Arts & Culture – Page 94

Never Still kicks off season 36

Alexa Mardon is part of the creative team of Never Still, which is at the Firehall Sept. 26-29. (photo by Ben Didier)

It is fitting that Firehall Arts Centre is launching its 36th (double chai) season with a new work by Jewish community member Vanessa Goodman, artistic director of Action at a Distance Dance Society.

Never Still is described as “a highly physically piece that dives into the distinctions and overlap between three different systems of circulation: global water cycles, communication technology and fluids within the body.”

“The initial ideas for Never Still really began to emerge in 2013, when I made two separate works inspired by similar themes. Both dealt with our relationship to water, either in our environment or our bodies,” Goodman told the Independent. “On a very basic level, we are all between 50% to 70% water, depending on our age, and the earth’s surface is covered by roughly 70% water. There is some nice symmetry and, the deeper I dug into these themes, the more they revealed. Social, political, personal, environmental – no matter where I went with these themes, it checked all the boxes of what inspires my work.

“For me, it was just a matter of time before I began to focus on these ideas as a full-length. But it wasn’t until 2015, when I met Scott Morgan (Loscil) through Small Stage, where we first collaborated together, that I could imagine this work growing into what it is today. Each project requires the right collaborators to bring it to life.”

Goodman’s research began in 2016 during a creative residency in New Brunswick hosted by Connection Dance Works. “Loscil and I also made Floating Upstream that same year, a shorter piece that explored these ideas and worked out some staging concepts,” said Goodman. “In 2017, I continued the research through a local choreographic residency at EDAM.

“I always knew I wanted this to be a group piece and, in the spring of last year, I finally had the whole performing team together: Shion Skye Carter, Stéphanie Cyr, Bynh Ho, Alexa Mardon and Lexi Vadja. The work would also not be complete without my longtime collaborator, lighting designer James Proudfoot, who is a master of painting space with light.”

Sound and projection design for Never Still is by Loscil, with costumes by Lloyd clothing. EDAM’s Peter Bingham is listed as the piece’s creative mentor.

While the work has evolved since conception, Goodman said, “There’s not necessarily one element I can point to that’s different. When I began working on this piece, it was just me alone in the studio imagining all the elements, so being able to work with five incredible dance artists, lighting, sound and projections definitely pushes everything forward quite rapidly.

“It is always exciting how a work takes shape in each unique venue, too. Ideas that you may have thought would work sometimes don’t and other new elements reveal themselves, so it’s important to stay flexible. The work is constantly evolving, even through the final performances. That is one of the many exciting parts of live art: it is constantly being transformed by those who inhabit it.”

This idea ties in perfectly with the themes explored in Never Still.

“On a molecular level, liquid water is never truly still, which acts as a beautiful metaphor for dance. It offers myriad avenues to explore anatomically and thematically,” said Goodman.

About Never Still, she said, “I feel like it’s very easy in a developed urban setting to take water for granted and overlook its true value, so, if anything, parsing so many different aspects of water with this piece has helped me appreciate it that much more.”

The work also considers the “inherent conflict or dichotomy of water.” By way of explanation, Goodman said, “The most obvious textural example is water’s often-violent reaction to shifts in temperature, from the crack of ice to the vapour rising from a roiling boil. On a larger scale, the effects of flooding and drought, which, on one hand, represent polar opposites, often share conflict and devastation.”

Echoing these concepts, Firehall artistic producer Donna Spencer said in the release for Never Still, “We are living in an increasingly polarized culture. And it is our role as artistic creators to encourage audiences to consider, through what they are seeing on stage, how inextricably linked we all are in finding our way through these challenging times.”

Firehall’s programming this season, she added, “is about choices – the ones we make, the ones we think we should make but don’t, and the influences around us that colour that decision-making. Live performance allows us to experience a unique and powerful collective sharing of emotions and information that resonates through our day-to-day lives long after we have left the theatre, and indeed may influence the choices we make in the future.”

Never Still runs Sept. 26-29, 8 p.m., at the Firehall, with a talkback after the Sept. 27 show. For tickets (from $20), visit firehallartscentre.ca.

Animated therapy session

David Fine and Alison Snowden wrote, directed and animated the National Film Board of Canada animated short Animal Therapy. (photo by John Bolton)

They’re baaaack! And with another funny – and thought-provoking – National Film Board of Canada animated short. Jewish community member David Fine and wife Alison Snowden, who co-created the NFB’s Oscar-winning Bob’s Birthday 25 years ago, have returned to the genre with Animal Behaviour.

Animal Behaviour, which screened at the Toronto International Film Festival earlier this week, will be part of the Vancouver International Film Festival’s True North Shorts program, The Curtain Calls, on Oct. 1 and 8. There are further screenings scheduled for other festivals across Canada.

The 14-minute short, produced by Michael Fukushima, executive producer of the NFB’s animation studio, is written, directed and animated by Fine and Snowden, who are currently based in Vancouver. In addition to countless other projects, the pair also created, and contributed in many capacities to, the adult animated series Bob and Margaret, which was based on Bob’s Birthday.

“We had worked in series and missed making a personal film and doing the animation ourselves, directly,” Fine told the Independent about what motivated Snowden and him to make another animated short. “We really thought it would be nice to get back to the type of filmmaking we started our career with and our producer, Michael, had suggested that he would be keen to see any ideas from us and we happened to have one, so we thought, why not have a go. It’s very different to make a personal film like this than a series.”

The couple humorously tackled some of the issues of being middle age in Bob’s Birthday. In Animal Behaviour, they explore – also with much humour – some of the pros and cons of following our natural instincts versus doing what is socially acceptable. They do so using the vehicle of a weekly group therapy session led by Dr. Leonard Clement, a Labrador retriever.

Lorraine, the leech, has attachment issues and experiences panic attacks; Todd, the pig, has an eating disorder and suffers from insecurity; Cheryl, the mantis, hasn’t had a lasting relationship, and the fact that she has 1,000 kids is the lesser of her two main problems; Linda, the Tabby cat, has obsessive compulsive disorder and doesn’t ever feel clean enough, despite constantly licking herself; and Jeffrey, the blue jay, has some serious guilt issues as a result of something he did when he was a very young bird. The members of the group seem to know one another well and there is a rhythm to their session. Then walks in Victor, the ape, with his anger issues, who believes that everyone else is an idiot and that people in therapy are navel-gazers who just need to get on with their lives.

photo - In Animal Therapy, Victor aggressively takes issue with Dr. Clement’s approach to therapy — In Animal Therapy, Victor aggressively takes issue with Dr. Clement’s approach to therapy. *(photo from NFB)*

“The notion of going to therapy to change seems like a tall order, so we thought it would be fun to look at therapy and have a character who comes in and questions its validity,” explains Fine in an NFB interview online. “At the same time, we’re careful not to go for the low-hanging fruit or make fun of the process. We don’t want to answer the question (‘Is therapy valid?’), we want to pose the question and start the discussion.”

“It was quite a difficult script to write,” says Snowden in the NFB interview. “We thought it would be easy, because it’s in one room, there’s one conversation, but there are so many possibilities with all the animals, and if we did it wrong it would get boring.

“At first, there were a lot of characters, but you couldn’t get attached to any of them, so we honed it down. Really, it’s about the ape and Dr. Clement – that’s the showdown. Then they all came together. The others are in the room, they’re observers, and they’re there for comedy. But the key characters are those two and their drama.”

“From idea to final film was probably about five years,” Fine told the Independent, “but there was a development period, which was sporadic and took time to get to the green light. Once in production, it took about 2.5 years to make, in terms of pure working time.”

About working in animation, Fine said, “We like controlling every frame and effectively being both directors and actors, because we pose and make the characters act. We also love working with voice actors and then being able to edit the track in a way you can’t really do in live action. It’s really about all the nuance and control, which is so much fun.”

The creative process starts with the writing, he said, “with the idea and the script,” which they “work to refine…. After that, the voice record was key. We interviewed about 300 voices to cast this group. All the actors are Vancouver-based, which we are very proud of.”

Among the credits, thanks are given to the animation programs at Capilano and Emily Carr universities, and the film is dedicated “to the wonderful doctors, nurses and staff at Vancouver General Hospital.”

“During the production, near the end, Alison was struck with a very sudden, serious health crisis and was in intensive care and recovery for five months,” explained Fine. “VGH saved her life, so, when we were finally able to finish the film together, it was very important to us to make that dedication to show our appreciation.”

For tickets to The Curtain Calls and the full film festival schedule, visit viff.org.

Fringe mixes drama, comedy

Naomi Vogt performs in Big Sister, written by her real-life sister, Deborah Vogt. (photo from Fringe)

The Vancouver Fringe Festival has started and there are (at least) a few shows that readers should try to fit in around the High Holidays. Jewish community members Deborah and Naomi Vogt, David Rodwin and Gemma Wilcox are presenting very personal works that examine issues with which we all deal, such as self-esteem, family relationships, finding and losing love, and the search for meaning. And they do it with humour and energy.

Local playwright Deborah Vogt and her sister, actor Naomi Vogt, “are still making tweaks” to Big Sister (Revue Stage), Deborah Vogt told the Independent. “However, I’m not sure if there will ever be a ‘final version,’ given that the script is a reflection of our ongoing conversation as sisters attempting to learn more about each other. Additionally, Naomi loves to ad lib and so the play will be slightly different every evening depending on who is in the audience. However, the dream would be to take it to other Fringe festivals, especially Edinburgh (the world’s largest Fringe Festival – and my personal dream). There is something very special, however, about premièring this show in the city that we grew up in and the community that we know and love.”

The idea for the show came up last summer at the Edinburgh Fringe. “Over there, I saw so many beautiful, personal solo shows that tread the line between monologue and standup. I thought, ‘I would love to do this, but I can’t act. Who do I know that could perform a solo show that I could write?’ The answer was obvious: my sister. We spent two weeks traveling together shortly after the Fringe, where we brainstormed ideas for shows in between hikes and wine bars. We abandoned most of those ideas when we realized the only story we could honestly tell was that of our relationship as sisters, and specifically how our relationship has changed over the last few years in the wake of Naomi’s 75-pound weight loss.”

Camp Miriam makes an appearance in Big Sister, said Vogt, “because my sister Naomi went there for a few summers as a preteen and our mother went there for many, many years when she was younger…. The show focuses on Naomi’s weight loss, and talks about what being a fat kid at camp was like. Naomi loved Camp Miriam, but we also acknowledge that no camp experience is easy if you don’t look like the other children.”

Naomi Vogt performs the whole play. “For the most part,” said her sister, “she is playing herself, but the version of herself that I have written through my perspective. And, on occasion, she plays me as well. I just have to sit in the audience every night and hear the ways she’s manipulating my words. Part of the joy of the show is the various power dynamics at play – as a playwright, I have shaped Naomi’s personal story but, as an actor, she is able to change my words at any moment.”

There were many challenges to writing Big Sister, said Vogt. “First of all, it was difficult trying to find the balance between Naomi as my real human sister and Naomi as a character. We wanted this show to be entirely truthful, while still presenting a piece of theatre. And this show touches on painful aspects of both of our lives (in a funny way, of course), so trying to write that without overstepping my place or lying to the audience about what actually happened (two sides to every story, right?) was difficult to manoeuvre.”

In a nutshell, the show is about weight loss. “It touches on how being heavy can affect all aspects of life, and particularly sibling dynamics,” said Vogt. “Both of us have lost weight … but Naomi’s journey was far more significant than mine. Through telling her story of weight loss, we’ve learned a lot about each other, our childhoods and the community we live in.”

* * *

photo - David Rodwin shares his sometimes-heartbreaking dating experiences in F* Tinder — David Rodwin shares his sometimes-heartbreaking dating experiences in F* Tinder. *(photo by Julia Farr)*

“F* Tinder is 100% autobiographical,” said David Rodwin. “Only the names have been changed. But I only have 75 minutes to talk about dating 120 different women over two years, so there’s a lot I have to leave out. But every story I tell, I do so as accurately as I can recall – with a theatrical flourish.”

F* Tinder: a love story (Performance Works) began as a book, when a friend who was writing his first book challenged Rodwin to do the same.

“I’d moved to San Francisco after my last serious relationship ended in L.A. and, over a year and a half on Tinder and other apps, I’d experienced some bizarre and noteworthy experiences in the lawless dating wilds of the Bay Area,” he said. “So, I had an unorganized collection of short stories I’d been developing…. Around that time, I met the one woman I truly fell in love with. That inspired me to write like crazy. But (spoiler alert), when she dumped me, I got writer’s block for the first time in my life.

“Though I wasn’t able to continue sitting alone at my desk typing out these tales, I couldn’t stop telling them to friends and in storytelling shows like The Moth, which I’ve done for years. Finally, it became clear that, rather than just a bunch of short anecdotes, this was a full evening of stories with its own narrative integrity…. And though I’d written half the book, I threw out everything and started over because I find that writing with my mouth creates a more natural, humorous and vibrant live performance than when I type something, memorize it and recite it.

“It’s a thrilling and terrifying process for me each night, not knowing quite how it’s going to go and I hope it creates a more visceral, authentic and deeply intimate experience. And it’s a technique I inherited from my mentor Spalding Gray. But it’s meant that the show has changed a lot over time. The first version was 60 minutes long, then it grew to 90 minutes. Now, it’s 75 minutes. But there have been multiple versions of each one…. I’m also able to adjust certain sections to fit specific audiences. I’ve even added a curling joke for my Canadian audiences, making fun of Americans’ inability to understand the sport.”

Rodwin continues to work on the book F* Tinder and, later this year, he said, “I’ll begin directing a web series of F* Tinder set in San Francisco, and also a feature film of my previous show set in Los Angeles, called Total Novice. That one has an even edgier narrative than F* Tinder, if you can believe. Let’s just say I was a ‘nice Jewish boy’ who went to Princeton and I was a very late bloomer who became fearless (and occasionally stupid) in my pursuit of things that I considered off limits when I was younger.”

F* Tinder includes Jewish elements, said Rodwin, “because they directly affected how I look at relationships.”

In the show, he shares how, on one Shabbat, while chanting prayers he’d said for 30 years, he stopped midway through the V’ahavta, “when I said, ‘And thou shalt teach them diligently unto thy children.’ It suddenly hit me that I didn’t have children, and I couldn’t fulfil this prayer in a literal way. I always thought eventually I would. But, at 45, when I read that, I fell silent, contemplating how I’d lived my romantic life in such a way that I was childless. And what it meant for me. And what I should be doing with the woman I was in love with. And it directed my next choice in how that relationship went.”

Rodwin shared another touching, and Jewish, element of his show.

“The woman I fell in love with told me she could tell I was falling for her and I shouldn’t do that because she’d already decided we weren’t going to work out in the long term, and she didn’t want to hurt me. So, she told me to build a wall around my heart, or she wouldn’t see me again…. I agreed to do so because I was afraid if I told her the truth, that I was already hopelessly in love, I’d never see her again. Now, I’m not a biblical scholar, but the next morning a piece of Torah came to my mind, out of the blue, while she lay sleeping next to me. Deuteronomy 30:6 – I’d studied it eight years earlier with Rabbi [Sharon] Brous and I didn’t understand it, so it stuck in my mind. The phrase, ‘You must circumcise your heart … so that you may live,’ baffled me. But, that morning, it suddenly made sense to me, and I decided I had to circumcise my heart and careen it against the wall around her heart until I either broke through or I broke. And people can come see the show, to discover the surprising ending.”

* * *

photo - In Magical Mystery Detour, Gemma Wilcox explores the detours that happen in life and how we can find and trust our own centre — In Magical Mystery Detour, Gemma Wilcox explores the detours that happen in life and how we can find and trust our own centre. *(photo from Fringe)*

There are many twists and turns in Magical Mystery Detour (Studio 1398) by Gemma Wilcox. Set in the United Kingdom in 2012, the action is prompted “by a letter from her dead mother, [and] the protagonist, Sandra, and her dog, Solar, take an unexpected car journey from London to Land’s End, Cornwall, at a pivotal and sensitive time in her life.”

Created in the summer of 2012, Magical Mystery Detour premièred at the Boulder, Colo., Fringe Festival that year.

“It is a semi-autobiographical piece, heavily based on aspects of my life at that time,” Wilcox told the Independent. “I wrote this show very shortly after the death of my mother and the ending of a very significant love relationship with a man I thought I would marry and have children with. It was inspired by the tender and vulnerable process of dealing with and letting go of my mother’s death, the getting over and releasing this powerful love relationship, as well as some of my magical journeys through the sacred, beautiful landscape in the southwest of the U.K.

“The show reflects some of the themes I was fascinated by and exploring at that time in my life,” she continued, “such as learning how to trust and surrender to the detours that happen in life, when we think our life is going in a certain direction, but then it dramatically changes. I was also interested in exploring how we can find and trust our own centre when those we love are not there anymore, and when we feel lost or that life is too chaotic or not going the direction we want it to.”

Wilcox was born and raised in London, and moved to the United States in 2001. She has been based in Boulder since 2004. “I moved to the U.S. to explore yoga and embodiment practices, was in the Shakespeare Company in Austin, Tex., for a couple years, and found my theatrical/creative family in Boulder, as well as touring across the U.S. and Canadian Fringe festival circuit every summer for the past 11 years,” she said.

Magical Mystery Detour is one of a handful of shows that Wilcox and director Elizabeth Baron have worked on together. In creating it, said Wilcox, Baron was incredible, advising “me on how to stay both open and vulnerable as a performer, whilst also staying protected and safe and able to show the many shades and subtleties of a character.”

Wilcox writes comedy-dramas. “I find that it is highly important to balance the ‘light’ material with the ‘darker’ material, humour with seriousness – for me as a performer, and also for the audiences,” she said. “It is easier to receive and digest more poignant or shadowy material when juxtaposed in appropriate moments with humour and lightness. Humour is a huge aspect of my work – humour that comes from identifiable and sometimes embarrassing situations or honest admissions.”

For the full Fringe lineup, visit vancouverfringe.com. The festival runs to Sept. 16.

Bringing the invisible to light

Actor Ching Valdes-Aran in a scene from The Washing Society. (photo from The Washing Society)

Faced with the challenge of making a documentary for which the voices of undocumented immigrants were crucial, filmmakers Lynne Sachs and Lizzie Olesker had to push the boundaries of convention. The result is The Washing Society, which will see its Canadian première at the Vancouver International Film Festival, as part of the festival’s Impact programming.

“For this year’s Impact stream, we decided to foreground films that represent prominent themes found in the festival at large – themes that are extremely topical at this historical moment,” said Alan Franey, director of international programming at VIFF, in a release. “Refreshing in their cinematic artistry, insights and lack of platitudes, these films have the power to inspire actual change.”

The Washing Society combines research, interviews, acting, dance, artistic images and other elements to introduce viewers in 45 minutes to some of the laundromats in New York City, which are disappearing, and the people who work in them. Olesker and Sachs, who both live in Brooklyn, will be in Vancouver for the festival and the Independent interviewed them by phone in anticipation of their visit.

The filmmakers are practically neighbours, and they met each other through their daughters, who are about the same age and have the same piano teacher. It was at a piano lesson where they first crossed paths. “Then we saw each other’s work, and really admired what each other were doing,” said Olesker.

The origins of the documentary are in a performance Olesker was commissioned to do in a laundromat, upon which she wanted to expand. Thinking that film would be a good element to add to it, she contacted Sachs.

“We had a series of conversations, which led me to unexpected places in how to think about laundry and women doing laundry, and so it became a deeper, more fruitful collaboration,” said Olesker.

Over a span of about two years, the pair researched the topic, then co-created the play Every Fold Matters with the actors performing it, as well as writing their own text. The site-specific performance and film project – which was performed in laundromats and various venues throughout New York from 2015 to 2017 – formed the basis for what has become The Washing Society.

“We’ve been working together now for probably over four years,” said Sachs, “because we spent almost a whole year traipsing all over New York City – mostly Brooklyn and Manhattan – trying to do the convention of documentary practices, ‘Let’s go into laundromats, let’s talk to workers.’ But the issues in New York are that so many of those workers are undocumented, so they’re very hesitant to have a conversation in front of a camera. So, we would have conversations and we would go back and write pieces and create characters based on all of those interviews we did, which we didn’t film. But then, over the course of time, as it shifted from being a live performance with media to a film, we got better at finding people who were willing to speak in front of the camera.”

They did this, in some cases, with the help of an actor or a translator, who then became more involved or involved in other ways. “One of the things both of us are really interested in,” said Sachs, “is breaking down the conventions of roles in the project.”

Both Sachs and Olesker have done cross-disciplinary work before.

“It’s been exciting for me to work in film and also to engage in questions like, What is a documentary? What does it mean to inquire into a subject or have a question and pursue it in different ways? As a creator of film or theatre, you’re always looking for a truth, not necessarily the truth.”

“I’m really interested in how documentary crosses over into fiction, and how fiction informs the documentary aspect,” said Olesker. In this project, she said, “It’s been exciting for me to work in film and also to engage in questions like, What is a documentary? What does it mean to inquire into a subject or have a question and pursue it in different ways? As a creator of film or theatre, you’re always looking for a truth, not necessarily the truth.”

The Washing Society contains a lot of theatre. “That’s an issue that raises questions with audiences in good ways and in challenging ways,” said Olesker, for whom this film is her first foray into documentary-making.

Sachs, however, has made this type of documentary before, mixing lived experience with fiction; for example, Your Day Is My Night, which she brought to the Vancouver International Film Festival in 2013. “Working in this way,” she said, “has started to make me to question all forms of documentary, or even narrative film, because you see a narrative film and it’s really a document of a bunch of people getting together and making a fictional story.”

One passion “that has been very nourishing for both of us in our work is our relationship to history, to the historical document,” said Sachs.

“With this film,” she explained, “when we came across the story of the Atlanta washerwomen, we found it absolutely riveting and astonishing that there was this moment in American history in which a group of 3,000 black women had enough power or wherewithal or vision … to organize and to change their working lives. Any art project that gives you an excuse to research, I think, is pretty exciting.”

The title for the documentary is inspired by what these washerwomen accomplished in 1881. As for more recent history, The Washing Society both exposes the harsh working conditions in laudromats and laments the loss of these neighbourhood establishments.

“I think it’s interesting to explore that contradiction,” said Olesker. “It is grueling, underpaid, under-recognized work. It’s also necessary work – not necessarily in the form that it’s taken, of dropping off your laundry and paying someone to wash and fold it, but someone is always going to have to do the wash, so that sense of broad history and the roles that women have had in doing that work is something that was behind the project, as well.”

“My nostalgia,” said Sachs, “is any space where there is an intersection.… It’s what makes cities great, the idea that there is a space in which there are intersections, and that people who have less and people who have more are in the same space and they’re spending time [together]. And that all has changed so much now. The thing is, though, that the basic infrastructure – of there being a large group of people who are hidden in some way, and they are doing service work for other people, who have much more access or means – isn’t going to change because, even if it [laundry service] becomes an app, like we show at the end of the film, there are still people doing the work, they’re just not as visible.”

One purpose of the film is to make that invisibility visible. But, said Olesker, “What’s interesting about the film to me is that we’re not so much leaving you with something that we think should happen. We’re opening it up as a question and saying, ‘Look inside this.’ We looked inside and now we’re taking you inside, what is this about?”

There is a challenge to making a documentary when the “people who we would want to have in the movie are undocumented, therefore, they don’t want to be documented by us – they want to be documented by the government….”

In the United States, added Sachs, the idea of the document “comes down to a sense of security.” There is a challenge to making a documentary when the “people who we would want to have in the movie are undocumented, therefore, they don’t want to be documented by us – they want to be documented by the government, and so there is this resistance to being in front of our camera until they can find something that legitimizes their status here in another way that will serve them.

“And it actually comes down to the whole project of making art,” said Sachs. “To whose advantage is it? For example, we’re getting to go to Vancouver and we were talking about, Could we manage to bring one of the people from the film? There is a lot of questioning about what access the artwork gives. We’ve tried to bring along the people in the film as much as possible, but we aren’t always able to.

“There’s even a point in the film where we have Chinese and Spanish … sometimes we translated that and sometimes we didn’t, because we wanted to give opportunity for people who are in the audience who had access to those languages to feel that they were in positions of strength over the rest of us. There’s something about subtitling that, if you subtitle everything, you bring it all into the English window, and people stop listening.

“A big part of the film,” she continued, “is to go outside of issues of work and of cleaning in an urban situation, which becomes involved in service … [and to delve into] all the layers of existence or the layers of identity that happen in cities these days, and who listens to whom. We hear Spanish all the time [in the United States], but are we really listening to it or is it something we can just pass by? Same with Chinese.”

Both Olesker and Sachs are Jewish.

“I’m from New York so, growing up, it’s been a part of my life,” said Olesker. “Not in a religious way, but certainly in the culture of my family and my world. And specifically around labour and labour history, union organizing – not that anyone was an organizer in my family, but there was always an awareness of that, so that is part of my identity in terms of the work I’m interested in making.”

Sachs is a member of Kolot Chayeinu. “The rabbi and founder of the congregation – her name is Ellen Lippmann – she’s always been a hero of mine,” said Sachs. “She’s just retired, about a month or so ago, after 25 years running Kolot Chayeinu. It’s a very, very progressive congregation and I worked with her just a couple of years ago on something that I found very moving.”

Lippmann would often ask Sachs to film various activities for the synagogue and, in 2016, when B&H photo and video store, which is run by ultra-Orthodox Jews, was challenged by labour activists for the company’s treatment of its warehouse workers, “a bunch of people from Kolot decided to organize with the workers in front of B&H,” said Sachs. “I was there to videotape it and so were some television stations. And I think that Ellen Lippmann really wanted to say, this is not, to our mind, following an ethical frame of reference that we want to claim as Jewish.”

Olesker pointed out that the B&H walkout was organized by the Laundry Workers Centre. “So, we actually made a little film, which is kind of a postscript to The Washing Society, where they organize this march through east Harlem to a laundromat … where two of the workers who were part of the Laundry Workers Centre went in and presented a list of demands to the owners … to talk about unfair labour practices and long hours and being underpaid and no breaks. We were part of that march and demonstration, which Lynne shot on film and we edited.”

The video epilogue, as well as teasers for The Washing Society, can be found on vimeo.com. For the film festival lineup, visit viff.org. The festival runs Sept. 27-Oct. 12.

Help dealing with dementia

For anyone who is close to someone with Alzheimer’s disease or another form of dementia, Dr. David Kirkpatrick’s Neither Married Nor Single: When Your Partner Has Alzheimer’s or Other Dementia (Brush Education, 2018) is a must-read. There is so much in it that is critical to know, learn or come to understand about living, loving and letting go of one’s spouse, partner or friend with Alzheimer’s.

Kirkpatrick, a recently retired psychiatrist, has written a rare gem of a book and its message is needed by so many spouses of patients with these dreaded diseases. Kirkpatrick is a widower; his wife, Dr. Clair Hawes, a proponent, educator and practitioner of Adlerian therapy, died only last year from Alzheimer’s. His warm, wise and wonderful book is a map to help family members make it through what is normally uncharted, terrifying and anxiety-filled territory.

Besides the great clarity and pathos with which this book is written, it is a rare book because it is written from the dual perspectives of a psychiatrist and a loving husband in the process of watching his beloved disappear. Kirkpatrick, the psychiatrist, brings much-needed information to help the care-taking spouse understand the complicated medical condition, from getting the right diagnosis to clear descriptions of how dementia manifests, and even understandable explanations of the brain. As a loving husband, he shares the insights gained from others, as well as from his own years of confusion, anxiety, pain and suffering.

The fact of the matter is that the vast majority of the information in this book is also needed by the children of parents suffering from Alzheimer’s or other dementia. If there is no spouse to read it, then children, nephews or nieces, grandchildren or even close friends should read this book.

There are eight chapters – “The Diagnosis,” “Alzheimer’s Disease: A History and an Update,” “Finding Help and Comfort for your AD Partner,” “Care Homes,” “Improving Your AD Partner’s Quality of Life,” “Taking Care of the Caregiver,” “Sexuality and Intimacy” and “Into the Future” – followed by notes and the bibliography.

This small but powerful book takes the reader from the first stages when a spouse or other family member realizes something cognitive is happening to one’s loved one; when a family member begins to know that their loved one’s life is changing for the worse.

With humour, honesty, pathos and the strong voice of man who deeply loved his wife, Kirkpatrick takes the reader on his journey, from before, during and after the diagnosis, to a care home, and all the way to her death.

There are so many quotes that I could share, but space doesn’t allow it. In addition to Kirkpatrick’s words of insight are many important transcripts from other spouses talking with great honesty about their experiences. Every person’s experience in such a situation is partly unique, but it is also fair to say that all of the spouses in the book are on the same road, just getting off at different exits before returning yet again to the main highway leading to the same destination. Kirkpatrick’s special personal and professional voice shines a light to assist readers to see their way.

In Chapter 4, “Care Homes,” after talking about many of the heartbreaking yet life-saving choices a spouse must make on where the Alzheimer’s spouse should live, Kirkpatrick encourages the reader this way: “These are questions that are not always answered quickly or easily, but they must be asked, and the earlier in your shared experience that you do this, the better.” Yet, near the end of the chapter, he writes, “Think it through carefully. Perhaps write down pros and cons. Other than your decision to become partners in the first place, this is the most important decision in all your years together, so take all the time you need.”

One of my favourite quotes from the book is at the beginning of Chapter 6. It is a toast: “Here’s to Aloneness and her second cousin, Loneliness. May we continue to especially savour and enjoy the former without being absorbed by the latter.” And isn’t this yet another way to describe the holy and tragic dance of loving and losing?

While Kirkpatrick writes beautifully as a psychiatrist and as a husband throughout the book, in Chapter 7, “Sex and Intimacy,” he reveals to the reader even greater depths and poignancy. But, every chapter is filled with meaningful advice, guidance and hope.

Finally, a personal note that I’d like to share with you, the reader of this review, and hopefully a future reader of David Kirkpatrick’s book. Besides being a past congregant of mine, David also has been a dear friend for the past 17 years. In addition, before the onset of Alzheimer’s, my wife and I used to go out with David and Clair to dinners and plays. They were one of our favourite couples to see. Watching their dynamic relationship, their sense of humour, their deep shared mutuality and enjoyment was truly an honour. It is, of course, all the more sad knowing what they had and what they lost.

David, already an accomplished psychiatrist and therapist, certainly never wanted to experience such a loss, but he has translated that tragedy into this book. Neither Married Nor Single is a gift to anyone related or close to people with Alzheimer’s, but it is an especially meaningful and helpful gift to spouses suffering on their own.

Rabbi Shmuel Birnham was the rabbi and spiritual leader at Congregation Har El on the North Shore for 16 years. He retired two years ago. Rabbi Shmuel thoroughly loved being Har El’s rabbi and he also completely loves being retired.

Stories to bring smiles

Delightful. That’s the first word that comes to my mind for two new hardcover children’s books by members of the Jewish community that will soon find their way to my youngest nieces’ bookshelves: Pip & Pup by Eugene Yelchin (Godwin Books) and Counting on Katherine: How Katherine Johnson Saved Apollo 13 by writer Helaine Becker and illustrator Dow Phumiruk (Christy Ottaviano Books).

Yelchin’s wordless book begins with a chick hatching. On a farm somewhere, having just come out of her shell, Pip sees the world for the first time. She spies a puppy sleeping under cover of a tractor. Fearless, she goes right up to Pup’s nose to say hello. When Pup awakens and barks in greeting, Pip is thrown into a panic, not quite prepared for the full size of her relatively large new friend.

When the rain starts, Pip literally climbs back into her shell, but just to stay dry. She is no longer afraid. In fact, when she sees Pup’s distress at getting wet and at the sound of the thunder and the force of the rain, she offers what help she can. The two start to play even before the sun comes out again. A broken eggshell dampens spirits momentarily, but then it’s Pup’s time to fix things, which she does.

Pip & Pup is a simple story that is evocatively illustrated using warm colours, texture and layers, combining pastels, coloured pencils and digital painting. There is a depth to the art and the story. Children and their adult readers will have fun asking each other questions as they go along. Do you think Pip is brave to say hello to Pup? Do you like the rain? How is Pup feeling right now? How would you feel if something of yours broke?

Many questions will arise from reading Counting on Katherine, as well, though some of them will require a different kind of reflection, as the story touches upon racism, sexism and other such topics – in an age-appropriate way for readers 5 and up.

Becker interviewed Katherine Johnson, who turned 100 years old on Aug. 26, and Johnson’s family for this picture-book biography. Johnson was a mathematician at the National Aeronautics and Space Administration (NASA) and, among other things, her manual calculations were crucial in bringing the crew of Apollo 13 back to earth safely after it was damaged while in space.

In Counting on Katherine, we meet Johnson as a young girl: “Katherine loved to count. She counted the steps to the road. The steps up to church. The number of dishes and spoons she washed in the bright white sink. The only things she didn’t count were the stars in the sky. Only a fool, she thought, would try that!”

And Johnson was anything but a fool. She skipped three grades in elementary and was ready for high school at 10 years old. “But back then,” writes Becker, “America was legally segregated by race.” Johnson’s high school didn’t admit black students, so her father, by “working night and day, he earned enough money to move the family to a town with a black high school.”

Johnson’s next challenge was that, as a woman in that era, she was relegated to the teaching and nursing professions, so she became an elementary school teacher. However, in the late 1950s, the space race began, and NASA’s predecessor began hiring thousands of workers. “It even started hiring black women – as mathematicians.”

Johnson excelled at NASA and her work was integral to the United States’ space program, not just to the Apollo 13 mission, and Counting on Katherine has an epilogue that gives some additional information about Johnson. As well, Phumiruk’s imaginative digital artwork is also information-filled, clearly showing Katherine’s longing to learn, as she gazes from her bedroom window at the night sky; her joy with numbers, as she fills chalkboards with them; her anger at not being allowed to attend her town’s high school; her meticulousness, as she calculates a safe journey for Apollo 13. Counting on Katherine is a wonderful book.

We are hardwired to be kind

Dr. Brian Goldman is an emergency physician at Toronto’s Mount Sinai Hospital. (photo by Christopher Wahl)

According to Dr. Brian Goldman, author of The Power of Kindness: Why Empathy is Essential in Everyday Life (HarperCollins Publishers, 2018), we all have the innate ability to be kind, gentle and to give of ourselves without the need to get anything in return.

Goldman, who works as an emergency physician at Mount Sinai Hospital in Toronto, said the idea for The Power of Kindness had been germinating in his mind for a long time.

“I had originally pitched a book on empathy and health care,” he said, “and my publisher, HarperCollins, came back to me and asked why I don’t instead aim a little broader and write a book about empathy in the world at large, not focus just on the hospital.”

About the concept, he said, “The wise physician knows how to say, ‘I don’t know.’ The book doesn’t say how it feels to say ‘I don’t know’ 17 times in a row. At some point, you’re terrified that they’re going to say, ‘Why don’t you get us someone here right now who can answer our questions?’ And you’re afraid of being unmasked as being inadequate.”

In recognizing this in himself, Goldman decided to travel the world to speak to some of the kindest people to hopefully internalize their kindness and find ways to pass their enlightenment onto others. In doing this, he said, “I found answers and, for the rest, you’re going to have to read the book. But, I will tell you one thing. I found that some people are born with empathy.

“I found one extraordinary child,” he said, by way of example, “who was nicknamed ‘Ta Ta.’ And he, at the time that I met him, was [almost] 3 years old. His mom, Shala, adopted a man on the streets of Sao Paulo who had been homeless for nearly 40 years and called him her soulmate. The striking thing about her situation is that her son, as a toddler … without ever having known what his mom had done, adopted his own homeless man. You can’t make that up.

“At a time, whatever nurturing she provided had set the stage for him to be as empathic as her. But, he [also] feels things and understands things intuitively about Adriano, the man who he befriended in the same way that Shala did.”

Goldman met people for whom empathy comes naturally and some who are gifted in empathy, but he also realized that we all share the same common experiences – adversity, disappointment, shock, loneliness, physical ailments and failure.

“I think, more often than not, it’s these experiences that are the engine for empathy,” said Goldman. “Because, after that, you can either die or you can pay it forward. And the way you pay it forward is to provide comfort and empathy for people who are going through what you went through. That was probably the common denominator that I saw again and again.

“Shame-based people tend to absorb the idea that they cannot make a mistake. If they do, it will be the end of everything.

“My intuitive guess is that a lot of health professionals feel that way and that’s why they go into the health professions … because they are hoping that, if they can do enough good works, it will make up for the one mistake they made.

“I was very much like that. I wasn’t totally like that, because, if I were more like that, I’d be unaware of all the things I’m saying right now.”

According to Goldman, kindness and empathy are the ability to imagine what it is like to be somebody else, to see things through their eyes and act accordingly, to put yourself in their place.

“Unless you have a narcissistic personality disorder, in which your brain circuits will show you’re less capable of empathy, you’re capable of empathy,” said Goldman. “Everyone is hardwired for empathy. But, the thing is that, at the highest levels of executive function, empathy is a choice and we are constantly being distracted by competing priorities – my needs versus yours, my family versus your family. I’m running around like a pinball … boy, that’s a dated metaphor … but I can’t be all things to all people all the time. It’s impossible. Somebody is going to judge what I’ve delivered as unkind care.

“To become more kind in everyday life,” he said, “first of all, believe in your hardwiredness to be capable of being kind and empathic. Know that there are things that get in the way and they are very stereotypical – lack of face-to-face time, spending more time on social media, contacting people on social media, and less time on listening and face-to-face and being able to recognize cues that say that somebody’s more unhappy than their words are telling you.”

Goldman suggests learning which factors get in your way and to start creating ways that work for you to push those distractions aside. In The Power of Kindness, he talks about breathing exercises – about how we get distracted by unpleasant thoughts and feelings and how to re-centre ourselves and allow the negativity to float away.

“I use the metaphor of a parade,” he said. “There are beautiful floats and they represent nice thoughts – happy things that have happened or that I’m looking forward to – and you let them float by without judging them. Then, every once in awhile, there is a lousy float that’s ugly – the boss who is yelling at you, the coworker or somebody who you think is whispering about you behind your back, or the person who gave you the finger in traffic when you were both driving.

“The reason I like the float metaphor is that, with a lousy float, you let it go by – you imagine you’re in the stands, reviewing the floats as they go by. If it’s a parade, you let it go by, because there will be another nice one down the road in a couple of minutes.”

As for what sort of reception the book has garnered so far, Goldman said it has been very positive.

“Maybe the world is ready for a book like this because we’re all living at such a time when … people are going for kill shots on Twitter and there’s so much nastiness…. We’re watching, in the United States, kids being separated from their parents and put into cages. We need kindness.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Shoes with celebrity appeal

Stuart Weitzman built up his father’s business into an empire. (photo by Phillip Pessar)

There are so many styles of women’s shoes, including the stiletto, platform, wedge, kitten, sling backs, peep toe, mule or sneakers. Unlike our favourite outfits, the fit of our shoes doesn’t change much in relation to our waistlines. A great pair of shoes can boost our confidence and turn a “shlumpy” outfit into something eye-catching. Marilyn Monroe declared, “Give a girl the right pair of shoes and she can conquer the world.”

Renowned designer Stuart Weitzman was born into a shoe business family. But, while his father had started a shoe company in Massachusetts in the 1950s, Weitzman’s goal was a career on Wall Street and he went to and graduated from the Wharton School. However, after his father died, he started to make the transition from talented hobbyist sketcher to acclaimed shoemaker. His strong work ethic coupled with an eye for style created the prevailing Weitzman empire. His designs flew off the shelves of upscale stores and filled pages of top fashion magazines.

photo - Stuart Weitzman — Stuart Weitzman *(publicity photo)*

In 1971, Weitzman partnered with a Spanish shoe factory, Caressa. In 1986, Weitzman bought all the shares from his Spanish partners and became independent. Success over the years led to Weitzman’s ownership of nine factories throughout Spain, which granted him the ability to keep his upscale shoe brand at a price 30% to 50% lower than that of his contemporaries. At his peak, Weitzman owned 120 private boutiques and sold globally in department stores.

Fifty years in the business has attracted a large following of shoe enthusiasts to Weitzman’s creations, including celebrities like Beyoncé, Kim Cattrall, Jennifer Aniston and Taylor Swift. In 2002, Weitzman fashioned a pair of million dollar shoes, almost literally dripping in diamonds, worn by actress Laura Harring to the Academy Awards. He also designed the most popular nude sandal worn among celebrities, which has become a classic and essential for many women.

Weitzman sold his company to Coach for an estimated $574 million in 2015. At the age of 76, he remains the creative director. It is now Weitzman’s wish to find a successor, as his two grown children, Rachel and Elizabeth, have chosen different routes.

Weitzman and his wife, Jane Gershon, worked together to build the business. Together, they also became philanthropists, donating to many causes, but also establishing the foundation Pencils of Promise, which focuses on opening schools in Ghana, Laos and Guatemala.

Weitzman and Gershon are passionate about their Jewish roots and work to ensure the future of Jewish communities and Jewish heritage. Consequently, a substantial amount of their contributions and time commitments revolve around Jewish institutes and causes around the world.

Weitzman, an avid ping-pong player, participated in the Maccabiah Games in Israel in 2009 and 2013. Also in 2013, he made a donation of $1 million to Maccabi USA. “My participation in the Maccabiah Games was one of the greatest experiences of my life!” he has said.

A man used to working 16-hour days in a creative environment doesn’t seem set on a quiet retirement. The list of projects he has planned is long. A top priority is constructing a Jewish museum in Madrid dedicated to Spanish Jewry. On the horizon is producing a Broadway musical with Sir Trevor Nunn about the life of Andy Warhol.

Just in case the wedding superstition is true, let us do as the bride is advised – whatever our footwear, let us remember to exit with our right foot first to ensure a lucky day.

Some shoe facts

40,000 years ago, it seems, people began wearing shoes
the first women’s boot was made for Queen Victoria in 1840
sneakers were first made in America in 1916
heels were added to shoes in the Middle East to lift the shoe from the burning sand
Marie Antoinette had 500 pairs of shoes
the only shoe museum in North America is the Bata Shoe Museum, in Toronto
gold and silver coins placed inside a bride’s wedding shoe is an old Swedish custom
Chinese brides throw one of their red bridal shoes to the roof of their house to ensure the couple’s happiness
Altocalciphilia is the name for having a high heel fetish

Ariella Stein is a fashion writer based in Israel.

A once in 30-year occurrence

Take a seasoned children’s book author like New York-based Jane Breskin Zalben – who has created more than 50 children’s books and is an abstract painter – and pair her with Mehrdohkt Amini, an illustrator of children’s books who lives in the United Kingdom, and the result is a charming book about interfaith friendship for 3-to-7-year-olds – and older readers.

In A Moon for Moe and Mo (Charlesbridge Publishing, 2018), Moses Feldman and Mohammed Hassan meet in a Flatbush, Brooklyn, grocery store, where the storeowner mistakenly takes them for twins since they both have curly dark hair, brown eyes and olive skin. They are shopping with their mothers for their up-and-coming holidays, with Rosh Hashanah, the Jewish New Year, and Ramadan, the Muslim holy month of daylong fasts that marks the giving of the Qur’an to Muhammad, overlapping – something that happens only once every 30 years or so.

The two boys become friends, including going on a picnic, which brings their families together. That same evening in their homes, both boys see the first sliver of the new moon.

In an interview, Breskin Zalben said she was shopping with her granddaughter in a store in Brooklyn when she met an Arab mother with her child and the two children began to interact.

“After being invited to speak at many international schools, in counties where I visited mosques and old synagogues, doing this book was a natural outgrowth of those broadening journeys to other cultures,” she said.

Although Breskin Zalben was art director at Scriber Publishers and illustrated most of her other books, she knew that Amini was from Iran, saw her portfolio and wanted her to do the illustrations for this book. Amini has created beautiful acrylic, marker, ink and photo-collage artwork, which was then assembled digitally.

In the back of the book is information about Rosh Hashanah and Ramadan, notes from the author and illustrator and two recipes.

Said Breskin Zalben, “I am excited to share the diversity and the similarity of Moe and Mo…. I hope maybe this book, in any book’s small way, finds an audience. It was six years in the making and so much hard work and passion goes into every book.”

This is a very special book for children and their parents to read at Rosh Hashanah.

Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.

Exhibit celebrates life

The paintings of Frank Levine are on display at the Zack Gallery until Aug. 31 in a shared show, called Celebration, with Melanie Fogell. (photo by Olga Livshin)

The latest show at the Zack Gallery, Celebration, showcases two artists, Melanie Fogell and Frank Levine. At first glance, they don’t seem to have much in common.

Fogell’s art is bright and flamboyant, totally abstract, and her canvases are large, while Levine’s paintings are generally smaller, more intimate, his colours more muted and his compositions tend to have recognizable figurative patterns: people, musical instruments, landscapes, cityscapes.

However, both artists celebrate life through their paintings. For years, both approached art as a hobby – it is only recently that Fogell started painting full-time, while Levine still works as an accountant. Both artists also lived for some time in Gibsons, B.C., where they met a few years ago. Fogell still lives there, while Levine has moved to Richmond.

Levine’s life has involved several drastic moves, geographic and professional. Born in England, he received his art education in London. He majored in fashion design. Upon graduation, he opened his own fashion boutique in London, but that didn’t last long in the cutthroat industry. After that, he worked for 10 years as a clothing designer for a large factory in the city.

“The clothing industry in London is very stressful and loud. Everyone shouts and screams,” he explained in an interview with the Independent. “The designers had to produce a new design every week, two collections a year. If a particular coat sold, the owners congratulated themselves at how good they were at selling. If it didn’t sell, the designers were to blame.”

After a decade of the stress and screaming, Levine switched to accounting, which he considers an occupation much less taxing on his nerves. In 1978, he moved to Canada and settled in Vancouver. “Antisemitism in England was a consideration in my decision to move,” he said.

Wherever he has lived, and whatever his day job, he has kept on painting.

“I have always painted when I had the time,” he said. “I don’t paint every day, only when I’m inspired. Once a week, my son and his children come for a visit, and we paint together.”

One of the paintings in the show, “Prism,” came from one of those weekly sessions. The small image features a blue-and-gold cityscape, happy and bright, vaguely reminiscent of a Greek city. “My son suggested the theme of prism,” said Levine.

Many of the artist’s paintings are landscapes, but he portrays them through a mesh of geometric figures. The lines creating the geometric patterns add mysticism to the trees and lakes. “I’m drawn to the images that have passion, not something everyone would paint,” he said.

Whatever his brush depicts – his backyard in Gibsons with a visiting bear, a small café in the Luxembourg Gardens in Paris or picturesque gates in China – his love for the places shines through the canvas.

Unfortunately, not many people have seen his charming work. “I didn’t do any promotion until recently and I sell maybe two or three paintings a year,” he said. “I only joined Facebook a month ago.”

Over the years, Levine has participated in several exhibitions in Gibsons and has had his paintings displayed at a Richmond community centre. This Zack Gallery show is only the second time in Vancouver that the public has had a chance to admire them, and it is his first exhibit in a Vancouver art gallery.

photo - Melanie Fogell’s art is bright and flamboyant, totally abstract, and her canvases are large — Melanie Fogell’s art is bright and flamboyant, totally abstract, and her canvases are large. *(photo from Melanie Fogell)*

Unlike Levine, Fogell is well known on the Vancouver art scene. She had a solo show at the Zack in 2011 and another one in 2014. Her early art education at Emily Carr University of Art + Design could have led to a career in the arts, but, like many others, she discovered that it was extremely difficult to make a living as an artist. She became a piano teacher instead.

Years later, Fogell went back to university for a master’s in women’s studies and then did a PhD in educational research. She has taught women’s studies at the University of British Columbia and piano as a private tutor, but, throughout the years, just like Levine, she has never stopped painting. She loved art too much, and the need to express herself through imagery drove her to paint. She paints full-time now.

“I did this group of paintings, the Oval Series, over the last two years,” she said about the work in the Zack Gallery show. “It began by me doodling oval shapes. Then I started thinking of possible meanings of this particular shape. The oval could stand for an egg, which is a symbol of life, a celebration of life. Or it could be a face, the beginning of a face, not ready to be recognized. They could be faces of people in my life or people I have yet to meet.”

Fogell’s paintings burst with primal colours, and her ovals seem like gladness enclosed, surrounding the viewers like a collection of exuberant eggs, or new leaves shimmering in the sunlight, or a field of tulips swaying in a breeze. They promise renewal and hope. “I paint how it feels to be connected to everything in my life, both present and past,” she said.

The exhibition Celebration opened on Aug. 9 and continues until Aug. 31. For more information, check out the artists’ websites, melaniefogell.com and franklevineart.com.

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