimate Mediterranean Diet Cookbook by Amy Riolo book coverAmy Riolo (amyriolo.com) is an Italian American whose ancestors came from Calabria. She is the author of many cookbooks, a chef and a TV personality, so I felt that her most recent publication – The Ultimate Mediterranean Diet Cookbook (Fair Winds Press, 2015) – was worth noting.

The 101 recipes in this book were included because of their taste, authenticity and nutritional value. They are low in fat, cholesterol and sodium, and packed with vitamins, minerals and healthful properties. There are also seven recipes specifically listed as alternatively gluten free.

The recipes are organized according to the Mediterranean diet pyramid with fruits, vegetables, grains, olive oil, beans, nuts, legumes and seeds, herbs and spices at the bottom, for every meal to be based on these foods. Above them are fish and seafood to be served twice a week. Above them are poultry, eggs, cheese and yogurt to be served in moderate portions daily or weekly. At the top of the pyramid are the least-served foods – meats and sweets.

Categorizing the recipes to give the reader an idea of what is included, one can find recipes for seven soups, five fish meals, four breads, six pasta, eight appetizers and sauces, five dips, three egg dishes, one sandwich, five poultry meals, eight side dishes, eight salads, eight main dishes, nine vegetables, 10 fruit dishes and six desserts.

Each recipe has a little story, the list of ingredients opposite the instructions (regrettably, not numbered) and a boxed Mediterranean lifestyle tip to “enhance the daily living aspects of the eating plan,” along with meal plans and serving suggestions.

At the end are a glossary with pantry foods defined, a bibliography and a selection of websites, magazine/newspaper articles and journals for further reading.

The 69 color illustrations are so tempting cooks will be motivated to rush to the kitchen to start making these dishes.

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.

 

Posted on July 10, 2015July 8, 2015Author Sybil KaplanCategories BooksTags Amy Riolo, Janna Gur, Jewish Soul Food, kosher, Mediterranean diet, Ronnie Fein
Handmade by artists

Handmade by artists

Left to right are artists Robin Adams, Jan Smith and Julie Kemble. (photo by Olga Livshin)

In common perception, the word “manufacture” is associated with industrial production and machinery, but it wasn’t always so. The word’s origins are found in manu factus, Latin for “made by hand,” and the new show at the Zack Gallery, Manufacture: From the Hand, takes visitors back to these roots.

The show presents beautiful handmade jewelry and wall hangings by 33 artists and craftspeople, members of the Vancouver Metal Arts Association (VMAA). Crafts are not a regular sight at the Zack, but gallery director Linda Lando explained, “The Vancouver Metal Arts Association has been welcomed to the Zack Gallery, as they … approach metal in a unique way. They use metal as one would use paint and canvas, so their creations bridge the gap between art and craft.”

The exhibition is eclectic in both imagery and materials, with each piece reflecting its creator’s personality. The entire show emphasizes the participants’ diversity in cultural backgrounds and artistic interests. The only common factor is metal – gold, silver, copper, brass and others – as the basis for their art.

The Independent talked to several of the featured artists. One of them, Julie Kemble, is a recently retired communications teacher from a local university, although she always enjoyed various artistic hobbies. “I started working with metal around year 2000,” she said. “I used to work with fibres. I guess I love body adornment, so it was a natural transition for me from fabrics to jewelry. They both adorn the body.” A Kemble sculpture could be used as a desk decoration or worn as a pendant. In both incarnations, they are charming.

Robin Adams has been a jeweler for more than 20 years. “I owned a jewelry shop before,” said the professional craftsman. “I sold my own jewelry there, but for a shop, you produce several copies of the same pieces. Now, everything I make is one of a kind. I’m an artist.”

Another jeweler in the show, Jana Kucera, currently manages a pub. “Art, making jewelry, is a hobby for me, but I hope it could become more,” she said. “I’ve always been an artist at heart. I graduated from the VCC [Vancouver Community College] Jewelry Art and Design program in 2005 and I enjoy making jewelry. I sell through shows like this one.” Her original copper necklaces are delightfully graceful.

photo - One gallery wall is dedicated to Dana Reed’s series of hanging disks, which combine copper etching, enamel and photography
One gallery wall is dedicated to Dana Reed’s series of hanging disks, which combine copper etching, enamel and photography. (photo by Olga Livshin)

The exhibition showcases not only jewelry but other metal art, as well. One full gallery wall is dedicated to Dana Reed’s series of hanging disks. Each about the size of a hand, the disks combine copper etching, enamel and photography.

Reed has been working with metal for a few years. “My day job is in administration and tech support,” she said, but “I’ve always made stuff; my whole family made beautiful things.” Her brother is a metalworker, too, and although Reed doesn’t have a formal artistic education, she has been taking classes in different artistic media. “I find metal to be pleasing to work with. It stays in place,” she joked before turning serious. “I can achieve precision with metal, while enamel allows more of a free-fashion imagery.”

Among the other wall pieces in the show is a selection of life-sized garden tools, made of Damascene by Karin Jones – a decidedly unexpected item – and a small but picturesque installation called “Changing Values,” made of pennies by Peggy Logan.

Logan has been a professional artist for 30 years. Currently, she is teaching jewelry art at Langara. “I started collecting old pennies when they went out of circulation,” she said. “Before 1993, all pennies were made of copper, and I used them for this piece.” The pennies, strung together and covered with multicolored enamel, glint on the wall, defying the government’s decision to stop producing them.

Another professional artist in the show is Jan Smith, VMAA founder and past president. Her elegant enamel and silver jewelry is represented by galleries in Montreal, San Francisco and Seattle.

“I’ve been an artist for over 20 years,” she said. “It’s not easy to make a living as an artist, especially not here in B.C. I’ve often had to supplement my income by teaching art or working as an art therapist. I’m a member of the International Enamel Association. It’s a small world and we all know and talk to each other. I must tell you that other countries support their artists much better than Canada. Britain, even America, offers better conditions to artists. Their art donations are larger. I’d love to have my art better known here but, so far, collectors in the U.S. know my art better. Even the East Coast is better for artists; I have representation in Montreal but not here. Maybe it is because Vancouver is such a young city.”

Three years ago, Smith founded VMAA to improve the situation. Current VMAA president Louise Perrone told the Independent a little more about the association. “The VMAA was founded by Jan Smith in 2012. Before moving to Salt Spring Island, she lived in Seattle, where there is a thriving metal arts guild. Jan felt Vancouver needed something similar. Unlike Seattle, there are no specific jewelry galleries and no jewelry and metal BFA programs. There is no community of artistic jewelry collectors in Vancouver supporting us either. That is why we started VMAA – to give art jewelry a platform and educate the public, to build a community of jewelry and metal artists.”

Manufacture: From the Hand opened on June 25 and will continue until July 26. To see a selection of the jewelry on display, visit jccgv.com/content/metalart.

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

Format ImagePosted on July 3, 2015July 3, 2015Author Olga LivshinCategories Visual ArtsTags Dana Reed, Jan Smith, Jana Kucera, Linda Lando, Louise Perrone, Peggy Logan, Robin Adams, Vancouver Metal Arts Association, VMAA, Zack Gallery
No errors in Comedy

No errors in Comedy

Josh Epstein, left, and Andrew Cownden in Bard on the Beach’s production of The Comedy of Errors. (photo by David Blue)

It’s summer in Vancouver and with it comes sun, surf and Shakespeare – that is, Bard on the Beach under the iconic red and white tents at Vanier Park. Celebrating its 26th season, the festival serves up an interesting mix this year: A Comedy of Errors, Love’s Labor’s Lost and King Lear, from the pen of the Bard himself, and a contemporary piece, Shakespeare’s Rebel, by local author Chris Humphreys.

Opening night of Comedy of Errors on June 13 saw the always dapper artistic director Christopher Gaze welcoming the crowd under the big tent of the BMO Stage and, for the first time in the history of the festival, acknowledging that the land upon which the tents are pitched for their annual sojourn is ancestral, traditional and unceded aboriginal territory. Deborah Baker of the Squamish Nation gave greetings and performed a traditional drum song.

Comedy of Errors is one of Shakespeare’s earliest works, the shortest in his repertoire, and it contains the zaniest of his plots. It is the tale of two sets of identical twins, one aristocratic, the other, their boy servants, with the pairs separated in the aftermath of a shipwreck. The family patriarch, Egeon, has spent years looking for his lost progeny and servants. His search takes him to the town of Ephesus, where he is captured and sentenced to death (no one is supposed to come to Ephesus without permission) but receives a last-minute reprieve to look for his sons and to find money to pay the fine.

It just so happens that one of the sons and his servant ended up in Ephesus while the other two ended up in Syracuse. Both sons are named Antipholus and both their servants, Dromio – all of this sets the stage for a frenzied journey through mistaken identities, hilarious hi-jinks and the ultimate sibling reunification when the Syracuse pair show up in Ephesus.

But what a journey. Think Edward Scissorhands meets Little Shop of Horrors meets Metropolis, and you have director Scott Bellis’ (who does double duty as Egeon) fantastical steampunk version of this production. What is steampunk? A mix of sci-fi electronics and gadgets set against a pseudo-Victorian era background as stylized by authors like Jules Verne, H.G. Wells and Mary Shelley.

The production is a bit over the top with its madcap bits and bobs – a hand-eating Venus fly trap, a communal lobotomy by a mad scientist, a creature trying to escape from a boiling soup pot, a Michael Jackson-like moonwalk, a bubble-shooting gun and a flatulation moment – and its frenetic pace. It is mostly fluffy fun although if you are looking for some meaning, there are three love stories intertwined with the humor. Shakespeare purists will probably cringe in their seats. But the opening night crowd was eating it up and this unique approach should bring in younger audiences and make the Bard’s words more accessible to a wider demographic. This reviewer loved it!

The acting is solid from the ensemble cast, many of whom do double and even triple duty in various roles: Ben Elliott as one Antipholus, Jay Hindle as the other, Jeff Gladstone as the mad Dr. Pinch, Andrew McNee as the grunting cook Nell, Daniel Doheny as the chambermaid, Lilli Beaudoin as the foxy courtesan, Jewish community member Josh Epstein as the smuggler, Andrew Cownden as the goldsmith, Sereana Malani as the Ephesean Antipholus’ overbearing wife, Lindsey Angell as her nerdy sister and Anna Galvin as the abbess, who makes her first appearance on stage in stilts. But it is the pint-sized Dromios, played by Dawn Petten and Luisa Jojic, who give the standout performances of the production. In their aviator hats and goggles, they really do look like identical twins. Petten, in particular, takes her role and runs with it with impeccable comedic timing and one of the best “ad lib” lines in the play, “Call before you dig.”

What really makes this production sublime are the visuals. The set is fantastic, a wall of steam-powered widgets, sprockets and gears dominated by a one-handed clock with a mind of its own, all kept in working order by shadowy, silent engineers constantly tweaking the machinery with wrenches and hammers. The play begins with one of the engineers pushing a big red button and, all of a sudden, the empty stage becomes a mélange of color and activity as the cast appears through a smoky haze, some through the many trapdoors in the floor, some out of the bowels of the machines, some appearing to drop out of the sky – all courtesy of community member Tara Cheyenne Friedenberg’s terrific choreography.

This dreamlike mechanical dance sets the tone for the whole evening. Mara Gottler has outdone herself with the costumes – lots of leather, lace-up boots, corsets, garters, black lace and accessories like aviator goggles, gas masks and leather bat wings. Gerald King’s lighting and Malcolm Dow’s sound design are the icing on this macabre cake.

Just as the action starts with a push of a button so does it end, with the shutting down of the machinery after the final revelations. This is one production that you can just sit back and enjoy, pure and simple fun.

Comedy runs to Sept. 26. For the full Bard schedule and tickets for any of this season’s offerings, visit bardonthebeach.org or call the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on July 3, 2015July 3, 2015Author Tova KornfeldCategories Performing ArtsTags Bard on the Beach, Comedy of Errors, Josh Epstein, Shakespeare
The same old stories

The same old stories

Aubrey Joy Maddock as John the Baptist, left, Andrew Cohen as Judas and Jennifer Copping as Jesus in Arts Club Theatre’s Godspell. (photo by David Cooper)

Before I attended Godspell, I was not familiar with the story or with the parables of the Gospel of Matthew, from which much of the content is taken. I did, however, know what a parable was, I knew that the play has been extraordinarily successful and I recognized the name of at least one song – “Day by Day” – so I assumed I had nothing to worry about.

I was wrong. By the end, I still didn’t get why this play has been so popular.

Godspell is essentially a series of vignettes that draw analogies between Matthew’s words and day-to-day life. It includes lessons such as, “Judge not, lest ye be judged,” “He that is without sin among you, …” the Prodigal Son, etc. Jesus relates these didactic stories to a group consisting of nine people that include a police officer, a waitress, an architect and a vamp. Judas and John the Baptist round out the cast of 12.

In each presentation of Godspell, the setting of the play, the costumes and some of the characters change. Updated scripts allow for the inclusion of cultural or geographic references that are familiar to the audience.

In the Arts Club production, the cast meet in a train station and the play unfolds as a game show where contestants participate based on the color of the shoes they’ve been given. Gospel analogies are acted out using modern story lines, including characters from Star Wars or rap songs.

To me, the play came across as a bunch of children’s shows that had been stitched together. I felt like I was back in elementary school, only instead of Smokey the Bear talking about forest fires, it’s Jesus and he wants you to avoid being stoned to death.

I found some of the skits infantile. In one case, the cast sing and talk like goats; in another scene, an audience member is pulled up to participate on stage resulting in some bad improv. And don’t get me started on the slapstick.

Godspell was an instant hit. It went from being a college student performance at Carnegie Mellon University to an experimental theatre production in Greenwich Village to being re-scored and opening off Broadway in 1971. John-Michael Tebelak originally wrote the play for his master’s thesis, having become enamored with the Gospels. Stephen Schwartz, a Carnegie Mellon alumnus was brought in to score. The award-winning Schwartz has become famous for his work in Wicked, as well as Enchanted and The Prince of Egypt. Tebelak was actually named most promising director of 1971 by the New York Drama Desk, but passed away at age 35 of a heart attack.

The show ran for five years off Broadway with an astounding 2,100 performances. The 2015 run in Vancouver is its sixth revival.

It had a particularly famous yearlong run in Toronto in 1972 with a cast that included Victor Garber, Gilda Radner (in her stage debut), Martin Short, Paul Shaffer, Eugene Levy, Andrea Martin and Dave Thomas. When I read about this production, I thought what an amazing show it must have been – staged at the Royal Alexandra Theatre, with that magnitude of talent. Maybe a show about the Bible needs a venue of biblical proportions, along with fire-and-brimstone effects that stun the audience with shock and awe. Perhaps the performance at the Arts Club was just too small.

Either way, despite my lack of interest in this particular telling of the parables, I have to tip my hat to the high calibre of quadruple-threat talent (singing, acting, dancing and, in many cases, playing an instrument) on stage. Andrew Cohen in particular stands out in his supporting role of Judas.

Godspell runs at the Arts Club Granville Island stage until Aug. 1 (artsclub.com).

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Format ImagePosted on July 3, 2015July 3, 2015Author Baila LazarusCategories Performing ArtsTags Andrew Cohen, Arts Club, Godspell

Human rights at fore

One would be hard-pressed to find anyone involved in human rights around the world who has not heard of David Matas.

A Winnipeg-based lawyer, Matas has helped countless victims of human rights violations, and written or co-written numerous books on various atrocities in an endeavor to shed light on them and educate the general public about them. In his latest publication, he aims to explain why he has chosen the work that he has, in the hope of motivating others to get involved in human rights advocacy and create change. Why Did You Do That? The Autobiography of a Human Rights Advocate (Seraphim Editions, June 2015) is his first autobiography.

photo - David Matas
David Matas (photo from David Matas)

Matas was moved to pursue a career in refugee, immigration and international human rights law for a number of reasons.

“I started doing it because different people asked me to do it, including people at the law firm,” he explained in an interview. “It’s also something I’m interested in, because I’m interested in politics and human rights. So, I’d say, it was a coincidence of an opportunity to do the work and an interest in it that got me into it.”

Matas had refugees from around the world coming through his doors every day, seeking help. “My immediate effort was to try to get them protection, but the ultimate solution to their problems was the ending of the human rights violations that caused them to flee,” he said. “I felt trying to help them in some sort of systemic way, that I should be directed to that as well.”

Around this time, Matas also ran as a candidate in the federal election for the Liberal party (in 1979, 1980 and 1984) and B’nai Brith Canada approached him, requesting that he chair the local BBC League for Human Rights, largely because of the profile he had developed through his candidacies.

“But, again,” said Matas, “it’s something that, once I got into it, struck a chord of response in me. I got interested in it, involved much more, given the opportunity, because of the resonance it had with me.”

Also around that time, Kenneth Narvey – someone Matas knew from university – was scheduled for a speaking engagement in Manitoba on war-crime issues. Unsure if he would be able to make it, Narvey asked Matas if he would be willing to substitute for him, which Matas agreed to do. As it happened, Narvey ended up being able to attend the lecture, which gave him the opportunity to hear Matas speak and, Matas said, “He [Narvey] really liked it.

“At this time, Irwin Cotler had just become president of the Canadian Jewish Congress [CJC]. Irwin had appointed a chair for a war-crimes committee, as he wanted to do something about the issue himself, and the chair had resigned.”

Narvey lobbied Cotler to have Matas appointed as chair, and Cotler did just that. “So, I got involved in that issue, too, again sort of by coincidence or circumstance,” said Matas.

Another chance encounter was with Harry Schachter, a friend of Matas’ who was involved with Amnesty International, which had been holding meetings throughout the country. Through Schachter, Matas became involved with Amnesty International, which fit well with everything else he was doing.

“The combination of these events, more or less all at the same time, is what really got me into human rights in a very systemic and wholehearted way,” said Matas.

The Holocaust also influenced Matas’ life path. “I, personally, wasn’t affected by the Holocaust, my family wasn’t,” he said. “But, it just struck me. I thought, from an early age, that if the Axis rather than the Allied powers had won World War Two, I nor any other Jewish person would be alive today.”

He explained, “Generally, what I’ve been trying to do is learn the lessons of the Holocaust and act on them, which I saw as protecting refugees, bringing war criminals to justice, combating hate speech and protesting human rights violations around the world wherever one may find them. So, I’ve been trying to act on those four fronts simultaneously throughout my career.”

book cover - Why Did You Do That? The Autobiography of a Human Rights Advocate by David MatasIn his previous books, Matas has focused on specific atrocities or topics related to human rights – from hate speech, to trying to bring Nazi war criminals to justice, to humans rights violations, to refugees, to organ harvesting, and other topics. His autobiography was launched on June 9 at McNally Robinson Booksellers in Winnipeg.

“I go through the various issues I’ve been involved in and explain why I’ve been involved with them, issue by issue,” said Matas about Why Did You Do That? “There’s a chapter on refugees, so I explain what I did in terms of trying to help refugees. And then the rest is why people should help refugees, why everybody should do it. That’s the way it’s structured, chapter by chapter.”

For Matas, this book is a way for him to answer the most frequent question he is asked, “Why are you doing this?”

“I would say the 20th century was a century of genocide,” said Matas. “It wasn’t just the Holocaust. There was one genocide after another. My hope is we will be better, but I don’t think that it comes from hope. It comes from action. So, I’m trying to mobilize people to make things better, so we don’t repeat in the 21st century the vast array of tragedies we saw.”

In Matas’ view, people tend to focus on the problems immediately in front of them.

“People will get really worked up if their neighbor doesn’t mow their lawn, but they get less worked up if people in China are getting killed for their organs,” he explained. “I think there’s a real problem with distance, culture, language and geography, which really makes it difficult to mobilize concern for human rights violations – which is what the Jewish community faced with the Holocaust.”

Why Did You Do That? The Autobiography of a Human Rights Advocate can be purchased online from Seraphim Editions, Amazon and various other booksellers online and in bookstores.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Format ImagePosted on June 26, 2015June 25, 2015Author Rebeca KuropatwaCategories BooksTags David Matas, human rights, immigration, refugees
A millennia-old relationship

A millennia-old relationship

Visitors at the opening of the traveling exhibition at the Schwartz/Reisman Centre in Toronto last month. (photo by Helena Yakovlev-Golani)

The exhibit A Journey Through the Ukrainian-Jewish Encounter: From Antiquity to 1914 opened last month in Toronto. It has since been held in Winnipeg (until June 27), will return to Toronto in July and then head to other cities.

The exhibit is being put on by the Ukrainian Jewish Encounter (UJE), which its website describes “as a collaborative project involving Ukrainians of Jewish and Christian heritages and others, in Ukraine and Israel, as well as in the diasporas. Its work engages scholars, civic leaders, artists, governments and the broader public in an effort to promote stronger and deeper relations between the two peoples.”

Prior to the exhibit’s opening in Winnipeg at the Oseredok Ukrainian Cultural Centre, one of its curators, Alti Rodal, an historian, writer, former professor of Jewish history, and former official and advisor to the Canadian government, spoke with the Jewish Independent.

Rodal was born in Chernivtsi (Czernowitz), Ukraine, and received her early schooling in Israel. Later, she was educated at McGill, Oxford and Hebrew universities in the fields of history and literature.

“UJE was established in 2008 by two people from Canada and the United States, both Jewish and non-Jewish Ukrainian background,” said Rodal. “It’s now a multinational organization with representatives in Ukraine, Israel, the U.S. and Canada.”

UJE’s purpose is to promote greater comprehension of the Ukrainian-Jewish relationship over the centuries, including an understanding of the co-experience of the two peoples and their interactions over the centuries, with a view to the future.

The organization has held many roundtables of scholars from Israel, Ukraine, Canada, the United States and much of Europe, each aimed at understanding a different period in history.

“To have a truthful account of the past, we’ve had a scholarly dimension unfold over the last few years in which we’ve brought together roundtable discussions among scholars of various backgrounds,” explained Rodal. “We’ve identified chunks of the history that need to be explored together and each of these roundtables addressed a different period.” The historical periods explored to date stop at the First World War.

“The exercise is one that leads to a shared historical narrative,” said Rodal. “With this we mean a single text on which the participants largely agree. If there are aspects they don’t agree on, it is stated in the single text, indicating what kind of research would be needed to advance knowledge on these issues.

“By looking to the past, we hope to obtain personal acknowledgement of what happened and to address stereotypes that both Jews and Ukrainians, at the popular level, have about each other. Some of these stereotypes are in the history books, so our aim is to produce more credible accounts and address stereotypes.”

UJE hopes that, with the help of other researchers, some of the information being taught in Ukrainian schools will be amended.

Three years ago, they entered into an agreement with the Government of Canada to do four main projects on the topic, including two publications, developing the content of their website, and the traveling exhibit, the research for which began seven years ago.

The exhibit’s first stop was in Toronto at the Schwartz/Reisman Centre and when it returns to that city, it will be to downtown’s St. Vladimir Institute, the Ukrainian cultural centre.

“These are community exhibits rather than museum exhibits, so we have them at the community centres and try to engage people from the community to participate,” said Rodal, noting that the exhibit will also go to Edmonton and Montreal.

“We’ve been approached by the Jewish community and the Ukrainian community in Ottawa and there’s been interest also from Vancouver,” she said. “We don’t have a commitment to do it, but we’ll consider it…. So, Vancouver and Ottawa are under consideration.”

The exhibit consists of text, images and video. “The first venue in Toronto consisted of 36 panels placed on moveable walls, and four videos that we created ourselves,” said Rodal. “I’m not telling you about the topics, just the physical [aspects] and the number of ethnographic maps.”

photo - One of the images displayed in the exhibit is this one of Jewish children playing in Kremenets, Ukraine, circa 1913. The photograph was taken during the ethnographic expedition led by S. Ansky in the Jewish Pale of Settlement in 1912-14
One of the images displayed in the exhibit is this one of Jewish children playing in Kremenets, Ukraine, circa 1913. The photograph was taken during the ethnographic expedition led by S. Ansky in the Jewish Pale of Settlement in 1912-14. (photo from YIVO Institute for Jewish Research (New York City) Photograph Collection)

The panels go through history, from antiquity to the First World War chronologically, but there is a segment that deals with the Chassidic movement on Ukrainian lands, one on Hebrew-Yiddish printing, and another on literature and how Jews are depicted in Ukrainian writing and how Ukrainians are depicted in Jewish writing.

The videos also deal with diverse topics. One is marketplaces and taverns, where Ukrainians and Jews encounter each other, and there is a video on Jewish artisans on Ukrainian lands. Another is on ethnographic photographs, largely taken between the 1880s and 1914 on S. Ansky’s expeditions.

“Ansky was an ethnographer who led expeditions around these times, visiting many communities accompanied by a musicologist/photographer, his own nephew,” explained Rodal. “They took pictures and collected folksongs and folklore and objects, which then they put in the museum in St. Petersburg.

“When the Soviets came, it was put in the warehouse and stayed in the warehouse in the 1990s, when the St. Petersburg Historical Centre made these photographs accessible. So, a selection of these photographs of Jewish life from the 1890s to 1914, and also a collection of similar ethnographic photographs of Ukrainian life in various regions, is one of the videos.”

The videos are comprised of photographs with effects accompanied by appropriate music, including a recording made more than 100 years ago on wax cylinders.

UJE’s first objective was to explain that the presence of Jews on Ukrainian land dates back to antiquity. “It didn’t just appear in the 18th century or even the 16th century, but was there in the very first centuries or even earlier, as merchants in colonies co-founded with Greeks,” said Rodal.

“There was also lots of significant cross-cultural interaction between the Jews and the Slavic peoples in the language, folklore, music and cuisine … so that what one thinks is Jewish cuisine, you delve a little and you see the Ukrainians are eating the same things with different names.

“The vast majority of Jews lived in areas where the vast majority of Ukrainians lived. They had more interactions with Ukrainians than with other Slavic peoples…. People who’ve come to North America from what they say [is] Russia, they mean czarist Russia, these places that are coming from Galicia … and the Ukrainian lands that were part of the czarist empire … are now Ukraine.

“Another important message, which is an offshoot of the other, is that the stories of these peoples are intertwined, that we have the motto that the history of one is incomplete without the history of the other. That is the goal – to treat this historical experience in all its complexity – including the periods of crisis and violence.

“We state very clearly that not addressed in this exhibition are the horrible events of the 20th century. And we may do more about this in a different format rather than a visual exhibition. We are certainly doing it in the form of the shared narrative exercise.”

For more information about UJE, visit ukrainianjewishencounter.org.

Rebeca Kuropatwa is a Winnipeg freelance writer.

 

Format ImagePosted on June 26, 2015June 25, 2015Author Rebeca KuropatwaCategories Arts & CultureTags Alti Rodal, UJE, Ukrainian Jewish Experience
U.S.-Israel relations

U.S.-Israel relations

U.S. Secretary of State John Kerry, right, with Michael Oren, then the Israeli ambassador to the United States, at Ben-Gurion International Airport in Tel Aviv on April 9, 2013. (photo from U.S. State Department via jns.org)

It’s safe to say that in the coming weeks you’ll be reading a great deal about the memoir Ally: My Journey Across the American-Israeli Divide (Random House, June 2015), authored by Israel’s former ambassador to the United States, Michael Oren.

book cover - Ally: My Journey Across the American-Israeli Divide by Michael OrenOren spent the years 2009-13 as Israel’s envoy in Washington. Once a dual national of both the United States and Israel, the New Jersey-raised Oren had to surrender his U.S. passport at the American embassy in Tel Aviv before taking up his ambassadorial post – an emotionally wrenching episode that he describes in detail. Oren’s complicated identity as an American and an Israeli is a theme that runs throughout the book, and his treatment of this subject is a welcome tonic to the dreary and rather smelly charges of “dual loyalty” that too often accompany examinations of the relationship that Jews in the Diaspora have with the Jewish state.

The main attraction of the book, of course, is its account of the Obama administration’s Middle East policies, and Oren’s candor has already gotten him into trouble. Dan Shapiro, the current U.S. ambassador to Israel, who makes several appearances in Oren’s memoir, told Israel’s Army Radio that Ally is “an imaginary account of what happened,” belittling Oren for having, as a mere ambassador, a “limited point of view into ongoing efforts. What he wrote does not reflect the truth.”

This is a serious charge, and it remains to be seen if Shapiro will attempt to substantiate it. In the meantime, it should be pointed out that what makes Ally such a fascinating read is that it provides, from Oren’s perspective, a detailed sense of the bitter atmosphere in both Washington and Jerusalem that underlay diplomatic efforts on the issues we are all intimately familiar with, from the negotiations over Iran’s nuclear program to the stalled Israeli-Palestinian peace process. Unlike other diplomats, Oren didn’t wait 20 years to publish his story – most of the key individuals in his book, most obviously U.S. President Barack Obama and Israeli Prime Minister Binyamin Netanyahu, are still in power, and the bilateral tensions that Oren agonizingly explains haven’t been lessened since his departure from Israel’s Washington embassy. Diplomats aren’t supposed to be this transparent, which is why Oren will be regarded in many circles as a man who broke “omertà,” the code of silence which ensures that we ordinary mortals are kept in the dark about what our leaders are saying in private.

While it’s true that Obama comes in for heavy criticism, Oren rubbishes the claim that the president is “anti-Israel.” The reality is more complex; as Oren writes, “the Israel [Obama] cared about was also the Israel whose interests he believed he understood better than its own citizens.” One might add that this paternalistic approach has informed Obama’s stance on the entire region, resulting in a sly policy that presents itself to Americans as a much-desired withdrawal from the Middle East’s endless bloodshed while, at the same time, fundamentally redistributing the region’s balance of power in favor of Iran, whose rulers have spent almost 40 years chanting, “Death to America.”

Read more at jns.org.

Format ImagePosted on June 26, 2015June 25, 2015Author Ben Cohen JNS.ORGCategories BooksTags Barack Obama, Binyamin Netanyahu, Israel-U.S. relations, Michael Oren, Middle East

Writers Fest appoints Nozick

photo - Nicole Nozick
Nicole Nozick (photo from Nicole Nozick)

The board of directors of the Vancouver Writers Fest has appointed Nicole Nozick as executive director, effective June 22.

“Nicole brings to the Writers Fest extensive experience in festival management, journalism and communications, a collaborative approach to her work, and many business skills. We are excited to welcome her to our team,” said board chair Sandy Jakab. Nozick takes over from the Vancouver Writers Fest’s current executive director, Camilla Tibbs, who will move to her new role as executive director of the Richmond Gateway Theatre.

“I am honored to be joining the team at the Vancouver Writers Festival – a festival whose accomplishments I have long admired,” said Nozick. “With its sterling international reputation as one of North America’s premier literary events, the VWF is a cornerstone of Vancouver’s festival scene, well reflecting the energy, curiosity and vibrancy of our city. I am looking forward to working with the VWF board and artistic director Hal Wake, in co-leading this remarkable literary showcase that enriches the lives of so many.”

Nozick holds a BA in English from University of Cape Town and a post-graduate diploma in journalism from Tel Aviv University. Most recently, she was director of the Cherie Smith JCC Jewish Book Festival.

Posted on June 26, 2015June 25, 2015Author Vancouver Writers FestCategories Arts & CultureTags Cherie Smith JCC Jewish Book Festival, Nicole Nozick, Sandy Jakab, Vancouver Writers Fest, VWF
Help Ringelblum doc

Help Ringelblum doc

Emanuel Ringelblum (left), Rachel Auerbach (third from the left) and other Jewish intellectuals in Poland, 1938. (photo from whowillwriteourhistory.com)

Many Vancouverites will remember the 2008 traveling exhibit hosted by the Vancouver Holocaust Education Centre called Scream the Truth at the World: Emanuel Ringelblum and the Hidden Archive of the Warsaw Ghetto. It provided an overview of Warsaw historian Ringelblum and a secret group, Oyneg Shabbes (Joy of Sabbath), who during the Holocaust worked to document and preserve material relating to their experiences. The artifacts they buried in milk cans and metal boxes – some 30,000 items – were found in the rubble of the Warsaw Ghetto in 1946.

Now, Katahdin Productions is raising funds to make a feature documentary about Ringelblum and the Oyneg Shabbes archive. The film, Who Will Write Our History, is based on the book of the same name by historian Samuel Kassow.

Writers, artists, scholars, journalists, poets and diarists, more than 60 diverse people, handpicked by Ringelblum, collected and recorded as much as possible about every aspect of life in the ghetto – poems, paintings, photographs, underground newspapers, essays on hunger, smuggling, the Jewish police, clandestine schools and literary evenings and more. Their common goal was to ensure that the truth would survive even if they did not, as was the case with Ringelblum.

Only three members of Oyneg Shabbes survived the war. Among them was Rachel Auerbach, a prolific writer who would spend the rest of her life memorializing Ringelblum and Oyneg Shabbes. It is Auerbach’s writing and point of view that will provide the narration and narrative structure of the film. She will be voiced in the film by Academy Award-nominated actress Joan Allan.

In 1946, before Auerbach left Poland for Israel, she and the other two Oyneg Shabbes survivors led rescuers to the location of the first cache of the ghetto archive. The rescuers unearthed 10 metal boxes that had been buried on the eve of the Warsaw Ghetto Uprising. A second cache of two milk cans was discovered when Polish construction workers were building new apartment buildings on the site of the former ghetto. The third cache was never found and is believed to be buried under what is now the Chinese embassy in Warsaw.

Directed and produced by Roberta Grossman with Nancy Spielberg as executive producer, Who Will Write Our History (whowillwriteourhistory.com) will make the story accessible to millions of people around the world. Katahdin Productions’ documentaries include Blessed is the Match: The Life and Death of Hannah Senesh, which won the audience award at 13 film festivals, was broadcast on PBS, nominated for a Primetime Emmy and shortlisted for an Academy Award; Hava Nagila (The Movie), which was the opening or closing night film at more than half of the 80 film festivals where it screened, and was released theatrically; and Above and Beyond, about Jewish-American pilots who volunteered to fly for Israel in its War of Independence, which earned 20 audience awards and critical acclaim. (For an article on the latter, visit jewishindependent.ca/spielberg-opens-film-festival.)

The goal of the Indiegogo fundraising campaign is to raise $100,000 to fund 10 days of shooting in Warsaw in fall 2015. On average, each day of shooting costs $10,000. Some days are much less expensive; for example, shooting exteriors of streets in Warsaw involves only a small crew. Other days are quite involved. For example, shooting recreations of key events in the story with props, costumes, actors, lighting, sets, stages, etc., requires a crew of 20+ people and costs as much as $20,000 per day. If the $100,000 goal is not reached, it will mean fewer filming days in the fall; if it is exceeded, there will be more, as needed to complete production.

For more information, including a video about Who Will Write Our History, visit indiegogo.com/projects/who-will-write-our-history-production#/story. There is about a week and a half left to contribute to the campaign.

Format ImagePosted on June 26, 2015June 25, 2015Author Katahdin Productions with JICategories TV & FilmTags Emanuel Ringelblum, Holocaust, Katahdin, Nancy Spielberg, Oyneg Shabbes, Rachel Auerbach, Roberta Grossman
Rescuing the Rafiach

Rescuing the Rafiach

A screenshot from Gad Aisen’s documentary, which has its Canadian première at the Rothstein Theatre June 28.

After the Holocaust and the Second World War, the British government that controlled Mandate Palestine severely limited Jewish immigration, continuing the restrictive policies from before the war. But the Jewish underground in pre-state Israel was operating a steady movement of illegal transports bringing Jews – mostly Holocaust survivors – from Europe to the Yishuv.

In November 1946, the ship code named Rafiach set off from Yugoslavia with 785 passengers. Twelve days into the voyage, a storm forced the ship to seek refuge in a bay on the tiny Greek island of Syrna but it ran aground and, within an hour, sank. The vast majority of passengers survived, crawling from the water onto the island, which is little more than a craggy rock, or jumping from the ship before it was fully immersed. It is not known exactly how many passengers drowned.

Among those who survived and eventually made it to Palestine were Lili and Solomon Polonsky z”l. Their daughter, Tzipi Mann, lives in Vancouver. She knew that her parents and some of their friends had been on the ship, but she had never delved into details. By the time her curiosity was piqued, her parents had passed away. But her quest to uncover the story of the Rafiach and its passengers has led to a documentary film that will screen here in its Canadian première on June 28.

Code Name: Rafiach is directed by Israeli filmmaker and television personality Gad Aisen, but he credits Mann as being the driving force behind the project.

Aisen is the creator of a TV show on Israel’s Channel 10 called Making Waves, about nautical topics. He served seven years in the Israeli navy before obtaining an MFA in cinema from Tel Aviv University. He had never heard of the Rafiach before he was approached by a student of Mevo’ot Yam Nautical School, who thought it would make a good topic for Aisen’s TV show.

Code Name: Rafiach is a story about Holocaust survivors finding a place in the world and also about the Jewish underground risking their lives to smuggle Jews into Mandate Palestine. There are many narratives of this sort, Aisen acknowledged, but the Rafiach’s tragedy and the rescue make this one especially poignant.

Because it is not possible to produce a story of nearly 800 people, the filmmaker decided to focus on a few individuals. One is Shlomo Reichman. Known to the circle of people around the film as “Shlomo the baby,” Reichman, now a grandfather, was thrown to safety from the ship.

“This man’s story was particularly touching because he was a newborn,” Mann said in a telephone interview. “He was three weeks old and he was tossed onto the rocks, but he wasn’t sure who tossed him. Was it his father, or was it someone else? For Shlomo, this has been sort of the core of his existence – who tossed me onto the rocks?”

The fact that the passengers were Holocaust survivors magnifies the impact of the incident, Mann said.

“If you can imagine Holocaust survivors having to deal with this,” she said. “There were so many personal, emotional issues attached to everything.”

In interviews, Mann and Aisen learned that adults who first made it to shore from the listing ship lay on the rocks to create a softer landing for those coming after.

For Mann, the Rafiach became a sort of obsession.

“In 2010, just one morning I thought, I need to find out more about this,” she said. “My intention was originally to try to write a book and I thought the only way I can do this is by being in Israel.”

She made arrangements to head for Jerusalem and enlisted the help of her cousin, Sara Karpanos, who lives there. They put an ad in an Israeli newspaper and the response was so overwhelming the pair had to rent a hotel space for a reunion of 200 Rafiach survivors and, in some cases, their children and grandchildren.

Unbeknownst to the two women, Aisen was already on the story. After being turned on to the history of the ship, Aisen had connected with an instructor at Israel’s naval high school who had led his students on a dive and recovered a couple of artifacts from the hulk of the Rafiach.

From what had seemed like lost history, Mann saw the story of the Rafiach begin to reveal itself. “A complete mystery was unraveling in front of me,” she said.

For Aisen, the story of the Rafiach “captured my heart, and I feel particularly connected to this story from many aspects, as a sailor, an Israeli and Jewish.”

To tell the history of the Rafiach in a documentary, he decided to use animation, which allowed him to be more creative than merely showing interviews with survivors.

“It enabled me to present the film in the present tense and not as a memory from the past,” he said. “It took me about six years to create the film, five journeys abroad, months in the archives, 300 hours of footage and a year’s work of three animators. But one of the more challenging things was to get to the wreck of the Rafiach and to dive and film inside.”

In a way, Aisen said, making the film let him vicariously live the life of an underground commander of an immigrant ship.

The Vancouver Jewish Film Centre presents Code Name: Rafiach on June 28, 7 p.m., at the Rothstein Theatre. Tickets are $10 and available at vjff.org.

Pat Johnson is a Vancouver writer and principal in PRsuasiveMedia.com.

Format ImagePosted on June 19, 2015June 17, 2015Author Pat JohnsonCategories TV & FilmTags Gad Aisen, Holocaust, Rafiach, Tzipi Mann, Vancouver Jewish Film Centre, VJFC

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