Loolwa Khazzoom in Iraqis in Pajamas’ video for their song “Cancer Is My Engine,” to be released on Chanukah. (photo by Ailisa Newhall)
With shared themes of finding light in the darkness, Seattle-area band Iraqis in Pajamas is releasing the video for their song “Cancer Is My Engine” on Chanukah.
Amid the global pandemic, volunteer cast and crew drove in from across Washington state, donning masks and practising social distancing, to film the music video against the backdrop of the Olympic Peninsula forest.
The video tells the story of front woman Loolwa Khazzoom’s choice to reject the conventional thyroidectomy treatment for thyroid cancer, despite medical and financial pressure. Khazzoom instead chose to approach the diagnosis as an opportunity for radically transforming her life, such as by going vegan and practising numerous forms of mind-body medicine. (See jewishindependent.ca/healing-powers-of-song.)
After cold-stopping the growth of the nodules for years, through these measures, Khazzoom moved to Washington state from California, returned to her lost love of music, and launched her band, which combines ancient Iraqi Jewish prayers with original alternative rock. Immediately following, the thyroid nodules began shrinking. Through magical realism and metaphor, the music video reveals how, by listening to her inner voice, Khazzoom self-healed through her actual voice, by singing – the ability to do which may have been destroyed by a thyroidectomy, given the proximity of the thyroid gland and vocal chords.
The video begins with Khazzoom standing at the edge of a cliff, singing the opening line of the song, “Cancer is my engine.” As she sings, a candle is lit by her voice. She is transported to a forest, where she is searching in the dark with the light of that candle. She comes across a stuffed bear – representing Khazzoom’s mother – and picks it up, then continues on her quest.
An insurance agent and doctor appear and begin chasing Khazzoom. As she runs from them, she comes to a fork in the road – with the doctor on one side and the insurance agent on the other. She pauses, then runs forward, where there is no path, heading toward the light. She keeps running until she comes to a cliff and jumps off it.
Loolwa Khazzoom in the “Cancer Is My Engine” video. (photo by Ailisa Newhall)
She lands in the middle of a drumming circle and starts dancing wildly. A few scenes later, she is drumming in the middle of the circle, and everyone else is dancing around her. Both circles represent the pivotal importance of music and dance in Khazzoom’s healing. The video then shifts from magical realism and metaphor to real-life shots, with the band playing music in a vegetable patch in Khazzoom’s garden, representing Khazzoom’s regimen of juicing daily and eating a whole-foods, plant-based diet. The video ends with Khazzoom standing on the edge of the cliff and singing the last words of the song, in the original a cappella Iraqi Jewish prayer that exalts the power of the Divine.
The video was sponsored by nonprofit Healing Journeys and funded by the Lloyd Symington Foundation, both of which offer programs for people living with and healing from cancer.
Studies on the healing possibilities of music are documented in books like The Power of Music by Elena Mannes and The Healing Power of Sound by oncologist Dr. Mitchell Gaynor, and the National Institutes of Health has launched a series of studies on the healing powers of music. Whether singing lullabies or sacred chants, mothers and religious leaders have known for millennia what scientists are only beginning to understand. Singing bypasses our mental process, both awakening and soothing us at the core. Among other benefits, we are able to access, release and heal from the experience of trauma, without having to recount and risk getting triggered by painful memories.
Khazzoom has had a career as an educator, activist, journalist, health coach, and more, all with the central organizing principle of individual and collective healing. Her work has been featured in media including the New York Times and Rolling Stone; she has presented at venues including Harvard University and the Simon Wiesenthal Centre; and she has published two books, which are taught at universities nationwide.
Iraqis in Pajamas comprises Khazzoom on both vocals and bass, Sean Sebastian on guitar and Robbie Morsehead on drums. The trio opens up audiences to contemplation about trauma, healing and transformation, whether addressing domestic violence, cancer, racism, mental illness, street harassment, family caregiving or national exile.
Abigél Szoke and Károly Hajduk in the film Those Who Remained. (photo from Menemsha Films)
The Hungarian movie Those Who Remained has been making the rounds at international film festivals, including, in recent weeks, the Victoria International Jewish Film Festival. And perhaps no other film at this year’s VIJFF, which contained six features and one short, generated as much discussion afterwards.
“In its purest form, Those Who Remained represents near-perfect film composition, entailing exceptional directing, editing, pacing, acting and cinematography. A film of this calibre only comes along every few years,” said Farley Cates, a committee and jury member of this year’s VIJFF.
“This film was selected for its ability to leave such a strong impression on the viewer, pondering its many layers and facets from a psychological and geopolitical perspective. This film is like a wondrous painting in which the longer you look at it, the more you see happening,” added Cates, who will serve as co-director of the festival in 2021.
The film takes place in Budapest during the period between the end of the Second World War and the 1956 Hungarian Revolution. While surviving Hungarian Jews did go to Israel and elsewhere, a large number stayed in their homeland. The Jewish population of Hungary today is estimated to be well over 100,000, the vast majority of whom live in Budapest.
The postwar period for Jews who remained in Hungary was difficult. An Orwellian state of affairs had commenced: people were questioned by the police in the middle of the night; colleagues reported on other colleagues. Amid this upheaval in Hungarian society, the two principal characters in the film – Aldo, a middle-aged doctor, and Klara, a teenage girl – deal with the trauma they experienced during the Holocaust.
Abigél Szoke, who plays Klara, was selected by Variety as one of the “10 Europeans to watch” in 2020. The magazine calls her a “revelation”: “She makes Klara’s energy, pain and smarts palpable, all the while being touchingly tuned to the emotional shadings of Aldo.”
The relationship between Aldo (played by Károly Hajduk) and Klara never develops into anything scandalous, though some of the peripheral characters in the film perceive it to be so. Despite Klara’s advances, Aldo does not allow the relationship to become sexual.
The film is a tale of survival, depicting two people’s attempts to get on with the normal, sometimes banal tasks of everyday life within the shadow of the unspeakable atrocities they witnessed and experienced only a very short time before.
Repressed emotions among survivors was a central theme to the VIJFF panel discussion after the film. Speakers included Budapest-born survivor Adrienne Carter, University of Victoria professor Charlotte Schallié, psychologist and member of the Victoria Shoah Project Robert Oppenheimer and music professor Dániel Péter Biró of the University of Bergen in Norway. Among other things, they discussed the common tendency of many survivors to refuse to talk about the events of the camps and the persecution afterwards, just as, in the film, Aldo refuses to say anything about the loss of his wife and children.
What is interesting, too, about this movie, the panelists noted, is that it was made in a Hungary led by Viktor Orban, a populist, nationalist and authoritarian leader who has presided over the country in an undemocratic fashion for the past 10 years. In fact, Hungary has produced a number of films set in the period around the war recently, including 1945 (2017) and Son of Saul, which was selected as the best foreign language film at the 2015 Academy Awards.
Orban has displayed a penchant for playing up the antisemitic caricature of Jews as the power brokers of the world stage. A popular target of his has been 90-year-old Hungarian-born financier George Soros, a regular figure of derision among right-wing groups in North America, as well. In 2017, Orban, who ironically received a scholarship from the Soros Foundation to study at Oxford in the late 1980s, plastered billboards across the country in an anti-migrant campaign featuring a smiling Soros that read “let’s not let Soros laugh in the end.”
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
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Note: This article has been amended to reflect the correct name of the film festival. It is the Victoria International Jewish Film Festival.
A participant in Yehudit Silverman’s The Story Within process shows off their self-made mask. (photo from Yehudit Silverman)
This past spring, Prof. Yehudit Silverman’s new book came out. In The Story Within: Myth and Fairy Tale in Therapy, the Concordia University professor emerita walks people through a step-by-step process to healing.
“When a person embarks on this journey, they feel called to a story, but they don’t know why,” said Silverman. “And it’s the sense of the unknown that’s really important…. Sometimes, in conventional therapy, we just go around in circles and might not necessarily get to the deeper layers that are inaccessible to us. But, through the arts and through the use of a character from a myth or fairy tale, gradually we can access those areas in ourselves.”
In Silverman’s approach, clients start by choosing their own story after going through a couple of exercises. “That process of choosing the story is therapeutic and healing in itself, because it’s part of the person’s sense of their own sense of knowing their own strengths and their own intuition, which is really important,” she explained. “Also, it’s important to stay with one character in a story for a long time, allowing the depth work to be done … recognizing what the character’s quest is, which is so important in myth and fairy tale, which is why I think they are still so relevant.
“The protagonist is on a quest and has to face obstacles and challenges,” she continued. “That can be so helpful when people are facing their own challenges and obstacles, so they don’t feel so alone. Also, they get to work with fiction, which is very safe, providing a certain amount of distance.”
People choose their stories for different reasons.
“Someone might be really drawn to a character that is having to do an impossible task, like in Rumpelstiltskin, where the girl has to make straw into gold,” said Silverman. “A lot of people think they are facing an impossible task, so they might then choose that story.
“Sometimes, it’s just the title of the story. I worked with an adolescent who was homeless and, sadly, addicted to drugs. When I worked with her, she chose the story of the handless maiden, which led to, sadly, to the revelation of her having been abused as a child. It was just the title that drew her.”
Once people choose a character, they start to build a mask. Then, they build the environment for the character and go through the steps that are described in Silverman’s book. The process is usually done within the context of a group, so that it is witnessed, which, according to Silverman, aids significantly in healing.
“They work with other people so that, at some point, they actually direct someone else in their mask and in their costume,” she said. “They get to look at what their character looks like to an outsider. And then, they have people embodying the obstacle and the helper, so they actually embody going through the quest and the challenges of the character.”
Silverman once worked with an anorexic teen who chose the character of Dorothy from The Wizard of Oz. “For her, the tornado was her eating disorder that took her to the Wonderful Land of Oz … which was, for her, magical. It was the ‘Land of Starvation’ and the good witch, Glenda, was actually evil for her, because she was trying to get her to go back to Kansas…. I realized that, for her, everyone in the hospital was evil, was going against what she felt was her sense of reality and her sense of what was magical and important, which was her starvation.
“And so, little by little, she worked with it and she embodied the tornado,” said Silverman. “She was actually swirling around and started crying, and realized how destructive it was. It was the first time she had had that realization – she didn’t have it when people were just talking to her.”
The teen connected and embodied the “chaotic energy of the tornado,” said Silverman. “She began to realize it was destructive and, then, she very slowly started healing. But, for her, having that story was essential.”
Although COVID-19 has made holding in-person group sessions impossible for Silverman, it has opened the door to including people from all over the world in the online groups she leads.
The Story Within outlines Silverman’s process step-by-step, taking readers through each one, and it can be useful for both therapists looking to implement the technique, as well as anyone wanting to understand why they do what they do.
“If you’re going through something that is severe or you are in crisis, you should definitely see a therapist,” said Silverman. “And, if you’re going to use the book, you should only use it in context of therapy. But, for people looking for personal healing and a way to have creative reflection about what their life and quest is, then it is definitely for those people – for seekers, for artists and, also, for therapists, as something to integrate into their process with clients. And that’s something I do a lot of right now – supervising therapists insofar as how to integrate this into their work.”
Silverman said already established groups can use the book, as well, to form a more solid structural foundation perhaps. And, “there are so many people at home right now, and they are really questioning what their life is about,” she added. With the anxiety, she said, “having this structure, where they can go through a creative process … is so life-giving. It really allows us to express what’s going on inside into an outside form.”
These loaded sweet potatoes were satisfyingly filling. (photo by Ingrid Weisenbach)
In a word: yum. I tried out four recipes in The Tahini Table: Go Beyond Hummus with 100 Recipes for Every Meal by Amy Zitelman with Andrew Schloss. All were delicious. All worth making. I will definitely bring more tahini into my life, but not every day, as the meals are somewhat complicated to make; at least they were for me.
Published by Surrey Books, an imprint of Agate Publishing, the cookbook is gorgeous. The colour photos by Jillian Guyette and the overall look and layout make The Tahini Table as much eye-candy as cooking guide. The first chapter is all about tahini – what it is, how to use and store it, with a foray into hummus and halvah and ingredients one should have close at hand, such as avocados, various oils, garlic and onion, yogurt, different vinegars, date syrup, etc. There is a relatively helpful instruction on how to mince garlic and a section on herbs and spices. Each recipe is labeled with the diets with which it is aligned; vegan or gluten-free or Paleo, for example.
There are six chapters, covering sauces, dips, breakfasts, lunch-type food and sides, main courses and, finally, desserts. While Zitelman promises easy and quick recipes – and perhaps they are if you do as recommended and stock up on the sauces, dressings and dips – I was starting from scratch. The two mains – the benedict and the sweet potatoes – each took almost two hours to make. Only once I started did I see, for example, that one of the benny recipe ingredients was pickled red onion, carrot or radish … go to page 127. So, off to make that before I could proceed. Oh, and don’t be fooled, as I was, by the directions for the pickles – for the benedict, you only need to make pickled onions, so adjust accordingly, unless you’re also wanting to have the carrots and radishes for other purposes. (In the end, I was happy to have made all three, but I was quite hangry while making them.)
Zitelman, who is a co-founder with her sisters of Soom Foods, writes in the introduction, “we founded Soom Foods with a vision that tahini would be a staple pantry item in the American market simply because it is a delicious, nutritious and versatile ingredient. Although this ambition was somewhat far-fetched at the time, tahini is increasingly recognized as a superfood that is rich in omega-6 fatty acids, protein and calcium.” More reason, if I needed it, to experiment further with the recipes in The Tahini Table. Here are the ones I’ve kitchen-tested so far, sans Zitelman’s informative and delightful preambles or suggestions, because of space limitations.
The Tahini Benedict was very tasty. (photo by Ingrid Weisenbach)
TAHINI BENEDICT (serves two)
sauce 2 large egg yolks 1 tbsp freshly squeezed lemon juice 1⁄4 cup premium tahini paste 1⁄2 garlic clove, chopped 1⁄4-1⁄2 tsp sea salt 2-3 tbsp boiling water
eggs 1 tomato, cut into 4 rounds 3 tsp extra virgin olive oil, divided fine sea salt and freshly ground black pepper, to taste 1⁄2 tsp ground cumin 1 tbsp white vinegar 4 large eggs
assembly 2 English muffins, split and toasted 1⁄2 cup pickled red onion, carrot or radish (see below)
To make the sauce: Fill a blender with very hot tap water to warm up the container. Wait five minutes, then drain. Add the egg yolks, lemon juice, tahini, garlic, salt and two tablespoons boiling water. Blend on medium speed until just combined, about 30 seconds. If the sauce is too thick, add the remaining one tablespoon of boiling water and blend to combine. Set aside.
To make the eggs: Turn on the broiler to high and position the broiler rack as close to the heating element as it will go.
Coat the tomato rounds with two teaspoons of the oil and set on a broiler pan. Season with salt and pepper and sprinkle on the cumin. Broil until the surface is speckled but the tomato is still firm, about three minutes.
Meanwhile, fill a 10- to 12-inch skillet with water and bring to a boil over medium heat. Add the vinegar.
Crack each egg into a separate cup or ramekin. Gently slip each egg from its cup into the water. Turn the heat to medium-low so that the water in the pan barely simmers.
Poach the eggs until the whites are set and the yolks remain creamy, about two minutes.
To assemble: Put an English muffin on each plate. Top each half with a broiled tomato. Use a slotted spatula to remove each egg from the water, wait a few seconds to let any extra water drain back into the pan, then place it on the tomato. Top each with sauce and a little pile of pickled red onion. Serve immediately.
QUICK PICKLES (makes about three cups)
6 carrots, peeled and julienned 1 red onion, peeled and very thinly sliced 12 red summer radishes, trimmed and thinly sliced 1 1⁄2 cups apple cider vinegar 1 1⁄2 cups water 6 tbsp honey 1 tbsp fine sea salt 1⁄2 tsp crushed red pepper
Put each of the cut veggies in their own pint container.
In a small saucepan, combine the vinegar, water, honey, salt and crushed red pepper and bring to a boil over medium-high heat. Pour a third of the pickling mixture over each of the veggies. Let cool for about 30 minutes before serving.
Store in closed containers in the refrigerator for up to two weeks.
LOADED TAHINI SWEET POTATOES (serves four)
1 leek, trimmed, halved lengthwise, thinly sliced (white and pale green parts) 1 (15-ounce) can chickpeas, rinsed and drained 2 tbsp extra-virgin olive oil, divided 1 garlic clove, minced with coarse sea salt 1 tsp ground coriander 1⁄2 tsp ground cumin 1⁄2 tsp smoked paprika pinch ground cinnamon fine sea salt and freshly ground black pepper, to taste 4 medium sweet potatoes, halved lengthwise 1 bunch lacinato kale, coarsely chopped 1 cup orange-rosemary tahini sauce (see below) 12 cherry tomatoes, quartered 1⁄4 cup chopped fresh flat-leaf parsley hot sauce, to taste
Turn the oven to 400ºF.
Toss the leek and chickpeas with one tablespoon of the olive oil on a rimmed sheet pan. Add the garlic, coriander, cumin, paprika, cinnamon, salt and pepper and toss to coat everything evenly. Push the leek and chickpea mixture to the edges of the sheet pan.
Rub the cut surfaces of the sweet potatoes with the remaining one tablespoon of olive oil and season with salt and pepper. Put the sweet potatoes, cut-side down, in the centre of the sheet pan. Bake until the potatoes are fork-tender, about 45 minutes.
While the potatoes are baking, boil the kale in a good amount of salted water until tender, about 10 minutes.
When the potatoes are tender, put two halves on each plate and flatten them with the back of a large fork. Transfer the kale to the sheet pan and toss with the chickpeas and leeks. Drizzle some of the tahini sauce over the potatoes and pile the veggies on top. Top with more tahini sauce and the tomatoes, parsley and hot sauce.
ORANGE-ROSEMARY TAHINI SAUCE (makes about 2 cups)
1 tbsp extra-virgin olive oil 2 tbsp finely chopped fresh rosemary leaves 2 garlic cloves, minced with coarse sea salt grated zest and juice of 1 orange (about 1⁄3 cup) 2 tbsp freshly squeezed lemon juice 1 cup premium tahini paste 1 tsp ground cumin 3⁄4 cup ice-cold water
Heat the olive oil in a small skillet over medium heat just until warm, less than a minute. Stir in the rosemary, remove from the heat and give it 10 minutes or so to cool down and get flavourful.
Meanwhile, combine the garlic, orange juice and lemon juice in a medium bowl. Let it sit for one to two minutes. Whisk the orange zest, tahini and cumin into the garlic mixture until just combined. Don’t worry if it gets thick and grainy. Whisk in the water, a quarter cup at a time, until the sauce is smooth and creamy. It should be the consistency of a creamy salad dressing, like ranch.
Stir the cooled rosemary oil into the tahini.
Store in a closed container in the refrigerator for up to three days.
TEHINA REGINA COOKIES (makes about 40 cookies)
1⁄2 cup premium tahini paste 1 cup granulated sugar 3 large eggs 1 1⁄2 tsp vanilla extract 1⁄8 tsp almond extract [optional, I’d say, as I could barely taste it] 2 1⁄4 cups all-purpose flour 2 1⁄2 tsp baking powder 1⁄2 tsp fine sea salt 1⁄4 tsp ground cardamom 1 cup white sesame seeds
Tehina Regina Cookies – a few never made it to the cooling rack. (photo by Cynthia Ramsay)
Mix the tahini and sugar in a large bowl until well combined. Beat in the eggs, vanilla and almond extract until the mixture is smooth.
Mix the flour, baking powder, salt and cardamom in a medium bowl, then stir the flour mixture into the batter just until there are no visible dry spots. The dough will be very stiff. Wrap it in plastic and refrigerate for at least one hour or as long as 24 hours.
Set two oven racks near the centre of the oven. Turn the oven to 350ºF. Line two sheet pans with parchment paper or silicone baking mats.
Put the sesame seeds in wide bowl. Scoop the dough with a one-tablespoon measure and arrange as mounds on a big sheet of aluminum foil, plastic wrap or parchment. Wet your hands and roll the mounds into egg-shaped ovals. As each one is made, coat all over with sesame seeds and place on the prepared pans, about one inch apart. You will probably get 13 to 14 cookies per pan.
Bake until golden brown, about 10 minutes. Cool the cookies for two minutes on the pans, then transfer them to wire racks to cool completely. When the pans are at room temperature again, form the remaining batter into cookies and bake in the same way.
Store in a closed container at room temperature for up to two weeks.
How does a 1940 Yiddish theatre song – probably based on a passage from the Talmud’s Tractate Bava Metzia – end up becoming a popular piece sung around the world?
Over a 75-year period, Aaron Zeitlin’s “Dona Dona” (in Yiddish, “Dos Kelbl,” “The Calf”) has been sung by some of the 20th century’s biggest English-speaking performers, including Joan Baez, Donovan, the Chad Mitchell Trio, Chad & Jeremy, and countless others. It has been sung in Japanese, German, French (in this version, the calf is replaced by a boy trying to figure out his future) Swedish, Hebrew, Russian, Italian, Catalan and Vietnamese. Zeiltin’s original “Dos Kelbl” was put to music by Sholom Secunda; in 1956, Arthur Kevess and Teddi Schwartz translated it into English.
“Dona Dona” was part of Zeiltin’s Yiddish play Esterke, based on the legendary relationship of a Jewish woman named Esther and King Casimir of Poland. Zeitlin first published it in 1932 in Globus, the Yiddish literary journal he edited. The play about Esterke and Kazimierz the Great was a Polish-Jewish mystery in four acts. Male and female actors sang “Dona Dona” as a solo, as a duet and as a chorus with orchestration.
Zeitlin was invited to New York for the performance of Esterke, which is an indication of how influential Yiddish theatre was in the pre-Second World War Jewish cultural world. With the outbreak of the war, however, he was unable to sail back to his family. His wife, two children, father and brother were killed in the Holocaust.
This terrible loss haunted Zeitlin for the rest of his life. Indeed, some maintain that “Dona Dona” represents the tremendous suffering and loss of life Jews experienced in the Holocaust. While Zeitlin – who was living in Poland in the 1930s – was certainly aware of the growing threat of Nazism, he composed the song before the Holocaust began.
Over time, the song has been interpreted in many different ways. In a 2010 article in The Jewish Magazine, Mendel Weinberger understands “Dona Dona” as a reference to the struggle between the physical and the spiritual. The calf represents the body, the seat of desire. The body seeks pleasure, wealth and honour, and is a slave to these desires. The calf on the way to the slaughterer is a metaphor for the body’s journey towards death. The calf (i.e. the body) is mournful because it has become attached to life and fears the unknown of the next world. The swallow, on the other hand, represents the soul, in Weinberger’s interpretation. The Divine Soul is a part of G-d’s Being and is not bound by the material limitations of the physical world; it is free to soar in the spiritual realms high above the earthly one.
Baez, who, probably more than anyone else in North America, was responsible for popularizing the English version of the song, has said she was attracted to the “beauty of the melody.” At the beginning of her long career, she started singing “Dona Dona” as a civil rights protest song. It appeared on her first album and became a “staple” in her performances.
In 1975, Seoul, South Korea, banned the playing of “Dona Dona.” The government considered the song to be leftist and violence-inducing. Two hundred and sixty other songs appeared on this blacklist.
Pointing to how times change or perhaps stay the same, in 2018, Liao Yiwu, a Chinese writer in exile, used “Dona Dona” to boost the morale of someone under long-term house arrest. He had been trying to get permission for poet Liu Xia (widow of Nobel Prize winner, dissident Liu Xiaobo) to immigrate to Germany. In a phone call that year, the severely depressed widow cried continuously, saying, “It is easier to die than to live.” Liao Yiwu played “Dona Dona” for his desperate friend, who has since been released and allowed to leave for Germany.
Given that Zeitlin had religious training, the Gemara of Talmud Bava Metzia 85a is a likely inspiration of “Dona Dona” and, therefore, probably best explains the song’s true meaning. The Gemara tells the story of how Rabbi Yehuda HaNasi, the redactor of the Mishnah, came to endure terrible pains. A young calf, destined for the slaughterhouse, met up with the rabbi. The calf placed its head under the rabbi’s coattails and cried. Yehuda HaNasi said to it, “Go! It was for this that you were created.” Because he should have shown greater mercy to the calf, the rabbi was punished for 13 years with great suffering. Only when he expressed pity for some baby weasels did his pains leave him.
Deborah Rubin Fieldsis an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.
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“Dona Dona”
On a wagon bound for market There’s a calf with a mournful eye High above him there’s a swallow Winging swiftly through the sky How the winds are laughing They laugh with all the their might Laugh and laugh the whole day through And half the summer’s night Dona Dona Dona Dona Dona Dona Dona Don Dona Dona Dona Dona Dona Dona Dona Don
Stop complaining, said the farmer Who told you a calf to be Why don’t you have wings to fly with Like the swallow so proud and free How the winds are laughing They laugh with all the their might Laugh and laugh the whole day through And half the summer’s night Dona Dona Dona Dona … Don
Calves are easily bound and slaughtered Never knowing the reason why But whoever treasures freedom Like the swallow has learned to fly How the winds are laughing They laugh with all the their might Laugh and laugh the whole day through And half the summer’s night Dona Dona Dona Dona … Don
A still from the documentary Shared Legacies: From the left are Martin Luther King Jr., Ralph Abernathy, Maurice Eisendrath and Abraham Joshua Heschel during the march from Selma to Montgomery, 1965.
The Victoria Shoah Project held a panel discussion on Oct. 20, following an online showing of the documentary Shared Legacies: The African American-Jewish Civil Rights Alliance.
The 2020 film, part of the sixth annual Victoria International Jewish Film Festival, chronicles the common history of prejudice and hardships each group has faced, and features footage of the relationships of such luminaries as Dr. Martin Luther King and Rabbi Abraham Joshua Heschel. Included are interviews with many prominent civil rights leaders of the time, such as Andrew Young, John Lewis, Rabbi Alvin Sugarman and Rabbi Peter S. Berg.
After the screening, there was a Vancouver Island-based panel discussion with Adrienne and Barrie Carter, Paul Winn and the Victoria Shoah Project’s Robert Oppenheimer. From their own experiences, they each spoke about African-Canadian and Jewish-Canadian relations. They also talked about the film, and the events from 1960s America that it depicts, from personal, historical, present-day and Canadian perspectives. Rick Kool, also of the Shoah Project, served as moderator.
Adrienne Carter was born in Hungary in 1944, as the Nazis marched into the country and were increasing their campaign to exterminate the Jews. Many in her extended family died in Auschwitz. She and her family moved to Canada in 1956, following the Hungarian Revolution. “The whole stateless experience is very well known to me,” she recalled. “I married Barrie in 1965, at a time when Blacks and whites rarely ever connected, let alone married, and at a time when many Southern states had laws against interracial marriages.”
A co-founder and the director of services at the Vancouver Island Counseling Centre for Immigrants and Refugees, she has spent much of her working life helping immigrants by providing therapy to those who have experienced trauma, including intergenerational trauma.
Barrie Carter, who was a special needs education assistant until his retirement, told the audience of his early years. Born in Jacksonville, Fla., he moved to the northeastern part of the country where, in his teens, he volunteered with the NAACP in Bridgeport, Conn., and in New York and picketed Walgreens to challenge their segregationist luncheonette policies in the South. He immigrated to Canada on a bicycle in 1963. “While I was riding north, people were taking the bus south to the March on Washington. But I just had to get away,” he said.
Both Barrie and Adrienne Carter have traveled around the world, providing services to victims of torture and genocide.
Winn, whose work experience includes having been the executive director of the Canadian Race Relations Foundation, followed by recounting his experiences growing up in Toronto’s diverse Kensington Market neighbourhood.
“When I was 10 or 11, I was a Shabbos goy. I would do some things for the neighbours on Saturdays because they were unable to perform those tasks for religious reasons,” Winn recalled. “I got invited to bar and bat mitzvahs.”
He said, “It was natural for the Black and Jewish communities to support each other when there were struggles with such things as immigration. When I watched the film, I remembered how the connection between the religious Black and Jewish communities helped bring about a lot of activities in Canada, as well.”
Oppenheimer, a clinical psychologist with a focus on traumatized children and youth, a human rights activist and a staunch promoter of Holocaust education, also shared some information about his career. Reflecting on the 28 years he spent working in Detroit, he said, “It was an interesting experience for me. I was the only non-African-American on the staff and I was impressed with how welcoming the community was to me.
He added, “One of the things that impressed me about the movie was when Heschel said ‘not to be a bystander to history.’ I think that is central to my idea of human rights, that we cannot just stand by.”
“One of the things that really hit me in the film,” said Kool, “was a pastor standing in a church with a rabbi who said, ‘Reverend King isn’t here anymore, Rabbi Heschel isn’t here anymore, but are their children here now?’”
Barrie Carter observed that the youth in activist groups today “have the same dynamism as we did. They have an energy and a knowledge of concepts. It isn’t just a blind following. It is a positive morality.”
“They seem to believe it is part of their responsibility to make things better,” added Winn about today’s activists. “They want to make things better.”
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
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Note: This article has been amended to reflect the correct name of the film festival. It is the Victoria International Jewish Film Festival.
Storyteller Shoshana Litman. (photo from maggidah.com)
Shoshana Litman, Canada’s first ordained maggidah (storyteller), kicked off Kolot Mayim Reform Temple’s 2020-21 monthly lecture series on Nov. 1 with a talk entitled Building Jewish Culture Through Stories and Song.
“We humans are a storytelling species,” Litman told the Zoom audience. “That’s what we do. Whether it’s the conversations we have with each other about what’s going on in our lives or the stories we tell ourselves in our own minds, whether they’re true or false, we are always doing this.
“And we Jews are a storytelling people,” she said. “This is what we do, too. If you look at our core text, it is full of stories. The first two Books of Moses are full of stories.”
Litman’s path towards being a maggidah began as her children grew older and she rejoined the workforce. At the time, she started to become ba’al teshuvah (a secular person who “returns” to Judaism). Based in Victoria, she attended conferences run by the Mussar Institute, which was founded by Vancouverite Alan Morinis, and, ultimately, located a program that trains maggidim.
In the mid-2000s, Litman connected with maggid Yitzhak Buxbaum, a student of Rabbi Shlomo Carlebach, in Brooklyn, and she embarked on a two-year program that was taught via conference calls and semi-annual workshops. Upon completing the program in 2008, Buxbaum said to her, “Shoshana, I see how good you are. Now go, save our people.”
Litman regaled attendees of the Victoria synagogue’s event with a story about the Baal Shem Tov from Buxbaum’s Storytelling and Spirituality in Judaism. It happens in the time just before the Baal Shem Tov’s passing, when he told his disciples what they should do when he was no longer with them.
To his follower Rabbi Yaakov, the Baal Shem Tov advises that he go off and become a storyteller. Rabbi Yaakov is skeptical. How can someone make his living as a storyteller? he wonders.
After two-and-a-half years as a peripatetic purveyor of tales following his teacher’s death, Rabbi Yaakov gets wind of a magnate in Italy who would give a gold coin for each story of the Baal Shem Tov he heard.
When Rabbi Yaakov arrives at the gate of the rich man’s villa, he says to the servant, “Tell your master that the personal assistant of the Baal Shem Tov has come, and I have many wonderful stories to tell from experience and not from hearsay.”
The rabbi is invited in and, after a week of good food and relaxation, Shabbat comes. Following a festive meal replete with songs, it is time for stories. But, just then, something peculiar takes place. All recollections of the Baal Shem Tov evaporate from Rabbi Yaakov’s memory. Every trick he tries to elicit the stories fails. The host tells him not to worry, to go to sleep and try again the next morning.
The next day arrives and nothing has changed. Shabbat passes. The other guests at the magnate’s home grow increasingly doubtful. As it comes time to leave, still no tales have sprung from Rabbi Yaakov’s mouth, yet the magnate gives him a bag of gold anyway.
When the rabbi suddenly recalls everything, as he enters his carriage, the magnate asks him to return and Rabbi Yaakov tells the story of a journey he had taken with the Baal Shem Tov.
The group ended up in a town where angry crowds were drawing lots to carry out violent acts against Jews. Everyone was scared, except the Baal Shem Tov. They came to their lodgings in the town and the great Chassidic master went upstairs and opened a window looking out to the main square. The Baal Shem Tov pointed to a house across the square and out of that house walked a bishop, the man responsible for inciting the townspeople against Jews. The Baal Shem Tov told Rabbi Yaakov to bring the bishop to him.
Rabbi Yaakov went to the stage where the bishop was speaking and told him that the Baal Shem Tov wanted to talk to him. At first, the bishop refused, but, after much pressing, the bishop relented and went to see the Baal Shem Tov.
Rabbi Yaakov admits that he doesn’t know what the bishop and his master discussed. Nonetheless, as he finishes his story, tears are streaming down the rich man’s face.
“I can tell you exactly what the Baal Shem Tov said, for, you see, I was that bishop,” says the magnate. “Fortunately, I had holy relatives who convinced the Baal Shem Tov to save my soul. To do so, I had to do many mitzvot. He said I would know when I had been forgiven when someone comes to me and tells me my story.”
During non-pandemic times, Litman performs at schools (from nursery to university), libraries, senior facilities, theatres, houses of worship and other local, national and international venues. To hear her recent talk in full, including the entire Baal Shem Tov story, visit kolotmayimreformtemple.com/shoshana-litman. For more information on her, visit maggidah.com.
The next Kolot Mayim lecture, which takes place Dec. 6, at 11 a.m., features Jonathon Orr-Stav on the topic Arabic Hebrew: An Introduction to How Modern Israelis Really Speak. For more information, visit kolotmayimreformtemple.com/lectures.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
“I learned about climate marches and I learned about dancing bubbies,” said my niece Fae, 9, when we were discussing Bonnie Sherr Klein’s new children’s book, Beep Beep Bubbie, over FaceTime. Among other things, my niece Charlotte, 7, learned “you can learn to ride a bike at 53 and anything is possible.… And I learned about grandmothers who can shush a crying boy.”
Amid much laughter, including talk about dogs pooping – Bubbie has a dog – and what my nieces recalled of Vancouver from their visit here last year, Beep Beep Bubbie offered more discussion than I had anticipated. But, before I get to that, I have to say, for the record, that my nieces have dancing bubbies in their lives, and bubbies who can shush crying children, so they more related to these aspects of Bubbie’s character than learned from them. With that qualification and butt covering, I continue with the review, starting with the basic story of the book.
It is Shabbat and Kate and her little brother Nate are going to visit their grandmother, who is going to take them to Granville Island to buy apples for Rosh Hashanah. The kids have been told there’ll be a surprise waiting for them at Bubbie’s. That surprise, though – Bubbie’s new scooter – isn’t a happy one initially for Kate, who “already missed the Bubbie she used to have. That Bubbie danced and took them to climate marches.” However, during the afternoon’s adventures, Bubbie’s scooter not only allows her to venture farther from home than she otherwise would have been able to manage, but has other advantages, as well.
After their trip to Granville Island, Kate shares a library book that she’s brought along for the visit. About American educator, activist and suffragist Frances Willard, Kate and Nate find out that Willard “fought for women to have the right to vote. When Frances was 53 years old, she learned to ride a bicycle to show that women could do anything.” A conversation ensues about why Willard wouldn’t have known how to ride a bike. “People were afraid women’s ankles would show under their petticoats,” explains Bubbie. “Can you believe it?”
Well, at my nieces’ house, this part of the book was met with disbelief and more laughter, as Charlotte was keen to show off her ankles, which were hard to see, given the placement of their computer and her being the height of a 7-year-old. But, before things deteriorated into mayhem, Fae said, “I also learned that girls are tough.” And, she “learned another reason why women weren’t treated fairly in the past.”
“And what was that reason?” I asked.
“Because women didn’t ride bikes because their ankles were going to show. And they couldn’t vote, [it was] like they didn’t have an opinion.”
“It’s definitely not fair,” said Charlotte about people thinking that girls showing their ankles was wrong.
All in all, Beep Beep Bubbie elicited much talk and not an insignificant amount of gymnastics. The illustrations by Élisabeth Eudes-Pascal are wonderfully colourful and fun; full of energy and movement. Both Fae and Charlotte gave a resounding “yes” when asked if they liked the pictures.
One the drawings is a two-page spread of Bubbie, Kate and Nate and the park, where they join in the fun of flying kites. One young person is in a wheelchair, and Charlotte asked why Bubbie had chosen a scooter instead. Not knowing the answer, I asked the author. Here is her response: “I chose a motorized scooter over a wheelchair, btw, because it felt more sportif,” wrote Klein in an email, “and I am lucky enough to be able to transfer, which keeps me a bit more mobile.”
I like knowing, but the reasons aren’t important, as far as the story goes. Art is to be interpreted and my nieces and I talked about a lot of ideas, from serious to silly, during our FaceTime book review session.
Published by Tradewind Books, Beep Beep Bubbie can be purchased from pretty much any online bookseller. Enjoy!
So much of what we do in life we do almost automatically. For better or worse, we anticipate what’s coming next and, often, we’re right. But a trio of children’s books just published by Tradewind Books will amuse young readers and refresh the perspectives of their adults. Crocs in a Box, written by Robert Heidbreder and illustrated by Jewish community member Rae Maté, contains three expectation-smashing little hardcovers: Crocodiles Say …, Crocodiles Play! and Crocs at Work!
In Crocodiles Say …, it’s the bright, cheerful and iconic crocodiles of Maté that are at odds with Heidbreder’s words. In one scene, for example, we see three restrained crocs, the epitome of manners, “never rude.” The crocs “chew and swallow, their mouths closed tight. Crocodiles say … [page turn] Always be polite!” Well, it has to be said that the crocs are doing anything but eating politely.
In Crocodiles Play!, the crocs get all dressed up for one type of sport, such as baseball, but then play … basketball?! And, in Crocs at Work!, we are treated to a healthy dose of silliness, as the crocs engage in doctoring, cooking, painting and other work, all with a small twist, lots of joy and no little mess.
This collection would make a great Chanukah gift, expected or not!
Aaron Friedland, creator and host of the podcast Impact in the 21st Century. (photo from Aaron Friedland)
If you’re looking for a new, uplifting podcast to cast away the oppressive weight of pandemic blues, consider Impact in the 21st Century, recently launched by Vancouverite Aaron Friedland. The Vancouver-based founder of the Simbi Foundation, which promotes literacy and education worldwide, felt it was time to give voice to the inspiring things that people are doing.
“There’s a lot of really bad news and horrible things going on and, as a species, we seem to be more interested in those stories,” Friedland told the Independent in a recent interview. “There are lots of podcasts available that celebrate big businesses and a very capitalist ideology. Our goal is to help showcase the amazing, impactful things that many brilliant people are doing and that often go unnoticed, and to mainstream what positive impact really means.”
To date, Friedland has interviewed Neil deGrasse Tyson, an astrophysicist and scientific educator; David Suzuki, an academic, broadcaster and environmentalist; Maryanne Wolf, a Jewish author and Harvard academic researching the brain; Ndileka Mandela, the granddaughter of Nelson Mandela; and Alex Honnold, a rock climber and subject of the movie Free Solo. “It’s so nice to be the one doing the interviewing, and the people I’m speaking with are such brilliant minds with brilliant insights to share,” Friedland said. “I feel deeply privileged to be getting that information firsthand.” The plan is to release a new podcast every two to three weeks.
The Royal Bank of Canada has sponsored Impact in the 21st Century, but Friedland said he’s always looking for more sponsors. “Our goal is to reach a point where we have enough podcast sponsors that, with each episode we release, we can build another Bright Box,” he said. The Bright Boxes, which cost $55,000 per box, are classrooms comprised of shipping containers, refurbished with solar technology and aimed at enhancing learning in overcrowded classrooms in places that have little or no access to electricity.
Friedland’s next podcast will be an interview with Canadian cultural anthropologist Wade Davis. His dream interviewees are Elon Musk and David Attenborough, but he’s biding his time until those happen. “It could be they’re not ready yet,” Friedland quipped. “We look for subjects who have a track record of creating longstanding positive impact, and whose vision and values really align with ours.”
Listeners can stream Impact in the 21st Century anywhere they access their podcasts, or online at simbifoundation.org.
Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.
