Category: Arts & Culture

Dayson successful in business, love

Dayson Here portrays Ben Dayson’s innate business acumen and his economic success, as well as his unwavering devotion to his wife, Esther.

Following the publication of the Nemetz family biography Don’t Break the Chain: The Nemetz Family Journey from Svatatroiske to Vancouver, in 2017, comes a new book called Dayson Here: The Story Behind the Voice, compiled and written by Shirley Barnett and Philip Dayson.

Anyone who met Ben Dayson knows he was larger than life. Standing at five feet, six inches (or thereabouts), he was a giant among men. People knew him for many things, but primarily his business success, his deep and abiding love for his “beautiful wife” Esther, and his close family. What’s missing from that picture are his modest beginnings in Ukraine, the journey that brought him to Vancouver, and the man behind the voice. The new book, comprised mainly of direct quotes from Dayson – thanks to the Dayson/Barnett families and the Jewish Museum and Archives of British Columbia – and black-and-white photos, tells a more intimate story of his life. My favourite quote of his is: “I know nothing and you know even less!” Pure Ben Dayson.

The book portrays not only Dayson’s innate business acumen and the extent of his economic success, but also his unwavering devotion to his wife, Esther. She was the epicentre of his life, the voice of reason and the sole calming influence in his life.

It’s no secret that Dayson was an extraordinary character. He made his presence known, and loved to “work a room.” Within the space of a few hours, he could be loud, moody and assertive in his office, then morph into a charming, polite man in a social setting.

Dayson was very interested in real estate development, first residential and, later on, commercial. He had a natural business sense, despite having little to no formal education. There’s no question that his obsession with building and developing fed the fire in his belly. He’d often drive friends around to visit his buildings.

Starting life in Canada wasn’t easy, but, with determination and sheer energy, he parlayed his first business ventures into greater and greater things. Ironically, his difficult start in life (his father died when Dayson was 15) primed him for later success. Having witnessed pogroms and antisemitism, Dayson was determined to have a better life for himself and his family. When a cousin in Kamsack, Sask., sent papers to help him come to Canada, that gave Dayson the impetus to build that good life. Traveling from Ukraine to Moscow, then Riga, Berlin and Rotterdam, Dayson’s world opened up. In Rotterdam, “he became acquainted with new things in life – chocolate, coffee, white bread and girls.”

But Dayson became impatient to get to Canada. In anticipation of his future, he bought a few essentials: a new suit, a pair of shoes and a hat, which left him with only $7. His arrival in Canada took him from Halifax to Montreal to Winnipeg and then to Kamsack, where he settled in 1927. Beyond most everything else, gaining Canadian citizenship was one of his proudest accomplishments. A more patriotic man you could not find.

Friends from his hometown sent word that Esther Nemetz, who grew up just blocks from Dayson in Ukraine, was living in Vancouver – and she was a beauty. Despite never having met her, Dayson began a correspondence with her in 1931. He courted her by mail, despite that she was engaged to a doctor from London, Ont. Dayson’s trademark perseverance won the day and their romance grew. As some people know, Dayson began life as Boruch Deezik, but, at the urging of his wife-to-be, he Americanized his name and became Ben Dayson.

Nemetz’s six brothers had done well since their arrival in Canada and she benefited from their generosity, having the “wedding of her dreams,” after which, the couple moved to Viscount, Sask., where Ben Dayson had already purchased a general store. The book recounts that “Esther sold her furs and diamond rings to help buy inventory.” Their business grew, they made more money, and became community leaders.

Working together as partners, Ben and Esther Dayson grew their family and built a good life. They moved to Saskatoon and bought a meat market, which also did well. In 1949, Esther suggested they move to Vancouver, since her six brothers and two sisters lived there. Living in the big city, the Daysons involved themselves in the Jewish community, surrounded themselves with extended family and expanded their social circle.

In 1951, Dayson discovered real estate and became consumed by it; he built numerous apartment buildings in Vancouver, Richmond, Burnaby, New Westminster and West Vancouver. He had a remarkable sense of what would work and what wouldn’t in the real estate world. He was a pragmatist and a savvy, self-taught businessman. In the 1970s and 1980s, he discovered industrial property, and the book paints a picture of a tenacious but principled man who always got what he wanted. Unless his wife vetoed it.

Throughout their life, Ben and Esther Dayson were great philanthropists and ardent supporters of Israel. Among the many causes they supported was the Richmond Public Library, where I was first introduced to Ben. Having built the first high-rise apartments in Richmond and benefited from them, Dayson felt he owed a debt of gratitude to Richmond. So, in 2004, the couple gave $50,000 to the Richmond Public Library Endowment Fund, one of the library’s largest single donations.

An avid reader and lover of books, Ben Dayson also gave most of his personal Judaica book collection to the library, and established the Ben and Esther Dayson Judaica Collection at the Brighouse (Main) Branch. Thanks to the Daysons, the library is now home to one of the Lower Mainland’s largest Judaica collections, and includes Jewish books, DVD movies and newspapers. In 2004, Ben Dayson was awarded the British Columbia Library Association Keith Sacré Library Champion Award for his support of libraries, literacy and public access to information.

As a senior librarian at the Richmond Library, I had the honour and pleasure of working closely with Ben Dayson to develop this collection. He maintained a hands-on approach to the collection, and would regularly buy and donate Jewish-themed books to the library. Always insisting on an accurate (and usually immediate) accounting of the books he donated, I would often get calls from him, asking (telling?) me to come to his home with the library’s laptop, so I could type out an author/title list of the books he donated.

This was a regular occurrence. But I remember one particular time when there was a bad snowstorm. It was a Friday night and my home phone rang at around 8 p.m. It was Dayson. He said, “I have books for you. Come and get them.” I recall asking him, “You mean right now?” To which, naturally, he replied, “Yes.” It was around 2006 and I didn’t yet own a personal laptop. Knowing that few people ever say no to Ben Dayson (and live to tell the tale), I drove through the snowstorm to his home, bearing a pad of paper and a pen. The rest is history.

Dayson Here: The Story Behind the Voice is filled with fascinating information about the Dayson family business. But there are also plenty of surprising and humorous anecdotes demonstrating how passionate Ben Dayson was about issues that offended him personally. He pursued causes until he got a satisfactory resolution, or was forced to give up the fight, like when the government revoked his driver’s licence at age 95.

As Shirley Barnett said so eloquently in her father’s eulogy, Ben Dayson “lived his life loud and clear.” It’s nearly impossible to encapsulate the enormity of his personality, but this book does just that, with humour, honesty and love. His headstone says it all: “Once met, never forgotten.”

Copies of Dayson Here are available at the RPL Brighouse branch, the Isaac Waldman Jewish Public Library at the Jewish Community Centre of Greater Vancouver or by contacting the authors directly.

Shelley Civkin is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review, and currently writes a bi-weekly column about retirement for the Richmond News.

VICO festival explores Japan

The June 12 performance of Moshe Denburg’s The Longing Sky features Yuji Nakagawa on sarangi, left, and Harrie Starreveld on shakuhachi. (photos from VICO) 

This year’s Vancouver Inter-Cultural Orchestra (VICO) Global Soundscapes Festival highlights the instruments and traditions of Japan. It features a concerto by Moshe Denburg, and percussionists Jonathan Bernard and Niel Golden, both members of the Jewish community, are among the performers.

“As an organization committed to bringing forward and collaborating with all cultures of the world, we have had a connection with Japanese musical culture since our inception in 2001,” explained Denburg, VICO founding artistic director, of the festival’s focus. “Our present artistic director, Mark Armanini, studied composition with the late Elliot Weisgarber, who was my mentor and friend as well, and was, in a real sense, a progenitor of interculturalism in Vancouver. His own studies and musical explorations took him to Japan and into Japanese music. This is one longstanding Japanese influence in our midst.

“The VICO has collaborated with Japanese musicians on many occasions in the past,” he continued. “The first major encounter was in 2010, at a concert production called Imagined Worlds: Japanese Interventions, at which concert we had two visiting Japanese musical virtuosos. In 2013, we produced a mini-festival, together with the Japanese consulate and the Japanese community here, called Chrysanthemums and Maple Leaves. One of the main soloists of this festival, Naomi Sato, has been with us for further iterations of this festival concept, in 2014 and again this year. She plays a traditional Japanese mouth organ called the sho. This year, in addition to Ms. Sato, we have Miyama McQueen-Tokita on koto and Harrie Starreveld on shakuhachi.”

The festival’s opening concert on June 5 at the Waterfront Theatre features Debris, a new mini-opera by Rita Ueda, “inspired by the 2011 tsunami and the debris that washed up along the West Coast of North America,” works by Weisgarber, as well as traditional Japanese music. Denburg’s The Longing Sky is part of Raga-tala-Malika! A Garland of Ragas and Talas with VICO and Friends, at the Rothstein Theatre on June 12.

About The Longing Sky, Denburg said, “After my tours of musical study in India and Japan, which took place in the mid-’80s, I returned to Canada to begin realizing some of my global fusion ideas. Around 1994, I sketched a work which brought together the two traditions I had previously been exposed to, and conceived of a double concerto for shakuhachi (Japanese bamboo flute) and sarangi (Indian bowed string), instruments that, in their own unique ways, spoke to me of longing.

“The Longing Sky originally came to me as part of a two-movement work that I conceived of then, called Between the Source and the Longing Sky. The source represents our life here on earth, while the longing sky represents the possibility of reaching out to a new life in space. This was and still is our global situation today: we have the means to explore other worlds, but the early promise of moving into space has hardly been realized. The sky is within each of us, and represents our longing for a better world, a larger creative palette, a future vast and free.”

The work premièred in November 2013, with featured soloists Dhruba Ghosh on sarangi and Starreveld on shakuhachi. “In 2017, at the young age of 59, Dhruba-ji passed away suddenly of a heart attack,” said Denburg. “This remount of The Longing Sky is a tribute to him, our dear colleague, mentor and friend. Appropriately enough, his student and disciple, Yuji Nakagawa, will be the featured sarangi player, and Harrie will reprise his role on shakuhachi. May Dhruba’s memory always be a blessing.”

Learning the techniques involved with playing an unfamiliar instrument, in order to compose for it, begins with one-on-one sessions with the performer, said Denburg.

“I did this with several shakuhachi performers over the years, studied many materials and listened to many recordings,” he said. “Regarding sarangi, I found, in the early ’90s, a very well-known Canadian ethnomusicologist, cellist and sarangi player, Regula Qureshi, who taught, until her recent retirement, at the University of Alberta. My first learning sessions were with her, and I supplemented these with certain materials that I found in ethnomusicological treatises. Of course, one can never really ‘know’ how to write for an instrument until one has tried to transmit the composition to a performer and listened to the result. In my case, I am still learning how to write for sarangi – actually, the process never ends.

“Another aspect of composing for such an instrument, and indeed for many instruments of the world, is that as they are part of the great ‘aural traditions’ of the world,” he added. “One prime example of this is the music of India – the composer needs to supplement written materials with aural aids; audio materials that are sung, or played on synthesizer or another instrument. But, most importantly, the composer has to sit down with the performer and work on the musical lines he has composed, and sincerely take advice from the performer as to what works and what does not work. This is one aspect of intercultural work that cannot be emphasized enough – the written composition is not the only way, nor even the best way to create great music. This is humble pie for most Western composers, and one might say an added benefit of intercultural exploration.”

On the topic of cultural appropriation, Denburg said, “We have been aware of these issues and, in fact, we may be convening, in 2020 or 2021, a cross-Canada series of discussions exploring best intercultural practices.

“One thing that we have done over the years,” he said of VICO, “which we believe has been acceptable practice, is that we have always emphasized the collaborative aspect of the work. We are not expressing someone else’s narrative, but rather our own, new intercultural narrative. And, when we present other cultures, this is precisely what we do – we present those cultures in performances by accepted exponents of them. So, in a VICO concert, you will often find some demonstration pieces of the collaborating cultures themselves. For example, in Raga-Tala-Malika, we will have a traditional raga presentation, probably featuring our guest sarangi player together with our guest tabla player; and a shakuhachi solo may also be presented. These are the undiluted presentations of ‘other’ cultures. Then, in pieces like The Longing Sky, and others on the program, a truly intercultural piece will be performed.”

Golden will be playing tabla on Denburg’s piece on June 12, and likely accompanying the sarangi player on tabla for a traditional Indian piece in that show. He is also scheduled to play with Starreveld and Nakagawa at the closing concert of the festival, June 13, at the Annex.

According to his bio, when Golden moved to Victoria from Toronto in 1986, “he helped form the world, folk fusion trio, New Earth. Their self-titled CD took them to Seville, Spain, where they represented Canada for six weeks at Expo ’92.… Blending African, Indian, Western and other world music, their first CD, Indiscretion, earned them a Juno nomination as best global recording of 1995.”

Throughout the years, Golden has continued to study tabla and has collaborated with many artists, including Denburg for the past 18 years – Golden is a member of the VICO. He is also a member of the new world music quartet Saffron, performs in the trio DNA, as well as the trio Three Worlds, which recently released a self-titled CD.

Bernard – principal percussionist with the Vancouver Island Symphony – will be playing in the Global Soundscapes Festival on June 8, in Zen and Now, and in Raga-Tala-Malika. His bio notes: “His interest in world music has led him to perform Chinese, Javanese, Balinese and Korean music and study traditional and contemporary Chinese percussion in Beijing, Arabic percussion in Cairo and Carnatic rhythm in South India.” He has premièred more than 70 chamber works with various ensembles, and has toured throughout Canada, the United States, Europe and Japan.

For Global Soundscapes concert tickets ($20-$35), more information on the artists and the full performance schedule, visit vi-co.org.

Rootman’s night scenes

Jack Rootman, in front of his painting “Homage to Degas.” (photo by Olga Livshin)

Jack Rootman’s new solo show, Scene at Night, opens tomorrow, June 1, at the Visual Space Gallery on Dunbar Street. As the name implies, the exhibition is dedicated to Rootman’s paintings of urban night scenes.

“There are several reasons I’m interested in painting the night,” he said in an interview with the Independent. “First, I wanted to show human activity as it is spotlighted at night. People move from one light source to another, from the indoor balcony to the moving lights of cars. You don’t see it so focused during the day. When you look in the daytime, there is a panorama in front of you, your attention wanders; there is too much to see. But, at night, you see activity encapsulated. Someone drinks coffee. Someone crosses a street. Someone is sad or crying or laughing. Your attention is drawn to a spot of light.”

The second reason for his fascination with the nocturnal setting has to do with the constantly changing colours and contrasts. “There are many light sources wherever you are at night – streetlights, lights from the windows, moonlight – and each combination gives off different colour nuances and shadows, depending on where you stand, on the angle of your view,” he explained.

Rootman thinks an element of colour always exists, even at night, when there is a “dynamic blackness. If you look at my paintings,” he said, “there is red black and purple black, blue black and green black.”

Night’s more limited spectrum of colours intrigues and challenges the artist. “Of course, it is more difficult to paint night, to see colours in the darkness,” he said. “Sometimes, I have to use Photoshop to analyze what colours appear in a photograph, before I transfer the image to an oil painting.”

Rootman started painting night scenes years ago, although the bulk of the 22 paintings in the current exhibit have been created in the past five years. During his travels, he took many photographs at night in Paris, Venice, New York and Montreal. He also made sketches and recorded the colours as he saw them. But his paintings never follow the photos to the letter. One painting, a ribbon of light, might be an abstract representation of the night traffic along a boulevard, based on a photo taken from the balcony of his hotel room. Another might be a composition of images from different years and cities.

“My painting ‘Homage to Degas’ is one such a composition,” he said. “I saw this marijuana shop in Vancouver and it reminded me of a Degas painting. I included two of his paintings in this piece.”

In addition to the technical challenges of depicting a city scene at night, Rootman is interested in the loneliness that is most profound at night. “During the day,” he said, “we are at work, but the night brings isolation. It also brings possibilities – many people are lonely, and they go out during the night to meet others.”

photo - “Ice Cream,” by Jack Rootman, is among the works featured in his solo show, Scene at Night, which opens June 1 at the Visual Space Gallery
“Ice Cream,” by Jack Rootman, is among the works featured in his solo show, Scene at Night, which opens June 1 at the Visual Space Gallery.

Some of the paintings show this disconnection. Everyone is absorbed in what they are doing, alone in their own spots of light, talking on their cellphone or lost in thought, and darkness separates them from one another.

“The night is also traditionally associated with a sense of danger,” the artist mused. “Several paintings in this series are lanes, particularly lanes in downtown Vancouver. Anything could hide in such a lane, with insufficient light: from rats to human predators.”

While his lanes are bleak, despite the illumination of neon signs and streetlights, there is always hope in Rootman’s paintings. Perhaps his medical background brings that sense to the fore of everything he does, both in his professional field of eye surgery and in his art.

“My most comfortable mental state is when I’m doing something creative and visual,” he said. “It works for my art. It also worked for my job as a surgeon, before I retired. Surgery is very creative. Like art, surgery is a discovery. Nothing is ever as you expected.”

And, like in his medical practice, where every patient had a story, all of his paintings are stories, too, stories of danger and loneliness, separation and connection, all linked together by darkness and light.

“My work has a certain affiliation with music and poetry,” said Rootman. “That’s why I decided to have a music night and a poetry night as parts of this show.”

The music night with Amicus Ensemble will be held at the gallery on June 5, 6-8 p.m., and the poetry night the next evening, June 6, 6-8 p.m. Scene at Night is at the Visual Space Gallery until June 9.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Plants’ hidden beauty

Yellow gazanias, by Pamela Fayerman. Eighteen of Fayerman’s macro photos form the exhibit Intimate Encounters, which is at VanDusen until June 27.

Well-known for her writing about medicine, science and health policy in the Vancouver Sun, award-winning journalist Pamela Fayerman has another area of expertise, perhaps somewhat lesser known: macro photography. Her first exhibit – Intimate Encounters: Botanical Closeups – opened at VanDusen Botanical Garden with a reception on April 6.

Born in Prince Albert, Sask., Fayerman grew up in Saskatoon. She moved to Toronto to attend Ryerson University School of Journalism, with the intention of becoming a photojournalist. While she changed her mind about that, she said the “photography courses at Ryerson taught me about important things like using light, subject composure and print developing. Even though everyone does digital photography these days, the foundations for those of us who learned on old SLR cameras are still pertinent.

“While I was at Ryerson, I got an incredible break with a story scoop that would be a defining career opportunity,” she said. “I sold the front-page story to the Globe and Mail and then I was invited to continue working there on a freelance basis. When I graduated from Ryerson, the company – then called FP Publications – offered me a job at their other newspaper: the Winnipeg Free Press.”

Fayerman worked at the Free Press for five years, mostly covering the law courts. During that time, she took a year break to study at Queen’s law school, focusing on the Charter of Rights and Freedoms.

“When I moved to Vancouver in the mid-1980s, the law beat was already taken,” she said, “so I had a variety of beats, including City Hall, before landing the medical beat in 1995. I think I’m probably the most experienced medical journalist in Western Canada and I’ve certainly had plenty of incredible professional development opportunities through American fellowships at places like Columbia University, MIT and the National Institutes of Health. It’s a highly challenging, satisfying beat for someone like me with insatiable curiosity. I cover health policy, which involves stories about the politics, economics and mechanics of the healthcare system; medical research; and clinical medicine. The latter often involves the mind-blowing ‘wow’ stories about lifesaving innovations.”

Fayerman became interested in botanical photography about a decade ago, she said, “because I’m obsessed with plants and gardening. It’s the only thing I do that could be described as mindfulness, and that’s important because journalists always take our work home with us. We never stop thinking about the stories we’ve just finished or the ones we’re working on.”

photo - Pamela Fayerman with landscape architect Cornelia Oberlander at the opening reception of Intimate Encounters: Botanical Closeups, featuring Fayerman’s photography
Pamela Fayerman with landscape architect Cornelia Oberlander at the opening reception of Intimate Encounters: Botanical Closeups, featuring Fayerman’s photography. (photo from Pamela Fayerman)

Fayerman said the best way to capture the biology and anatomy of plants in detail is with a macro lens.

“Flowers are so often extravagant and exotic and they are a naturally ideal subject for macro photography because of their sensual shapes, sublime colours and luscious textures,” she explained. “Plants always have hidden, intriguing beauty, often only revealed through macro photography. I use available light and get really close to the mysterious microstructures of plants.”

Her talent for photography has been recognized in various ways, including her being chosen as one of about 100 photographers across the country to participate in the Canada’s Golden Hour Photo project.

“The period right after sunrise and just before sunset is when you can achieve some magic in colour photos, especially blues and mauves,” she said. “In my exhibition, there’s a photograph of an echeveria succulent I shot in California that is a nice demonstration of how to exploit the golden hour before sunset.”

In addition to journalism and photography, Fayerman said, “For about 15 years, I’ve volunteered at the Louis Brier nursing home. In May, I put plants in the pots in the Shalom courtyard and then I tend to the plants weekly until November. My mother was a resident for a short time before her death and this was a project my family initiated in her memory. The residents and family members often express their appreciation because it beautifies the area, which is quite a serene oasis. Last year, one of the residents asked me weekly if I would plant some medical marijuana as well!”

Fayerman also volunteers as a board member for the Vancouver Botanical Garden Association.

“When I learned about the Yosef Wosk Library at VanDusen, that has a gallery inside it named for Roberta Mickelson, I was keen to get my first exhibition there,” said Fayerman, who has been selling her photos for several years via her website, pamelafayerman.com. “I’ve got 18 photographs on display – all of them for sale – including works on paper and on canvas. The retail store at VanDusen is also now carrying my matted prints.”

Intimate Encounters runs until June 27. For more information, visit vandusengarden.org/learn/library.

Artistic telling of strike

The book 1919: A Graphic History of the Winnipeg General Strike by the Graphic History Collective and artist David Lester is not education for education’s sake, but rather a “useful organizing tool,” according to the preface. “This comic book revisits ‘the workers’ revolt’ in Winnipeg to highlight a number of important lessons that activists can lean on and learn from today as they fight for radical social change,” notes the collective.

Lester, a Vancouver-based illustrator, musician, and graphic designer and novelist, will give the talk Getting Graphic with Labour History on June 7, 7 p.m., at the B.C. Government and Service Employees’ Union Lower Mainland Area office. He will also give a presentation as part of the World Peace Forum Society event 100 Years After the Winnipeg General Strike, in which Jewish community member Gary Cristall (activist and grandson of a 1919 solidarity strike activist) and others will participate on June 8, 2:30 p.m., at SFU Harbour Centre, Room 7000. In addition, he and members of the collective are participating in a few panels at the Congress of the Humanities and Social Sciences (congress2019.ca), taking place at the University of British Columbia June 1-7, and are then heading to Cumberland, B.C., for a June 23 event during the Miners Memorial Weekend.

In the Acknowledgements section of 1919, the Graphic History Collective describes itself as “a not-for-profit arts collective. For us, solidarity is not just a winning strategy in class struggle. It is our artistic methodology. In taking seriously the idea that we can accomplish more by working together, we prioritize collaboration…. As GHC members, we volunteer and share our artistic vision and share our artistic, writing and administrative skills.” The collective recognizes the many people who “contributed knowledge, labour and funding to this project. Most importantly, we recognize that this comic book would not have been completed without David Lester’s incredible talent and artistic labour.” Other GHC members who contributed are Sean Carleton, Robin Folvik, Kara Sievewright and Julia Smith; Prof. James Naylor of Brandon University’s history department wrote the book’s introduction.

“In 1919, 35,000 workers in Winnipeg, Manitoba, staged a six-week general strike between 15 May and 26 June,” the narrative begins. Lester’s two-page depiction of the strikers gathering at Portage and Main gives an idea of the vastness of the protest and the small area within which it took place. It is easy to see how people would have had nowhere to run and the panic that would have ensued when the Royal Northwest Mounted Police and the “special constables,” violently broke up the strike on “Bloody Saturday,” June 21, 1919. The police were among those who had voted to strike but were given dispensation to work by the strike committee; however, the city dismissed the whole force on June 9. The mayor, the Citizens’ Committee of One Thousand (formed of business leaders and others) and the federal government opposed the strike and worked together to end it by various means, using fear of immigrants (aka racism) and eventually violence to do so.

1919 gives a history of the pivotal event from the perspective of the strike leaders, workers and their supporters. The textual narrative drops away, for the most part, in the telling of what happened on Bloody Saturday and the impact of Lester’s images builds as the day progresses, from 9:30 a.m. to 11, to 2:20 and so on. Just before 3:35 p.m., two strikers are shot, one dies on the spot, the other from gangrene. The violence continues. At 4 p.m., the special constables take control. By 6 p.m., Canadian Army Service Corps trucks – equipped with machine guns – are patroling Main Street. By the end of the day, in addition to the two strikers killed, many are wounded and 94 people are arrested. The book then describes some of what happened in the trials that followed, and the strike’s legacy.

Lester shares some of his artistic process and inspiration in the essay “The Art of Labour History,” especially the Bloody Saturday pages, and this is followed by a photo essay called “The Character of Class Struggle in Winnipeg.” The notes are useful in providing context for some of the images, and the bibliography shows the depth of research. Short bios of the contributors and a list of the Manitoba unions that supported the publication conclude the book.

“Art bears witness to the injustices of the world and, in reflecting on the pain and struggles of the past, offers hope in working together for a better present and future,” writes Lester. “Art can aid the momentum of progressive social change, and that is what keeps me going…. I am trying to capture and convey the inspiration and spirit of solidarity in class conflict. That is the art of labour history.”

The first Shtisel book

Maurice Yacowar and wife Anne Petrie. (photo from Yacowars)

Shtisel, the unlikely yet addictive hit television series about a Charedi family in Jerusalem, is now the subject of a new book, Reading Shtisel: A TV Masterpiece from Israel, an episode-by-episode analysis penned by Victoria writer and critic Maurice Yacowar, which he will share at the Jewish Community Centre of Victoria June 2.

Yacowar, a retired film professor, began his project in December 2018, as Netflix started airing the series that has become de rigueur viewing among Jews and non-Jews alike. As with many of the show’s aficionados and binge watchers, he was hooked, but his is the only book on Shtisel written thus far. The book’s first printing took place in March.

From his perspective, the show transcends what some may initially dismiss as soap-operatic tendencies. Not a character, not a scene, not an action in the two-season, 24-episode show is out of place, according to Yacowar.

“People (and animals) come and go, some questions may seem unanswered, but those elements are not relevant to the story. Nothing in the show is superfluous or unnecessary. Everything has a reason. We enter their domain, and we leave it, just at the right time,” he recently told the Jewish Independent at a Victoria restaurant.

Hence, the use of the word masterpiece in the book’s subtitle. “People from all cultures are able to relate to the drama and the compassion,” Yacowar explained.

“What’s more, no character stands for a safe idea,” he added. Shulem, the patriarch of the Shtisel family, is the most confounding of them all. At times, he is bullying to the point of being dictatorial; at other times, gentle and caring.

All involved do things that are not “in character,” said Yacowar, which takes viewers along various side streets or smaller stories within the story. There is the studious Zvi Arye, who, after watching a video taken in childhood, laments having had a shot at singing stardom thwarted; the scheming Lippe, who, for a time, abandons his family, though exhibits moments of great kindness and affection to those closest to him; and the show’s least sympathetic character, Nuchem, who doesn’t want his daughter, Libbi, to marry a deadbeat artist, aka his nephew Akiva, Shulem’s son.

Throughout the series are connections to the world outside the strict ultra-Orthodox confines of the Geula neighbourhood in Jerusalem, said Yacowar. Grandmother Malka is fixated by American daytime dramas, Giti’s need for money after her husband departs for Argentina leads her to seek work as a housekeeper for a clothing store manager, and cellphone use among this set of Charedim is ubiquitous.

It is Akiva’s desire to be an artist, though, which perhaps represents the greatest struggle between the secular and the religious in the show, not to mention the personal psychological conflict for the character himself. There are times, particularly those when he is immersed in his art, that Akiva appears to shift seamlessly from one world to another. And others, such as the scene where Akiva is presented with an award and funds for his art at an elite gallery, when the distinction between the pious Shtisel family and mainstream Israeli society could not be more pronounced.

Akiva, Yacowar pointed out, manages to rise in his battle and become his own person as the series concludes at the end of Season 2, no longer shackled by the vagaries of his father’s moods. In contrast, Shulem’s flaws – his conceit and ego, his inability to accept his son’s success in that other world – are on full display.

Yacowar doesn’t expect everyone to agree with his assessment of the series. “Other critics may well choose different points of emphasis, different connections and implications in phrase, situation or device,” he writes. “That’s the beauty, magic of connecting with a drama of such extraordinary richness and complexity.”

There is one point, however, on which he does expect readers of his book to be in agreement: “Let there be the illumination of a Season 3 – but only from the same creators and the same depth and integrity.”

Yacowar has written more than a dozen books on subjects ranging from the films of Alfred Hitchcock to the comic art of Mel Brooks and Woody Allen. He has written two books about The Sopranos and a humorous work, Mondays with Moishe.

Reading Shtisel: A TV Masterpiece from Israel is available online and at Congregation Emanu-El and the JCC of Victoria. Yacowar’s June 2 presentation at the JCC will start at 11 a.m.

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

Artistic tribute to Shoah survivors

The Schara Tzedeck Shoah Survivors Tribute Wall was created for the congregation by John Nutter. The sculpture, which includes the names of 230 survivors, was dedicated May 3. (photo from John Nutter)

Congregation Schara Tzedeck has a new art installation in its main sanctuary. The Schara Tzedeck Shoah Survivors Tribute Wall – a Tree of Life rendered in sandblasted glass – includes the names of 230 survivors. It was dedicated May 3.

Full of shared memories and friendship, the pre-Shabbat dedication ceremony featured several speakers: the synagogue’s spiritual leader, Rabbi Andrew Rosenblatt; its executive president, Howard Kallner; younger family members of the survivors; Ed Lewin, co-chair of the project with Hodie Kahn; and the man who started the entire project, Dr. Robert Krell, a child survivor.

“We wanted to honour the Holocaust survivors who found their way to Canada, before and after the war, and wound up as members of this shul,” Lewin told the Independent. “Most of them came here in 1948. Their names are all there, on the wall. My parents’ and grandparents’ names are among them.”

Explaining how the project started, Lewin said, “We had this empty space, and Krell suggested a tribute to Holocaust survivors. It was several years ago. It took us awhile to find the talented glass artist, John Nutter, who transformed our ideas into a sculpture.”

The synagogue is publishing a commemorative book about the installation, as well. While the Tribute Wall features survivors’ names only, the book also contains photographs of the survivors; there are family and group photo pages. Together, the book and the wall serve as a memorial to those who not only survived the Shoah but contributed greatly to Schara Tzedeck and to the development of Greater Vancouver and the province over the past seven decades.

One page of the book is dedicated to Nutter, who has created numerous art installations for churches and synagogues, mostly in New York. His works decorate many institutions in the United States and Canada: hotels, museums, hospitals. He collaborated with local artist Bill Reid on a glass sculpture at the Vancouver International Airport. A few years ago, Glass Magazine named Nutter one of the top three architectural glass artists in the country.

About how he came to design the Tribute Wall, Nutter said, “A few years ago, I did a small glass sculpture for the Louis Brier Home, a collaboration with a wonderful artist and friend, Diana Zoe Coop. Camille Wenner, Diana’s daughter, works for Schara Tzedeck. I’ve known Camille since she was a young child. She contacted me about this project and, of course, I said, yes.”

He explained his work process. “They knew exactly what they wanted – a Tree of Life, made like a Vancouver cherry tree in bloom. Usually, I start with a small draft, show it to my clients, make changes until they’re satisfied, before I transfer the design to glass. But the people from Schara Tzedeck were very nice. They approved my first draft of the design.”

The first step in making the sculpture was creating a life-size drawing out of the small-scale draft. “I hire a company for that,” said Nutter, “give them my small drawing, and they blow it up to the size I want.”

Once he has the full-size paper draft, he starts working on the glass. For this sculpture, he used nine separate glass panels. The three bottom panels are roots. “The words ‘Schara Tzedeck’ are carved among the roots, to symbolize the Jews who had set their roots with the congregation,” Nutter explained.

The middle panel is the trunk, and the five panels around it are carved with leaves and flowers. “I sandblasted each petal of each flower individually,” Nutter said. “It gives more depth to the sculpture.”

The work is made of 15-millimetre laminated glass; two layers joined together. The carving is on the back, and the names of the survivors are written on the front, in black, which adds to the visual depth.

Nutter has been working with architectural glass for decades. “I started as an architecture student at the University of Manitoba,” he recalled. “A couple years into my studies, I took a summer job with a stained glass company. I loved it so much, I left my schooling and stayed with the company for several years, before I founded my own company. I never finished my architectural degree, but I taught stained glass making at the same faculty years later.”

He loves architecture, and most of his works are large-scale glass. “Sometimes,” he said, “my background in architecture helps me to win the contracts. I often build small-scale models of my proposed installations when I bid for a job. I like the details and hardware used in the models. I learned that during my years of architectural studies.”

Frequently, Nutter’s sculptures and windows tell a story, like the one he created for Schara Tzedeck. “In the past, when artists made glass installations in churches and other religious institutions, it was always to tell a story, as most of the population were illiterate,” he said. “Now, people can read, so the art became more decorative, but it still tells a story.”

To learn more about the artist, visit johnnutterglassstudio.com or visit his studio on Granville Island. For those interested in purchasing the hardcover, full-colour commemorative book ($54), visit scharatzedeck.com/event/-shoah-survivors-tribute-book-order.html; the order deadline is June 30.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

D-Day: heroism, horror

The fear, bloodshed and massive loss of life in the cause of freedom are illustrated through remarkable – and convincing – dramatic reenactments in D-Day in 14 Stories. (photo from YAP Films and the History Channel)

The horrors and heroism of D-Day took place 75 years ago June 6. A remarkable new documentary, with distinct Canadian and Jewish connections, will air on the History Channel June 1. D-Day in 14 Stories includes firsthand recollections from Allied and German soldiers and French civilians – many of them kids or teenagers at the time of the conflict.

The massive battle of the Second World War saw more than 150,000 Canadian, American, British and other Allied soldiers storm the beaches of France, marking the turning point of Nazi – and Allied – fortunes.

D-Day in 14 Stories is a social history of D-Day, a joint production of YAP Films and the History Channel. The events on that long-ago day in 1944 are illuminated by eyewitness accounts from some of the few remaining veterans of that historic battle.

On D-Day alone, 359 Canadian soldiers were killed. More than 5,000 Canadian soldiers died during the succeeding weeks of fighting in Normandy. The fear, bloodshed and massive loss of life in the cause of freedom are illustrated through remarkable – and convincing – dramatic reenactments, visual effects and historical footage, including a trove of colour film taken by a soldier using an early Bell and Howell handheld movie camera.

Many soldiers on both sides were just following orders but, as Morton Waitzman recounts in the documentary, some Jewish soldiers felt a particular motivation.

“Being of the Jewish faith myself, and so many of my comrades, we knew we had to get over there as soon as possible to do whatever we could to stop this terrible curse,” he said. As a communications specialist, he connected American and British forces with members of the French Underground to help coordinate the battle.

photo - D-Day in 14 Stories makes the effort to capture the particular experiences of African-American and First Nations soldiers
D-Day in 14 Stories makes the effort to capture the particular experiences of African-American and First Nations soldiers. (photo from YAP Films and the History Channel)

The Germans were anticipating an attack, but had no idea when, where or how large a force the Allies would assemble. The documentary follows a wall of soldiers parachuting through a cascade of tracers. In all, 13,000 Americans dropped inland by air to support the amphibious landing and undermine the German response.

While one Allied soldier says, “Anybody who says they weren’t afraid is not telling the truth,” a German soldier recounts, tellingly: “We had no fear. We were convinced that we would win.”

Until D-Day, the British Air Force had strafed the Normandy coast, but returned to their island redoubt. French residents of the area were familiar with the routine: take shelter when the alarms go off and come back out when they ring again.

Bernard Marie was a 5-year-old child in Normandy at the time.

“The big difference is that, on June 6th, the siren never came back,” he said.

In all, 7,000 vessels embarked from Britain to the French coast. The Allies had no illusions about the cost of the operation. Casualties were anticipated to reach 25 to 30%.

Emotionally powerful dramatizations follow 16- and 17-year-olds as they face the life-and-death moment for themselves and the free world.

“Some never got off the boat,” recalled one soldier. “They were shot, bodies laid all over, boats turned upside down, real chaos. We still kept going forward.… Soldiers.”

One survivor remembers that, despite the explosions all around him, his sole consideration when coming ashore at Normandy was that his socks were soaked through.

The average soldier was carrying 35 kilograms on his back and, for those whose vessels did not manage to make it close to shore, jumping off the ship, in many cases, led to almost instantaneous drowning.

If they survived the initial landing, the soldiers had to confront the German enemy firing down from above at Allied soldiers who were effectively sitting ducks. A German soldier recalls: “We merely had to point that machine gun and it was like cutting wheat with a scythe. For the odd miss, we had a thousand hits.”

The film admirably makes the effort to capture the particular experiences of African-American and First Nations soldiers.

Waitzman, the Jewish American soldier, went on to fight in Europe and participated in the liberation of concentration camps.

“We became eyewitnesses to the Holocaust by what we saw,” he says in the film. “We were very compelled to tell the details to young people. We had to talk, to fight this as much as possible.”

Another veteran of the battle reflects on the loss of life, but ponders the alternative: “God knows what would’ve happened if we hadn’t done it.”

Première of Erez’s Migrant Voices

Itamar Erez (photo by Nitzan Shorer)

Vancouver composer Itamar Erez will have a world première of his work at the Sound of Dragon Ensemble (Vancouver) and Melody of China (San Francisco) concert May 30, 7 p.m., at the Western Front. Erez will be playing guitar with Sound of Dragon, as well. His composition, Migrant Voices, was inspired by Italo Calvino’s book Invisible Cities, which Erez read when he was younger. It is an imagined set of conversations between Marco Polo and the emperor of the 13th-century Mongolian empire, Kublai Khan. Each chapter of the book is a prose poem, describing an imaginary city that Marco Polo “discovered” in his travels. “I remember being deeply inspired by it as a young person,” said Erez. “In a similar way, perhaps, the music of Migrant Voices is a kind of a ‘discovered’ folk song, from an imaginary city, country or culture. Based on a 9/8 and 7/8 time signature, it definitely has elements taken from certain Balkan/Greek music, Turkish or Armenian. Not sure, to tell you the truth, exactly why and how – it just came to me one day as if a voice whispered it in my ear.”

The May 30 concert – in celebration of Asian Heritage Month – is the first collaboration of two professional music ensembles with Chinese roots from across the border between Canada and the United States. For tickets and more information, visit soundofdragon.com.

A mind-blowing exhibit

“Sunflowers” by Jocelyne Hallé.

The new show at Zack Gallery, #SeasonsAtZack features Instagram artists. A fundraiser for the gallery, the exhibit is extremely eclectic.

“The theme of the show is based on the theme of Festival Ha’Rikud, ‘Seasons of Israel,’” said Daniel Wajsman, marketing coordinator at the Jewish Community Centre of Greater Vancouver. “Every year, the gallery has a group show to coincide with the festival and the artists submit their paintings to the gallery. This year, we thought: why don’t we do social media instead? These days, everyone has a camera…. We all take pictures with our phones and share them with friends and family. This is one step further. Why can’t we share our photos with everyone? That’s what Instagram does – it is a site where we share our images with the world. That’s what we aimed for in this show at the Zack. We wanted to change the concept of what art is.”

The gallery started with the idea that only artists who have an Instagram account would be featured in the exhibit, but later opened the submission process to everyone, said Wajsman. All of the images from the show will be on the JCC’s Instagram page and prints will be available for purchase in different sizes and formats.

About a third of the photos in the exhibit come from a select group of people: staff members of several Jewish organizations, who went to Israel in April for a professional seminar. The organizations participating in the seminar were the JCC, Jewish Federation of Greater Vancouver, Jewish Family Services, Louis Brier Home and Hospital, Vancouver Holocaust Education Centre and Nava Creative Kosher Cuisine.

“We work closely together, but we don’t all know each other,” said Wajsman. “Some of us are Jewish, and some are not. The seminar had a double goal: to teach us about Israel and Jewish history and to connect us with each other.”

Regular visitors to the Zack Gallery will be familiar with many of the photographers in the exhibit. Some of the photos are by artists who have exhibited previously at the gallery – like Lauren Morris, Michael Abelman and others – and submitted photographs of their paintings for the show.

Another set of participants includes local masters of photography, such as Jocelyne Hallé, Judy Angel and Ivor Levin. Each one has more than one of their images on display.

Halle’s “Sunflowers” photo was taken recently. The bright sunny heads of the large flowers contrast sharply with the heavy stormy clouds overhead, and the juxtaposition evokes strong emotions. “It wasn’t Photoshopped at all,” said Hallé. “It’s just the way I took it.”

In contrast, Angel’s airy images glow and shimmer with transparent sunlight. They are so light, they seem translucent, able to fly off the wall like magical butterflies.

photo - “Umbrellas” by Ivor Levin
“Umbrellas” by Ivor Levin.

Beside them, Levin’s photos look like drawings, their colour schemes and compositions inspired by the rains and umbrellas of the autumn season in Vancouver.

New artists also have a strong presence in this show. For them, having their names under their art on the gallery walls is a fascinating experience. One of this crowd is Linda Lando, the Zack Gallery director. “I’m not an artist,” she said. “I’ve never displayed anything before.”

One of her photos, the colourful “Ein Gedi Night,” was taken on her trip to Israel, as a member of the seminar. “We visited Kibbutz Ein Gedi late at night,” she said. “It is a beautiful floral oasis in the desert. They have amazing flowers, and this blooming tree was near the entrance.”

Robert Johnson, also part of the seminar and a longtime JCC employee, has a couple of his photos in the show. One of them is particularly memorable: a photo of a camel with a sad expression, lying under a tree. The title of the photograph is “This is Not a Camel.”

“He talked to me,” Johnson said with a smile. “People were riding him all day, and he didn’t want to be a riding camel anymore.”

The variety of the images in the show is mind-blowing: from Israeli landscapes to mud bathers on the shore of the Dead Sea to abstract composition. #SeasonsAtZack continues until June 9.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.