Arts & Culture – Page 85

Tapestry up for raffle

Barbara Heller (photo by Olga Livshin)

Temple Sholom’s Dreamers and Builders gala is not only a time to celebrate, but to raise funds for the synagogue. In addition to honouring Jack Lutsky and Susan Mendelson, this year’s sold-out event on May 5 will include a silent art auction at the dinner and a raffle, the bidding for which has already started.

“We have art donations for the silent auction from members of the synagogue, Ian Penn and Ivan Gasoi, as well as from Dina Goldstein and Gordon Smith, and a tapestry by Barbara Heller for the raffle,” said Karen Gelmon, gala co-chair, in an interview with the Independent. “Barbara is a member of Temple Sholom and an internationally known tapestry artist. Her works are very valuable, unique and truly remarkable.”

Gelmon noted that the synagogue has several tapestries by Heller on its walls. “There are two magnificent pieces that are on either side of the ark at the front of the sanctuary,” she said. “They are wonderful and loved by the congregation. She has donated two other works that are in another room and are also very appreciated. All these pieces have been there for more than 20 years and are fixtures at the synagogue.”

The raffle features the tapestry “Stones 22 – Stonefall,” the 22nd in Heller’s Stonefall series.

“I have been weaving these tapestries of stone walls and stones on the ground every few years for decades, between more difficult pieces,” Heller told the Independent. “I love these stone walls, built by man without mortar or cutting the stones to fit. If these walls fell down, the stones would return to the earth and no one would be the wiser. Yet, I see the spirits of the people who built the walls. Their energy remains in the stones.”

Heller also likes that the tapestries are abstract. “I get to immerse myself in the act of weaving as I transform them from stone into wool,” she explained. “I play with the handspun and hand-dyed yarns, the textures and the colours, without worrying about the underlying message.”

photo - Fabric artist Barbara Heller has donated her work “Stones 22 – Stonefall” to Temple Sholom’s Dreamers and Builders fundraiser — Fabric artist Barbara Heller has donated her work “Stones 22 – Stonefall” to Temple Sholom’s Dreamers and Builders fundraiser.

“Stones 22” was woven in 2013. “It was based on the photos I took in Caesarea on the Mediterranean in Israel,” said Heller. “The site has been home to invader after invader for millennia. It has been an archeological dig since a farmer plowing the meagre soil first uncovered a large stone block and called the scientists. Here, there are definitely ghosts of the people who came before.”

About why she chose to offer one of her artworks for the raffle, she said, “When I was asked to donate a tapestry by Susan [Mendelson] and the organizing committee for Dreamers and Builders, I was happy to say yes. Susan and Jack have supported my art and own a few tapestries. Temple Sholom is my synagogue and has also supported me. It has several of my tapestries, some as donations and two on loan. The bimah is flanked by two of my tapestries that were commissioned at the time of my son’s bar mitzvah, and the library has a tapestry that my mother willed to the Temple on her death. Now, it was my turn to support them.”

The decision of which tapestry to donate was a practical one. “I felt it had to be mid-size, large enough to have a presence but not so large that it would not find a new home in a modern condo,” she said. “And the reference to Israel was also important to me.”

As an artist who makes a living by her art, Heller has given much thought over the years to the concept of donating work.

“It has been awhile since I donated artwork,” she shared. “There was a time a few years ago when art auctions were all the rage for fundraising, to the detriment of the artists. The fundraisers always stressed that the auctions would be good publicity for the artists, but I don’t think so. People always wanted a bargain when they bid at auctions, and I don’t think that the fundraisers were aware of the lost income for the artists.”

An artist must look at a donation as just that, said Heller, as a donation to raise funds for a charity they believe in. “I now do it only on occasion. I am reminded of what my friend, a pianist, does. When approached to play for free, she says, ‘You pay me what my normal fee would be, and then I will decide how much to give back to you as my donation.’ This makes the fundraisers aware of what they are actually asking.”

Gelmon and the organizing committee were well aware of what they were asking. “I think different artists may have different motivations to donate their art,” said Gelmon. “For Barbara, I think she saw this as a worthy cause. It is raising money for her synagogue, where she and her family have been members for years, and it probably gives her great pleasure to contribute.”

To take part in the raffle, visit templesholom.ca/dreamers-builders-2019-raffle.

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

Connecting beyond art

“Sydney Beach Cliff” (Australia) by Talin Wayrynen.

Art Vancouver’s dictum is “Connect. Inspire. Educate.” This year’s fair brings together almost 100 exhibitors from around the world to Vancouver Convention Centre East April 25-28, and features art classes, guided tours, speakers, panel discussions and a café art crawl. Both veteran and emerging artists participate, and the Jewish Independent spoke with a few artists in the Jewish community who are newcomers to the exhibition world: Matthew Weinstein, Talin Wayrynen and Tara Lupovici.

photo - Untitled #29 (2019) by Matthew Weinstein — Untitled #29 (2019) by Matthew Weinstein.

“I had a chance to volunteer at last year’s show,” Weinstein told the Independent. “Seeing the great professionalism demonstrated by the Wayrynen family inspired me to submit a formal application to this year’s exhibition.”

Art Vancouver was launched in 2015 by Lisa Wolfin Wayrynen. It has become somewhat of a family affair, with this year’s exhibitors including her daughters, Taisha Teal Wayrynen and Skyla Wayrynen; her son, Talin Wayrynen; and her sister, LeeAnn Wolfin.

“We just exhibited in Korea last November, and were invited to participate in another show in Seoul in June, and another show in Taiwan in December,” said Lisa Wolfin Wayrynen, referring to her and her children. “The family act is on the move!”

The 2019 Art Vancouver will be Talin Wayrynen’s second time exhibiting at the fair. An aerial photographer, among other things, he will be exhibiting photos from Australia and New Zealand, and possibly Indonesia. Last year, he said, he displayed photos of British Columbia and Mexico.

Weinstein said he will be bringing a select number of pieces to the show. Describing his art as “abstract and minimal in nature,” he said, “The purpose is to bring peace and tranquility to contemporary rooms…. My passion is to make large multi-coloured pieces that are not just pleasant to look at, but also provoke questioning and inspiration.”

About his creative process, Weinstein said, “The numbers and letters may appear as if they are there to provide meaning when in fact they are just as nonrepresentational as the rest of the shapes. One might ask, ‘Why did you add the number 7 at the bottom right corner of this piece?’ My answer would be, ‘There is no concrete reason behind that decision. It is as random as the rest of shapes, colours and signs you’re seeing. If you’re asking this question then I’ve accomplished my goal to generate interest and promote inspiration.’”

Lupovici, whose artist signature is LUPO, said, “My art is a psychedelic, abstract combination of organic and fluid lines with colour combinations that are inspired by the colours I feel.”

This year’s fair will be Lupovici’s first Art Vancouver, but she has a previous connection to the Wayrynen family. “I went to camp with Taisha and Skyla, Lisa’s daughters,” she said.

A graduate of Kwantlen Polytechnic University’s fashion marketing program, Lupovici said fashion was her main focus, and she has worked in various places, including with her father (Irwin Lupovici), at Bong Wear. “Then, one day,” she said, “I was making dinner and cut a red cabbage in half and boom! My passion for painting was back in my life.”

photo - Tara Lupovici with some of her work — Tara Lupovici with some of her work. *(photo by Adrianna Hankins)*

She has dedicated the last year or so to painting. “Eventually,” she said, “I will mesh my art and fashion design together and have my LUPO label.”

Half-Jewish and half-Chinese – she also speaks Cantonese – Lupovici said, “I definitely would not be the person I am without all the Jewish culture and community that I have been surrounded by. Jewish summer camp was one of the most memorable, loveliest times of my childhood and I am, to this day, close with many of the people I went to camp with. I would not say it has influenced me in design and art, but I do feel being Jewish and meeting other people in the community is inspiring in itself.”

Weinstein also said his being Jewish has had little influence on his work. However, he said, “Having grown up in a suburb of Tel Aviv, I feel connected to my Jewish identity…. The last time I visited Israel was in 2011 and I am very excited to visit again in May…. My upcoming trip is something I look forward to, as it provides a rare chance to explore my roots and reinforces my personal connection to Judaism.”

More travel is also in Wayrynen’s plans, having recently been to Korea, Taiwan, Indonesia, Australia and New Zealand.

“I started using drones just for fun in 2016 and then, in 2017, started using them for film and photography,” he said.

While he couldn’t describe the exact elements of a “perfect” shot, he said, “I like to have stuff that’s unique and can’t really be replicated – like a wave crashing, shots of wild animals or something along those lines.”

As an example, last summer, in Horseshoe Bay, he filmed a group of killer whales, which was later featured by CBC.

Not just anyone is allowed to use drones, of course, and Wayrynen said permission currently depends “on where and for what reason you fly, but it’s soon to be just a licence no matter what.”

In British Columbia, he said, “[I]t’s unlikely to get a permit to fly anywhere remotely populated and even some parks have issues with it. The states are pretty similar and, as for Mexico, I was working on a TV show that did all the paperwork for it, all I provided was the licence and insurance. We were able to film basically anywhere there during the few weeks our permits lasted.”

Weinstein summed up well the importance of venues like Art Vancouver. “If you’re reading this,” he said, “please feel free to come by my booth at the upcoming show and let me know what you think of my art. I enjoy listening to all criticism (both good and bad) and, if you have other suggestions, I’ll be happy to discuss in person.”

For more information on and tickets to Art Vancouver, visit artvancouver.net.

A story told in art and poetry

Olga Campbell’s acrylic painting “Remembering,” above, and bronze sculpture “Twins II” are just two of many artworks she includes in A Whisper Across Time.

Grief is many-faceted. Sometimes, we’re not even aware for what we’re grieving. One of the most beautiful passages in Olga Campbell’s A Whisper Across Time: My Family’s Story of the Holocaust Told Through Art and Poetry (Jujabi Press, 2018) is the following poem:

“I was born with a very deep sadness / a sadness and an anger / as a child I didn’t question this / it was the way it was / when I got older my mother had cancer / she died when I was twenty-two / I thought that my sadness was caused by her death / I had no idea that it was caused by her life.”

“A Whisper Across Time is a heart-warming, emotional journey that reminds us of the suffering and pain that war, intolerance and persecutions create, not only for those who had to endure atrocities but also for the children of the survivors,” notes Dr. David Lee Sheng Tin, author of two books on spiritual health and growth, in the foreword.

In A Whisper Across Time, Campbell gives clear voice to the whispers in her ear, “whispers across time.”

“This is the story of one family out of millions of families who went through the Holocaust,” writes the artist, whose mother lost all of her family during the Second World War. It is “the story of survival and death,” “of how trauma of such magnitude is passed from one generation to another to another….” It is also an ardent call for readers to remember Rwanda, Rohingya, Bosnia, Syria, Afghanistan, Sudan, Iraq, Cambodia…. “[O]ne of every 113 people on the planet is a refugee,” writes Campbell, noting, “by the end of 2016, there were 65.6 million refugees, asylum seekers and internally displaced people in the world” and that “racism, antisemitism and ultra-nationalism are on the rise.” She pleads, “eighty years ago, the world looked away / we must not look away now.”

In an interview with the Jewish Independent last November about the exhibit of the same name that helped launch the book, Campbell updated that statistic. “Our world is a chaotic place right now, somewhat reminiscent of the period before the war,” she told writer Olga Livshin. “There are over 68 million people around the world that are refugees or displaced. My book is not only about my family. It is a cautionary tale. It is about intergenerational trauma and its repercussions across time.” (See jewishindependent.ca/whisper-across-time.)

In 2005, Campbell mounted the exhibit Whispers Across Time. “This art show dealt with memories and losses,” she writes in the book. “Many of the pieces in the show were fragmented, partial in appearance, reflecting both a presence and an absence.”

image - “Twins II” by Olga Campbell — “Twins II” by Olga Campbell.

The exhibit featured masks, rusted metal figures, ceramic sculptures, photographs, mixed media and texts that, explains Campbell, “echoed the same theme of loss and regeneration – a life spirit which emerged from the devastation of the past.” Even reduced in size to fit on the pages of a book and taken out of a gallery setting, this artwork is powerful.

In A Whisper Across Time, Campbell shares some of what she has discovered about her mother, Tania, and father, Klimek Dekler, as well as about her maternal grandmother, Ola Akselrod, and her mother’s identical twin sister, Mania, and brother-in-law, who was also an identical twin, but Campbell hasn’t been able to determine which brother – Manasze or Efraim Seidenbeutel – her aunt married. Campbell recounts how her parents met, the atmosphere leading up to the war, and how her parents survived. Her father’s family also survived. There are no records, says Campbell, of what happened to her grandparents or her aunt during the Holocaust; the Seidenbeutel brothers were murdered at Stutthof concentration camp, a few days before it was liberated.

“My mother must have been completely traumatized by her experiences and her losses,” writes Campbell. “She lived and worked and loved, she still danced … sometimes. But the joy in her heart was not so big. The light inside was dim. And, at night, when she was alone in her room, she cried.”

In A Whisper Across Time, Campbell also talks about preparing for the 2005 exhibition, and some of the strange happenings that occurred, such as how multiple attempts to photograph the art failed – a broken camera, saved images that wouldn’t open on the computer. Her use of language, both in poetry and prose, is emotive without being overly sentimental. And her artwork evokes an emotional reaction, often involving some sadness and always demanding contemplation.

For more on Campbell and to purchase A Whisper Across Time, visit olgacampbell.com.

Historic cemetery full of life

Victoria’s historic Jewish Cemetery. (photo from Amber Woods)

Who could imagine that a book about a cemetery would be so full of life? But then, the people who populate Amber Woods’ Guide to Victoria’s Historic Jewish Cemetery (Old Cemeteries Society, 2018) were among the most vivacious of sorts, starting with the daring, westward-bound pioneers eager to start a new life on a new frontier, to those who went on to be well-known judges (Samuel Schultz), politicians (David Oppenheimer) and artists (Reuven Spiers). Written on the cemetery’s gateway, the phrase Beit HaChayim (House of the Living) welcomes visitors.

The cemetery has had a storied existence. There have been fires, upkeep challenges, pleas to the public to locate graves of prominent individuals and, sadly, in recent times, the desecration of five gravesites in late 2011.

photo - Amber Woods — Amber Woods *(photo from Amber Woods)*

The discovery of gold along the Fraser River in 1858 brought an influx of people to the region, mostly from California, Jews among them. Jews arrived largely as merchants and proved adept at figuring out what was needed in the community. Having already developed trading networks, they did not need to rely on the Hudson’s Bay Co. (HBC) for supplies or for getting their goods to other markets, and “could move quickly from one business to another.”

On May 29, 1859, a group met to create the basis of a Jewish community, including a synagogue and a cemetery, in Victoria. A cemetery committee was formed and, on Oct. 1 that year, 1.7 acres of land was purchased from Roderick Finlayson, the chief factor of the HBC. In February 1860, the cemetery was consecrated, making it the first Jewish cemetery – and the oldest non-indigenous cemetery – in continuous use in Western Canada.

The first funeral at the cemetery, on March 20, 1861, was the result of a most unsavoury encounter. Businessman Morris Price, an immigrant from Prussia, was in his shop in Cayoosh, what is now Lillooet, on Feb. 1, 1861, when three men entered. He was found dead the next day. All the perpetrators were found guilty; two were executed, the third convicted of manslaughter and given a shorter 12-month sentence for his cooperation with officials. As Victoria’s was the only Jewish cemetery at the time in the region, Price’s remains were sent from the mainland.

Herein, too, are remembered several who were prominent in Victoria’s early commercial hub – liquor salesman, saloon operator and real estate tycoon Max Leiser; clothier Frederick Landsberg, who learned Chinook to trade with First Nations people and who would later go into curios, real estate and, finally, philanthropy; and restaurateur H.E. (Henry Emanuel) Levy, who opened the first gourmet establishment in the Pacific Northwest, the very “unkosher” sounding Levy’s Arcade Oyster Saloon, which became a local hangout. Levy’s son, Arthur, followed in the family business, setting up various popular diners, such as the Poodle Dog Café. Once retired from the restaurant business, Arthur Levy began a mission of world peace, which saw him correspond with many a noted statesman of his time, including Nikita Khrushchev, David Ben-Gurion and Jawaharlal Nehru.

Many of those buried at Victoria’s historic Jewish Cemetery lived the sort of life that could have been turned into a novel or film – tales of shipwrecks, of bankruptcies turned into successes.

There are fascinating biographies, such as that of Samuel Schultz, who, despite living to be a mere 51 years of age, did more in those years than most do in a lot longer. Schultz was a musician, athlete, activist and lawyer. He is credited with pitching the first no-hitter in British Columbia, played flute and clarinet for the Victoria Symphony, composed music, served as a correspondent for several newspapers and was a founding member of the Independent Order of B’nai B’rith and became the first Jewish judge in Canada.

Then there is Lewis Lewis, who served twice, in non-consecutive terms, as one of the first presidents of Victoria’s Temple Emanu-El (now Congregation Emanu-El). His is a story shrouded in questions. “Much of the information available about Lewis Lewis is contradictory, incomplete or, in some instances, false,” Woods writes. Many myths and mysteries exist about this early Jewish settler, from his place of birth in Eastern Europe to how he changed his name, from the story of his arrival in Victoria, to his legacy within the local community.

The historic Jewish Cemetery is situated four kilometres from downtown Victoria, where Fernwood Road meets Cedar Hill Road. Visitors enter through the pedestrian gate of the main entrance.

Woods’ book is part of the Stories in Stone series organized by the Old Cemeteries Society. Copies can be purchased at the Jewish Community Centre of Victoria, Congregation Emanu-El, area bookstores (Bolen, Munro’s and Ivy’s) and online at jewishvictoria.wordpress.com.

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

Persistence a common theme

There is a bounty of books to read and review at the Jewish Independent. One of the many perks of my job is that I have so much culture literally at my fingertips. But, given the weekly deadlines and other demands of running a newspaper, I can’t always be au courant. So, hopefully I will be forgiven for reviewing four books published last year for this Passover issue: a memoir, a work of fiction (perhaps 😉 and two young adult novels. I’m excited to report that two of the books were written by people who have written for the JI and one was written by a local community member.

My favourite podcast is Wait Wait … Don’t Tell Me! And, even though I don’t run, one of my favourite magazines is Running Room. I’m not sure how I got onto their mailing list, but I always enjoy reading people’s inspirational stories of why they started running, I like the recipes and nutritional advice and the training tips, which are useful for other types of exercise. Anyway, all that to say I was excited when the host of Wait Wait, Peter Sagal, who is Jewish, came out with his new book, The Incomplete Book of Running (Simon & Schuster, 2018).

Sagal shares personal stories about why he started running, some of the marathons in which he has participated and people he has met along the way, notably a couple of runners who were blind (or almost), for whom he acted as a guide. Scattered throughout, he offers various facts and figures about running; its health benefits, as well as its downsides (I did not know about, to put it delicately, the digestive issues long-distance runners can face). He speaks somewhat vaguely but openly about the dissolution of his first marriage and he is refreshingly honest about his struggle with depression.

Running has helped Sagal deal with difficult circumstances, and continues to not only be a form of exercise for him, but something that informs how he lives. Among other things, running has taught him persistence and has made him more courageous; it has contributed to his “faith in the possibility of positive change” and his realization of just how enduring is love.

I admit that, despite Sagal’s enthusiasm, reading about multiple marathon experiences, as a non-runner, got a little tiresome. And the book isn’t chronological, so I wasn’t always sure of what point we were at in Sagal’s life. But, those minor criticisms aside, I enjoyed the book a lot, especially Sagal’s conversational style of writing and his humour. Having listened to him almost every week for so many years, it felt, at times, that he was right there, telling me his story; that I was listening to him, rather than reading him.

* * *

There is no doubting that Curt Leviant is a talented writer, that he has a wicked sense of humour and a heightened sense of observation and awareness. Katz or Cats; Or, How Jesus Became My Rival in Love (Dzanc Books, 2018) is his most recent of many novels and fans will not be disappointed.

A book editor, John, and a writer, Katz, meet on the subway. On their commutes into New York, Katz shares what is ostensibly his brother’s love story, though it may be Katz’s. Part of the novel’s plot revolves around just how true, or fictional, is the story of Katz’s brother, who also goes just by his surname, Katz.

As the story goes, Katz (or Katz) meets a woman on a train. Maria is supposedly a devout Christian, but she has no trouble permitting a stranger to put his arm around her on first meeting, nor having sex pretty soon thereafter with said stranger, Katz, who she thinks might be married. Their relationship – and the novel – comprises much sex, a lot of talking about sex and many discussions about religion – Jesus, specifically, and Maria’s recurring feelings of guilt for not being what she thinks a good Christian should be.

As Katz relates the tale to John, the editor interjects every once in awhile to question apparent contradictions or errors in the telling. Some aspects – Katz’s marital status, for instance – remain unclear, and purposefully so.

Ironically, perhaps, given that the premise of the novel is a writer telling a story to an editor, Katz or Cats would have benefited from some tighter editing. More than one topic recurs and some points are made multiple times. While Katz’s wit and intelligence provide much to think about, I didn’t find him to be a sympathetic character, so “listening” to him became difficult. And, while I’m not a huge fan of political correctness, I found his treatment of Maria to be condescending and rude at times, and some of his quips to be on the edge of disrespectful towards other cultures. Though Katz refers to Maria more than once as smart, her waffling and some of her responses to Katz – and his reactions to her – don’t really support that notion.

Overall, while provocative in many ways, I found Katz or Cats to read like a book from another era. Many male writers, from Seneca to Henrik Ibsen to Thomas Mann to Leviant himself, come up in conversations in the novel, reinforcing my feeling that this book would be most appreciated by older, male readers. But I could be wrong. When I shared my views with Leviant – who regularly writes for the Jewish Independent’s holiday issues (see page 34 of this issue, for instance) – he shared that a similar novel of his, translated into French, got great reviews from young women critics.

* * *

Ever since reading No One Dies in the Garden of Syn in 2016, I have been waiting for the second book of local writer Michael Seidelman’s trilogy featuring teenage heroine Syn. And, late last year, my wait was over.

Everyone Dies in the Garden of Syn (Chewed Pencil Press, 2018) starts with a violent prologue that both heralds what’s to come and starts to explain the “Creepers” – weird-looking creatures that seem to be combinations of two people or a person and an animal or insect – we met in the first novel.

In the introductory pages of Everyone Dies, Seidelman, in addition to moving the story along, reminds readers of what has come before. The action in this book centres around Syn’s need to rescue her sister, who has been kidnapped by Cole, a “boy” who befriended and then betrayed Syn – or, from his point of view, was befriended and betrayed by Syn.

Still missing as Everyone Dies starts are Syn’s parents, who disappeared when she was 5. Because of Syn’s actions in the first book, the garden, which once had healing powers – “no one dies” – has lost them, so now “everyone dies,” or can die, in the garden. Therefore, the situation is that much more dangerous now for Syn, who suffers from cystic fibrosis. Whereas she didn’t have to worry about her health in the first novel, it becomes another thing she has to battle in the second.

And there is many a battle in Everyone Dies, and lots of running and chasing. There were a few times I lost track of which universe (there are multiple) we were in, and, sometimes, who was fighting whom, but the action moves along and the tension builds. There’s a wonderfully satisfying twist at the end. And so begins the wait for Book 3.

To read more about Seidelman’s first Syn novel, visit jewishindependent.ca/first-book-of-trilogy-now-out.

* * *

“When my 13-year-old son devoured Bulfinch’s Mythology after reading Rick Riordan’s Percy Jackson, I realized we need an exciting, thought-provoking series based on Jewish history, something that will send our kids reaching for a Torah, a Talmud or a Book of the Apocrypha,” wrote Emily Singer to the Jewish Independent in an email about her new book, Gilgul I: Rededication (Hadassa Word Press, 2018).

Singer, who lives in Israel, is a writer and a high school teacher. When she and her family lived here, she taught at Vancouver Talmud Torah. She has written several articles for the Jewish Independent so, when she contacted the paper about Gilgul, I happily agreed to review it.

Not surprisingly, knowing Singer’s skill as a writer, Gilgul is a compelling and radical take on the Chanukah story. While all the book’s hero David wanted to do was to play the game skyros with his friends, the game takes on a deadly seriousness for the 15-year-old when King Antiochus sacks the Temple and starts a war against the Jews.

David must be smart, brave, strong and compassionate to stay alive and save his family and his people. He must figure out who to trust, and the fact that it’s not always clear who the good guys and bad guys are adds tension and meaning to the novel. Even with the help of his equally heroic sister Leya, some unexpected courageous allies and a little magic, David has his work cut out for him. Gilgul will leave readers thinking anew about Chanukah, the rededication of the Second Temple, the Maccabees, the miracle of oil, and more.

Learn from a cooking master

I don’t do it often, but I like cooking. Actually, I cook almost every day, but rarely cook with a capital C. My mother taught me the basics, and I appreciate not only good food, but the company that generally goes with it. When a close friend took a cooking class and shared some of the science behind what makes an excellent meal versus a mediocre one, I was fascinated.

In looking for more in-depth information than is normally in a cookbook, I came across the bestseller and multiple-award-winner Salt Fat Acid Heat by Samin NosratSamin Nosrat, which was published by Simon & Schuster in 2017. The timing of my discovery was not coincidental. Nosrat’s Netflix series by the same name had recently premièred, in October 2018.

I knew there was a small Jewish connection to the book – author and food expert Michael Pollan had written the foreword. But then, the same friend who inspired my interest in the technical aspects of cooking told me she thought the illustrator might be Jewish. And, she was right! Wendy MacNaughton – whose clients include the New York Times, Wall Street Journal, Time Magazine, Bon Appetit, Gastronomica and many others, including Simon & Schuster – is Jewish. (With a name like Ramsay, I should have looked into it further right away; next time, I will.) With this added information, I could easily justify asking for a review copy from the publisher, and did.

Salt Fat Acid Heat is not a cookbook that you just pop open, pick a recipe and make it, though you could do that. There are plenty of recipes for salads, pasta, fish, chicken, meat, sweets and more. Shaved carrot salad with ginger and lime, garlicky green beans, beer-battered fish (which also contains vodka, apparently), and fresh ginger and molasses cake are top of my list to try. There are a couple hundred pages of recipes, plus some suggested menus, chefs and authors to look for online or in books, a four-page bibliography, an index and an illustrated list of kitchen and pantry essentials.

In this latter part of the cookbook, there is also a Cooking Lessons section based on the enormous amount of information Nosrat imparts in the first 200 pages about salt, fat, acid and heat. So, for example, to put what you learned about seasoning from within (salt), make spicy brined turkey breast; about emulsions (fat), pasta Alfredo; about layering acid, balsamic vinaigrette; and about preserving tenderness (heat), some scrambled eggs. Other lessons focus on timing, knife skills and improvising with leftovers.

What makes this cookbook a must-have for foodies and cooks of any level, is not only the detail into which Nosrat goes about the four elements that make for good cooking, but that, in discussing the details, she communicates and almost transfers her love of and excitement about food and cooking to the reader. It’s hard to read this book and not be tempted to head to the store to buy the umpteen types of salt that exist (who knew?) or a selection of olive oils to taste, to the market for the freshest of fruits and vegetables, or to the butcher for the best cuts of meat.

Nosrat is all about the experience of cooking – taste and taste again, and don’t be afraid to experiment. As Pollan writes in the foreword, “Even though it contains plenty of excellent recipes, this is a book concerned foremost with principles…. Master these principles, [Nosrat] promises, and you will be able to cook delicious food of any kind, in any tradition, whether a salad dressing or braise or a galette.”

illustration - Salt Fat Acid Heat caesar salad made by Samin Nosrat, illustrated by Wendy MacNaughton — A Caesar salad, as made by Samin Nosrat and illustrated by Wendy MacNaughton in Nosrat’s Salt Fat Acid Heat.

The full-colour illustrations are critical to what makes Salt Fat Acid Heat such an incredible resource and enjoyable read. From drawings of things that don’t lend themselves easily to depiction, such as grains of salt, a chemical reaction and saffron, to making tables, charts, Venn diagrams, frying instructions, etc., more fun and easy to understand, MacNaughton helps Nosrat explain the art and science of cooking.

The size and weight of Salt Fat Acid Heat is daunting, until you open it. As Nosrat writes about how to use the book, “Pay attention to the techniques, the science and stories, but don’t worry too much about committing it all to memory. Come back again later to revisit the concepts that are relevant to you.” But, most importantly, she emphasizes, “Don’t forget to enjoy the pleasures, both small and large, implicit to cooking and eating with people you love!”

Making change her business

Elisa Birnbaum, centre, with Laura Zumdahl of Bright Endeavors, left, and Maria Kim of Cara Chicago. (photo from Elisa Birnbaum)

Toronto-based Elisa Birnbaum, editor-in-chief of SEE Change magazine, aims to inspire and give hope in many ways. Her book In the Business of Change: How Social Entrepreneurs are Disrupting Business (New Society Publishers, 2018) is but one of those ways.

“I’m a lawyer by training, but was always a writer on the side, enjoying writing and storytelling,” said Birnbaum, who was born and raised in Montreal in an Orthodox Jewish family. “I decided to try writing out for a little bit and to go back to law after. That was 15 years ago. I never went back to it.

“I was writing a lot about the nonprofit and charitable sector in Canada, as well as in the U.S., and I was also writing a lot about business, a strong interest of mine, too. I noticed how there was a melding of the two – how a lot of challenges in the nonprofit and charitable sector … how they could be helped through business and through business savvy…. So, when I saw what social enterprise was all about and how it was using business to solve social challenges, I realized the importance of that. I became really intrigued and interested. It was an area that, I thought, ‘Hey, this is something I really want to explore further.’”

Birnbaum started pitching stories about social enterprises to any editor who would listen. While some of her work went out via mainstream media, Birnbaum felt more was needed, so she co-founded SEE Change, which is devoted to telling the stories of social and environmental enterprises.

“I thought they symbolized a new way at looking at business,” she told the Independent. “I really felt this was the future, with how we work with business and how communities can tackle social challenges through business, and these types of savvy-ness and skills.”

After years of publishing the magazine, Birnbaum wanted to put together a book of such stories, both to delve more deeply into the phenomenon and, hopefully, to inspire and teach readers how to take on the task of starting a social enterprise.

“A lot of times, I’d get some young people or even older people who were interested in social entrepreneurship themselves, and they’d like advice and tips, and were constantly looking for more information from anyone who’d done it before,” she said. “So, I thought, I could also provide lessons learned, tips, advice and resources … so, a bit of storytelling, as well as a resource for those who are starting up or looking to start their own.”

As far as the response to the book so far, Birnbaum said she has been asked by schools and organizations to speak about the topic. “There were people who had never heard about it before and are now really inspired by the storytelling, which is great,” she said. “There are other people…. I was at a couple of universities recently, and some students there said they picked up the book and were now interested in starting their own social enterprise.”

According to Birnbaum, a very broad definition of a social enterprise is a business, whether nonprofit or for-profit, that has a social or environmental mission at its core, as opposed to a business that has profitability and sustainability at its core. The unique aspect of social entrepreneurship, she said, is that it approaches business in a new way.

In her book, Birnbaum makes a point of highlighting a large array of social enterprises from around the world, including a few in British Columbia. For example, Saul Brown’s Saul Good Gift Co. (itsaulgood.com) creates gift boxes filled with locally made artisan food that people can give their loved ones across Canada, and Reena Lazar’s Willow (willoweol.com) helps with end-of-life planning.

photo - Fresh Roots offers students experiential learning opportunities. — Fresh Roots offers students experiential learning opportunities. *(photo from Fresh Roots)*

Marc Schutzbank, director of Fresh Roots (freshroots.ca), grew up in the United States and moved to Vancouver to finish his education at the University of British Columbia 10 years ago on a Fulbright scholarship, looking at the economic viability of urban farming. This line of study led him to an organization called Plant to Plate, in Pittsburgh, Penn., where he attended University of Pittsburgh.

“As part of my research, I was looking at urban farms in Vancouver – if they were growing, how much food they grow, who they’re sharing it with,” Schutzbank told the Independent. “I have a finance degree, so I was looking at if they were making any money. As I was doing that, there were a couple of people who were doing work in the social space. So the goal wasn’t to grow and sell food; the goal was to share it or to reduce barriers to employment. And so, as I was getting to know them, Fresh Roots was moving from backyards into school grounds.”

One particular backyard caught Schutzbank’s attention. He wanted to know how much food was being grown in such a small space. He discovered, to his amazement, that this one backyard could feed three families. As they expanded to eight backyards, they could feed 35 families.

One of those backyards was adjacent to an inner-city elementary school with a rundown garden plot. The school invited Fresh Roots to develop the plot. As they did, the students, teachers and parents became increasingly interested. The teachers began using the garden as part of their curriculum, as a place to build learning capacity.

“It turns out that, when kids are outside growing food, their academic confidence increases,” said Schutzbank. “They are able to find some success, and this is often in places with kids that are having a hard time finding success inside the classroom [in straight rows]…. Learning like that doesn’t work for everyone.”

photo - Marc Schutzbank, director of Fresh Roots — Marc Schutzbank, director of Fresh Roots. *(photo from Fresh Roots)*

Another benefit of this was that bullying decreased at the school, as kids had a positive physical outlet. As well, Schutzbank found that, as the saying goes, “If you grow it, you eat it.”

Other schools picked up on what was happening and asked Fresh Roots to do the same at their schools. Fresh Roots is now at four high schools and one elementary school.

Fresh Roots also started a salad bar program for students – twice a week, all of the students get to eat the produce from the garden.

“In Canada, we are the only G7 nation that doesn’t have a federal meal program,” explained Schutzbank. “It’s a bit crazy that Canada doesn’t have that. All those kids without lunches are hungry, regardless of how much food is at home. It’s really critical for learning, to have food…. So, at Fresh Roots, our vision is good food for all – so everybody has access to healthy land, food and community.”

In addition to the food they grow, Fresh Roots supports and encourages teachers to have classes outside in the garden. “They need to touch, taste and feel,” said Schutzbank of the students. “Those are really critical parts of our senses and a really important way of learning.”

As well, Fresh Roots provides employment – especially in the summer – for youth who are struggling.

Schutzbank said you can’t grow food without eating and sharing it, so Fresh Roots’ philosophy is “around sharing all the food back through the programs and everything we are doing.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Love starts with the self

Most of us are familiar with the concepts of “inherent worth” and “unconditional love.” But many fewer of us actually live by these precepts. Anne Andrew would like to help change that fact. She does this in her work, as well as in her new book, What They Don’t Teach in Prenatal Class: The Key to Raising Trouble-Free Kids and Teens, the launch of which takes place April 11, 2 p.m., at the Isaac Waldman Library at the Jewish Community Centre of Greater Vancouver.

In the introduction, Andrew shares, “My experience as a worried parent of a once-troubled teenager (now a well-functioning adult) and my wish to help other parents avoid the sleepless nights, debilitating fear, helplessness and despair, led me to write this book. Our family’s ordeal lasted more than six years and, during that time, we learned strategies that not only helped us survive but actually allowed us to thrive…. At the same time, I was working as a school principal and became aware of the mental health crisis that was starting to take hold in younger and younger students.” As examples, she notes that 77% of children report having been bullied at school and 80% of 10-year-old girls wish they were thinner.

Andrew was a school principal at Temple Sholom for 20 years. “It’s likely,” she writes, “that one or more of your children will face some kind of difficulty, whether it’s an eating disorder, bullying, drug addiction, depression or other mental health issue, and it is almost impossible to predict whose child that might be. You can’t always see it coming – we certainly didn’t!”

Based on what she was learning from her family’s therapist, Andrew “concluded that there is an absolute and fundamental concept that underpins healthy human life.” That concept – inherent worth – is the subject of the first section of What They Don’t Teach in Prenatal Class. Part 2 focuses on unconditional love, explaining “why it is so difficult for us to accept and own our inherent worth, then explain[ing] how this can be done and become part of your ‘way of being.’” The third part of the book discusses parenting priorities, “kindness versus grades,” and “teaches how to parent out of love – not fear.”

While targeted to parents, What They Don’t Teach in Prenatal Class is a valuable guide for anyone who has negative opinions about themselves, which, to hazard a guess, is the vast majority of us.

“Part of the reason that I named my book the way I did is that it would be ideal if parents did some of the self-work ahead of having children,” Andrew told the Independent. “That way, they’d be better prepared to face the challenges of parenting and they would have a deeper understanding of how their children pick up negative beliefs right from the beginning. They’d have a bit more time and space to think clearly about the bigger picture in terms of purpose and priorities before the baby arrives. Imagine if prenatal classes included a few sessions on this topic!”

One of the tools Andrew presents in her book is the Choose Again Six-Step Process, which was developed by Diederik Wolsak, founder and program director of Choose Again Attitudinal Healing Centre and author of Choose Again: Six Steps to Freedom. Wolsak wrote the foreword of What They Don’t Teach in Prenatal Class. In it, he notes that Andrew – who is a Choose Again facilitator – “has written a manual which draws directly from her own heroic and victorious battle with depression and her transformation of some crippling core beliefs. But, more to the point, it tells the story of two people, parents, coming to terms with what they needed to heal to become real parents. Real parents teach by demonstration. Real parents are transparent and not afraid of what they’ll encounter when they begin their own journey to removing all barriers to love.”

By healing a negative belief about ourselves, we can change our behaviour. “By following our familiar feelings, we can retrieve early childhood memories in which we can discover the genesis of our beliefs and we can begin to transform them,” writes Andrew. “You have to be in the feeling for it to work – it is a process that has to be felt, not an intellectual exercise.” In brief, when you’re upset, for example, acknowledge that you’re upset; take responsibility for the feeling – it is not your child’s fault, but rather “a negative belief that you made up in early childhood has been triggered”; focus on the feeling and identify it; remember the feeling and try to determine when you first ever felt it; once you have that memory, contemplate how you judged yourself in that moment and how you thought others judged you; and, lastly, try “to fix your mistaken belief by a process of forgiveness that replaces your mistaken belief with the truth of you – that you are inherently worthy, whole and complete.”

If loving ourselves isn’t hard enough, parenting out of love, and not fear, is as much or more of a challenge. Not blaming your children for your anger, not punishing them for acting out, etc., would seem to require infinite patience and constant self-awareness.

“If people read my book and are feeling overwhelmed, then I would say do one thing, and that is to have a gratitude practice,” said Andrew. “I have a section in the book on exactly how to do that and I know that it’ll make a huge difference. Begin with one thing and then perhaps add another.

“Awareness is half the battle, so simply being aware that young children are developing negative beliefs about themselves will be helpful in the ways you respond to your child’s behaviour. I’ve presented the concept of inherent worth as the antidote to all of these beliefs, so I have actually simplified parenting into one challenge – how to get across to our children that they are inherently worthy beings. They don’t have to establish their own worth by getting good grades or winning competitions. I’ve suggested several techniques, so parents just need to adopt the ones that will work for their family.

“Many of the things that I suggest are simple, such as remembering to smile at your children more often – put a smiley face sticker on your phone, on the fridge or on the bathroom mirror to remind you. Mindfulness can be practised at the dinner table or getting ready for bed by helping children focus on their senses in the here and now.

“Parenting is a marathon, not a sprint,” she continued, “and it is OK to take awhile to get into the stride, stumble and get back up. Parents tend to judge themselves rather harshly (we all do!) and that’s not helpful. Be gentle with yourself and know that it is impossible to make a mistake – we make healing opportunities for ourselves and our children!”

Andrew invites “parents to use the day-to-day parenting upsets as portals to self-healing so that parenting becomes a journey into self-awareness. This in turn benefits the kids enormously. When parents heal their own negative beliefs, they won’t worry about being judged by others, they won’t be drawn into competitiveness and will not need to over-program their children, so that makes life and parenting less stressful and more fun for the whole family.”

Andrew is a parenting coach, and she presents workshops in the United States, Canada and Europe. She said parents take what they can from her recommendations.

“Parents who have taken my workshops, on which my book is based, report that they have more patience, greater understanding of their children’s behaviour and their own, and the ability to communicate more effectively with their children as well,” she said. “I have been told that the methods are transformational and that was certainly my experience. One parent (Roanna Glickman) told me that she dived headfirst into self-healing using the Choose Again Six-Step Process and she has transformed her life and her kids are thriving as a result. She said, ‘It may seem like more work initially but, when you take away the power struggle, it’s way less work in the long run.’”

Andrew shared feedback from another parent, Pam Roy, who said, “Parenting isn’t about trying to do it right but about learning along the way, being authentic with your kids when we don’t get it right; making yourself better helps you be more present and aware with and for your kids.” While acknowledging that self-work is time-consuming and difficult, Roy said it is crucial and, if Andrew’s suggestions “feel overwhelming or time-consuming, that should trigger that there’s work to be done. Change aversion is there but, when these fears come up, it’s the more reason they should be looked at.”

One of the more surprising pieces of advice, perhaps, is to be careful with praise. “How many of us do what we do to win approval from our bosses, peers, spouse, other family members and even our children?” writes Andrew. “When that approval is not forthcoming we beat ourselves up wondering what we did wrong or reminding ourselves that once again we failed.”

As to how to reduce our dependency on external validations of our worth, Andrew told the Independent, “Firstly, I suggest you gradually phase out praise – it tends to be a habit so takes awhile to correct. Notice when you automatically use praise and then follow it up with a question that indicates your sincere interest in whatever it is that was praised. Praise-dependency tends to undermine the concept of inherent worth – it encourages kids to look outside themselves for their worth.

“As far as knowing how to handle praise and criticism, knowing one’s inherent worth is the way to handle praise and criticism. Neither praise nor criticism has an impact on one’s inherent worth, though it may have an impact on self-esteem. Criticism says more about the person doing the criticizing than it does about the one being criticized. Children can be taught to just say ‘thank you’ to anyone who offers them criticism (or praise for that matter). The criticism can be taken for what it is – a neutral fact to be examined or ignored – not an emotionally charged thing.”

If you can’t make the April 11 launch, What They Don’t Teach in Prenatal Class is available on Amazon, and Andrew is currently putting her workshops online so that parents can access them more easily. She said they should be available in May or June at anneandrew.com.

A further peek at Cohen’s Orfeo

Dancers Jeremy O’Neill, Ted Littlemore and Kate Franklin. (photo by Idan Cohen)

Last May, Idan Cohen introduced local audiences to his reimagining of Christoph Willibald Gluck’s opera Orfeo ed Euridice. He will share more of this ongoing work in EDAM dance company’s Spring Choreographic Series, in which he is a guest artist, along with Jennifer McLeish-Lewis.

In six performances between April 10 and 20 at EDAM’s home at the Western Front on East 8th Avenue, Cohen and McLeish-Lewis will present new work, while EDAM, under artist director Peter Bingham, will present a directed improvisation.

“I was introduced to Peter and the EDAM family through Linda Blankstein, who I met through the DanceLab residency I took part in last May at the Dance Centre,” Cohen wrote the Independent in an email from London’s Heathrow Airport, as he waited for his flight back to Vancouver. “Among the many other roles through which Linda supports Vancouver’s arts community, she is on the board of EDAM, and was kind enough to introduce my work to Peter.

“The space and people at EDAM were very welcoming,” said Cohen, who is artistic director of Ne. Sans Opera and Dance. “Peter invited me and the performers to take his daily morning classes, and offered this wonderful opportunity for me, Ne. Sans and the artists collaborating on this piece – musicians/dancers Jeremy O’Neill, Ted Littlemore and Kate Franklin.”

The part of Orfeo ed Euridice that Cohen will showcase next week is called Trionfi Amore (in English, The Triumph of Love).

“In Greek mythology, Orpheus [Orfeo, in Greek] was a musician and a poet who had the ability to enchant all living creatures through his musical gift, and could even stop the waves of the ocean from rolling,” explained Cohen. “In an attempt to bring his newly married wife Eurydice back to life from the dead, Orfeo persuades the guardians of the underworld to allow him entry to their kingdom.

“Trionfi Amore deconstructs the key elements and motives of the story and puts it into a contemporary context. We integrate dance with a bit of live music in a piece that speaks of love, and of the power of music and art to move, entertain and touch us. We also look at the power of art to manipulate, exploring the ways in which different aspects of love can be transformed into the act of performance. I am focusing on the ‘love story’ part of the mythological tale, recreating its themes through the intimacy and fragility of the body.”

For more about Orfeo ed Euridice, see jewishindependent.ca/the-power-of-music-and-love. For tickets to one of the EDAM Spring Choreographic Series performances, visit edamdance.org.

Story of love and second chances

Judy McLellan as Lady Russell and Roger Monk as Sir Walter Elliot in Metro Theatre’s production of Persuasion. (photo by Tracy-Lynn Chernaske)

Who hasn’t wished for at least one do-over, a second chance? Who hasn’t made the mistake of following bad advice, even if it was well-intended?

In Jane Austen’s Persuasion, Anne Elliot falls in love with naval officer Captain Frederick Wentworth and they become engaged, but, based on the counsel of a family friend, Anne breaks off the engagement. Jewish community member Judy McLellan plays Lady Russell – the purveyor of that counsel – in Metro Theatre’s upcoming production of Persuasion, which runs until April 20.

“Lady Russell was a very close friend of Anne’s mother, who died, and she had taken the role of surrogate mother to Anne since that time,” explained McLellan. “She is very protective of Anne and felt that Anne was too young to get married, especially to a man who, at that time, had no money and no real position in society. This is why she now sees Mr. Elliot [Anne’s cousin] as a much more desirable match for Anne.”

Persuasion was adapted for the theatre by British playwright Timothy Luscombe. The Metro Theatre production is directed by Joan Bryans. McLellan, who was part of the cast of Metro’s Calendar Girls, which the Jewish Independent quite enjoyed (jewishindependent.ca/calendar-girls-now-at-metro), auditioned specifically for the role of Lady Russell. “Got a call back and then Joan offered me the role, which I was very excited to accept,” said McLellan.

Pride and Prejudice was McLellan’s “first venture into Jane Austen.”

“Loved it,” she said. “Went on to read the rest!”

About Persuasion, she said, “It’s a wonderful period piece of mid-19th century. The characters are diverse and interesting, and very reflective of society at that time. But, above all, it’s a love story, which, after all the trials and tribulations, comes to a delightful happy ending. Who wouldn’t enjoy that?!”

For tickets to Persuasion, visit metrotheatre.com.

To raise funds for building up-keep, Metro Theatre is holding a silent auction during the run of Persuasion for a painting by Tracy-Lynn Chernaske. “By tying together appropriate colours and soft textures, the painting reflects suggestions of [Jane] Austen’s historical multi-location story line, full of ships, seaside beaches, grand old manors and tidy cottages.” The opening bid is set at $300 and the winner will be announced on closing night. Bidding ballots, the artist’s bio and more information can be found at metrotheatre.com/show-persuasion-2019.