Michael Fish initiated a unique VSO-JFSA collaboration, which will see JFSA clients attend the symphony on Nov. 15. (photo from Michael Fish)
“There is a direct relationship between cultural experiences and good health. Whether it’s participation in the arts or appreciation for the arts, there is an emotional response for those who engage in these experiences,” said Joel Steinberg, president of Jewish Family Service Agency (JFSA).
Steinberg was offering this observation in the context of a unique opportunity that JFSA has to help 200 clients attend a special concert of music by Jewish composers performed by the Vancouver Symphony Orchestra (VSO) at the Orpheum on Nov. 15.
Michael Fish, who has been a board member for the VSO for four years, wanted to encourage more Jewish community involvement with the symphony.
“In an effort to promote the VSO, as well as bring our community more into the fold, I decided to try to do something special,” Fish told the Independent. “With the support of the VSO’s conductor and musical director, Bramwell Tovey, the VSO agreed to put together a concert of all Jewish composers that I could use as a vehicle for my goal.”
Fish continued, “I then approached Jewish Family Service Agency and asked if they would be interested in sending some of their clients to an evening of Jewish music with the VSO. Knowing that many of their clients would not have the means to purchase a ticket for themselves, I took it upon myself to raise the funds from within the Jewish community to make it happen. I was thrilled at the fantastic response.”
According to Steinberg, Fish has used his advocacy very effectively for JFSA. In addition to organizing this concert, Fish secured a full page in VSO’s Allegro magazine recognizing “Friends of JFSA,” thereby helping JFSA communicate its mission to VSO patrons.
“Many people do not realize that about 10 percent of our clients are non-Jewish,” said Steinberg. “They are mostly users of home support and counseling services, both of which are fee-for-service and help generate critical revenues for our organization to support our other programs. This is a great opportunity for JFSA to raise its profile in the general community while benefitting our clients.”
According to Alan Stamp, JFSA’s director of counseling, the agency sporadically provides “tickets for inclusion” to clients who are in need and who have identified an interest in the arts. The program is managed by JFSA social workers on a case-by-case basis. One of the challenges with the existing system is that tickets are often donated last minute by supporters of JFSA who realize that they will not be able to use them. It can be difficult to match tickets with clients, many of whom face mobility challenges, on short notice. This event with VSO is on a different scale.
Silkie Wong, who works in development and communication at JFSA, has been assisting the department’s director, Audrey Moss, with coordinating the project from the JFSA side. Wong noted that JFSA organizes transportation where possible to ensure that clients can attend, as some of their clients find it difficult to get out on their own. Wong pointed out why this type of event is important: “This is a unique and meaningful experience. Attending cultural events enables our clients to live life, not just survive it.”
Steinberg hopes this avenue for inclusion, initiated by Fish, will spur others to step up and bring such more initiatives forward. “We hope that we will have an ongoing partnership with VSO, and that more of our friends connected to other organizations will help us open more doors and build similar partnerships,” said Steinberg.
Fish considers this is a win-win situation. He is excited about the beautiful music that both JFSA clients and members of the greater community will share, as well as the concert’s potential to raise the profile of VSO in the Jewish community. He summed up by saying, “The musicians will be playing to a larger audience, JFSA’s [clients and] patrons will enjoy a great evening, and perhaps the VSO will pick up a few patrons along the way. What could be better than that?”
To learn more about this concert, visit jfsa.ca.
Michelle Dodek is a freelance writer and community volunteer living in Vancouver.
Julie Cohen’s The Sturgeon Queens is informative and delightful.
From the fraught origins of the state of Israel to what a possible peaceful future for Israel might look like, this year’s Vancouver Jewish Film Festival, which runs Nov. 6-13 at Fifth Avenue Cinemas, should inspire even the most cynical. Documentary or narrative feature, there seems to be an underlying theme of hope. And who couldn’t use more of that. Here are reviews of a handful of films that the Jewish Independent was able to preview.
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Dove’s Cry (Israel) follows Hadeel, a 27-year-old Arab Israeli teacher, over the course of a school year as she teaches Arabic and Arab culture to a group of students at a Jewish Israeli primary school near Tel Aviv.
Dove’s Cry follows Hadeel, a 27-year-old Arab Israeli teacher, over the course of a school year.
The film begins with a school-wide celebration of Rosh Hashanah. Hadeel is cheerful, energetic and inspired. Her personality is electric and she connects easily with her students. The children vie for her to call on them in class, they are excited to be learning. Her Jewish co-workers seem to respect and admire her.
About a third of the way through the documentary though, a tearful Hadeel tries to process the racist outburst of one of her students, who calls her a “stinking Arab” after a disciplinary incident. Speaking to her family, Hadeel admits that this is the first time she’s experienced such overt racism in five years of teaching. Her shock and disappointment are palpable.
More significant, perhaps, are the casual, daily prejudices that Hadeel experiences, most often from her co-workers, the school’s administration and parents. And, however open the children, they know very little about Arabic, Islam, Christianity or Arab culture, and freely express their apprehension about Arabs, Arab neighborhoods and their fears around terrorism. Hadeel is patient, authoritative, good-humored and kind throughout. During a drill, a teacher asks Hadeel if she has a bomb shelter in her community; Hadeel reminds her that, of course, she does, that she is an Israeli, and faces the same physical threats.
There are stark reminders everywhere that Hadeel is creating a bubble of tolerance in her classroom and, perhaps, at the school, but not beyond that. “In the classroom, I teach one thing and, at home, they teach the opposite,” Hadeel laments. One of the central relationships in the film is with the principal, who reminds Hadeel of the limits of her program and often sides with the parents.
By the time Yom Hashoah, Yom Hazikaron and Yom Ha’atzmaut arrive, Hadeel expresses how torn she is about her position in the school and, by extension, in Israeli society. “Suddenly, I feel like I don’t belong to the place where I was born,” she explains.
Ganit Ilouz’s documentary is a sobering look at the strictures and complexities faced by Israel’s minority citizens. It is a potent reminder at how much better Israelis would be served if all citizens were conversant in Hebrew and Arabic and knew some basic facts about each other’s culture and customs. It’s something Jewish Diaspora communities should consider, as well. Hadeel’s name means “dove’s cry,” a fitting name for a woman tireless and steadfast in her pursuit of a better Israel.
– BL
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At the centre of Hanna’s Journey (Germany/Israel) is Hanna, a smart, driven woman. We first meet her in a waiting room with several other candidates for a job. As one exits her interview, obviously disappointed, Hanna follows her into the bathroom to find out what type of employee the company is seeking. When she finds out that grades alone won’t be enough, that the company wants someone who’s also dug wells in Africa or is an “eco-freak,” she lets down her hair, removes her lipstick and earrings, and undoes the top button of her blouse. When one of the interviewers notes, “this resumé doesn’t wow me with its diversity,” Hanna lies to them, saying that she only just received her acceptance to go work in Israel with people who have mental disabilities. If she provides them with proof, she has a great chance at getting the job.
At the centre of Hanna’s Journey is Hanna, a smart, driven woman. Here she is seen with Itay – someone to love or hate?
Problem: Hanna’s mother, who runs a social-service nonprofit that sends young Germans to Israel, won’t fake the letter. Solution: Hanna actually goes to Israel, both to work at a village for those with mental disabilities, and also to spend time with a Holocaust survivor.
“In Hanna’s Journey, I’m attending the question [of the] impact the Holocaust has for Israelis and Germans of the third generation, how the shared past is affecting our lives up to today and inseparably connects us,” writes Julia von Heinz in her director’s statement. “The mixture of fascination and disgust which forms the German-Israeli relations, the neurotic, gets symbolized by my film’s complicated love story.”
In the film, Hanna leaves behind her businessman boyfriend Alex. Their relationship seems solid. Certainly no one in the nonprofit’s house where Hanna is billeted will threaten it, as Carsten is gay and Maja is not only unfriendly, but a full-on antisemite. However, Itay, the social worker at the village is another story. The antithesis of Alex, he is not so fond of Germans, at least at first.
During her time in Israel, Hanna discovers much about herself and her family, in particular, her mother, with whom she doesn’t get along. It turns out that the survivor who Hanna visits knew her mother.
Billed as a romantic comedy, Hanna’s Journey is more contemplative than funny and even the romance part is questionable. It’s really a drama, touching on many important topics and allowing various complexities to remain unresolved. The acting is strong, the script is compelling, and it’s a movie that should be taken seriously.
– CR
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Even if you’ve read Russ & Daughters: Reflections and Recipes from the House that Herring Built by Mark Russ Federman (click here for the review in the JI), Julie Cohen’s The Sturgeon Queens (United States) is informative and delightful. For whatever reason, the story of Russ & Daughters never fails to captivate.
Niki Russ Federman and Josh Russ Tupper are the fourth generation of the family to run Russ & Daughters. The family’s business story is told in The Sturgeon Queens.
Joel Russ came to New York from Germany in 1907. He joined his older sister and started working right away to contribute to the family income. He married Bella in 1908 and, in 1913, the first of their three daughters – Hattie, Anne and Ida – was born. In 1914, he opened his first store, on Orchard Street. In 1920, he moved it to Houston Street and there it has remained, joined in 2014 by a new family restaurant, Russ & Daughters Café, located on, appropriately enough, Orchard Street.
Cohen’s documentary came out during the store’s centennial year and it features interviews with the two surviving “sturgeon queens,” Hattie Russ Gold, then 100, and her sister Anne Russ Federman, then 92. Mark Russ Federman, who ran the store from the 1970s until 2008, and his daughter Niki Russ Federman and nephew Josh Russ Tupper, who now run the store, are interviewed, and longtime employee Herman Vargas is also featured.
Other interviewees include Ruth Bader Ginsburg, Morley Safer and Maggie Gyllenhaal, as well as chef Mario Batali, as an example of how the customer base has expanded beyond the Jewish community, and writer Calvin Trillin, who’s written stories inspired by Russ & Daughters and wrote the foreword to the book Russ & Daughters. Narration is provided by a table-full of longtime (from one since 1929 to one since 1976) customers, with other historical and family and business information provided by the family interviewees. The use of animation, music, archival photos and film clips all add to the quality of the documentary and the credits are especially cute: they indicate when the film’s major makers’ families each came to America from a wide range of places around the world.
– CR
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The Jewish Cardinal (France) by Ilan Duran Cohen is based on the true story of Jean-Marie Lustiger, born Aaron Lustiger, a Polish Jew who converted to Catholicism at age 14, during the Holocaust. When we meet him in 1979, he is a vicar in Paris who is being promoted to bishop of the city of Orléans – the location of his conversion and where he was hidden during the war.
The Jewish Cardinal by Ilan Duran Cohen is based on the true story of Jean-Marie Lustiger.
A temperamental and intense man, Lustiger causes a stir when he tells a reporter that he remains a Jew, he is Jewish and Christian, “like Jesus,” he says defiantly. He is “convinced that God has willed” his nomination. “I am a provocation that compels reflection on Christ,” he says, without a hint of irony.
The more we learn about Lustiger, played by a magnificent Laurent Lucas, the better we understand his fervor to reconcile his identities and make peace with his few remaining family members, including his father.
Lustiger has advocates in the Church, but also detractors. Though Pope John Paul II is a robust supporter and promotes Lustiger to archbishop of Paris and then, finally, to cardinal and trusted papal advisor, there remains a tension between the two men. (There are several wonderful scenes of Lustiger’s audiences with the Pope, who is deftly – at times, sinisterly – played by Aurélien Recoing.) Lustiger’s relations with the Jewish community are strained and we see Lustiger harassed by antisemites who accuse him of defiling the Church.
After a group of Polish Carmelite nuns establishes a convent at Auschwitz (not incidentally the site of Lustiger’s mother’s murder), he is asked by the Jewish community and the Pope to negotiate a solution. Many viewers above age 35 will remember the convent and the turmoil it caused for nearly a decade until it was removed in 1993. The film captures the politics and nuances of the incident with terrific results.
Throughout, we sense Lustiger’s confusion over how to balance on the edge of Jewish-Catholic relations, once he loses some of his hubris, that is. On a visit to Auschwitz, he can neither say the Lord’s Prayer nor Kaddish for his mother; when his father passes away, he’s distraught, unable to fulfil his promise to say Kaddish.
Lustiger died in 2007 of lung and bone cancer. Kaddish was recited at his funeral outside the entrance to the Notre Dame Cathedral in Paris.
– BL
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Israeli Shaul Cohen and Palestinian Nizar Ahmad cooperate in a joint business venture in Under the Same Sun.
For the dreamers of the world, there is Under the Same Sun (United States/Israel/Palestine), written by Yossi Aviram and directed by Sameh Zoabi. The film starts in a mockumentary style, with all hell breaking loose. The media has discovered that Israeli Shaul Cohen and Palestinian Nizar Ahmad are cooperating in a joint business venture to bring solar energy to West Bank villages, and all the talking heads have their opinions about it.
The film then jumps back a year to a meeting in Marseilles, where Shaul approaches Nizar about the project. From this point to near the end, it’s a regular movie, progressing linearly through time, from the project’s genesis, the difficult search for investors, the effects of the venture on their respective families. Skepticism, anger and obstacles must be overcome. We learn more about each man as each confronts their own prejudices and fears. And all looks lost until Nizar comes up with the idea of using a Facebook campaign to create a groundswell of public opinion that will force political leaders to make peace – and, hence, let their energy project proceed. If only social media were so powerful.
Under the Same Sun is crazily optimistic. With solid acting all round, good pacing (helped by Hilal Zaher’s score) and well-written dialogue, it is a thoroughly enjoyable way to conclude a film festival.
– CR
For showtimes and the full festival schedule, visit vjff.org.
Israel’s L-E-V is at the Playhouse Nov. 14-15. (photo by Gadi Dagon)
It feels like it’s all been leading up to this. In 2009, Israel’s Batsheva Dance Company performed at DanceHouse. In 2013, Norway’s Carte Blanche brought Corps de Walk, a work commissioned from former Batsheva dancer and choreographer Sharon Eyal and her partner Gai Behar, to DanceHouse. And, in two weeks, Eyal and Behar’s own troupe, L-E-V, will be at DanceHouse to perform House, a piece originally imagined for Batsheva.
The multiple-award-winning Eyal danced with Batsheva from 1990 until 2008, served as its associate artistic director from 2003-2004 and as house choreographer from 2005-2012. She began choreographing works for other companies in 2009, including Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche. Eyal and Behar launched L-E-V in 2013, with musician, drummer and DJ Ori Lichtik an integral part of the creative team.
“I first saw the work of Sharon Eyal and Gai Behar in 2011 at Jacob’s Pillow Dance Festival [in Becket, Mass.], and it was unlike anything else I have seen before – and I have seen a lot of dance,” said Jim Smith, producer at DanceHouse, in an interview with the Independent.
“When L-E-V had its U.S. debut, the New York Times referred to House as ‘a Hieronymous Bosch painting of an extraterrestrial rave.’ Visually, you can see these two very contrasting images at play together.
“I think the work being created by Sharon Eyal and Gai Behar is very much of our time, as they appear to represent a cross-disciplinary confluence of movement, music, lighting, fashion, art and technology. And this very much appears to be part of the changing world around us.”
DanceHouse, which has “has taken on presenting larger scale dance works (i.e. larger number of performers and/or work requiring a significant level of technical support) that are recognized to be touring internationally,” presents “a mix of both Canadian and international companies and artists,” said Smith. “We are part of a larger national dance touring network that includes such organizations as Danse Danse in Montreal, the National Arts Centre in Ottawa and Harborfront in Toronto.”
Before its arrival in Vancouver on this fall tour, L-E-V will have performed House in Mexico (Guanajuato, Mérida and León), Calgary and Ottawa. After Vancouver, it heads to Los Angeles.
The blurb on the DanceHouse website reads: “With a sensibility seen here in 2013’s Corps de Walk, House’s fiercely talented dancers move with expressive precision as they explore what a house truly is: a home, a club, an asylum, a way station.”
House was first commissioned by the Batsheva Dance Company in 2011. It has developed since then.
“Changes always happen in the piece; it can only be an eye, movement or breathing, but there will always be more layers and renewals,” Eyal told the Independent. “The work is dynamic and alive, so is the music. You can always grow and add a new dimension, it is our fun. It’s not like in a museum – the ones who make it are people and each moment they feel something new.”
A combination of “a lot of talent” and “exhausting work alongside endless happiness,” L-E-V is seeing success. “The company is currently touring many places in the world and receives recognition and a lot of love,” said Eyal.
“In terms of the dancers, we began with eight dancers and reduced it to six. Now we have become more exact and effective. The dancers are wonderful and do not cease to amaze, develop and become more sophisticated. Each one of them is a different star in heaven.”
“The opportunity to present the work of Eyal with her own company of dancers is a way of giving a great range of exposure to her for Vancouver audiences,” said Smith. “She is of a generation and stage of development in her career as such dance artists as Barak Marshall, Wayne McGregor, Benjamin Millepied, Hofesh Shechter, and even Vancouver’s own Crystal Pite, all of whom are making big waves in the international world of dance, and all of whom have been presented on the DanceHouse stage in the past.
“In a relatively short time since leaving Batsheva, Eyal has enjoyed a meteoric rise both as a choreographer for hire and also with her new company of dancers, many of whom are ex-Batsheva dancers. In 2013, Eyal’s company made its North American debut [with House] at Jacob’s Pillow and this past summer was programmed at the prestigious Montpellier Danse festival in France.”
DanceHouse generally presents four productions a season at the Vancouver Playhouse and one in partnership with other presenters at the Fei and Milton Wong Experimental Theatre at Simon Fraser University, explained Smith.
“DanceHouse aims to reflect the range and diversity of the different stylistic approaches being seen in the development of dance as an art form. In many ways, we think about DanceHouse as providing a window on the international world of dance – with dance being a reflection on the world we live – like other art forms.”
House is at the Vancouver Playhouse Nov. 14 and 15, 8 p.m., with a pre-show talk at 7:15 p.m. For more information and tickets, as well as information on other DanceHouse offerings, visit dancehouse.ca.
Buckminster Fuller in front of the Montreal World’s Fair geodesic dome. (photo from Magnum Photos)
Most of us know Richard Buckminster Fuller as “the dome guy” or, more formally, as the 20th-century genius whose life and vision eventually led to the creation of that most unusual architectural form, the geodesic dome. His early architectural designs, set in the 1970s, would go on to win him worldwide acclaim as an early pioneer in environmental stewardship.
Although it’s no surprise in a city that has always lauded ingenuity, that vision would eventually help remake both Vancouver’s skyline and our concept of enduring, smart, contemporary architecture. But what many 21st-century Vancouverites may not know is that Bucky – as he was equally affectionately called by friends and even strangers – was much more than an architect and a futuristic designer. He was a utopist, a scientist, an idealist, a linguist and probably one of the world’s earliest pioneers in sustainable living.
Sam Green (photo by Joanna Eldredge Morrissey)
In fact, he was more than that, says filmmaker Sam Green. Green, who received an Academy Award nomination for his documentary on the Weather Underground in 2003, will be presenting his live documentary of Fuller’s life and accomplishments, The Love Song of R. Buckminster Fuller, at the Vogue Theatre on Nov. 12. Green spent several years pouring through the archives of Bucky’s famous Dymaxion Chronofile to compile this synthesis of the futurist’s life, a legacy that is euphemistically reflected in the title of the film.
Fuller, Green said, “spent almost every waking moment trying to make the world a better place,” a vision that was reflective of the immense affection he carried for the world around him. “There was something about him that struck me as very loving about his enormous amount of energy he put into his projects.”
It’s vigor that seems incredibly relevant to today’s sustainability movement, and our increasing focus on climate change. “I was very struck by the fact that he had these conflicting set[s] of messages,” said Green. “His whole life, or the entire 50 years he spent working on this project [what Green sums up simply as his effort to make the world a better place] are more relevant now than they have ever been.” Doing more with less, smart design, harnessing our resources, “and at the core of all of that is this idea that we have all the resources now to make a high standard of living for everybody on the planet.” It was a viewpoint that not only reflected his unbridled idealism, but his intuitive understanding of the precarious balance of life on what he referred to as “spaceship earth.”
“He was a great poet,” said Green. Fuller instinctually understood the power of allusion. “[He] definitely had a fantastic way with words. A lot of his books have just the most wonderful titles.” Poems with names like “God is a Verb,” whose title might have seemed irreverent at the time, captured the drive of a nascent environmental movement. The name of early work An Operating Manual for Spaceship Earth “would have been a cool title in 1975,” said Green. The treatise clearly showed he was ahead of his time when it was first published as a scientific paper in 1967, and it took readers by storm when it was published as a book a year later. His poems, literary works and uncanny insights into human nature have stood just as much the test of time as his many inventions and forays into architectural design.
Green’s live documentary is an exploration into form and allusion in itself. While this isn’t the first time that the filmmaker has combined live narrative with a pre-recorded film to tell a compelling story, the unorthodox format he uses seems to lend itself to the tale of a man who was clearly not afraid to step outside of the bounds of convention. Green’s personal narration, combined with the live accompaniment by American indie rock band Yo La Tengo, seems to resonate with viewers who, like Green, seek the intimate experience of that old pre-digital-age theatre production.
“One of the reasons I like this form is it keeps the experience in the realm of a kind of cinematic context,” Green explained. “You come to the theatre – we’re going to travel all the way from New York – you’ll buy a ticket and come to the theatre. Everybody will turn their phones off [and] we’ll all experience this piece together. It’ll never be the same way twice, and there is something just wonderful and magic about that.”
For Green, who identifies himself as “culturally Jewish,” Fuller’s story resonates with an element that he finds drives much of his cinematic work: “a kind of yearning quality to it,” he said, “a combination of idealism and yearning, and a little bit of heartbreak that I think is very Jewish.”
It’s the same essence he said that drew him to Yo La Tengo’s emotive work. “I very much wanted to work with them because they had the sound that expresses that. Their sound is beautiful. They make beautiful songs with a little bit of yearning and melancholy to them. And that kind of emotional palate to me is very Jewish.”
Green’s earlier cinematic work includes Utopia in Four Movements, which was featured at the San Francisco Jewish Film Festival in 2010; The Weather Underground (2003), which premièred at the Sundance Film Festival and was nominated for an Academy Award; and Rainbow Man/John 3:16 (1997), detailing the tragic story of unusual sports fan Rockin’ Rollen Stewart. His most recent live documentary, The Measure of All Things (2014) about the Guinness Book of World Records, has also been featured at the Sundance Festival.
But, to be sure, The Love Song of R. Buckminster Fuller isn’t just about an American idealist who helped broaden global viewpoints. The Vancouver première, said Green, is also about Vancouver’s intimate relationship with Bucky and the vision he helped create when he visited the city in 1976.
“There are some great Buckminster Fuller connections to Vancouver,” Green acknowledged, noting that Fuller was a frequent visitor to the city that would eventually lay claim to a geodesic dome of its own – today’s Telus World of Science (better known as Science World), one of this city’s most enduring symbols.
The Love Song of R. Buckminster Fuller will be presented by the PuSh International Performing Arts Festival Nov. 12, 8 p.m., at Vogue Theatre. Tickets, $30.50, can be purchased at voguetheatre.com or by calling Northern Tickets at 1-855-551-9747.
Left to right, Jerry Wasserman, James Gill and Mehdi Darvish star in United Players’ production of Facts. (photo by Doug Williams)
United Players is set to present Canadian Jewish playwright Arthur Milner’s provocative political drama Facts, loosely based on the true story of the 1992 murder of an American archeologist in the West Bank and the joint Israeli/Palestinian police investigation that followed.
The play has been produced in Ontario and the United Kingdom and was translated into Arabic for a tour of various West Bank cities in 2012. The United Players’ production marks the play’s Western Canadian première, with Jerry Wasserman as Yossi, the hot-headed Israeli detective; Mehdi Darvish as Khalid, Yossi’s Palestinian counterpart; and James Gill as Danny, the fervent settler accused of the murder. Adam Henderson helms this production as it navigates its way through some rough waters, exploring not only the Israeli-Palestinian conflict but also the religious-secular divide between Jews within Israel. The action takes place in a cramped, hot interrogation room in the West Bank and, as the story unfolds, it is revealed that the archeologist was unearthing facts that brought into question some accepted historical beliefs fundamental to Judaism.
The Jewish Independent sat down with Wasserman, Henderson and Darvish one morning before a rehearsal.
Wasserman – who is also a theatre critic and head of the theatre and film department at the University of British Columbia – described himself as an American Jew brought up by liberal Jewish thinkers. He said his research and immersion into this play angered him, but made him see the Middle East conflict in a new light. “This play really presses a lot of emotional buttons for me,” he said. “It digs down through layers into very specific details of [the] lives of people and, through this complexity, we see things more clearly.”
As to his character, Wasserman said, “Yossi’s father was a Zionist who had a dream of a state which has been compromised by the new wave of radical settlers who he sees as having a medieval way of thinking…. This has changed the state of Israel that Yossi loves. The real conflict in this story is not between Yossi and Khalid, but between Yossi and Danny.
“Because Yossi operates at a high emotional temperature, I had to find the proper rhythms and the right places to come up and go down so that I did not peak too early. There were many challenges, but it was infinitely fascinating. You don’t get too many chances to play a role like this.”
The heart of the story is the investigation, as the two detectives sift through various pieces of evidence and theories on the murder.
“I have acted in over 100 police dramas, both television and cinema, and I have to say that this, by far, is the most complex, sophisticated and confusing ones I have ever been involved in,” said Wasserman. “The research has been very detailed and the play is very accurate, re: police investigation and techniques. It is a tremendous intellectual puzzle. The evidence is circumstantial and we never find the smoking gun. The dialogue is an emotional mine field that we, as actors, all have to move through.”
Police dramas often feature a good cop/bad cop relationship. As to whether or not audiences will get to see that dynamic, Wasserman said, “Yossi tries to act the good cop but he is the bad cop by nature. He has lots of emotional buttons to press. The great thing about this play is that everyone’s buttons get pressed. Everyone has a turn to make impassioned monologues and everyone gets to lay his emotional/political cards on the table.”
Gill finds his role of Danny an interesting challenge. “While so much of his absolutist approach to his faith and his politics is antithetical to my own liberalism, nonetheless, being a Jew gives me an empathy for where his faith and politics are grounded,” he said in an email. “That gives me a starting point from which I can start to encompass the character.”
He sees the essence of the play as “the way in which these three men both conform to and transcend their stereotypes. We start with the ‘facts’ of an Israeli, a Palestinian and a settler and, on one level, each of these men is true to those simplistic profiles, but we discover that each of them is much more complicated.”
For Darvish, his involvement in the play also gave him new insights into the conflict. “I came to understand the Israeli position from an emotional perspective better as a result of working on this play,” he said, “but I also see more deeply the Palestinian position. I see the characters often acting like children throwing tantrums instead of sitting down and logically dealing with the situation. It saddens me because right now I do not see a resolution to the dilemma.”
Henderson said he enjoys working with a small cast and a modern-day setting, which contains no idiosyncrasies as to period or language. With an all-male cast, the action is testosterone driven and reflective of the politics of the Middle East, he said.
Henderson expressed surprise that more Canadians do not know about Milner, whose work he has come to appreciate more during the course of his research and preparation for this production.
“Milner has taken a very sensitive subject and effected meticulous research to create a platform to encourage serious dialogue,” he said. “His position is Socratic – he wants to encourage discussion versus making a point and this is brought home by his equivocal ending.”
Henderson acknowledged that the play is likely to be controversial but stressed that, “the key to theatre is that it is a thought experiment where we can do dangerous things with no consequences except people might have their perspectives broadened. If that is what happens in this play, then we will have accomplished something.”
He added, “As the news media move toward ‘infotainment,’ and the sound bites become faster and shallower, the longer form of theatre allows us to look a little deeper at things. For me, it is critical to protect ourselves from merely having our prejudices reinforced. Theatre was invented as a public forum, and we need to gather, to discuss, now more than ever.”
As to why Vancouverites should see the play, Henderson said, “It is an unusually well-crafted play. It is funny, witty, challenging and surprising, and you won’t find anything like it on television. Also, this is a great opportunity to dress up, go out and mingle with community and exercise the soul. Parking is easy and you come out after the show by the beautiful Jericho Beach with something new to talk about.”
Facts is at Jericho Arts Centre from Nov. 7-30. As an added feature, there will be a reading of Masada, Milner’s companion piece to Facts, after every Friday performance. Milner will be in Vancouver the week of Nov. 11 and will be attending performances during that time. For tickets and more information, visit unitedplayers.com.
Tova Kornfeldis a Vancouver freelance writer and lawyer.
Roberta Grossman (director), left, and Nancy Spielberg (producer) on the Duxford set of Above and Beyond. (photo from playmountproductions.com)
On Nov. 6, the 26th annual Vancouver Jewish Film Festival begins with the Canadian première of Above and Beyond, about a mainly American group of pilots, veterans of the Second World War, who fought for Israel in 1948. As part of Machal (foreign volunteers), “this ragtag band of brothers not only turned the tide of the war, preventing the possible annihilation of Israel at the very moment of its birth, they also laid the groundwork for the Israeli Air Force.”
Directed by Roberta Grossman, the 96-minute documentary was produced by Nancy Spielberg, who will be in Vancouver for the screening. Spielberg took the time to speak with the Independent via email in anticipation of her visit.
JI: What was it about the Machalniks’ experiences, in particular those of the air force pilots, that you found so compelling that you not only wanted to make a documentary but are following up Above and Beyond with a feature film version?
NS: First of all, we focused on pilots because, frankly, pilots are a lot sexier than infantry! There’s a romantic, tough, swagger, daring, live-on-the-edge, sweep-you-off-your-feet personality that felt bigger than life. I was so curious why these WWII pilots survived their tour of duty for the good ol’ US of A and then turned around and risked their lives for another country, and I was surprised that most of them were not at all Zionistic.
What drives a person to risk everything to save another person in need? Would I do that? Would you? Do we still do that as Americans? Is it part of that generation? Is it part of the American psyche? I was intrigued by their motivation and then I was swept off my feet by their charm and their chutzpah! The “adventures” that took place along the way and during their time in Israel make for great storytelling.
JI: What will a feature film be able to communicate that the documentary could not, or did not?
NS: I do hope that a feature film (dramatization) will communicate the same messages that we hope the doc does – how far does one go to help a brother in need? With a dramatization, we have more freedom to embellish the pilots’ stories and capers that we may have had to reduce in the doc or discard altogether. There are so many details and wild antics that could not be included in the doc but we’d love to explore in the dramatization.
JI: Near the end of Above and Beyond, you ask Coleman Goldstein whether he thought Israel would survive in tough times. What prompted the question and what was your reaction to his response, that, yes, it would survive, as “Israel’s an article of faith”? What is your answer to the question, and is it different now than it would have been when you asked it, given the most recent Israel-Hamas conflict (and the antisemitism it exposed) and as the U.S.-led fight against IS continues?
NS: We asked every pilot we interviewed whether he thought Israel had a fighting chance, or whether he thought he might not make it out alive. George Lichter said, “I thought we would lose….” We were surprised at Coleman’s answer because he was a very pragmatic, matter-of-fact gentleman, and he responded from his heart, as many of the pilots we interviewed did. Maybe they’ve become “softies” in their golden years, but there was a lot of emotion in our interviews.
My personal answer is that I am a spiritual person, and I agree with Coleman and Prime Minister David Ben-Gurion who, in 1956, said, “In Israel, in order to be a realist you must believe in miracles.” I need to hold on to that thought and belief in spite of the latest Israel-Hamas war and the antisemitism that has, once again, reared its ugly head.
JI: How does Israel and Judaism or Jewish culture fit into your life, and what would you tell North American Jewish youth today who, if polling is any indication, aren’t as connected to the Jewish state or Jewish practice as previous generations?
NS: I grew up in Phoenix, Ariz., where our family was the only Jewish family in the neighborhood (who didn’t always take too kindly to us). We were three-times-a-year Jews – Pesach, Yom Kippur and Chanukah. Outside of that, we were gastronomical Jews with a love for Yiddish and Russian melodies.
When I was in fifth grade, I started to go to a Jewish day school, which prompted me to come home and tell my mom that we needed to start keeping kosher so that I could have school friends over for play dates. Slowly, we evolved into kosher and Sabbath observance. When I was 19, I decided to leave UCLA and spend time on a kibbutz in Israel with my sister. That was it! I fell head over heels. I found a home that I didn’t know I was even missing. From that time on, I’ve been involved in Israel, Judaism and Jewish culture. My children went to Jewish schools and Jewish camps. In fact, my 26-year-old, Jessy Katz, has been living in Israel for two years. When I say to her, “I miss you, come home!” She says, “I am home.”
One of my main motivations in making this film is to reach out to the North American Jewish youth who feel very disconnected in the hopes that this film will be a much-needed shot in the arm of Jewish pride. I’m hoping that they will find a connection and take a fresh look at Israel and how it plays an integral part in being a Jew.
Above and Beyond screens at Fifth Avenue Cinemas on Nov. 6, 7 p.m. For more information about the film, visit playmountproductions.com. For the full schedule and tickets for this year’s Vancouver Jewish Film Festival, which runs Nov. 6-13, visit vjff.org.
Maya Tenzer joins Ballet BC for its 2014/15 season. (photo by Michael Slobodian)
Earlier this year, Ballet BC welcomed five new company members, bringing the total to 14, and four new apprentices. Now part of this intimate group is Maya Tenzer, who has joined the company as an apprentice for its 29th season, which begins Nov. 6 with No. 29.
No. 29 features the world première of White Act by Fernando Hernando Magadan, the Ballet BC première of An Instant by Lesley Telford and the reprisal of A.U.R.A. by Jacopo Godani.
“With this program, we will have commissioned 29 new works over the past five years by dance makers from around the world,” said Emily Molnar, Ballet BC artistic director, in a press release. “No. 29 is an evening that will showcase a dynamic and versatile range of dance while offering an engaging experience for audiences. It will grab you, excite you and challenge your ideas of ballet.”
Tenzer, 20, should fit in well with Ballet BC, which prides itself on being “grounded in the rigor and artistry of classical ballet, with an emphasis on innovation and the immediacy of the 21st century.” She joins the company from Arts Umbrella, with whom she studied and worked – with countless choreographers – from age 10.
“I was led to Arts Umbrella through a friend who did the summer intensive there and loved it,” Tenzer told the Independent. “I had begun to dance one year before in Paris, France, where my family had been living for the year. I started out taking one class a week, but I knew the following year I wanted to be doing more. In the many years to come of my training at Arts Umbrella, the school became my home and provided me with invaluable training. At Arts Umbrella, I was given the tools to joy and success in dance and in the world.”
She also trained at the San Francisco Conservatory of Dance. In a four-week summer intensive, she said, “I danced six days a week with demanding classes and a high level of commitment always demanded. The training there was vital to me. I was exposed to Gaga (a movement language created by Ohad Naharin, the director of Batsheva Dance Company in Tel Aviv) and all the studios there have no mirrors, so I learned to love the freedom of not having the mirror as a distraction while dancing. I felt my individuality and ownership as a dancer take off while there.”
Locally, Tenzer apprenticed, in 2013, with choreographer Justine A. Chambers in the creation of Sphinx, “a solo created in collaboration with contemporary gamelan composer, Michael Tenzer,” according to Chambers’ website.
“For that project, being an apprentice meant acting as a body Justine could look at her movement on,” Tenzer told the JI. “It sometimes meant developing movement with her, and it was above all an amazing opportunity to work alongside Justine, who is an intelligent and generous artist.
“Also, Michael Tenzer is my father! Both my parents are music teachers – my dad at UBC and my mom at Suncrest Elementary School in Burnaby. The creative arts have always been an irreplaceable part of my daily life.”
As has Judaism, “in bringing together … family in a special way. I was never strongly religious but I love the bonds that the traditions of Judaism have made for me,” she said.
On the international front, Tenzer has toured with Arts Umbrella Dance Company, an experience she described as “a joy.”
“I thrive on the relentless schedule and the new experiences,” she said. “Last year, we spent one week in Holland and one week in Italy, taking workshops, rehearsing with NDT (Netherlands Dance Theatre), and preparing our own show. Being tired was a constant but, often, being at your end can be a catalyst for the best kinds of change and improvement.”
And that brings us back to Ballet BC. “Being an apprentice means I have the same schedule and opportunities to work with the incredible people that come to Ballet BC, but that often I will be an understudy for a piece instead of dancing in the first cast,” she explained. “This gives me a chance to learn from the artists of Ballet BC as they work to create the powerful art we see onstage.”
Tenzer spoke of dance as allowing her to connect body and mind. “To practise aligning the two daily, as my job, is a gift and an inspiration,” she said. “The environment at Ballet BC is supportive of being vulnerable and taking risks in order to enter new territory, and this is exciting and a privilege to be a part of.”
No. 29 is at the Queen Elizabeth Theatre Nov. 6-8, 8 p.m. Tickets range from $30 to $80 (including service charges) and can be purchased from Ticketmaster at 1-855-985-2787 or ticketmaster.ca.
Newly elected Knesset member Ruth Calderon caused a sensation last year when she engaged a member of the Sephardi religious party Shas in a discussion of Talmud during her inaugural speech in the Knesset. She had brought her copy of the Talmud to the podium and read a short excerpt about Rav Rehumi, who stayed at the yeshivah to study on Yom Kipper eve. He fell to his death at the moment that his wife realized he was not coming home.
Calderon read the cryptic tale first in Aramaic “for the music” and then in Hebrew. The story is one of 17 included in A Bride for One Night, an English translation (by Ilana Kurshan) published earlier this year by the Jewish Public Society. The book was originally published in Hebrew, in 2001.
In the lingo of these modern times, this book is a “disruptor.”
Although the talmudic tale focuses on Rav Rehumi, Calderon in the book re-imagines the event from the perspective of his unnamed wife. The vivid first-person account portrays the wife’s challenging life, from her joy in marriage to her anxiety as she waits.
Similar to the format of the Talmud, Calderon also offers commentary on the story. “Just between us,” she writes in her breezy style, “Rev Rehumi was a rather mediocre scholar.”
Calderon draws a parallel to the legends of Odysseus, who took 10 years to return home after the Trojan War. “The time has come to turn to the true hero of the story, she who carries Rav Rehumi on her shoulders. She is like Odysseus’ Penelope,” Calderon says, referring to the wife of the wandering warrior. “If Rav Rehumi achieved any fame, it is thanks to his wife.”
The commentary, with footnotes, offers some observations about the Rav’s emotional life, romance and morals. Calderon also provides sources for further readings.
In the lingo of these modern times, this book is a “disruptor.” Calderon has flung open the doors to the study halls. She has liberated the ancient texts, taken them out of the exclusive preserve of religious male scholars and made them accessible to anyone who is interested in learning about how to be a good human being.
Calderon brings a strong woman’s voice to talmudic vignettes about a world that is, in her words, “topsy-turvy, frightening and funny. It is a world in which the impossible happens.”
A mortal steals the knife of the Angel of Death, God asks to be blessed by a human being, the wife of a Torah scholar dresses up as a prostitute and seduces her husband, a rabbi sets a test for his wife that leads to her suicide. Legend, creative literature, relationship advice, folk sayings, guideposts for a moral life – Calderon turns the kaleidoscope just a little bit and the ancient Talmud becomes a text for modern times.
The title of the book, A Bride for One Night, comes from a text in the Babylonia Talmud. In two different passages, highly respected itinerant rabbis ask, Who will be mine for a day? The question is associated with a woman selected by the community as a “wife” for the duration of the rabbi’s stay. Calderon imagines these situations from the perspective of a widow who has been asked to be a bride for one night.
“I don’t know how one learns a story like this in a yeshivah,” she writes in her reflections on this scandalous passage. “I read it with mixed feelings.”
After considering several possible ways to understand the tale, she concludes that the concept of marriage for a day is intended as a test of Western conventions about love.
Calderon approaches the sacred text with the belief that the contemporary Jewish bookshelf should include the Talmud, Midrash, kabbalist works and other religious texts, as well as Jewish literature and Torah.
The Talmud and other sacred texts are the common denominators of all the Jews of the world, she said recently during an address to graduates of Hebrew College in Boston. More than half of the Jews in the world are secular.
Calderon was raised in a secular family and neither her school nor the local library had a copy of the Talmud. She had to search for copies of sacred texts. She began to study Talmud after her army service.
“This is something that belongs to me, is part of me and I had to reclaim it,” she told the graduates.
Long before she entered politics, Calderon was involved in studying Talmud and bringing sacred Jewish texts to all Jews, regardless of religious affiliations or their level of learning. She founded Elul in Jerusalem, Israel’s first “secular yeshivah” for men and women, religious and non-religious. She also started Alma, a Home for Hebrew Culture, in Tel Aviv.
For many years, she studied daf yomi, a daily page of the Talmud, with a chavruta, a study partner. She has a doctorate in talmudic literature from Hebrew University.
With this book, Calderon challenges the reader to imagine the life and inner thoughts of religious leaders, to see beyond the text on the page and flesh out all those mentioned in the tale. She takes ancient theology, often with outdated and distasteful concepts, and reinterprets them for the modern age.
Similar to Talmud, her book is best read with a study partner. She has said during the U.S. promotional tour for the book that the imaginative tales reflect what she was thinking at the time she wrote them, and that she might offer an entirely different point of view if she were to become engaged once again in studying those passages. Yes, she is right there. A Bride for One Night is just the beginning of the discussion.
Media consultant Robert Matas, a former Globe and Mail journalist, still reads books. A Bride for One Night is available at the Isaac Waldman Jewish Public Library. To reserve it, or any other book, call 604-257-5181 or email library@jccgv.bc.ca. To view the catalogue, visit jccgv.com and click on Isaac Waldman Library.
With antisemitism on the rise in France, England and around the world, and Israel once again facing strong headwinds, it seems like a good time to turn to history in search of some perspective on current events.
Earlier this year, PBS aired a popular two-part series on Jewish history written and presented by historian Simon Schama. The account was based largely on his book The Story of the Jews: Finding the Words 1000 BC-1492 AD (ecco, 2013), published last year in Great Britain. The second volume – from 1492 to the present – is expected this fall.
Schama, a highly accomplished, award-winning historian, has written 16 books and 40 television documentaries, focusing mostly on art histories and histories of France, the Netherlands, Britain and the United States. He has also written a book about Israel and the Rothschilds.
In The Story of the Jews, he abandons the distance of an academic historian right at the start. This is the story of his people, not an abstract theoretical exercise of writing history. He is emotionally invested in this project and his passion spills out on every page.
It is also clear from the beginning that he is foremost a storyteller. With incredible details, Schama delights the reader with engaging vignettes about both ordinary and powerful people. He recreates pivotal moments in history by describing the events in the life of individuals, from Sheloman, a young Jewish mercenary in service of the Persian authorities in 475 BCE, to Abraham Zacuto, a talmudist and astronomer who put together the almanac used by Christopher Columbus in 1492.
His chatty approach to history occasionally drifts sideways, as if he just thought about something else he has to tell you. It is sometimes difficult to keep up with him, as he jumps across centuries, from country to country, commenting about historical figures without much of an introduction.
Yet, the story he tells is compelling. Schama wanders through numerous far-flung Jewish communities offering fascinating glimpses of their lives and surprising perspectives on Jewish worship, relations with non-Jews and violence against Jews.
More than is usually acknowledged, the Jewish community has lived in harmony with paganism, Christianity and Muslim societies. Yet the portrait of Jewish history, as he presents it, is not pretty.
Despite periods of well-being, sometimes stretching over hundreds of years, the story of the Jews is an account of a people caught in a Sisyphean cycle of settlement, prosperity, persecution and devastation, over and over again, beginning in Egypt in the 13th century BCE.
Schama delves deep into the brutal rhetoric and cruel fantasies that provoked the recurring waves of murder and expulsion. Over two millennia, the venom spread from Egypt to Palestine and throughout the empires of Persia, Greece, Rome and Constantinople, through the Near East and the Iberian peninsula.
He shines an especially bright light on the vile attacks by the disciples and followers of Jesus, who turned Jews into god-killers and child murderers. He writes about Jewish moneylenders, international traders, tax collectors and confidantes of royalty who were once in favor and then were not.
Schama begins his story in Elephantine, an island in the Nile. The Persians in 525 BCE found a thriving, well-established Jewish community in Elephantine, with a temple that had many similarities to the First Temple in Jerusalem that had been destroyed 61 years earlier.
Documents describing Elephantine provide the first hard evidence of daily life of Jews in antiquity. The Elephantine community was wiped out by the mid-fourth century BCE.
Again and again, Jewish communities were decimated. England expelled its Jews in 1290; France issued edicts expelling Jews in 1306 and again in 1394. Spain followed in 1492 and Portugal in 1497. Schama identifies 29 towns under Christian rule across Europe that kicked out Jews between 1010 and 1540.
Many civilizations have thrived and then disappeared. But Judaism has always found a way to thrive and survive. Schama attributes the durability of Judaism to its devotion to words.
Judaism depends neither on its leaders, its places of worship nor its institutions. The Jewish people are the People of the Book; words are the invisible thread that binds Jews together over the millennia, Schama posits. And, according to his perspective, the Torah is the work of the religious and intellectual elite in the eighth to fifth century BCE, nearly 500 years after the Exodus was supposed to have happened.
Reverting to his role as academic, he notes that no evidence – archeological or otherwise – has turned up to substantiate the Exodus story. By his account, the Hebrew Bible is a picture of Israel’s imagined origins and ancestry that converges at some point with the reality of Jewish history.
The genius of the priests, prophets and writers, intellectual elites, was to make their writing sacred, in standardized Hebrew, as the exclusive carrier of YHWH’s law and historic vision, Schama writes. “Thus encoded and set down, the spoken (and memorized) scroll could and would outlive monuments and military forces of empires.”
The Hebrew Bible was fashioned to be the common possession of elite and ordinary people, he writes. The divinity was reflected in the words of the Torah, not in an image of a divine creature or a person. And the message of the Torah was not confined to a holy sanctuary. It is to be posted on the doorpost of every Jew and bound on the head and arms of all Jews as they prayed.
“No part of life, no dwelling or body, was to be free of the scroll-book … the Torah was compact, transferable history, law, wisdom, poetic chant, prophecy, consolation and counsel…. The speaking scroll was designed to survive incineration … the people of YHWH could be broken and slaughtered, but their book would be indefatigable.”
In other words, survival depends on, as his subtitle says, “finding the words” for Torah study and the story of the Jews.
Media consultant Robert Matas, a former Globe and Mail journalist, still reads books. Simon Schama’s book is available at the Isaac Waldman Jewish Public Library. To reserve it, or any other, call 604-257-5181 or email library@jccgv.bc.ca. To view the catalogue, visit jccgv.com and click on Isaac Waldman Library.
Joyce Ozier’s exhibit, Making Panels panels panels panels, is at Zack Gallery until Nov. 2. (photo by Olga Livshin)
Splashes of colors hit you as you walk into the Sidney and Gertrude Zack Gallery’s latest show, Marked Panels panels panels panels, by Joyce Ozier. The green panels smile. The dark purple growl, “Notice us!” The blue looks like wings in the sky, soaring in joy.
Ozier is fascinated by color. In all of her creative pursuits, color has played a prominent role. With an education in art and theatre, she has always been drawn towards the unusual, the colorful and the non-standard. “I was interested in experimental things, in visual theatre,” she told the Jewish Independent.
She arrived with her husband to Vancouver in 1970, and subsequently co-founded Royal Canadian Aerial Theatre, an experimental theatrical enterprise. “We did outdoor events with audience involvement,” she said. “Our performances didn’t usually have a story, but they often had a message. We employed lots of imagination in our shows. One of our pieces had hundreds of colorful balloons. We created a moving sculpture out of them…. It was about beauty and pollution.”
The theatre was a step towards her current show, but it took many more years before the full connection would materialize. After a decade of producing shows, Aerial Theatre dissolved, and Ozier was ready for a new direction, although she wasn’t sure what that would be. She tried her hands at theatre administration, was one of the founders of what is now known as the Scotiabank Dance Centre, but her creativity demanded a more visual outlet.
“In the late 1990s, I founded WOW! Windows,” she said. “It was a display and design company, and we built it into an award-winning firm. We had many retail clients in the Pacific Northwest, but it started by accident. Of course, starting your own business is risky, but I’ve always had courage.”
Her son was a student at the University of British Columbia then. “He knew I was searching,” Ozier recalled. “One day, he came home and said, ‘The Royal Bank at the corner has terrible window displays. Why don’t you offer them to make their windows for free?’ I did. Later, I made photos of the windows, created a brochure and sent it to the other stores in town. I got my first offer the next day: to design windows for Wear Else. Their designer just left, and they liked my brochure.”
Ozier used her creativity to the max with her new company but she had to learn a lot. “You just take one step after another,” she said. “One of the lessons I learned was that retail display is not fine art. It’s a sales tool. The artist must make use of what the company is selling. But I used lots of colors in my windows.”
In 2009, she retired from WOW! Windows, but she still had a passion for colors and looked for a new way to find her expression. “I started painting. I never painted before, but I had an art education.” Never having been interested in realistic figurative art, she immersed herself in abstract painting.
“I wanted to paint large canvases, to work big, but there was a problem. To move such paintings, you need a truck. Then I thought: if I do it by several panels, I could fit a panel in my car.” That was how her current show at the Zack Gallery came into being.
“I always start with four panels,” she explained of her process. “I paint all the panels at once, trying to get them to balance. After awhile, I move the panels, shuffle them around, change arrangements, turn them sideways or upside down, and a new composition emerges. I paint some more. I never know where I [will] end up with each piece. It’s an adventure.
“Sometimes, I have to take one panel out – three panels work, but four don’t. I always know when the piece is finished. There is energy there I don’t control. It sweeps me along.”
Anything could be inspiration for a piece, a starting point. One piece, “Chefchaouen,” is inspired by a real place, the eponymous village in Morocco. The four panels of the painting form a mosaic of blue and white, of sky and snow.
“There is a story there,” said Ozier. “Everything is blue in that village, the houses, the streets. That village in the mountains was discovered in the 1930s by a group of European Jews escaping Nazism. They thought they found safe haven. They didn’t, but they didn’t know it then. They settled there and painted everything blue. Blue has a special meaning in Judaism, divinity and equilibrium. Later on, they found out that blue stucco also repelled mosquitoes. There are no Jews there now, but the color remains.”
Some of her other paintings have more poetic titles, like a symphony of grey called “Cloud Thoughts” or a smaller one-panel painting, “Summer Wind,” a quaint green explosion. “Coming up with titles is difficult. I have to think about them a lot,” Ozier said.
Her first solo exhibition opened at the Zack Gallery on Oct. 2 and continues until Nov. 2. To learn more, visit joyceozier.ca.
Olga Livshinis a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
