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Category: Arts & Culture

Look up to art

Look up to art

Sharon Tenenbaum’s work can be seen on billboards above highways in Vancouver, Toronto and Montreal. (photo by Sharon Tenenbaum)

Sharon Tenenbaum discovered her love of photography in 2006 on a trip to South East Asia. In 2014, only eight years later, she is a nationally recognized photographer. From Dec. 15 to Jan. 15, four of her photographs will be displayed on billboards along Canadian highways and bridges as part of Paint the City (paintthecity.org), an international initiative to promote arts in unexpected places.

Tenenbaum talked to the Independent about her transformation from an engineer dissatisfied with her career to a successful artist.

“Last year, I participated in a RAW Artists (rawartists.org) competition,” she said, explaining how her images found their way to the billboards. “RAW is an art organization supporting artists in the first 10 years of their career. I became a finalist, together with another artist. Then, the organizer called me and said she nominated us for the Paint the City project. I didn’t even know about them.”

According to Tenenbaum, Paint the City selected the winner through social media. They stipulated that the one who got more “Likes” on Facebook and Twitter would win. “I had to recruit all my friends and even my family in Israel, and my family and friends in turn incited everyone they knew to login and vote for me. I won. I guess I have more friends,” she joked.

In reality, it was a long road from her first travel photos to her sophisticated billboard images displayed on the highways of Vancouver, Toronto and Montreal.

“At first, many people discouraged me. They would say: ‘She discovered a camera, so what?’ But I can’t see myself doing anything else. I didn’t care what anyone said. I have confidence in myself.”

photo - Sharon Tenenbaum: “A color photo doesn’t have to be as good as black and white."
Sharon Tenenbaum: “A color photo doesn’t have to be as good as black and white.” (photo from Sharon Tenenbaum)

In the beginning, what she did was photojournalism, documenting everyday life, she said. “In Asia, I took photos of buildings and people, but when I returned to Vancouver, I couldn’t photograph people here. It requires legal permissions, so I started photographing architecture, rediscovering Vancouver. I wasn’t just documenting anymore; it was my interpretation of what I saw.”

Out of her engineering background sprouted her passion for photographing things constructed by human beings. “I have a talent to see how elements of the whole work in harmony, how shapes and lines come together. I like modern architecture with its clean lines. The approach is artistic. The image has to speak to the heart.”

Her stark black and white images that won their places on billboards speak to people’s hearts. They show the artist’s unerring sense of light and shadows, her flair for the dramatic. Her quest for visual tension resulted in her unique series of bridges, all of them spectacular black and white instants in time and space. Some of them are Vancouver bridges, others she took during her travels.

“When you travel,” she explained, “you see everything with new eyes. It’s harder to achieve at home. I traveled a lot at first. Now I only travel to specific locations. If I want to photograph a certain bridge, I research it, then go there to take pictures.”

Most of her photographs are black and white. “When you use color in a photo, it steals the show,” she said. “A color photo doesn’t have to be as good as black and white. Sometimes, if you take color out of the image, it has no merit otherwise. Black and white photos are more challenging. The image must stand on its own. In many cases, color feels like cheating. I use color in my photos only when it’s essential, when color is what it’s all about. Color is an emotion. When I need to convey that emotion, I leave the colors intact. The same image seems to tell different stories when it’s in color or in black and white.”

Recently, she turned to a new technique, new stories infused with color. She started painting on top of her photographs. She applied this development not to the man-made structures but to something created by nature: trees.

“I started with one image of a tree, a photo from Portugal. There is a maple tree outside my window; it’s gorgeous in the fall. It inspired me. I wanted to convey such beauty with my image too, so I painted on top. Then I participated in Culture Crawl, and this painting was very successful. I started doing more.”

Like every artist, she strives to evolve, constantly finding fresh dimensions in her art. “I want to keep changing. I don’t want to have one style associated with me. Every artist needs to grow. After awhile, you get bored with the old stuff. Look at Picasso. He had five distinctive stages, each one unrecognizable from the others. Same with me. I have to keep reinventing myself.”

She also helps others reinvent themselves: she teaches, offering workshops in photo skills, as well as creativity. “I love teaching, love sharing what I know. Sometimes, when I teach, it clarifies the concept for me as well. I teach people how to be artists. Creativity has different phases. I teach my students how to get into each one, how to recognize and be receptive to new ideas. But then, each idea needs a follow up, lots of hard work. That’s also part of creativity.”

For more on her work, visit sharontenenbaum.com.

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

Format ImagePosted on December 19, 2014December 17, 2014Author Olga LivshinCategories Visual ArtsTags Paint the City, photography, RAW Artists, Sharon Tenenbaum
Providing an all-access pass

Providing an all-access pass

Elka Yarlowe is president and CEO of Access to Music Foundation. (photo by Olga Livshin)

Elka Yarlowe’s love affair with music started when she was very young. “I always listened to music or sang,” she remembered. “When I was four or five, I had my tonsils taken out in a hospital. My mom told me I was a very brave girl and asked me what I wanted as a reward. I said I wanted a piano.”

She got her piano, and her childhood in New York was steeped in notes and melodies. Her mother took her to see musical shows. Her relatives sang in a Yiddish theatre. She studied piano with a private teacher and participated in a school choir. “I was lucky. We had an exceptional musical program in my public school. In Grade 8, I knew I wanted to pursue music professionally,” she told the Independent.

She fulfilled her childhood dream and had a decades-long, successful career as an opera singer. Now, she wants to give an equal opportunity to local children, so they also can pursue a musical career if they choose. As president and chief executive officer of Access to Music Foundation, Yarlowe does what she can to make opportunities available to as many children as possible.

Since 2006, she has been a board member of the Music B.C. Industry Association. “In 2007, the Vancouver School Board made the first of many subsequent budget cuts to music programs,” she said. “In response, we started a charity and funded a music program in one Vancouver school. It wasn’t enough. More cuts followed in 2009. In 2010, I decided to leave the board and concentrate on the charity for music only. We called it Music B.C. Charitable Foundation. Last year, we changed the name to Access to Music.”

Currently, Access to Music funds programs in 20 provincial public schools and three aboriginal schools. “Our main goal is to fund instrument purchases for schools,” said Yarlowe. “Most instruments in the school system are over 20 years old, not fit for proper learning. If you start a hockey team at a school, you can’t have the children play hockey in 25-year-old skates. The same goes for musical instruments.”

According to Yarlowe, music education is a necessity: “Statistics show that children who play a musical instrument usually score 25 percent higher in any other discipline than children who don’t. Music is integral to our understanding of math and science. Any child in a school orchestra gets a fundamental sense of communication and cooperation, discipline and self-respect. Music develops both left and right sides of the brain. It is both science and art.”

Yarlowe lamented the fact that in this province, music programs often get cut first. “Last April, the school board wanted to cut all elementary school music programs. We fought that decision and won. The cut was postponed for one more year. We have a new battle ahead of us,” she said.

She explained that schools in the least economically advantaged areas of the province are affected most by these cuts. “Wealthier schools will continue to fund music through the parents’ efforts. That will create a disparity between poor and rich; deepen the divide. That’s why we fund the poor schools. We’re trying to level the playing field for all schoolchildren, to give all students equal access to musical education. Music is a catalyst for personal and social change. It’s part of organic education. Everyone needs it.”

Access to Music also offers mentorship programs, scholarships and intensive music clinics, and works with LGBTQ, at-risk and street-involved youth. “We offered our songwriting program to kids who face multiple barriers,” she said. “Some of them struggle with addiction. Others were victims of abuse or ran away from home. Many told me that music keeps them together, away from crime or suicide…. One gay boy wrote on his Facebook that participating in our song competition changed his life. Another street kid entered the Capilano jazz program, even though he still lives on the street. We try to provide barrier-free access to music for as many as we can. Today, about 8,000 children benefit from our programs. In the last several years, we purchased instruments for over $100,000. The need in this province is great.”

Many local organizations support the foundation with monetary donations or time, including Vancouver Symphony Orchestra. Next April, 100 music students from Surrey and Burnaby will have “a day of play” with the VSO. “All day long, the kids will have intensive sessions with the VSO musicians,” Yarlowe explained. “Then they will meet Maestro [Bramwell] Tovey. And, in the evening, they will have a treat – they will see a live show at the Orpheum. For many of them, it will be their first live classical music performance and the first visit to the Orpheum. When I was at school, our music teacher arranged for us to go to the Lincoln Centre once a year for a music show or an opera. We want to give such an opportunity to [more] local students. We want to be able to reproduce the event with the VSO every year, and maybe have similar events in Victoria, Okanagan [and] Prince George.”

Passionate about the foundation, Yarlowe insisted, “Music is not a frill or icing on a cake. It’s a necessity. Everyone who ever played an instrument or sang a song enjoyed it. Everyone has a personal connection to his music, no matter if it’s classical, rock or jazz. If you put an instrument into someone’s hands, chances are high those hands would never pick up a gun.”

The recent city initiative Keys to the Streets, which encountered an enthusiastic response in the majority of Vancouverites, disappointed her. “I went crazy when I learned about it. I know it’s good to give anyone a chance to play on the street, but to think of all these pianos [potentially] ruined in the rain. I’d put them in schools around the province instead. For the cost of just moving those pianos to and from locations, I could probably buy 20 clarinets for 20 school orchestras.”

One of her duties as foundation president is asking for money. “People spend lots of dollars so their kids could learn hockey. Why not to learn music? There is a much better chance that a child could make music his profession, make a living from it than from hockey. Much lower chance of injuries or concussions, too.”

Access to Music has become Yarlowe’s personal crusade, her tikkun olam. “There is a proverb: ‘You’re not required to finish the work but you’re not allowed to turn your back on it.’ That’s my guideline. I have three great passions in my life: my family, my faith and my music. I may not be able to fund all the schools for all the music programs they need, but it doesn’t give me, any of us, permission to stop the efforts. I feel like all my life was a build up for my work with the foundation.”

To learn more about the foundation, visit accesstomusic.ca.

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

Format ImagePosted on December 19, 2014December 17, 2014Author Olga LivshinCategories MusicTags Access to Music, Elka Yarlowe, school funding
Exodus reinvents Moses saga

Exodus reinvents Moses saga

Moses (Christian Bale) and Nun (Ben Kingsley) star in Exodus. (photo from exodusgodsandkings.com/#)

Moses, as best I recall from Hebrew school and The Ten Commandments, was a reluctant prophet with a speech impediment who was ultimately persuaded by the unspeakable, unceasing suffering of his people – and God’s fearsome support – to confront Pharaoh and lead the Hebrews out of slavery.

My, how (biblical) times have changed. The much-anticipated Hollywood epic Exodus: Gods and Kings reinvents the saga of a people’s miraculous liberation as one rugged individualist’s journey of self-discovery, identity and profound purpose.

The fundamental matter of spirituality, which might be defined in this context as the courage and power of faith, comes up in conversation a few times but not in ways that impact the movie-goer’s experience. Your post-film repartee is more likely to centre on the curious and disconcerting form in which God (or is it an angel acting as his emissary?) appears.

Exodus: Gods and Kings, which opened everywhere Dec. 12, is a sun-blistered chunk of glowering, male-centric mythmaking. Aside from its oddly anti-climactic ending – recognizing that it’s a tough call how many desert miles and years to continue the tale after the Red Sea – this is a well-paced, continuously engaging piece of mainstream entertainment with the requisite amount of impressive visual effects (in 3D). Just don’t go expecting to be awed, or to have a religious encounter.

Title cards inform us at the outset that the year is 1300 BCE and the Hebrews have been slaves in Egypt for four centuries. However, “God has not forgotten them.”

Omitting the standard baby, basket and bullrushes, director Ridley Scott and screenwriter Steven Zailian (Schindler’s List) introduce Moses (Christian Bale) as a general and Ramses II (Joel Edgerton) as his best friend since childhood and heir to Pharaoh’s throne.

Exodus immediately launches into a full-scale, screen-filling battle scene – a preemptive attack that might be construed as a comment on the Iraq War – in which the seed of Ramses II’s paranoia and jealousy of Moses is planted. This section is designed to excite male viewers but also to inoculate them against the ensuing hours of banter, revelation, wilderness wandering and domesticity before the warrior hero returns to Egypt to blow things up real good. (You think I’m kidding, but Exodus boasts fiery explosions like any other self-respecting, would-be action movie.)

Even if he was raised as a prince of Egypt, the portrayal of Moses as self-confident and militarily adept takes some getting used to. It does explain, however, his disbelief when the gutsy Jewish elder Nun (Ben Kingsley) informs him that he was a lowly Hebrew infant smuggled upriver toward the Pharaoh’s palace.

The biblical story is quite familiar to us, of course, even if creative licence is employed via verbal flashbacks and narrative compression. Consequently, Exodus is most intriguing from a Jewish perspective for the ways it alternately evokes and evades the dominant events in the modern Jewish world – the Holocaust and Israel (its founding, existence and current relationship vis-a-vis the Palestinians).

The 20th-century genocide of Jews is alluded to in myriad ways, from the burning of the corpses of slaves to the Egyptians lined up to insult the Hebrews as they leave. (The Exodus is presented as complying with Ramses II’s order to get out, so it is a deportation.)

An earlier sequence, in which Ramses’ soldiers knock down doors and brutalize Hebrew families in an effort to find (and kill) Moses, inevitably, recalls the Nazis.

When The Ten Commandments opened in 1956, the Holocaust was so recent, and raw, that it didn’t need to be referenced. The horrific genocide did inform the movie, however, in that the general public needed no help rooting unequivocally for the Hebrews’ freedom.

Another key factor was the new state of Israel’s status as a universal symbol of hope and rebirth. That image no longer holds sway, and the filmmakers acknowledge the contemporary perception that the oppressed have become oppressors.

While Moses and Joshua strategize how to cross the Red Sea, and Ramses’ chariots thunder in pursuit, they take a moment to ponder the Hebrews’ eventual return to Canaan. Now numbering 400,000, Moses points out, “We would be seen as invaders.”

This is an unexpected acknowledgement of power, one that Arab audiences (in Jordan, Lebanon, Iraq, Kuwait, United Arab Emirates, Oman, Qatar and Egypt, where Exodus: Gods and Kings opens Dec. 25 or shortly thereafter) will welcome. Evangelical Christians in the United States, another large target market, will have the opposite response, presumably.

Jews, of course, will interpret and respond to the film from yet another perspective. The Torah does lend itself to various readings, after all. So does this robust movie, even if it is unlikely to inspire study groups.

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

Format ImagePosted on December 19, 2014December 17, 2014Author Michael FoxCategories TV & FilmTags Christian Bale, Exodus, Joel Edgerton, Moses, Ramses, Ridley Scott, Steven Zailian
Ten years of chanting

Ten years of chanting

The Chanting and Chocolate band, from left: Charles Cohen, Lorne Mallin, Charles Kaplan, John Federico and Martin Gotfrit. (photo from Dave Kauffman)

On the last Sunday of every month, you can find a group of people gathered around a band of musicians, chanting Hebrew text to the rhythm of beautiful, rich melodies of the likes of Rabbi Shefa Gold and Rabbi Andrew Hahn (also known as the Kirtan Rabbi). It is a deceptively simple concept with surprisingly diverse results.

These harmonies of chant, through the repetition of just a few words, seem to have the power to carry you away from the daily hustle and bustle into a realm of music and spirit. This is Chanting and Chocolate, Lorne Mallin’s creation, which just celebrated its 10-year anniversary.

“In the summer of 2004, I began a two-year training called Kol Zimra (Voice of Praise) with Rabbi Shefa Gold of Jemez Springs, N.M.,” said Mallin about how Chanting and Chocolate came to be. “During our first gathering, Shefa encouraged us to create chant circles where we live and so, on Nov. 28th of that year, I began offering monthly evenings of sacred Hebrew chanting in Vancouver, initially called Evenings of Jewish Chant, which were then held at Sourcepoint shiatsu centre on Heather Street.”

This became a monthly tradition until Mallin moved to Uganda to live with the Abayudaya Jews in 2009. Not one to let geography, language or architectural challenges stand in his way, he was intent on sharing his passion for Jewish chant with the Abayudaya.

“At the mud-brick synagogue in the village of Nabugoye Hill, I led Shefa’s Nishmat Kol Chai, using the Luganda translation of ‘The breath of all life blesses you,’ ‘Okuusa kwebilamu kukutendereza.’ I tried to start a chant circle but, at the first announced session in the shul, I drummed and chanted alone until there was one arrival – a clucking hen skittered into the room.”

Fifteen months later, and back in Vancouver, Mallin and his band started the monthly evenings again.

“One regular participant brought tea and some baking to celebrate,” he recalled. “I noticed people enjoyed the opportunity to linger and get to know each other, so I began baking triple-chocolate brownies and rebranded the evenings Chanting and Chocolate. Two years ago, we moved to Or Shalom Synagogue at Fraser Street and East 10th Avenue.”

Beyond the good it does to its participants (naches to the soul and an uplifting of the spirit), Chanting and Chocolate is also a tikkun olam project on another level: the musicians perform for love, with the proceeds from admissions going to support the education of four Abayudaya orphans.

So, after a decade, what is it about Chanting and Chocolate that keeps Mallin going?

“For me, nothing creates a space for connecting with the Divine like chanting. The chants combine short sacred texts, beautiful melodies and deep spiritual intention. They often last 10 minutes, which strengthens the intention and clears the mind. After each chant, we give time for inner silence and connection, which is the most profound experience of the practice of chanting.”

Although Mallin has been the driving force behind this monthly undertaking, bringing it together and making it happen is very much a group effort.

“I am very grateful to my beloved teacher Shefa, the holy Kol Zimra community, Or Shalom, our band – Charles Cohen, John Federico, Martin Gotfrit and Charles Kaplan – and the lovely people who come to chant with us.”

While Mallin and the band have recorded little so far, they are planning to record their first CD in February, so stay tuned. In the meantime, to experience a unique kind of musical Yiddishkeit, attend the next Chanting and Chocolate, which will be held at its regular venue on Sunday, Dec. 28, at 7:30 p.m., with Rabbi Laura Duhan Kaplan as a special guest. Since no previous singing or chanting experience is needed, all you need to bring is some kavanah and yourself. And maybe a friend.

For more information, visit chantingandchocolate.com.

Format ImagePosted on December 19, 2014December 17, 2014Author Yael HefferCategories MusicTags chant, Charles Cohen, Charles Kaplan, chocolate, John Federico, Laura Duhan Kaplan, Lorne Mallin, Martin Gotfrit
Portraying the mess of life

Portraying the mess of life

Claire Hesselgrave as D in Wide Awake Hearts. (photo by Eric Chad)

“I want love. I want only love,” confesses C, a playboy, amid a lengthy list of his shortcomings. A rare, vulnerable moment of honesty? Or is he merely reciting his lines in a movie scene?

Such is the nature of Wide Awake Hearts by Brendan Gall, now playing at Little Mountain Gallery. One is never certain of what is real, or personal, and what is being acted for public consumption.

Of course, being a play, everything is scripted and for entertainment, however, within Wide Awake Hearts are four characters whose professional and personal lives overlap to an indistinguishable degree. Apparently named according to when they first speak/appear, A (Sean Harris Oliver) is married to B (Genevieve Fleming) and he hires his best friend C (Robert Salvador) to perform opposite her in a new movie that he has written and is producing. By the time D (Claire Hesselgrave) arrives on the scene to replace a recently fired editor, the tensions are high, and the line between what is part of the film and what is “actually” happening between the characters is well and truly blurred.

Despite being an editor, part of whose job, as D states, is to make sense out of the senseless, D’s presence only adds to reality’s murkiness. First of all, editors can only work with what they are given, what’s been shot; they can’t create anything, she explains, they can only interpret. And she’s not an objective outsider, which makes her job that much more difficult. D has been in a long-running on-and-off-again relationship with C. Meanwhile, C is in love with B, and A is jealous of what he believes is happening between C and B. As D laments, “Sometimes, the mess wins.”

That mess is life, not Wide Awake Hearts, which is a sharply written, insightful play. Tempers and desires run hot and C’s confession is one of the few quiet, calm moments that, along with the occasional biting (funny) comment, break the tension. Each character has a monologue that also serves to narrow the focus, slowing the pace before it once again ramps up.

All four actors do an excellent job of working in the intimate space of Little Mountain Gallery, sometimes a foot or two away from the audience as they perform, for example, a raucous sex scene. Director Brian Cochrane and stage manager Breanne Jackson deserve kudos for that, too, as does Sabrina Evertt for her set and props, as well as for her costumes; sound designer Jay Clift’s work is only noticeable when it should be. For the most part, everything comes together such that being in the audience is like being a voyeur, part of the action yet removed from it.

The production team being so small, it would a shame not to mention Eric Chad (projection designer), whose talents could have been exploited more; assistant director Jamie King; and publicity and front of house, Angie Descalzi. This combined Hardline Productions and Twenty Something Theatre effort, in which everyone involved seems to be doing double or even triple duty, delivers as much or more than many larger, more flush productions.

Wide Awake Hearts is at Little Mountain Gallery, 195 East 26th Ave., until Dec. 20, Tues-Sat, 8 p.m. Tickets are $22 plus service charge from brownpapertickets.com, with $15 matinées Dec. 13, 14 and 20, 2 p.m. For more information about the production companies, visit hardlineproductions.ca and twentysomethingtheatre.com.

Format ImagePosted on December 12, 2014December 11, 2014Author Cynthia RamsayCategories Performing ArtsTags Breanne Jackson, Claire Hesselgrave, Genevieve Fleming, Robert Salvador, Sean Harris Oliver
Laughter guaranteed

Laughter guaranteed

Left to right, Josh Drebit, Donna Soares, Allan Zinyk and James Long in Cinderella: An East Van Panto. (photo by Emily Cooper)

If Canada wants to be an energy super power, it’s going to have to run some pipelines through some plays. Well, some pantos. Starting with Cinderella: An East Van Panto, now on at the York Theatre until Dec. 28.

As with the inaugural East Van Panto last year, which took Jack & the Beanstalk to strange and hilarious new heights, this Cinderella is only loosely based on the fairy tale. In this version, Ella – Cinderella is only a mean nickname given to her by her wicked step-hipsters (not a typo) – loses her mother in a tragic food truck accident. Her father directs his grief to improving safety standards and is awarded for his efforts with the Mike Duffy Food Truck Safety Award, or something along those lines. He falls in love with the Government of Canada representative who presents him the medal. Marriage soon follows, the father is offered a senatorship, which takes him to Ottawa, leaving his beloved Ella – played wonderfully as the straight man to everyone else’s wackiness by Donna Soares – in the hands of her stepmother.

In true panto fashion, Ella’s new family is played by Allan Zinyk as the matriarch and Josh Drebit and James Long as her sisters. As they order Cinderella about, the audience gets to boo every meanness, and cheer Cinderella’s every win. While Jewish community member Drebit ably pulls off the fishnets, his comedic talents really shine as Feral Cat. Drebit, Long (as Rat) and Dawn Petten (as Old Crow) are about as far away from Disney cartoon birds and other forest animals as one can get, but “the other vermin,” three young actors as mice, are absolutely adorable – and, in a panto, the audience is allowed to “ooh and ahh” at their cuteness.

Zinyk also plays bad guy Ronald Grump, costumed in a business suit and an awful wig that’s only marginally worse than that worn by the character’s inspiration, Donald Trump. King Grump decides to hold a ball (there are lots of ball jokes, FYI) to celebrate the opening of Grump Towers (plural, even though there’s only one). At the ball, there will be a beauty pageant – a speed-dating marathon, actually – to find a wife for his son, played by Petten channeling Justin Bieber. (Petten also plays the hippy narrator/canvasser, Len Til, to perfection.)

And this brings us back to pipelines, and the spills that the suit-wearing, hard-hatted forewoman notes “only happen in movies and on the news.” As the chorus (pipe)line is passing through Cinderella’s family home, sadly, there is a spill – a spill that Cinderella must clean up before she can go to the ball. With the help of her vermin friends and, in one of the funniest scenarios to be conceived, a vacuum-harmonica-playing David Suzuki (played by Zinyk, you have to see it to believe it) and her B.C. Ferry Godmother, the belle gets to the ball.

But does she marry her prince? You’ll have to go to the panto for the answer – and for all the witty, weird, Vancouver-specific humor, the inventive costumes (Cinderella’s gown appears like magic), the charming music, the fitting choreography, the inspired sets and props, the bold and beautiful backdrops.

With Cinderella, the creative team of playwright Charles Demers, musician Veda Hille and director Amiel Gladstone have improved on what was already an intelligent, silly, energetic, crowd-pleasing formula. The lead actors in this year’s production are joined by the very talented chorus of Bailey Soleil Creed, Sean Sonier (who rocks a tutu) and Alexandra Wever, as well as the children who share the roles of the mice.

If you’re wondering what to give that person on your Chanukah list who has everything, at least 99 percent of non-Grumps would enjoy this show. For times and tickets, visit thecultch.com or call 604-251-1363.

Format ImagePosted on December 12, 2014December 11, 2014Author Cynthia RamsayCategories Performing ArtsTags Allan Zinyk, Amiel Gladstone, Charles Demers, Cinderella, Dawn Petten, Donna Soares, East Van Panto, James Long, Josh Drebit, Veda Hille
Estrin captures essentials

Estrin captures essentials

Avie Estrin in Colombia. (photo from Avie Estrin)

On Dec. 4, Avie Estrin’s solo show Blessed People opened at the Sidney and Gertrude Zack Gallery. Many of Estrin’s photos are taken in far-away places. There are Tibetan lamas gardening and a Yemenite bride in her fantastic headgear. An old man in a turban looks as if his perceptive eyes can see straight into your heart. A group of yeshivah students dance in the street. A young girl peeks out from behind a large heavy door. The door is ajar, and only fragments of the girl’s face are visible, but there is joy in her curious eyes. She has escaped her handlers, if only for awhile, and relishes her fleeting moments of freedom. Each picture tells a story.

In an interview with the Independent, Estrin talked about his life with photography, its challenges and rewards.

JI: What prompted you to mount an exhibit of travel photos? Do you shoot photos locally?

AE: Interesting question. I never understood this exhibit as a travel theme per se. While there are images from everywhere, a good number are taken right here, in Vancouver and the Lower Mainland. On the other hand, if “travel” is what others see, I’m OK with that. I can’t dictate what the show is about, since in the end it’s about what you see, not what I think I saw. I would only say that for me, it’s about real people, it’s about real life. It’s about all of us.

JI: Tell me about this show.

AE: The photos span from the early ’90s to as recently as six months ago. Photos were taken with an array of different cameras, from an old-fashioned SLR to early digitals, but nothing more modern than 2004. While I was always very particular about quality, my equipment is modest and minimal.

Photos range from hiking the Himalayas to horse trekking the Andes and Amazon basin, to more domestic venues right here in Vancouver. I could go on about harrowing experiences forging flooded rivers on horseback in Ecuador or negotiating at gunpoint with Colombian guerilla in the outback. While it makes for great storytelling, the real point is that, by and large, my experiences were joy-filled encounters with gracious peoples from across cultures, people who embraced me, brought me into their homes and shared with me the little they had. I hope the exhibit illuminates this sentiment in some small way.

JI: What do you look for in a frame?

AE: Whatever the subject, I am looking for what is essential to it. I don’t for a moment deceive myself that whatever I am experiencing in a given moment can be accurately represented or reproduced in a static concrete format … with any degree of authenticity. But if I can capture just a fragment of whatever the catalyst in that ephemeral moment, that indefinable but quintessential essence of a thing, then maybe I have done it some justice.

JI: Is there a connection between photography and your profession?

AE: It’s been said before, “all things are connected.” When we attempt to compartmentalize our lives, we are merely hanging veils between our bedrooms. The common thread is not so much what we do but how we do it.

JI: You write poetry, too. Are your poems and your photos linked?

AE: To answer this question I would simply recommend going to the exhibit, seeing the work, reading the poems, and then you decide.

JI: Do you ever use Photoshop?

AE: Photoshop? What’s that? Seriously, without getting too technical or mundane, there is no such thing as “untouched” digital photography. The moment you take a jpeg image with your point and shoot, your camera’s firmware is instantly doing a circus act to compress that eight mega-pixel shot you took down to a one or three megabyte image. Aside from losing at least 60 percent of the original image data, you are also letting your camera indiscriminately dictate what 60 percent to throw away. Even in raw format, there is no getting away from post-processing. For better or worse, the days of “untouched” photography are gone forever.

JI: Do you give copies of your photos to your subjects and, if so, do you offer them free of charge?

AE: Various images in Blessed People were taken in the pre-digital era, so showing people immediate results was in many cases not an option. I had a strict practice of sending people hard copies of their images, but often practicalities. such as remoteness, non-existent postal services, etc., didn’t allow for this either. As to charging people for the privilege of capturing their image … isn’t there something in halachah against that? There should be.

JI: What are the biggest challenges and rewards of your work?

AE: I have no idea what a real travel photographer does. For me though, doing is reward in and of itself. Doing without intentionality isn’t “doing” at all. It’s merely a happening. And intentionality implies challenge; otherwise, it would be a redundant endeavor. I love challenge. I love to do.

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

Format ImagePosted on December 12, 2014December 11, 2014Author Olga LivshinCategories Visual ArtsTags Avie Estrin, photography, Zack Gallery
Enjoy an afternoon movie

Enjoy an afternoon movie

Would you like to go to the movies? Yes? That is exactly what about 80 people did on Nov. 25 at the Peretz Centre for Secular Jewish Culture, thanks to the wonderful combined effort of Jewish Seniors Alliance and Vancouver Jewish Film Centre, which co-host a movie screening scheduled on the afternoon of the last Tuesday of every month.

Upon arriving, we were treated to a light buffet of bagels, sweets, fruit and beverages, then we headed to the large auditorium, where VJFC director Robert Albanese welcomed the audience and introduced the day’s film, The Outrageous Sophie Tucker.

After Gyda Chud, on behalf of JSA, made some announcements, including that the previously scheduled JSA Empowerment series talk Oy Vey, My Back! will be presented in March, Albanese spoke of the variety of films that the film centre will be presenting over the next few months. Then, Sophie Tucker “entered” our world.

Tucker was born Sonya Kalish to Ukrainian Jewish parents in 1886 as they fled from czarist Russia. She only became Sophie Tucker after she adopted her former husband’s name, Tuck, and added the “er.” That name became a password that could be used to gain entry to celebrities and even presidents.

In the film, authors and biographers Lloyd and Susan Ecker relate much of Tucker’s story.

When very young, she worked in her parents’ kosher restaurant, a job she did not enjoy. One day, her father asked her to distribute pamphlets at theatres as the actors left, since most of them were Jewish. He thought it would increase the number of diners.

While doing this task, Tucker heard the music from inside a theatre, she snuck in and what she saw changed her life forever, as well as the lives of her future audiences. She ran away to New York, leaving her family, but knowing where she belonged.

She tried vaudeville but, not being a classic beauty, she had difficulty being accepted “as is,” so she sang in “black face.” Eventually, her powerful voice began to be heard. When she forgot her makeup one day and sang as herself, the show was a success – she never performed in black face again.

Irving Berlin wrote music for her and she “stopped the show” when she sang. Tucker worked without a contract; her word or a handshake was sufficient.

Tucker was respected and she respected others, asking for their names, numbers and addresses upon meeting them and entering those contacts in a book, which eventually housed 10,000 names. She would write to these people if she were coming to their towns, asking them to come see her perform. She was the original Facebook – only it was the Tuckerbook.

Ted Shapiro, her accompanist for 46 years, had the unique talent of being able to interpret the mood that Tucker wished to portray.

In later years, mobsters took over the ownership of many nightclubs and Tucker befriended Al Capone. He enjoyed having her sing, as she brought people into his Chez Paris. He called her a “human cash register.”

In the years to come, Tucker decided to share what she knew and opened a school teaching young women how to be “Red Hot Mamas.”

She knew how to market herself: in the 1930s, she was the spokeswoman for soup; in the 1940s, she advertised blouses for the fuller mamas, saying she enjoyed being overweight – “Too much of a good thing is wonderful!” She prided herself on having creative and huge hairdos, calling herself the “Modern Marie Antoinette,” and always carried a large filmy handkerchief as she performed.

In 1929, the biggest entertainer was Al Jolson and he sang in the first talkie. That same year, Warner Bros. had Tucker debut in the movie Honky Tonk, where she sang “Some of These Days,” a song with which she is still identified. Judy Garland learned how to “sell a song” from Tucker.

During the war, Tucker was one of the performers to whom soldiers wrote and received answers. She was a pinup girl along with Betty Grable.

There was a young Jewish soldier who was obsessed with music and hauled around his records, vowing that he would play Tucker’s rendition of “My Yiddishe Mameh” in Berlin when he beat Hitler. Unfortunately, he died before he could accomplish this goal but his fellow soldiers fulfilled his vow, much to the anger of some German soldiers, as that song had been banned in Germany. The victors played it for eight hours through the streets of Berlin.

Tucker remained on top for 58 years, into the television era. Along the way, she befriended many, including Josephine Baker, who, because she was black, was having a hard time being allowed to perform – until Tucker invited her to sing with her.

Tucker’s talent and her voice were both immeasurable, but her true outstanding ability was in marketing herself when there wasn’t the media infrastructure there is now. She was indeed the last of the Red Hot Mamas, a glowing ember, memorable, still admired, still inspiring!

Expressing what we all felt, Chud thanked Albanese for enriching our lives with this movie, then we all went home with the echo of a song in our hearts, “Some of These Days.”

Binny Goldman is a member of the Jewish Seniors Alliance of Greater Vancouver board.

Format ImagePosted on December 12, 2014December 11, 2014Author Binny GoldmanCategories TV & FilmTags Jewish Seniors Alliance, Vancouver Jewish Film Centre, Vancouver Jewish Film Festival, VJFC, VJFF
Herstory on the screen

Herstory on the screen

A corrective of sorts to the Old Testament’s predominantly patriarchal view of seismic events and everyday tribal life, Lifetime’s emotion-tapping adaptation of The Red Tent fulfils one’s modest expectations for a primetime soap opera in period garb.

Anita Diamant’s best-selling saga of female self-actualization and familial tribulation, centred on Jacob’s daughter Dinah, is rendered here as an aspirational fable informed more by Harlequin Romance than hardscrabble reality. Viewed as harmless entertainment and a desert respite from winter, The Red Tent provides acceptable escapism, but if you’re hoping for an earthy, accurate sense of how people actually lived in those days, or a spiritual experience (on television?!), those prayers won’t be answered.

The Red Tent aired earlier this month on Lifetime. If you can get your hands on it, either as a DVD or in rebroadcast, the two-part miniseries comprises three hours of couch time (minus commercials).

The titular scarlet structure serves as a community centre and haven for Jacob’s four wives and their daughters. In this comfy, cozy enclave, the young Dinah acquires extraordinary self-confidence – presumably from seeing firsthand the essential role of women in the family. Their most cherished skill is midwifery, partially for its autonomy (the men assuredly want no part of assisting births) and because it’s closely linked to females’ unique function. As one woman puts it, “We are the lucky ones, for we alone are the ones who can give life.”

The experience of childbirth in biblical times was presumably more primitive than New Age-y, so you’ll be rolling your eyes at the miniseries’ insistence on hinting at suffering without bringing us down by actually showing it. (My biggest peeve about the show’s glamor quotient is that everyone has perfect teeth and nobody ages, despite the skin-wrecking trifecta of sun, wind and sand.)

The film’s greatest challenge, however, is plausibly reconciling a 21st-century feminist point of view (embodied by Dinah) with the societal limitations placed on women in those days. It’s jarringly anachronistic, for example, when Dinah shocks her closest sibling, Joseph, by announcing she’ll choose her own husband at such time as she determines. But it does provide the foundation for her character’s aggressive interfaith love affair with the king’s son, Shechem. This passage of the Bible has been interpreted in several ways, but The Red Tent presents their sexual relationship as mutually consensual and an expression of love.

That doesn’t soothe Jacob’s pride in the least when he’s informed that Dinah and Shechem have married, and things go south in a hurry. Whatever sins the menfolk proceed to commit, the second half of The Red Tent – spotlighting Dinah’s life in exile – takes pains to show that women are as capable of men at inflicting cruelty.

Part 2 of the miniseries embraces such reliably eye-watering themes as separation from, rejection by and reconciliation with one’s children. They may comprise the meat and potatoes of the plot, but the heart of Dinah’s journey involves accepting the family and tradition she was born into and the talent for midwifery that she inherited.

The Red Tent implicitly honors the continuum of women that preceded and followed Dinah, extending to the present day. At the very least, this female-oriented interpretation offers an exceedingly interesting counterpoint to Ridley Scott’s testosterone-fueled Exodus: Gods and Kings, which opens this weekend, and picks up – chronologically speaking – shortly after The Red Tent ends.

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

Format ImagePosted on December 12, 2014December 11, 2014Author Michael FoxCategories TV & FilmTags Anita Diamant, Lifetime, Red Tent

Angry assassin or hero?

A 17-year-old Jewish refugee in Paris on Nov. 7, 1938, shot Nazi diplomat Ernst vom Rath. The assassination provided Nazi Germany with a golden opportunity. Joseph Goebbels, Hitler’s propaganda minister, portrayed the teenager as an agent of the international Jewish conspiracy trying to provoke a war between France and Germany. Two days later, the Nazis orchestrated a surge of horrific violence against the Jews. More than 200 people died, 1,300 synagogues were destroyed and 7,500 Jewish shops were trashed in a spasm of hatred known as Kristallnacht.

image - book cover - The Short, Strange Life of Herschel Grynszpan

The assassin, Herschel Grynszpan, became a notorious figure at the time, both in Germany and beyond. For anti-German voices, he became a cause célèbre. A top newspaper columnist with the New York Herald Tribune, Dorothy Thompson, stirred up widespread sympathy for Grynszpan, raising funds to hire a celebrated defence attorney for him. Grynszpan became so well known that Leon Trotsky, living in exile in Mexico, declared his “moral solidarity” with the assassin.

But, 20 years later, Grynszpan had become irrelevant to history. Hannah Arendt, in her book on the trial of Adolf Eichmann in 1961, dismissed Grynszpan as a psychopath. She wrote that Grynszpan was probably an agent provocateur used by the Gestapo to provide a pretext to escalate persecution of the Jews and eliminate a diplomat who was not an enthusiastic supporter of the regime. Today, historians show little interest in the assassin, believing, as Arendt did, that the Third Reich was looking for an excuse and the escalation of violence against the Jews would have taken place regardless of what happened in Paris. Yad Vashem does not even mention him in accounts of Jewish resistance to Nazi Germany.

Author Jonathan Kirsch says Grynszpan has been shortchanged. In The Short, Strange Life of Herschel Grynszpan (Liveright Publishing Corporation, 2014), Kirsch sets out to convince the reader that Grynszpan is an unrecognized hero of the Second World War. According to Kirsch, Grynszpan was a courageous Jew who stood up to Nazi power at a time that France and Britain were more interested in appeasing Hitler than confronting him. And, four years later, Kirsch writes, Grynszpan did something even more remarkable. He outsmarted Goebbels, undermining efforts to stage a show trial that Hitler wanted in order to justify the mass murder of the Jewish people.

Kirsch sees Grynszpan as a character in a mystery “deeply layered with conspiracy and intrigue, erotic scandal and rough justice.” As he paints his sympathetic portrayal of Grynszpan with colorful anecdotes and captivating details, he also raises intriguing questions about who can rightfully be considered a hero of the Second World War. The issue is complicated, especially since Grynszpan’s motive for shooting vom Rath has never been clear.

What is indisputable is that Grynszpan, caught in a bureaucratic labyrinth in Paris over his residency permit, with no money and fighting with his family, was becoming increasingly frantic in the days before the incident. His parents had moved to Hanover, Germany, in 1911, fleeing Radomsk, Poland, in an effort to escape a rising tide of antisemitism, but they never received German citizenship, despite living in the country for years. Officially, they were classified as Polish citizens living in exile in Germany.

With the Nazi Party victory at the polls in the 1933 election, the Grynszpan family, similar to many others, started to make plans to leave the country. But they never had enough money to do so. In desperation in 1936, they sent their 15-year-old son out of the country.

Grynszpan, staying with relatives in Paris, followed Hitler’s aggressive campaign against the Jews in the Yiddish papers. The news became increasingly alarming as 1938 unfolded. In March, the Third Reich formally absorbed Austria into Germany and Austrians took to the streets to terrorize the Jews of Vienna and other cities. In July, the international community met in the French resort town of Evian to develop a response to Nazi aggression but no one was willing to confront Nazi Germany or provide sanctuary to Jewish refugees. “Nobody wants them,” was the headline in a Nazi Party newspaper after the Evian conference.

Then, on Aug. 22, 1938, Germany revoked all residency permits issued to foreigners. They could not stay in Germany and Poland refused to repatriate Poles who lived in Germany. The Grynszpan family was in effect rendered stateless.

The Third Reich drew up arrest lists of 50,000 names on Oct. 26, 1938. Grynszpan’s family was on the list. The following day, his parents and two siblings were escorted to the police station. They were transported to the Polish border town of Zbaszyn, where they were trapped in a no-man’s land. Media reports provided detailed accounts of 12,000 Jews, deprived of food and shelter, and unable to enter Poland or return to Germany. The Yiddish newspapers reported the spread of deadly diseases and suicides. Grynszpan received a postcard from Zbaszyn on Nov. 3 from his mother. Four days later, he shot vom Rath.

When he was arrested, he had a postcard in his pocket. “My dear parents,” he wrote, “I couldn’t do otherwise. God must forgive me. My heart bleeds when I think of our tragedy and that of the 12,000 Jews. I have to protest in a way that the whole world hears my protest, and this I intend to do. I beg your forgiveness.”

He derailed the show trial shortly before it was to be held in Germany in 1942 by abandoning the rhetoric of heroism and revenge. Those familiar with history will not be surprised by the twist in events. Grynszpan asserted the shooting was as a result of a tiff between homosexual lovers.

Kirsch says his claim, which has never been backed up with any evidence, was Grynszpan’s greatest act of courage. Grynszpan understood Hitler’s loathing of homosexuality and destroyed the propaganda value of the show trial. The Third Reich did not want anything to do with homosexuality, even though Goebbels and others believed the claim to be a complete fabrication.

Despite their reputation for record keeping, the Nazi authorities did not document what happened next to Grynszpan. He just disappeared. A trial was never held; his place of incarceration was not recorded. His death was not documented, feeding conspiracy theories that he may have survived the war and continued living somewhere in Europe under a pseudonym.

So, where should we place Grynszpan in the pantheon of resisters? Can an act of personal revenge be considered heroism?

Grynszpan is clearly not of the stature of Mordechai Anielewicz, the hero from the Warsaw Ghetto uprising. But is he in the same league as Gavrilo Princip, the Bosnian Serb who assassinated Archduke Franz Ferdinand in 1914, sparking the First World War? Or Yigal Amir, who assassinated Yitzhak Rabin in 1995, derailing Israel-Palestinian peace efforts?

Holocaust historian Michael Marrus has said Grynszpan has his place in the register of futile but symbolic acts of resistance against unspeakable tyranny. Grynszpan was an ordinary youth who was driven to lash out against a ruthless tyranny, Marrus has written, and his story deserves to be better known.

Kirsch regrets that Grynszpan remains without honor, even among the people whose avenger he imagined himself to be. However, this well-written book may change how history regards the angry assassin.

Media consultant Robert Matas, a former Globe and Mail journalist, still reads books. The book reviewed here is available at the Jewish Public Library. To reserve it or any other book, call 604-257-5181 or email [email protected]. The catalogue is at jccgv.com, click on Isaac Waldman Library.

Posted on December 12, 2014December 10, 2014Author Robert MatasCategories BooksTags Ernst vom Rath, Herschel Grynszpan, Holocaust, Jonathan Kirsch, Nazis

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