Arts & Culture – Page 30

Art Downtown at Lot 19

Art Downtown festival runs to Sept. 15 in Lot 19 downtown. (photo from Vancouver Visual Art Foundation)

On June 21, Vancouver Visual Art Foundation and Downtown Van (formally, Downtown Vancouver Business Improvement Association) launched the fourth edition of the outdoor summer festival Art Downtown. Every Wednesday and Friday from 11 a.m. to 5 p.m. until Sept. 15, people can drop by Lot 19 to see a diverse array of artwork from both emerging and established artists, while enjoying live music.

“Art Downtown is more than just an exhibition – it’s a catalyst for artistic expression, fostering an environment where artists can thrive and connect with a broader audience,” said executive director Lisa Wolfin, a member of the Jewish community. “We want to inspire the public to appreciate and engage with the power of art.”

To meet the participating artists virtually and for more information, visit vanvaf.com/art-downtown.

Preserving links to past

Screenshot from Jordan Amit’s video on the former Jewish settlement of Edenbridge, Sask. The synagogue and the Jewish cemetery are cared for by the Saskatchewan Wildlife Federation.

Almost 120 years ago, 56 Jews fled Lithuania and ended up in a remote Saskatchewan prairie that would become the community of Edenbridge. The town and its people have scattered to the winds – but the spirit of the place comes to life again in a short video by North Vancouver filmmaker Jordan Amit.

In addition to filmmaking – which he hopes to turn into his main gig – Amit has a window-washing business and, for years, traveled to Alberta and Saskatchewan for seasonal work. Through the Chabad rabbi in Saskatoon, he learned about the abandoned Jewish settlement, which lies about two-and-a-half hours northeast of Saskatoon – the last leg on a dirt road.

The shul is beautifully maintained – or it was when Amit took his camera there – and the small synagogue is open to the public. Said to be the oldest shul in the province, the site, which includes the Jewish cemetery, is cared for by the Saskatchewan Wildlife Federation, which was granted a 40-acre plot in 1987, when the rest of the Jewish settlement’s land was sold.

photo - The Jewish cemetery at the former Jewish settlement of Edenbridge, Sask — The Jewish cemetery at the former Jewish settlement of Edenbridge, Sask. *(photo by Jordan Amit)*

The Litvaks, Lithuanian Jews, who came here did not set out for one of the coldest, most unforgiving places on earth. They traveled first to South Africa, where one of their party, Sam Vickar, saw an ad for cheap land in the Canadian West. They uprooted again, arriving in 1906 at what they would call Edenbridge.

Originally, they wanted to call it Jewtown, but the government balked. They chose Edenbridge as a sort of Anglicization of “yidden bridge,” reflecting the bridge that traversed the small Carrot River nearby.

On their initial 160 acres, bought for $10, they built Beth Israel Synagogue. Expanding out into other fields, three schools, a Jewish community hall and numerous houses would eventually form the structures of a community that, at its peak in the 1920s, was home to 170 people.

Indigenous neighbours helped teach them how to survive the first winter with sod-roofed dugouts.

While other Jewish settlements in Saskatchewan were funded by Baron Maurice de Hirsch, Edenbridge does not appear to have received such support, Amit said, though he doesn’t know that for sure.

The Depression and the general trend toward urbanization started a decline in the town and, by 1964, the synagogue ceased operation. The exact date of Edenbridge’s transition into ghost town status is vague, in part because local farmers moved to Saskatoon and returned seasonally to farm.

At the cemetery, the last gravestone is dated 2000, a departed resident who chose to be interred in the cemetery of the abandoned village. The last bar mitzvah at the shul was more recent – the child of one of the community’s descendants, in 2021. Amit had his own bar there, too. Born in Israel, he came with his family to Vancouver as a child and never became bar mitzvah. So, his friend and rabbi in Saskatoon suggested he have a belated ceremony at the historical site, and it was the first since 1976.

As more people have seen the video online, descendants of the settlers have reached out to him. He is piecing more history of Edenbridge together, and also is on the lookout for additional off-the-beaten-path Jewish (and non-Jewish) sites to explore for his growing online video explorations.

photo - Jordan Amit — Jordan Amit (photo from Jordan Amit)

“I always have this feeling when I see Jewish sites that are kind of in the middle of nowhere, there’s something so fascinating about it,” he said, recalling a trip to the Indian province of Kerala, where he explored three abandoned synagogues. “When you go into the synagogue, it’s a special experience. You go in and you just feel this presence of the building and the silence.”

Amit invites anyone with knowledge of Edenbridge, or ideas for future videos, to contact him at [email protected]. He also recommends road-trippers make the diversion to the remote location to see the place themselves.

“It’s fully open to the public,” he said. “You just open the latch and walk inside. You only see that in Saskatchewan, that kind of trust. They just trust that it’s going to get taken care of and respected.”

In the story of Edenbridge, Amit contemplates the settlers’ tenacity and the opportunities, sometimes hard won, of newcomers to a land.

“[It is] something we could learn from, that despite difficulties of life and all the odds against us in realizing our dreams, really, if we put our mind to it, we can do whatever we want,” he said. “We can self-realize and create the life that we want, just like they did.”

This year’s book award winners

The fourth edition of the Western Canada Jewish Book Awards, presented by the Cherie Smith JCC Jewish Book Festival, culminated in a May 24 event at the Jewish Community Centre of Greater Vancouver at which the winners in six categories – fiction, non-fiction, memoir/biography, children and youth, poetry, and Holocaust writing – were announced.

Winning the Nancy Richler Memorial Prize for fiction was Simon Choa-Johnston for House of Daughters, a stand-alone sequel to The House of Wives. Based on the author’s family, this multi-generational family saga opens when Emanuel Belilios, a wealthy Jewish opium oligarch, suddenly leaves Hong Kong, and his junior-wife, Pearl, blames Semah, the senior-wife. Pearl kicks Semah out of the mansion where the polyamorous trio had lived and shuns everyone, including her daughter. This is a story of passions and regrets, wealth and survival, set in Eurasian Hong Kong’s high society.

In the non-fiction category, the Pinsky Givon Family Prize went to Alan Twigg, editor of Gidal: The Unusual Friendship of Yosef Wosk and Tim Gidal, a selection of letters between Israeli Tim Gidal, a pioneer in photojournalism, and Vancouver scholar and art collector Yosef Wosk. In the late 1920s, with his handheld Leica, Gidal was able to travel in interwar Europe, capturing rare images of Polish Jews prior to the Holocaust. Wosk first encountered Gidal’s work in a magazine in 1991 – the photo “Night of the Kabbalist” captivated him. Wosk was determined to meet the photographer and eventually did. The two became close and the letters – selected by Twigg from hundreds the friends exchanged over two decades – both memorialize Gidal as an artist, scholar, historian of photography and “hero among the Jewish people,” and also capture the essence of Gidal and Wosk’s friendship.

The Cindy Roadburg Memorial Prize for memoir/biography was given to Marsha Lederman for Kiss the Red Stairs: The Holocaust, Once Removed. In it, Lederman delves into her parents’ Holocaust stories in the wake of her own divorce, investigating how trauma migrates through generations. At the age of 5, Lederman asked her mother why she didn’t have any grandparents, and her mother told her the truth: the Holocaust. Decades later, her parents having died and now a mother herself, Lederman began to wonder how much history had shaped her life and started her journey into the past, to tell her family’s stories of loss and resilience.

Boy from Buchenwald by Robbie Waisman (with Susan McClelland) took the Diamond Foundation Prize for children and youth writing. In 1945, Robbie Waisman, then Romek Wajsman, had just been liberated from Buchenwald, a concentration camp where more than 60,000 people were killed. He was starving, tortured and had no idea if his family was alive. Along with 472 other boys, these teens were dubbed “the Buchenwald Boys.” They were angry at the world for their abuse, and turned to violence: stealing, fighting and struggling for power. Few thought they would ever be able to lead functional lives again, but everything changed for Romek and the other boys when Albert Einstein and Rabbi Herschel Schacter brought them to a home for rehabilitation.

The Betty Averbach Foundation Prize for poetry went to Tom Wayman’s Watching a Man Break a Dog’s Back: Poems for a Dark Time, which explores the question of how to live in a natural landscape that offers beauty while being consumed by industry, and in an economy that offers material benefits while denying dignity, meaning and a voice to many in order to satisfy the outsized appetites of a few. A cri de coeur from a poet who has long celebrated the voices of working people, the collection also grapples with why “anyone, in this era so profoundly lacking in grace, might want to make poems – or any kind of art.”

Rounding out the awards was the Kahn Family Foundation Prize for Holocaust writing, which was given to But I Live: Three Stories of Child Survivors of the Holocaust by Charlotte Schallié (editor) and illustrators Miriam Libicki, Barbara Yelin and Gilad Seliktar. But I Live is a co-creation of the novelists and four Holocaust survivors: David Schaffer, brothers Nico and Rolf Kamp, and Emmie Arbel. Schaffer and his family survived in Romania due to their refusal to obey Nazi collaborators; in the Netherlands, the Kamps were hidden by the Dutch resistance in 13 different places; and, through the story of Arbel, who survived Ravensbrück and Bergen-Belsen concentration camps, we see the lifelong trauma inflicted by the Holocaust. The book includes historical essays, a postscript from the artists and words of the survivors.

Each category in the 2023 Western Canada Jewish Book Awards was assessed by five jurors, in different configurations, from the following professionals: Linda Bonder, a retired librarian; Susanna Egan, professor emeritus of literature in English from the University of British Columbia; Dave Margoshes, who writes fiction and poetry on a farm west of Saskatoon; Norman Ravvin, a writer, teacher and critic living in Montreal; Rhea Tregebov, an author of fiction, poetry and children’s picture books, and a retired professor in the UBC Creative Writing Program; Elisabeth Kushner, a librarian and writer living in Vancouver; Karen Corrin, former head librarian of the Isaac Waldman Jewish Public Library at the JCC; Nicole Nozick, former executive director of the Vancouver Writers Fest and former director of the JCC Jewish Book Festival; and Anita Brown, who is working with the Waldman Library.

Daniella Givon, chair of the awards committee, introduced the May 24 event, sharing a bit about the awards and thanking all the sponsors and participants for the high calibre and diversity of the submissions. The winning authors then said a few words, and Dana Camil Hewitt, director of the JCC Jewish Book Festival, closed the proceedings with more thank yous, and an invitation for everyone to purchase and enjoy the books.

– Courtesy Cherie Smith JCC Jewish Book Festival

Sizzlin’ Summer in June

The Vancouver Men’s Chorus “brings such an effervescent joy to the shows and the spring season in particular is a big party for the chorus and audience alike.” (photo by Mark Burnham Photography)

The Vancouver Men’s Chorus (VMC) Sizzlin’ Summer concert promises to be a lively and entertaining experience.

“The VMC is more than just your average choral concert – we have the chops to pull off some pretty complex vocal arrangements, but we also like to mix that up with pure upbeat fun,” said Jewish community member Dr. David Rothwell, who is one of the choreographers of the show, which sees several performances June 9-17 at Performance Works on Granville Island. “The group brings such an effervescent joy to the shows, and the spring season in particular is a big party for the chorus and audience alike,” he said. “Whether it’s pulling out some disco moves for a nostalgic trip to ABBA’s heyday, or donning umbrellas after a hairy forecast from the Weather Girls, the choreography put together by myself and my fellow choreographers (Randy Romero and Jason Yau) helps tell the story of our music and elevates that entertainment factor even higher. We even get the entire chorus to join along in their own way.”

Humphrey Tam, VMC’s vice-president of marketing and communications, as well as a singer in the choir, shared a sneak peek at the repertoire.

“In Sizzlin’ Summer,” he said, “we have music ranging from your pop classics like ‘The Raining Men,’ ‘Girls Just Wanna Have Fun,’ ‘Summer Breeze,’ to new hits like ‘Summer Time Sadness’ by Lana Del Rey and ‘New Rules’ by Dua Lipa, to the world première performance of ‘Ocean Songs’ by composer Gerry Ryan (former arranger and first tenor of the VMC) who, sadly, passed away few years ago.”

Conducting Sizzlin’ Summer will be VMC artistic director Willi Zwozdesky, who has been with the chorus since its inception; resident accompanist Dr. Stephen Smith has been with the VMC since the 1990s.

“Both of them are instrumental in the success of the Vancouver Men’s Chorus,” said Tam. “In 2021, we expanded our musical team to include an assistant conductor, David Buchan, who brought in another layer to our sound. On top of that, we have a full orchestra band in our concerts!”

The chorus rehearses every Wednesday, except during July and August, when they take a break; there are also extra rehearsals on Sundays a month or two before a concert.

While VMC is an audition-required group, Tam said the “singers are a mix of people with tons of background in music and theatre to someone who has no previous musical experience. We welcome everyone to audition and, even if you can’t sing, there are plenty of opportunities to join the chorus as a volunteer to help out with productions.” He said he was, before joining the chorus, “one of those who had no musical background except for playing the clarinet for one year back in Grade 8.”

Rothwell, who used to teach dance before moving to Canada from Australia, is an animator by trade, so “movement is my bread and butter, whether on the stage or the screen,” he said.

“After moving to Vancouver in 2018 with my husband, we saw the VMC performing their hearts out in the annual Pride Parade. We were quick to reach out to see if they were taking new members and, five years later, we’re basically part of the furniture!” said Rothwell. “We both grew up immersed in music, and it’s been a perfect way to pursue our interests and build a network of vibrant, talented friends in Vancouver’s queer community.”

About Jewish community, Rothwell said, “My mum reconnected with our family’s Jewish roots when I was a teen, so while I wasn’t immersed in that side of my heritage until that point, I’ve grown to recognize and appreciate the tenacity, humour and joie de vivre that I feel is ingrained in the Jewish spirit, including my own. These days, I’ll gladly join a seder and keep everyone’s cups full to the brim!”

For VMC member Dr. Etienne Melese, much of his connection to Judaism also came from his mother. “When I was young,” he shared, “she taught me about all the Jewish traditions, holidays, and growing up in New York helped, too.”

Proud of being Jewish, he said, “I feel the history deeply.” While Melese’s paternal grandfather survived the Holocaust, other members of his family did not. “We still visit their memorial in Paris (Mémorial de la Shoah) every time we visit, and I think about the courage it took survivors to live through that time,” he said.

Melese, who earned his PhD in immunology from the University of British Columbia and is currently working in biotech on designing new therapeutics for diseases such as cancer, said, “I came to the Vancouver Men’s Chorus because I wanted the opportunity to sing again. I had spent six-plus years doing my PhD and, during that time, had not been singing in a choir, which I used to enjoy so much! Also, the community – I wanted to expand my network of friends.”

Melese has been in many choirs over the years. What draws him to singing, he said, is “being able to express yourself. I find, through music, I am able to access so many feelings that are hard to just put into words…. I find there is an energy to choirs that can really change your outlook that day.”

Knowing that such benefits can come from choral singing, the Vancouver Men’s Chorus remained active during the pandemic, albeit in different ways.

“It was a very difficult time for the chorus,” said Tam. “From a choir point of view, not being able to sing as a group and perform was a huge loss to us; but, on top of all things, the VMC is a huge support group for our members, it’s a huge chosen family. Every week when we meet, we share our stories and we socialize. Not having that bonding time with each other definitely was strange and hard for some of us. Luckily, despite not being able to sing together, we still continued to have Zoom activities throughout the entire 2020 and 2021, and we recorded two digital concerts to keep doing what we love. Starting September 2021, we rehearsed together again but with masks and social distancing, and performed our first in-person concert in two years with Making Spirits Bright 2021 (also with masks on). Thinking back, I really don’t know how we did that.”

The VMC is a diverse and inclusive group, with members ranging from 18 to 70+ years old, said Tam. “We have open rehearsals every September and January for anyone to come join us at our rehearsals and sing with us,” he said. “From there, they can see if we are a good fit for them and sign up for an audition.”

Rothwell is keen for more people to experience the choir. “In addition to our spring season in June, the VMC also is well underway in preparing for our December season, Making Spirits Bright,” he said. “As always, our music selection committee makes sure to include songs for all holidays of the season; celebrating Hanukkah continues to be a mainstay of our setlist, along with the winter solstice and more. We’re gearing up for another great show this December, so I’d also encourage readers to keep an eye out for our next show, Cheers!, later this year.”

But, returning to Sizzlin’ Summer, Melese shared his favourite song: “‘The Summer Nights,’ a play on Grease, so fun!”

For tickets and more information, visit vancouvermenschorus.ca.

Parker Art Salon on display

“Aqua,” by Violette Zohar Fiszbaum, who is one of the more than 50 artists participating in the Parker Art Salon exhibit at Pendulum Gallery. (photo from Violette Zohar Fiszbaum)

Pendulum Gallery in downtown Vancouver opened a new show on May 15 – What Moves You – by the Parker Art Salon. More than 50 artists, all having their studios at 1000 Parker St., presented one piece each for their annual exhibition. The art, including paintings, sculpture and photomontage, is inspiring and uplifting, brightening up the space around it.

While the exhibit is already open to visitors, the opening reception, and the launch of an online auction hosted by Waddington’s Auctions, will be held at the gallery on June 8, 6-8 p.m. Fifty percent of the auction proceeds will go to Beedie Luminaries, a scholarship program for students with potential who are facing financial adversity. To further promote the artists, there will be a Parker studios tour on June 10.

The Independent spoke with one of the Jewish artists participating in the show, Violette Zohar Fiszbaum, at Niche Art Gallery on Granville Island. She is one of Niche’s co-founders.

Fiszbaum grew up in Sao Paulo, Brazil. “I studied art as a teenager, but my parents thought you couldn’t make a living at art – they were right, it is tough. They wanted me to be a doctor or a lawyer or an engineer. After I graduated from high school, I studied chemical engineering. I also wanted to study astronomy and quantum physics, but, again, it is not easy to make a living. But it never stopped me. I always did some art and I keep up my interest in quantum physics, too. I read on it even now, when I can’t sleep.”

After she finished university, she went traveling: Europe, Asia, North America. “I studied Tibetan art restoration in Paris and I visited Tibet in the 1990s. Tibetan culture is exotic, yes, but very spiritual. It brought me closer to my Judaism, my spiritual roots. I think all spiritual cultures are connected,” she said.

Fiszbaum studied kabbalah. “I grew up secular,” she said. “My parents survived the Holocaust as children, got married in Israel, and then moved to Brazil. But Judaism came from the inside of me, from my studies and my travels. Zohar is my Hebrew name, and that’s how I sign my paintings.”

She visited Israel many times during her wandering days. One of her travels brought her to Vancouver, and she liked it here so much she decided to stay. “I worked in the movie industry for a time,” she said. “I wanted to act in movies, and I did.”

photo - Violette Zohar Fiszbaum — Violette Zohar Fiszbaum *(photo from Violette Zohar Fiszbaum)*

She also worked a lot at her art, and she continued studying art, as well. “In the last 10 years, I have been teaching art,” she said. “I teach mixed media. In the beginning, I was an assistant at Emily Carr [University of Art + Design]. Lately, I have had my own class at Olympic Village. It is a beautiful room. It faces the water. My students are all adults, and we are having fun together.”

Fiszbaum’s artistic interests are diverse. She plays piano. She dances. She enjoys photography. But, mostly, she paints. “I often paint with some music on. I turn on the music, dance and paint,” she said.

One of her preferred techniques is mixed media. “I like my paintings to have layers, to have a mystery, an intrigue. Using mixed media is like adding an archeological layer to the image, a depth,” she explained. “For example, I saw this old poster in Israel and I incorporated parts of it in one of my abstract paintings.”

Mixed media is also the technique that allows her to be successful at Niche, although commercial art has never been her focus. “I don’t paint just to sell,” she said. “I want to leave something beautiful behind. In the last two years, I sold and donated 100 pieces.”

She sells and markets herself through several venues. “My website, of course, Parker Art Salon, the East Side Culture Crawl – that is huge in Vancouver, the biggest annual art show in town. I use Instagram. Anywhere I go, really. I play tennis and I belong to a tennis club – I sold some of my paintings there. I like swimming, and I sold many of my Swimmers series paintings through my connections with other swimmers. My painting in the Parker Art Salon exhibition is one of my swimmers. I used to be a dancer, and the human body, its movements, always have fascinated me, both in the water and on land.”

But Niche Art Gallery is one of her favourite places. “It started as a pop-up store just before the COVID pandemic,” she explained. “Pop-up is a short-term lease, and it has been popular lately.”

After her pop-up term had expired, she teamed up with a few other artists and opened the gallery. “Many galleries on Granville Island closed during the pandemic, but Niche flourished,” she said.

Besides her paintings, Fiszbaum sells some unusual pieces at Niche, including funky denim caps. Each one is decorated with an assortment of mixed media: snatches of lace, old buttons and zippers, feathers, disassembled toy fragments, even an old phone keyboard. “It is fun to work on them,” she said. “I use only salvaged materials there. Now I want to make denim jackets.”

Fiszbaum likes working on commissions. “I enjoy the challenge,” she said. “I have created paintings to customers’ demands, both in size and in the colour palette. Sometimes, they wanted my paintings to match their couches and curtains; other times, their carpets and pillows; even a vase once. And I did it.”

Among the work for sale at Niche Art Gallery are Fiszbaum’s portraits. She returns to female portraits again and again. “My mother was beautiful, like Cleopatra,” she said. “I keep painting women’s portraits in order to capture her beauty, to share it with everyone.”

The show at Pendulum Gallery runs until June 16. For more information on the artists (who include many Jewish community members) and the auction, and to book your Parker studios tour, visit parkerartsalon.com.

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

Helping animals and people

Pets & Pickers producer Tyson Hepburn confers with Regional Animal Protection Society chief executive officer Eyal Lichtmann during the film shoot.

The Regional Animal Protection Society (RAPS) in Richmond operates a cat sanctuary, a fostering network, thrift stores and a full-service animal hospital, along with an adoption and education centre. RAPS has grown into one of Canada’s largest and most innovative nonprofit animal-serving organizations – and it will be featured in the TV show Pets & Pickers, the second season of which airs Saturdays at 5 p.m. Pacific on Animal Planet.

RAPS began in the 1980s as the Richmond Homeless Cats Society. Driven by a small team of volunteers, it housed countless feral, abandoned and surrendered cats. In 2005, the organization pivoted to become the Richmond Animal Protection Society, extending its standard of care and no-kill animal policy to all of Richmond’s animals. In 2017, it became the Regional Animal Protection Society to better reflect the geographic diversity of its patient base.

For Jewish community member Eyal Lichtmann, executive director and chief executive officer of RAPS, “pets are part of the family.”

Lichtmann joined RAPS in 2016. His resumé before RAPS included a stint as executive director of the Vancouver Hillel Foundation, where he helped raise $10 million to build the University of British Columbia’s current Hillel House. With proven capabilities in fundraising, he was asked to lead a fundraiser with RAPS, and eventually became their CEO.

Lichtmann is passionate about “taking nonprofit organizations to the next level.” At RAPS, he created a new mission and vision for the organization, centred around helping both animals and their owners. He contends that saving more animal lives can be accomplished by helping individuals overcome any financial obstacles they may encounter in caring for their pets.

Recognizing that many pet owners cannot afford quality animal care, Lichtmann has made affordability a core focus of RAPS: “we are the only clinic we know of that offers interest-free payment plans based on the person’s ability to pay,” he said. In addition to giving annual community subsidies amounting to $1 million, he said, RAPS still generates profits, directing them towards the cat sanctuary, which houses more than 500 cats at the moment.

“Everyone is entitled to have a pet as part of the family,” said Dr. Joseph Martinez, one of RAPS’s veterinary staff. Martinez has been with RAPS since Lichtmann joined in 2016. His passion lies in treating exotic animals, such as reptiles and small mammals, an area not many veterinarians are knowledgeable about.

Having grown up on a farm in the Negev Desert in Israel and being the son of a farmer from Sicily, Martinez developed a deep love for animals. He even became a vegetarian at the age of 10, despite his family’s meat-loving Italian culture. Animal care is second nature to him, he said, noting that “animal welfare started in the Bible,” and has only been enhanced by modern-day science and technology. When he moved to Vancouver 30 years ago, Martinez was drawn to RAPS by a drive to help the less fortunate – “the idea is to not leave anybody behind in terms of funding,” he said.

“Jewish values are definitely ingrained in all of us,” said Lichtmann about his staff, many of whom followed his transition from Hillel to RAPS. Lichtmann said he is “programmed” by tikkun olam and views himself as part of a “Jewish family” at RAPS – even though not all the staff are Jewish, they are growing familiar with Jewish values and culture, he said. Last year, for example, 60 staff members attended a Passover seder with the organization. Lichtmann added, “my mother is cooking for the staff all the time,” treating the team to home-made matzah ball soup, hamantashen, challah and more.

photo - Ayala Dafni is assistant manager at RAPS — Ayala Dafni is assistant manager at RAPS. (photo from RAPS)

In addition to its subsidy programs, RAPS partners with organizations such as Jewish Family Services Vancouver, Tikva Housing Society, women’s shelters, homeless shelters, and senior care facilities. Martinez said veterinarians “should be open to different cultures,” to build positive relationships with pet-owning families.

Ayala Dafni, an Israeli animal technician and assistant manager at RAPS, has been “working with animals since forever,” aspiring to be a vet since the age of 4 – “everything that was legal to keep as a pet, I had growing up.” After getting her bachelor in animal science at Hebrew University, she went on to study animal assistant therapy, and manage a chain of pet stores in Israel.

Dafni is driven by “mitzvot,” she said, especially helping the community and donating to certain causes. At RAPS, she said, this translates to being compassionate and committed to understanding different perspectives. Dafni emphasized that “empathy is most important in this job” and, despite years of experience in the veterinary field, she still finds herself emotionally invested in difficult cases.

Lichtmann attributed RAPS’s corporate culture as part of the reason that Pets & Pickers was attracted to feature them. The unscripted series follows animals, their owners and the veterinarians who care for them.

To learn more about RAPS, visit rapsbc.com and tune into Season 2 of Pets & Pickers, which is also on Animal Planet in the United States. Season 1 can be streamed on Crave.

Alisa Bressler is a fourth-year student at Queen’s University in Kingston, Ont. She is an avid reader and writer, and the online director of the arts and culture publication MUSE Magazine. Bressler is a member of the Vancouver Jewish community, and the inaugural Baila Lazarus Jewish Journalism Intern.

Düsseldorf returns painting

Wilhelm von Schadow’s “The Artist’s Children” (1830).

The German city of Düsseldorf reached an agreement recently with the heirs of Max Stern (1904-1987), a Jewish art dealer forced to flee the city in 1937, ending a long-standing battle over the ownership of a painting, according to The Art Newspaper, which first reported the deal.

The family portrait from 1830, “The Artist’s Children,” by 19th-century Romantic painter Wilhelm von Schadow, has been held by the city since 1959, when it acquired the canvas from a private collector. It was discovered when a researcher from the National Archives in Ottawa found it in a catalogue for a 1967 Düsseldorf Museum Kunstpalast exhibition, which listed the painting’s location as the Stadtmuseum. In recent years, the Max Stern Art Restitution Project, based at Montreal’s Concordia University, and the Dr. Max and Iris Stern Foundation sought to reclaim it, contending that Stern sold the painting under duress.

Founded in 2002, the Stern Project, headed by Dr. Clarence Epstein, is seeking to track down the 220 Old Masters and Northern European artworks that formed Lot 168 in the November 1937 sale at Cologne’s Mathias Lempertz auction house, known as Auktion 392. The paintings constituted the inventory of Düsseldorf’s Galerie Stern that Nazi officials forced him to liquidate at vastly discounted prices. As well as the 1937 auction canvases, the Stern Project is seeking to regain the paintings the art dealer left with Cologne shipping agent Josef Roggendorf, which the Gestapo confiscated in 1938, when Stern was already in Britain.

As part of the agreement, Düsseldorf handed over the portrait on condition that the municipality immediately buys it back. The terms of the settlement, including how much the city paid to re-acquire the artwork, were undisclosed.

In a press release, Düsseldorf mayor Stephan Keller said he was pleased with the “fair and just solution” between the parties and that von Schadow’s artwork “will remain in Düsseldorf.” He added that the painting will go on view at the city’s Museum Kunstpalast starting in August.

Stern took over Galerie Stern on Königsallee, which was founded by his father Julius, in 1934. By order of the Nazi government, the gallery was “aryanized” in 1937. Its inventory was sold at a forced auction for a fraction of its value.

Armed with a single suitcase stuffed with his remaining possessions, Stern fled to London that year. But, in May 1940, when Hitler’s invasion of Britain seemed imminent, Scotland Yard rounded up more than 2,000 German and Austrian citizens, mostly Jews, and incarcerated them as enemy aliens. Stern was sent to an internment camp on the Isle of Man.

Hearing that some detainees were being sent to Canada to free up soldiers guarding British camps, Stern volunteered to join them. In North America, he believed, he would be well-positioned to help his mother and one sister in Britain, as well as his other sister and her family in France. But Canada, where he was greeted by bayonet-wielding soldiers, was even less hospitable than Britain. As Stern recalled years later, “We had to stage a hunger strike to convince the Canadian authorities that we were certainly not Nazis but, on the contrary, anti-Nazi.”

Held in a camp first near Fredericton, N.B., and later in Farnham, Que., he was put to work cutting down trees. Still, he remained optimistic, thankful for the food, shelter, clothing, exercise and 20 cents per day in pay. He also welcomed the opportunity to teach. Twelve years earlier, he had earned a doctorate in art history, which he put to use in classes for his fellow internees.

Stern’s talent and positive outlook caught the attention of William Birks, scion of the Montreal jewelry family, who headed the local branch of the National Committee on Refugees. Birks was openly critical of Canada’s restrictive and antisemitic immigration policy, which he called “narrow, bigoted and very short-sighted.” He believed the government should have sent trade missions to Europe to recruit men like Stern, “not wait for them to seek and beg us.” In 1941, he sponsored Stern’s release and move to Montreal.

Needing a job and hoping to assist in Canada’s war effort, Stern looked for work in an airplane factory. When he was not hired, he turned to the thing he understood best – art. “You’ll starve,” people told him, but he was certain he could be successful as a dealer in Montreal, because he had spotted a void he knew how to fill. Most of the city’s galleries were pushing stuffy 19th-century European genre and landscape paintings. No one was promoting or selling home-grown works because, as he later explained, “Canada didn’t have any confidence in its own artists.”

Stern pitched his vision to Rose Millman, who had just opened a space on rue Sainte-Catherine called the Dominion Gallery of Fine Art. Impressed by his assurance and expertise, she offered him a job for $12.50 a week. Stern said he wanted $17.50 and her promise to make him a full-fledged partner once he built up her business by conquering Canada, as he put it, “by selling Canadian artists.”

Within months, he was mounting exhibitions by contemporary Canadian painters. Over the years, they would include John Lyman, Goodridge Roberts, E. J. Hughes, Stanley Cosgrove, Jean-Paul Riopelle, and others whose names he would play a pivotal role in establishing. Stern secured their loyalty and best work by offering them monthly retainers for an agreed-upon number of works, already an established practice in France, Britain and the United States, but not yet in Canada.

Stern’s first major coup came in 1944, when he visited Emily Carr, then 72, at her home in Victoria. She showed him a room packed with 300 paintings. Struck speechless by her talent, he asked if he could mount an exhibition.

Laughing, she replied, “You will not sell a single painting.” The recipient of critical praise, Carr had yet to enjoy commercial success. “If you let me choose the paintings,” Stern replied, “I think I can make it a perfect success.”

In 1947, Stern and his wife Iris became the sole owners of the gallery.

Following the defeat of Nazi Germany, Stern endeavoured to track down his confiscated paintings. His efforts were largely unsuccessful. He died childless in 1987, and left his estate to Concordia University and McGill University in Montreal, as well as Hebrew University in Jerusalem.

The three schools later founded the Max Stern Art Restitution Project to reclaim the estimated 400 artworks lost during the 1930s. To date, the project has recovered 24 pieces, including paintings by Otto Erdmann, Nicolas Neufchatel and Jan Brueghel the Elder.

The case of von Schadow’s “The Artist’s Children” proved to be particularly complicated due to questions of provenance. When the city of Düsseldorf acquired the portrait in 1959, it was hung in the office of the city’s mayor. Decades later, when the Stern Foundation filed a claim for the artwork, it pointed out that, in 1937, Galerie Stern allowed for the piece to be reproduced in a book about paintings of children. But Düsseldorf city officials pushed back, arguing that the book did not prove the gallery owned the artwork at that point. There was no evidence of the painting being surrendered under Nazi persecution, the city contended.

In 2017, a scheduled exhibition in Düsseldorf about Stern and the Restitution Project was abruptly canceled due to local opposition, leading to intense controversy. The city’s stance apparently softened following the 2020 municipal elections.

“We couldn’t prove that it was not a restitution case, so we, as the city government, recommended to the assembly that it should be restituted,” Miriam Koch, the Düsseldorf city official in charge of culture, told The Art Newspaper. “The big parties in the city council supported restitution.”

According to Lynn H. Nicholas’ 1995 book The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War, more than 140,000 pieces of artwork were looted under the Nazi regime. Most of them remain unclaimed.

Gil Zohar is a writer and tour guide in Jerusalem.

Check out JQT Artisan Market

(photos from JQT Vancouver)

The JQT (Jewish Queer Trans) Artisan Market on May 15, 6-9 p.m., at the Peretz Centre features several local artists, and international performer Stav Meishar presents Oy Slay! at 8 p.m. For more information on the market and other JQT Heritage Month events, including the launch of the B.C. JQT Oral History Project at the Zack Gallery on May 28, visit jqtvancouver.ca.

Yiddish alive and well

Yiddish has the odds stacked against it – the vast majority of its speakers were murdered in the Holocaust, its use was repressed in the postwar Soviet Union, Israel favoured Hebrew over it, and it faced the challenges that any immigrant language faces in a new country, including in Canada. Yet, Yiddish lives on, and can continue to do so, and even flourish, contends Rebecca Margolis, director and Pratt Foundation Chair of Jewish Civilization at Monash University, in Australia.

Margolis, who is originally from Canada, will be in Vancouver to launch her new book, Yiddish Lives On: Strategies of Language Transmission, at the Peretz Centre for Secular Jewish Culture on May 23, 7:15 p.m. Introducing Margolis will be the Vancouver Jewish Folk Choir with the song “Yomervokhets,” a Yiddish translation of “Jabberwocky” by Raphael Finkel, set to music by the choir’s conductor, David Millard.

The event is particularly special, as Margolis uses the Vancouver Jewish Folk Choir – in which I’ve sung for more years than I can recall – as one of many examples of a “created language space.” Such spaces are “sites that are deliberately created to support the continuity of a language that is not commonly a mother tongue or widely spoken,” she writes.

The small section that features the choir cites the work of local Yiddish scholar and translator Faith Jones, who is a member of the choir as well, and the book references a paper that she and I wrote together in tandem with the 2019 online exhibit marking the choir’s 40th anniversary. I have to say it was an exciting surprise to find a paper I co-wrote quoted, but it’s a quote from Faith’s 1999 thesis on the Yiddish library of the Peretz Centre (the choir’s home, too) that helped me clarify some of what draws me to Yiddish. In commenting on the intersections between Yiddish, politics and identity, Faith wrote that “what these strands have in common is the belief in the power of human beings to alter the course of history. In left political life, in feminist theory, in the movement for lesbian and gay equality, in the political culture of secular humanism, it is not the past which is romanticized, but the future. Yiddish does not offer the path to the past as much as to a collective future which is linked with the past: a better future, but better because of human endeavour.”

It is this human aspect – the intention we can possess – that runs through all of Margolis’s examples of the ways in which people, specifically Canadians, have kept Yiddish alive. She conceptualizes her book “as a series of expanding rings of engagement with the language and culture.” Each chapter focuses on a ring, while acknowledging the rings are interconnected: families (1950s to today), youth theatre groups (1960s to 1970s), literature (1970s to 1980s), singing (1990s to 2000s) and new media/technology (2000 to today).

Margolis explains that Yiddish exists in two communities: the Haredim (ultra-Orthodox), who speak Yiddish in their everyday lives, and the secular, people “for whom continued engagement with the language has taken place despite maintaining linguistic acculturation.” Margolis’s book is mostly about the latter group, but she does discuss the Haredim quite a bit and, to a much lesser extent, the experience of preserving Scottish Gaelic, which, she says, “is undergoing revitalization in Canada and abroad,” and Indigenous languages.

Yiddish Lives On is an academic book, but easy to read, and there are common threads that recur, so that, if you don’t quite understand a concept on first encounter, you will when it is used in a subsequent context. In addition to discussing scholarly texts, Margolis talks about Yiddish writers – in Canada between 1950 and 2020, more than 200 books were published in Yiddish! – and analyzes movies and shows like the web series YidLife Crisis, which was created by and stars Eli Batalion and Jamie Elman, two Montreal secular Jews who speak Yiddish, using “provocative comedic dialogue,” Margolis notes, “to address contemporary issues around Jewish identity.”

Margolis doesn’t expect that Yiddish will ever return to regular, everyday use by non-Haredim, however, she convincingly argues that “a language lives by being used” and that the many spaces that have intentionally been created for Yiddish – “from raising children as native speakers to a virtual Yiddishverse” – bode well for the language’s continuity.

To attend the book’s launch and the mini-concert that precedes it, register at peretz-centre.org.

Celebrating 30th year

This year’s West of Main Art Walk will be event founder Pnina Granirer’s last open studio. (photo from Pnina Granirer)

In European cities such as Paris, art has been blooming for centuries and is an essential component of life and culture. Unfortunately, in the relatively young city of Vancouver, art was barely noticed in the early ’90s.

While living in Paris in 1992, I discovered an amazing number of galleries and museums and spent every free moment gorging myself on a wealth of art. One of the most exciting happenings occurred in the spring, when an unusual event burst onto the city: Le Génie de la Bastille. All around the arrondissement (neighbourhood) of the Bastille, hundreds of artists opened their studios to the public for an entire week. A large exhibition at the City Hall was launched and maps were handed out to the public, showing the location of each studio. Every day, map in hand, I would go up and down the ubiquitous five-floor buildings in the area, soaking in the opportunity of seeing the great variety of works and talking to the artists.

Too soon, I was back in Vancouver, still thinking with much pleasure about that wonderful week in Paris. Getting together with my artist friend, Anne Adams, who passed away in 2007, I described to her the exciting days spent visiting the artists’ studios in the City of Lights, when a sudden thought occurred to me. Anne, I said, what if we tried doing this here? Are any artists living in our neighbourhood, who might be interested?

Anne was as excited at the idea as I was, and we approached the now-defunct local Courier newspaper, which was very supportive and published an article with a call to artists. We did not have to wait long for the telephone to start ringing. To our delight, we discovered a good number of artists living in Point Grey, Kitsilano and Dunbar/Kerrisdale who wanted to participate.

A small group of us got together to plan the event. We needed a venue to have an opening exhibition, followed by a weekend when the artists would open their studios and their homes to the public. This had never been done before in Vancouver!

The West Point Grey Community Centre at Aberthau offered its space and the first exhibition opened in 1993. Word spread like wildfire. We were inundated with calls from artists who wanted to join. This will be too much for one weekend, I thought, let’s keep it small and limit the number of studios to no more than 20, so that everyone’s work could be seen.

I had the idea to hold the Art Walk over three weeks, one week for each neighbourhood. There was a lot of work to do, all of it voluntary. This was a time without the internet, so we used a “telephone tree” and the mail. Anne was an excellent organizer. I was quite idealistic at that time and suggested that we do not ask for any grants or taxpayers’ money, although donations from businesses and private donors were welcome. We would prove that artists had initiative and could do such an event by themselves – and it worked! We proved that artists were capable of contributing and enriching their communities by sharing their art and creativity.

We needed a name that would represent us. After sifting through many names, we decided to call ourselves Artists in our Midst, as we were all artists living in the midst of our community. By two years later, our idea had caught on and spread all over the city and the Lower Mainland, and we are all culturally richer for it.

Over the 30 years since we began, much has changed, including the name, which is now West of Main Art Walk. We are now back to only one weekend, but many new artists have joined us. Everyone is invited to visit us the last weekend in May, enjoy the art and perhaps take some home to live with.

As for myself, all of my works will be offered at 50% discount. And I will repeat last year’s idea of a fundraising sale to benefit Stand Up for Mental Health, founded by my son, David, the recipient of a Governor General Meritorious Service Medal. He teaches stand-up comedy to people with mental illness, as a way of building confidence and fighting public stigma and has been invited to work all across Canada, the United States and Australia.

This will be my last open studio and sale. Hope to see you!

West of Main Art Walk features more than 50 participating artists, including many Jewish community members, who invite visitors to their studios May 27-28, 11 a.m.-5 p.m. For the studio map and more information, visit artistsinourmidst.com.