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Category: Arts & Culture

Chosen Family now at Zack

Chosen Family now at Zack

JQT Vancouver executive director Carmel Tanaka at the Zack Gallery, where the Chosen Family exhibit is on display until Sept. 30. (photo from Carmel Tanaka)

In a Simon Fraser University survey of more than 4,000 elderly Canadians (55+), conducted from August to October 2020, to see how people were coping with the pandemic, about 10% of respondents identified themselves as part of the LGBTQ+ community. These respondents were more likely to follow COVID protocols and to have said they “feel they have been here before” – they were 10 times more likely to report experience with HIV/AIDS than heterosexual persons. Among the many other findings, LGBTQ+ respondents were less likely to ask relatives for help, but more likely to call upon close friends.

In the context of the pandemic, then, the focus of the new exhibit at the Zack Gallery has added significance. The show, called Chosen Family, is a multimedia partnership between the gallery and JQT Vancouver in honour of Vancouver Pride. It opened officially on Aug. 26, with the artists in attendance.

JQT (Jewish, Queer and Trans) is an arts, culture and education nonprofit organization. It is dedicated to creating connections and seeking space to celebrate the intersectional identities of Jews of diverse sexual orientations and genders. The organization’s executive director, Carmel Tanaka, said JQT’s members are accomplishing their goals “by queering Jewish space and ‘Jewifying’ queer space in Vancouver.”

“We started JQT in Vancouver four years ago, as a grassroots movement, everyone was a volunteer,” Tanaka told the Independent. “We incorporated as a nonprofit in 2020. This show feels like a milestone. It is probably the first exhibition here, at the Zack Gallery, that features exclusively queer Jewish artists.”

The theme of the show, Chosen Family, reflects that some LGBTQ+ individuals face rejection by their immediate family and must look elsewhere for understanding and acceptance. “I’m lucky,” said Tanaka. “I didn’t have to look for another family; my family was supportive. Unfortunately, that’s not true for everyone.”

image - One of the images in a series of six by Ari Fremder
One of the images in a series of six by Ari Fremder.

Only a few artists are featured in the exhibit. “We invited more artists from the JQT community, plus their families, to submit art for the show, but not everyone was easy with the invitation,” Tanaka said. “Some didn’t feel ‘artistic’ enough. Others didn’t feel Jewish enough. Still others – the older people mostly – didn’t feel entirely safe to identify themselves as queer to the wider community. It is an ongoing vulnerability issue with many of us.”

Another reason might lie in the location of the gallery. “The Zack Gallery is inside the Jewish Community Centre, so the art must be family friendly. That might be a limiting factor for some artists,” Tanaka mused. “We might look at another venue next time.”

The show includes art in a variety of media: paintings, prints, textiles, cinematography, sculpture. A series of six pictures by Ari Fremder all have the same size and structure – a human face surrounded by flowers – but they centre on different faces, representing different friends or family members, and have varied arrangements of flowers. Nonetheless, they all have one thing in common – they are all beautiful and upbeat.

Two of Fremder’s paintings are self-portraits. One looks like a face in repose; the other an angel with black wings. The angel soars in the dark sky and, unlike the six-photo series, this image is moody and contemplative.

image - A collage by artist Holly Steele
A collage by artist Holly Steele.

On another wall, there are several paintings by Holly Steele. In one, a multimedia print, hands clasp together in various combinations: hands of friends and hands of family, interspaced with positive, trust-affirming words. The image, done in a muted greenish-yellow palette, screams of the yearning for acceptance.

In the centre of the gallery resides a sculptural composition by Morgan Strug. A dinner table with chairs around it shows us what a family meal means to the artist. There is understanding and affection there, benign teasing and fierce joy in the others’ fulfilments. Is it wishful thinking? Is it the artist’s reality? Everyone can decide for themselves.

Strug is the director of the short movie Enby, which screened at the Vancouver Queer Film Festival earlier this month, and the film is part of the Zack exhibit. The gallery planned three screening dates, the first being for the exhibit opening Aug. 26, as well as Sept. 9 and Sept. 30. Those who want to see it should contact the gallery first.

“This is a very eclectic show,” Tanaka said. “It is the first art show for several of the participating artists. Some of them celebrate both their identities: as a queer and as a Jew. We would love this show to become an annual tradition.”

Chosen Family continues until Sept. 30. To learn more, visit jqtvancouver.ca.

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

Format ImagePosted on August 27, 2021August 28, 2021Author Olga LivshinCategories Visual ArtsTags Ari Fremder, art, Carmel Tanaka, collage, Holly Steele, JQT, LGBTQ2S+, Morgan Strug, multimedia, painting, photography, Zack Gallery
Animatedly tackling issues

Animatedly tackling issues

In Bayla’s Issues, the title character is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

Bayla’s Issues, a 2020 animated short based on the comic strip Bayla’s Comics by Vancouver artist Hinda Avery, has been making the Jewish film festival circuit, with a recent stop in Washington, D.C. The 15-minute film, which follows the story of its title character and her quest to be recognized as an artist, was directed and edited by Victoria’s Michael Kissinger, and is voiced by Ellen Kennedy and animated by Marty Emanuel.

Divided into eight chapters, Bayla’s Issues delves into the inner thoughts – a turbulent sea of doubts, fears and anxieties – of its heroine and her conversations with an expensive and expletive-laden therapist, who is neither encouraging nor helpful.

The character of Bayla came into being after Avery retired from her career in academia. At the time, she wanted to do two things: return to painting after a long break and establish a means of connecting with family who died in the Holocaust.

“Clearly, the only way for me to make this connection would be through an imaginary process, and painting seemed a tangible tool,” Avery told the Independent. “I decided to paint myself with my late mother and, with the help of only two motley photographs, my murdered aunt and grandmother. This would suffice as a way of spending time with them.”

Avery’s mother had left Poland before the start of the Second World War, but was severely traumatized by the murder of her family by the Nazis.

“The atrocity affected both her mental and physical health; her trauma was passed down to me, hence my close connection to the Holocaust,” Avery said.

Over time, in a process that began in 2005 and lasted 13 years, Avery was able to separate herself from, as she puts it, “an overt depiction of the Holocaust experience – an event too catastrophic for me to depict using conventional representation – and instead depicted it as a phantasmagoric event. I added more women and called us all ‘The Rosen Sisters.’” Rosen was her mother’s family name.

The paintings feature strong, confident women resisters in situations that are both humorous and dark. Avery found it therapeutic and liberating “to fight the Nazis in this vicarious method.” Still, she said, “beneath the surface of all the paintings, the calamity and horror of the Holocaust is ever present.”

screenshot - In Bayla’s Issues, Bayla must deal with her past
In Bayla’s Issues, Bayla must deal with her past.

When the paintings, in her view, had run their course, she was “desolate” and expressed this by drawing a comic about a befuddled, unfulfilled older Jewish woman who is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

“In many of the comics, Bayla expresses her angst about being Jewish. Her Jewishness has never been a joy for her. In one of the comics, she says it feels like a huge lead-heavy Star of David, attached to a thick chain-link, hanging from her neck – it weighs her down, she can’t pull it off,” said Avery.

Kissinger’s collaboration with Avery can be traced to 2015, when he served as the editor of the now-defunct Vancouver Courier. “She left a message on my work phone about an upcoming art exhibit of her paintings and I, of course, never returned her call…. But she left another message, and another message,” Kissinger recounted.

“We didn’t do a lot of art exhibit coverage,” he explained. “But, for some reason, I decided to Google her name and up came these paintings of elderly women in bikinis holding automatic weapons and swearing and taking down Hitler and having a great time while they were at it. From that point on, I was in.”

Kissinger went on to write a story and created a five-minute video to accompany it on the newspaper’s website.

screenshot - Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons”
Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons.”

A year later, Avery reached out again – this time to share that she had obtained a Canada Council grant and to ask Kissinger if he would be interested in making a documentary about her, her paintings, and her journey in dealing with the Holocaust and depression.

A 27-minute documentary, Hinda and Her Sisterrrz, ensued. That 2018 film screened at a number of Jewish film festivals, including those of San Francisco, Toronto, Boston, Vancouver and Victoria.

“The documentary ends with Hinda talking about retiring the characters in her paintings and moving on to working on a comic strip about an ‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons,” said Kissinger.

“Because I know Hinda’s work and backstory and she trusts me with it and was happy with the documentary, she asked me if I could help her animate her comic strip,” he added.

“Bayla lends herself to being animated. I love seeing her come alive!” Avery said.

The original strip, Bayla’s Comics, appeared in Jewish Currents. More episodes about Bayla’s tribulations – under the title Bayla’s Got Problems – are currently underway.

To watch the trailer for Bayla’s Issues, visit vimeo.com/439541618.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Format ImagePosted on August 27, 2021August 25, 2021Author Sam MargolisCategories TV & FilmTags animation, Bayla's Issues, cartoon, film, Hinda Avery, Holocaust, Michael Kissinger, painting
Khazzoom has new EP

Khazzoom has new EP

The cover of Iraqis in Pajamas’ new album, Pijamama, features Loolwa Khazzooom’s grandfather, Abraham Khazzoom.

The multifaceted, multicultural and impossible-to-pigeonhole Loolwa Khazzoom is back, along with her band, Iraqis in Pajamas, with a studio-produced album, Pijamama, that was released on July 16.

The new album by the Seattle-based musician honours her mother, E.J., who passed away on July 16, 2019, and who encouraged Khazzoom to pursue her music. Khazzoom credits E.J. with demonstrating that we all have “the ability to radically transform ourselves and our relationships – and to stop the crushing boulder of intergenerational trauma – when are willing to face and go through the darkness together.”

A photo of Khazzoom’s grandfather, Abraham Khazzoom, who she describes as “the original Iraqi in pajamas,” graces the album’s cover. The band’s name, she explained, derives from an uncomplimentary reputation Iraqi expatriates had in the Israeli city of Ramat Gan for putting on their pajamas when they had arrived home and the work of the day was completed.

The EP features Khazzoom on vocals and bass, Robbie Morsehead on drums, Cali Hackmann on keyboard and backup vocals, and Alden Hackmann on guitar. The melodies and lyrics were written by Khazzoom. Pijamama showcases three songs.

“Mahalnu” explores the  Jewish practice of asking forgiveness ahead of Yom Kippur. It then raises the question of what happens when someone asks for forgiveness, without changing their behaviour, especially in the case of violence. “What is the difference between forgiveness of you and erasure of me?” Khazzoom asks.

“The Fixer,” a declarative prayer, advocates the rejection of compensating for another person’s not doing necessary work in a relationship. The chorus, “ashir shir hadash” (“I will sing a new song”), comes from “Ezer Musarai,” an Iraqi Jewish song for Purim, which inspired Khazzoom as a child.

“Fireball” looks at being a caregiver in spite of emotional violence. The lyrics proclaim: “You can be downright vicious / Throwing a fireball / At the one who cares most about you / The one who is always there for you….”

photo - Loolwa Khazzoom
Loolwa Khazzoom (photo from Iraqis in Pajamas)

Khazzoom has had a varied career. Among other things, she has been an educator, writer and health coach, all of which share, she says, the central principle of individual and collective healing. Ultimately, Khazzoom says she “ditched her power suit and Powerpoint in favour of combat boots and cat glasses to offer bold songwriting as the catalyst for deep and heart-centred conversation.”

The connections between her diverse activities have been subjects she has long contemplated.

“I have been keenly aware of interconnectedness since I was very young, partly because I was highly sensitive and thinking about things deeply, and partly because my identities were a crisscross of those considered at odds or even at war with each other – making it obvious to me that many social constructs and divisions were false,” Khazzoom explained.

“My songs reflect this awareness – explicitly or implicitly connecting dots between things that most people don’t initially recognize as being related to each other, and inviting listeners to rethink their notions and paradigms.”

Khazzoom said she likes to play with this crisscross of identities. For example, people may react one way if she tells them she is Iraqi, and another way if she tells them she is Jewish.

“People generally like shortcuts or scripts in determining what to think about someone, instead of doing the work of getting to know someone, with all the complexity and nuance involved…. I am the same person, yet an entirely different set of assumptions are projected on to me. Standing at the intersection of identities and experiences, I can poke fun at the absurdity of it all,” she said.

Khazzoom refers to her music as “conscious rock,” a way of exploring all our emotions, especially those that allow us to be loud in a healthy way.

“As a collective, we fear intense emotions like rage and grief, and we suppress those feelings in ourselves and others, leading to astronomical levels of addiction and a host of other social and personal ills,” she said. “I believe that all of our emotions are a gift, a GPS system of sorts, pointing us in the direction of that which is true and good, and I find it tremendously liberating, healing and transformative, to express the spectrum of emotions in healthy and constructive ways.”

Khazzoom’s songs are written in English, Judeo-Arabic and Hebrew, and blend Iraqi Jewish prayers, alternative rock and personal storytelling about subjects ranging from cancer, racism and mental illness to national exile.

For more information, visit iraqisinpajamas.com. To participate in the evolution of Loolwa’s work, from poem to spoken word performance to song, go to patreon.com/khazzoom?fan_landing=true.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Format ImagePosted on August 27, 2021August 25, 2021Author Sam MargolisCategories MusicTags alternative rock, health, Iraqis in Pajamas, Loolwa Khazzoom, Pijamam, prayer, storytelling, world music, Yom Kippur
Comedy tour now on

Comedy tour now on

Left to right, comedians Andrew Packer, Jacob Balshin and Che Durena are currently on the JNT Comedy Tour, which takes them to small towns around Alberta and British Columbia until Sept. 6. (photo from David Cyr Photography / JNT Comedy Tour)

The JNT Comedy Tour, known for presenting the “highest” level of comedy in Canada from coast to coast, returned for their fourth edition Aug. 18. Featuring stand-up comedians Andrew Packer, Che Durena and Jacob Balshin, the tour comprises live shows in 19 communities across Alberta and British Columbia, and runs until Sept. 6.

Packer is an international headlining comedian and creator of JNT Comedy; his credits include performances at JFL42 (Just for Laughs), JFL Northwest and Edinburgh International Fringe Festival. Durena came runner up in SiriusXM’s Next Top Comic and he has headlined shows at JFL42 and appeared on JFL All Access on Comedy Central. Balshin, who is a member of the Jewish community, was named Toronto’s Best Upcoming Comedian at the I Heart Jokes Awards in 2018, and was nominated for Breakout Comic of the Year in 2020; his comedy has been featured on SiriusXM and CBC’s LOL.

The trio brings the tour into British Columbia Sept. 1, to Kimberley, with actor Sarah Stupar joining them. They then head to Creston Sept. 2 and Crawford Bay Sept. 3, before returning to Alberta for the tour’s last show.

If you happen to be traveling the province early next month, check out linktr.ee/jntcomedy for tickets and show times.

– Courtesy JNT Comedy Tour

Format ImagePosted on August 27, 2021August 25, 2021Author JNT Comedy TourCategories Performing ArtsTags Alberta, British Columbia, comedy, Jacob Balshin, JNT Comedy Tour

Tackling the hatred head on

When white supremacists converged on Charlottesville, Va., four years ago chanting “Jews will not replace us,” it was the first encounter most of us had had with the conspiracy theory known as “the Great Replacement.”

In the pretzel logic of racists, immigration and multiculturalism are products of the Jewish imagination, with Jews perpetrating, through behind-the-curtains jiggery-pokery, what the tiny number of actual Jews in the world cannot do demographically: replace Aryan culture with alien races and cultures. The absurdity of the “theory” makes a lot more sense as one delves deeper into the trends and characteristics of antisemitism. Three wildly different but related books show that the projection of all that is wrong in society onto an empty vessel that happens to be Jewish recurs repeatedly. As ludicrous as the Great Replacement is, it dovetails magnificently with thousands of years of anti-Jewish prejudice and propaganda.

In Jews Don’t Count: How Identity Politics Failed One Particular Identity (TLS Books, 2021), author David Baddiel explores how the treatment of Jews is the exception to effectively everything today’s progressives espouse.

“It is a progressive article of faith – much heightened during the Black Lives Matter protests following the murder of George Floyd in 2020 – that those who do not experience racism need to listen, to learn, to accept and not challenge when others speak about their experiences,” he writes. “Except, it seems, when Jews do. Non-Jews, including progressive non-Jews, are still very happy to tell Jews whether or not the utterance about them was in fact racist.”

image - Jews Don’t Count book coverBaddiel discusses how racism and antisemitism are disentwined to disadvantage Jews, placing antisemitism lower on a “hierarchy of racisms” than other forms.

“Jews are stereotyped, by the racists, in all the same ways as the other minorities are – as lying, thieving, dirty, vile, stinking – but also as moneyed, privileged, powerful and secretly in control of the world,” he says. “And, if you believe, even a little bit, that Jews are moneyed, privileged, powerful and secretly in control of the world … well, you can’t put them into the sacred circle of the oppressed. Some might even say they belong in the damned circle of the oppressors.”

Baddiel confronts the canard that Jews can’t be victims of racism because they represent a religion, not a race – an audacious defining of an entire people by others who do not belong to the group, itself an example of something progressives would deign to do with no group other than Jews. By pushing antisemitism down the victimization scale, perpetrators can then accuse people who call out antisemitism as diminishing the experiences of minorities with legitimate claims to oppression.

When Baddiel called out one prominent antisemite, saying he had rarely heard so blatant a statement from someone with so large an audience, the perpetrator replied: “’Cos everyone was scared, that’s why.”

By alleging that a cabal of powerful Jews is policing the language of critics, the perpetrator, Baddiel writes, “isn’t a racist, he’s a hero, finally standing up and saying the things that need to be said even though it will bring down the wrath of this all-powerful Jewstablishment on his head.”

Similarly, when an article in the New York Times seemed like an attempt to rehabilitate the notorious antisemite Louis Farrakhan, the author replied to a critic who mooted the negative impact this could have on Jews: “Somehow, among the million concerns, you believe that yours are supposed to rise to the top.… That is called privilege.”

A recurring theme is that, unlike other minorities, Jews are not “innocent victims.” Baddiel (and the other authors mentioned here) do not explicitly say it, but it is understood that, for antisemites, Jews are not victims because, whatever the calamity, they bring it on themselves.

Another recent book, Israel: A Simple Guide to the Most Misunderstood Country on Earth by Noa Tishby (Free Press, 2021), picks up on some of Baddiel’s themes.

Tishby is an Israeli-American actor with a strong Zionist lineage. Her grandmother was a founder of the first kibbutz in Israel. Her grandfather was Israel’s first ambassador to West African countries and served on the Israeli delegation to the United Nations. Her great-grandfather was the founder of Israel’s ministry of industry and trade. Tishby served in the Israel Defence Forces entertainment troops, which she describes as, basically, “a nightly USO [United Service Organizations] tour.” She starred in an Israeli prime time soap opera – Ramat Aviv Gimmel, a sort of Israeli Melrose Place – then made the move to Hollywood.

image - Israel book coverHer book is aimed at people of her demographic – young, hip, leftist (though presumably non-Jewish) readers – and she presents, through biography and history, a tidy Zionist narrative that hits the bases. She does what pro-Israel writers rarely do: she uses emotion and personal stories, rather than dogged reliance on facts, chronology and empiricism. This is not to diminish the fact-based foundation of the book, but her first-person narrative connects the reader to the land and people of Israel in a way that cold facts do not.

Tishby provides a simple but thorough overview of regional history and the development of Israel, as well as the parallel history of the Palestinian and Arab peoples in the area. She dissects the claims of the BDS movement one by one, debunking the prevailing leftist narrative in the West. She pillories the obsession of the United Nations with anything Israeli and rebuts allegations of colonialism, apartheid, ethnic cleansing, unequal warfare and occupation quite effectively.

She recounts how, in the years after the Second World War, there were roughly 11 million refugees worldwide, 700,000 of whom were Palestinian.

“The 10,300,000 non-Palestinian refugees were funneled into UNHCR (United Nations High Commissioner for refugees, created in 1951), the UN agency dedicated to resettling and integrating refugees and/or stateless peoples,” she writes. The Palestinians got their own unique refugee agency: the UN Relief and Works Agency for Palestine Refugees in the Near East (UNRWA).

“While UNHCR is constantly working on getting the global number of refugees down, with UNRWA the numbers go up, up, up,” Tishby writes. “After the 1948 war, there were approximately 700,000 displaced people. Now UNRWA has 5.6 million ‘refugees’ registered in their books. How is that possible?”

Even Palestinians living in Gaza and the West Bank are counted as refugees by UNRWA, she notes, asking: “Can you be a refugee from Palestine when you currently live in … Palestine?”

Near the end of the book, Tishby throws some questions at the reader: “How would you handle a wannabe Sharia state 30 miles from your house? How should Israel retaliate when Hamas fires thousands of rockets into southern Israeli towns? Why haven’t the Palestinians agreed to make a final peace deal? Will the PA unite with Hamas and, if so, will Hamas denounce violence, like, ever? Why is Israel singled out? What about other countries that actually do systematically abuse human rights? Why aren’t activists focused on their freedoms of religion, speech, and assembly, which Israel grants all her citizens? Where are the boycott movements of neighbouring countries that literally kill people for their beliefs, desire for freedoms and democracy, or sexual orientation?”

Tishby’s Israel is an engaging, entertaining read and an ideal primer for newbies to the subject. For those more immersed academically or through lived experience with this topic, there is little new information, but it is largely an enjoyable read although, in an effort to be hip and approachable, she routinely employs gratuitous profanities, which might grate on some readers.

Far from these two volumes on the scale of page-turning readability is the monumental tome Anti-Judaism: The Western Tradition by David Nirenberg (W.W. Norton & Co., 2013). Published eight years ago, it had somehow escaped my eye and, when I did get my hands on it, it sat for some time on my pile. Cracking the spine was daunting because the thesis is dark and unnerving.

Nirenberg undermines the received wisdom that antisemitism is characteristic of ideological extremes in Western civilization. Instead, he depicts “anti-Judaism” as absolutely central and foundational to the very identity of Western civilization. (He differentiates “antisemitism,” which is discrimination against Jews, and “anti-Judaism,” which is perhaps a more pernicious, guileful thing, attributing “Judaism” and “Jewishness” to anything undesirable, whether the object is Jewish or not.) Applying Nirenberg’s thesis to Charlottesville is a simple way of understanding it. In the eye of the racists, immigration and multiculturalism are bad, ergo, by definition, they are “Jewish,” whether actual Jews have any hand in them or not.

image - Anti-Judaism book coverNirenberg provides a sadly compendious recital of civilizations for whom “Jews,” “Jewishness” and “Judaism” were used as a prism through (and against) which non-Jews defined their own identities.

“Why did so many diverse cultures – even many cultures with no Jews living among them – think so much about Judaism? What work did thinking about Judaism do for them in their efforts to make sense of their world?” he asks.

In Christianity, Jews are viewed as “materialist” and earthly, which is juxtaposed with Christians’ self-image as being concerned with the spiritual and the divine. In a theology where things terrestrial are equated with all things evil, the corollary is predictable.

Nirenberg quotes Jean-Paul Sartre, who said: “if the Jew did not exist, the antisemite would invent him.” The subtext of Nirenberg’s book, one could say, is that both things are true: the Jew does exist and the antisemite invented him. There are, in effect, two different “Jews”: real Jews and the image antisemites have created and refined for millennia.

It is this latter imaginary “Jew” that has been used not only to torment generations of actual Jews, but also to contrive the self-identities of civilizations. Nirenberg includes both Christianity and Islam under the rubric of Western civilization when he writes: “anti-Judaism should not be understood as some archaic or irrational closet in the vast edifices of Western thought. It was rather one of the basic tools with which that edifice was constructed.”

Since Christianity and Islam were both founded as supercessionary religions to Judaism, juxtaposing that theological parentage with an antipathy to the descendants of the parent religion creates a cognitive dissonance that Nirenberg describes as the “truth of Jewish scripture and the falsity of the Jews.”

Somehow, adherents of both religions have intrepidly managed to accommodate the dissonance.

“The simultaneous inclusion and exclusion of Judaism became for Islam – as it had been for Christianity – a structuring principle of the world, one through which Islamic truth was explored, discovered and articulated,” he writes. Jews were “both necessary and noxious, prophetic and pernicious.”

The religious bigotry permeates Western civilization, not just its religion, he argues. Nirenberg discusses how Marx employed typical Christian perceptions of Jews as materialistic to fit his atheistic ideology. He also analyzes how it influenced the Enlightenment and the French Revolution. For example, while the Declaration of the Rights of Man and of the Citizen, the great document of the French Revolution, does not mention Jews or Judaism, “it was famously presented and represented to the people – in a painting and in print – as two new tablets of law, replacing those handed Moses on Mount Sinai.” Never mind Christianity and Islam, when it came time for what was probably the most progressive, liberal society yet in modern history to define itself, the revolutionaries took Jewish imagery and firmly demarcated themselves as “not that.”

What is striking when immersing oneself in volumes about antisemitism is the stark certainty of today’s “critics of Israel” that they are untainted with antisemitic bias. They apparently have given little, if any, thought or effort to learn the history of antisemitism and its myriad permutations.

While Nirenberg speaks very little about Israel, he packs a powerful punch when, after hundreds of dense pages excruciatingly dissecting how civilizations for thousands of years have understood their identities and their most significant beliefs in direct opposition to Judaism, he declares: “We live in an age in which millions of people are exposed daily to some variant of the argument that the challenges of the world they live in are best explained in terms of ‘Israel.’”

Coincidence? It doesn’t seem so to those have studied the history and malleability of anti-Jewish ideas.

Posted on August 27, 2021August 25, 2021Author Pat JohnsonCategories BooksTags anti-Jewish, anti-Judaism, anti-Muslim, antisemitism, David Baddiel, David Nirenberg, history, identity, Jewish history, Noa Tishby, politics, racism, religion, Western culture
Teaching community’s kids

Teaching community’s kids

Congregation Beth Israel, children in costume, 1965. (photo from JMABC L.09778)

image - The Scribe book cover
The 2020/21 education-themed issue of The Scribe will be launched on Aug. 26.

The launch of the Jewish Museum and Archives of British Columbia’s latest edition of The Scribe will be held virtually on Aug. 26, at 7 p.m.  This year’s book features stories, photos and some almost-forgotten details about Jewish education in British Columbia. Join the Zoom to hear from local leaders in Jewish education both past and present who will give context to this significant subject.

Anne Andrew, past principal of Temple Sholom Hebrew School, and Emily Greenberg, current head of school at Vancouver Talmud Torah, will lead the discussion. Andrew will focus on her long involvement with the Jewish education scene in Vancouver and Greenberg will share her perspectives on where Jewish education is headed. Considering the impact teachers, educational institutions and curricula have on the continuity and cohesion of a community, both this panel discussion and this issue of The Scribe speak to important issues.

photo - Story time, conducted by Gamliel Aharon, Beth Hamidrash B’nai Jacob, 1976
Story time, conducted by Gamliel Aharon, Beth Hamidrash B’nai Jacob, 1976. (photo from JMABC L.00155)

The 2020/21 Scribe features information from the community archives about Jewish education around the province, spanning some 100 years. In addition, there are oral history excerpts from dozens of community members about various programs that have been offered over those years. Even in the very early days of the Jewish community in British Columbia, no matter where Jews settled in the province, there were all kinds of arrangements for the transmission of Jewish knowledge, culture and identity.

Zoom attendees will hear about iconic educators who instilled a love of Judaism and community spirit. Those who attended Jewish school here will take a trip down memory lane, being reintroduced to teachers from their past.

For more information or to register for the free online book launch event or to get your own copy of The Scribe, visit jewishmuseum.ca/publications/the-scribe or call the museum office at 604-257-5199.

– Courtesy Jewish Museum and Archives of British Columbia

Format ImagePosted on August 20, 2021August 19, 2021Author JMABCCategories BooksTags Anne Andrew, British Columbia, education, Emily Greenberg, history, Jewish museum, Temple Sholom, The Scribe, Vancouver Talmud Torah, VTT
Festival features local doc

Festival features local doc

Left to right: Lydia Okello, Shana Myara and Joanne Tsung. (photo from VQFF)

The 2021 Vancouver Queer Film Festival, which runs until Aug. 22, includes the screening of local feature documentary Well Rounded, directed by Jewish community member Shana Myara.

image - a still from the film Well Rounded
A still from the film Well Rounded.

Well Rounded brings fat queers to the front, with interviews from artists to health professionals. Directed by Myara, it features stories from Mi’kmaw comedian and broadcaster Candy Palmater, multidisciplinary performer Ivory and local queers including style icon Lydia Okello and comedian Joanne Tsung. The documentary balances the personal impacts of fatphobia with scientific facts from Dr. Janet Tomiyama, a psychologist working specifically with the causes and impacts of weight stigma, along with socio-political context provided by historian Dr. Jenny Ellison.

Myara is an award-winning writer. She is a curator, recovered festival director, and community arts programmer who has cultivated arts and dialogue for social change for more than 20 years. Well Rounded is her first feature length film. As part of the film festival, it is available for a limited release from Aug. 19 to 21, and includes a post-screening Q&A with the director and cast members.

The full 2021 VQFF program is available online at queerfilmfestival.ca.

– Courtesy Vancouver Queer Film Festival

Format ImagePosted on August 20, 2021August 19, 2021Author Vancouver Queer Film FestivalCategories TV & FilmTags documentary, fat, film, queer, Shana Myara, VQFF, Well Rounded
Coveted Wife at Fringe Fest

Coveted Wife at Fringe Fest

Megan Phillips, left, and Hayley Sullivan in A Coveted Wife of East Van, part of the Vancouver Fringe Festival, which runs Sept. 9-19. (photo by Marn Norwich)

An all-star Jewish team consisting of poet Marn Norwich, director Ariel Martz-Oberlander, jazz musician Itamar Erez and actress Hayley Sullivan join forces to produce A Coveted Wife of East Van, the post-pandemic dating musical that you didn’t know you needed at this year’s Vancouver Fringe Festival. Light and fun, this show is the cathartic release we’ve all been jonesing for after months of pandemic isolation and, if you’re single, forced celibacy.

A Coveted Wife of East Van tells the story of Samantha Cohen as she navigates friendship, men and dating apps while making some very bad decisions along the way. Featuring both original music by Erez and familiar melodies from shows like Fiddler on the Roof, the story is set in Commercial Drive’s Café Deux Soleils. Samatha goes on a date with an East Van hippie, don’t forget the crystals; a mansplainer, need we say more; a pimp; and a murderer, who brings her ex’s head as an offering on their date. Just before things go horribly wrong, Samantha is saved by her best friend in this story about friendship, online dating and the search to find “the one.”

Norwich, an independent journalist for the CBC and Georgia Straight, and Erez, nominee for 2020 Instrumental Artist of the Year award, are joined by award-winning director Martz-Oberlander and Sullivan, as well as producer of the Or Festival Olivia Etey; Best of Fringe Award-winning actor Megan Phillips; winner of best comedy at the 2020 Florence Film Awards actor Mostafa Shaker; and set designer Michael Duggan, who has 30-plus years in the industry and has worked on more than 25 film productions.

A Coveted Wife of East Van opens Sept. 11, 3:30 p.m., and closes Sept. 19, 4:30 p.m., with several shows in between. The Fringe Festival runs Sept 9-19. For the full schedule, visit vancouverfringe.com.

– Courtesy Claudia Nobauer

 

Format ImagePosted on August 20, 2021August 20, 2021Author Claudia NobauerCategories Performing ArtsTags comedy, Coveted Wife of East Van, theatre, Vancouver Fringe Festival

More than a guide for work

Vancouver-based consultant Zena Simces’ You Can Make a Difference: A Guide to Being a Great Consultant(Tellwell Talent, 2020) is an informative, concise and useful primer for anyone considering this career path – or, really, anyone who works with diverse individuals or groups.

photo - Zena Simces shares lessons from her experiences in You Can Make a Difference: A Guide to Being a Great Consultant
Zena Simces shares lessons from her experiences in You Can Make a Difference: A Guide to Being a Great Consultant.

Based on knowledge gleaned from 30-plus years of experience working with a wide range of clients, as well as other research, You Can Make a Difference is what its title says, a guide to being an effective consultant. But it also is kind of a guide for how to be a good person and interact well with others. As Simces notes in the chapter on “Upholding Ethical Standards”: “My parents (who were in the grocery business) shaped me as a person and as a consultant. Their motto was to treat people the way I want to be treated.”

Perhaps now, in the context of ethics and family, I should mention that Simces is a longtime family friend. While I don’t think that this fact has influenced my opinions, it is interesting that, more than once in her book – starting with the first chapter – Simces discusses the need for consultants to be aware of things like unconscious bias and to try and mitigate their impacts.

“Knowing your strengths and weaknesses is important,” she writes. “We all struggle with self-awareness, but effective consultants recognize their biases and how to address them. They are natural self-starters and strive for excellence in all that they do, so they are aware of their blind spots and work to improve in areas they are weak.”

The book is full of practical advice like this – not earth-shattering insights but valuable information, collected into one easy-to-read volume of about 100 pages.

You Can Make a Difference is divided into two main parts. The first section takes readers through how to become a consultant, including consideration of whether that’s really the right career path for them. The second section highlights the main skills needed to do the job well. The four-page selected bibliography offers a start for readers who want to dive into the topic more deeply.

The two-and-a-half-page foreword begins with an example from Simces’ career – an instance when things did not go as planned, at least initially.

“While I have learned much from my successes, ‘failures’ like this one offer me the opportunity to learn and grow, which is essential,” she writes. “Being a successful consultant does not only involve substantive knowledge and technical skills, but also ‘soft skills,’ such as relationship-building, listening, communication and leadership. This combination allows a consultant to more efficiently and thoroughly achieve his or her clients’ goals.”

As she notes, these abilities, in reality, are “too important to be called ‘soft’ skills and have become the essence of what is required to be a great consultant. In fact, the Business Council of Canada’s Skills Survey (2018), which is based on responses from 95 of Canada’s largest companies, lists soft skills such as collaboration, communication, problem-solving, analytical capabilities and resiliency as top priorities for entry-level hires. Companies also valued these soft skills for mid-level employees.”

image - You Can Make a Difference book coverThis is another example of why Simces’ book also would be of interest to people who aren’t necessarily wanting to become a consultant. And that she starts her book with sharing how she learned from a misstep illustrates another of her points that would be beneficial to anyone, not just consultants – that it’s OK to “show some vulnerability. In fact, it takes courage to show vulnerability, and it takes strength to redirect to find a better solution. This can contribute to greater confidence between you and your client.” Or any relationship.

Unlike other books of this kind, Simces doesn’t give multiple examples or long stories to help drive home or explain a point. She gives one – and short ones at that – and moves on, which I appreciated. She trusts readers’ intelligence and doesn’t fill pages with unnecessary or ego-inflating narratives. Each chapter ends with a summary of the ideas therein and, in the second section, each chapter also includes a list of key tips covered. While this may seem like overkill, I found it helpful, especially when wanting to quickly find the details about something I only semi-recalled reading. I could see the tips or summaries making the book an accessible reference tool to have on your shelf or computer desktop long after having read it.

Whether or not You Can Make a Difference translates into your being able to make a difference in the world as a consultant, I can’t say, but it gives anyone considering this career path a solid framework for trying to do so. And its lessons and observations are applicable beyond the work setting. We could all use a gentle reminder on how to build trust in relationships, to have the courage to admit what we don’t know, to be flexible and open to change, and other such life, never mind consulting, skills.

Posted on July 23, 2021July 21, 2021Author Cynthia RamsayCategories BooksTags career, consulting, Zena Simces

Heavy summer reads

I recently read two works of fiction by former Winnipeggers. I mention that because, when I think of Winnipeg, where I grew up, I think of the Prairies, I think of wide open spaces. Yet both of these novels portray the bleaker side of life, with characters who can’t get beyond their limitations.

Having read and enjoyed Sidura Ludwig’s first novel some 15 years ago – Holding My Breath (Key Porter Books, 2007) – I looked forward to You Are Not What We Expected (House of Anansi Press Inc., 2020). Set in the Toronto suburb of Thornhill – a heavily Jewish neighbourhood – where Ludwig now lives, the loosely linked stories about the Levine family are wonderfully written, which is not surprising. But they are dark and, at times, brutal. Ludwig’s economical use of language can feel almost like a literal knife in the side or a punch in the gut, when a story switches from a relatively light moment – there is humour in these tales – to a tragic one.

image - You Are Not What We Expected book coverLudwig is a skilled observer of human nature and she creates characters in You Are Not What We Expectedwith whom readers will both empathize and even root for, but also get frustrated with. The first chapter jumps right in and sets the tone with senior citizen Isaac, back from Los Angeles to help his sister out. His fist-waving, shouting and no-spoiler-here reaction to a school’s placing of the Israeli flag below Canada’s on their flagpole is both hilarious, valiant and pathetic. His vitriolic and stubborn behaviours will cause him more than one trouble.

Other characters in the book are similarly limited – as we all are – by their own personal issues, the action or inaction of others, and simple twists of fate. You Are Not What We Expected is well worth reading but maybe not on vacation.

image - The Renter book coverMichael Tregebov’s The Renter: A Novel (New Star Books, 2021) is similarly well-written and also not a light holiday read, which is what I was kind of expecting. Tregebov, who now lives near Barcelona, takes a nostalgic look at Winnipeg Beach, but certainly not the cottage life that I experienced in the area as a kid.

The back cover promises romance in the summer of 1968; rich girl, poor boy, the stuff of rom-coms. But the poor boy in question is a cynical (with good reason) drug dealer who pretty much desires and courts the rich girl because of her wealth, not because he truly likes her at all.

I know there is a lot to appreciate in The Renter and there are many people who would love it – for example, Winnipeg filmmaker Guy Maddin, who, on the book’s cover, calls it “Absolutely brilliant!” – but I can’t honestly count myself among them.

Posted on July 23, 2021July 21, 2021Author Cynthia RamsayCategories BooksTags fiction, Michael Tregebov, Sidura Ludwig, Thornhill, Winnipeg Beach

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