Hate crimes on the rise

On Aug. 2, Statistics Canada released police-reported hate crime data for 2021revealing, once again, that hate crimes targeting the Black and Jewish populations remain the most common reported by police.

“We are deeply concerned that incidents of hate crime rose yet again in Canada in 2021,” said Shimon Koffler Fogel, president and chief executive officer of the Centre for Israel and Jewish Affairs (CIJA).

There were 642 reported hate crimes against Black Canadians in 2021, a slight decrease from the 676 reported in 2020, but an 86% increase from the 345 incidents reported in 2019.

Overall, hate crimes targeting religious groups increased 67% from 2020, breaking a three-year downturn. Incidents targeting the Jewish community grew by 47% from 2020 to 2021. Statistically, this reflects 1.3 in 1,000 members of Canada’s Jewish community reporting having been the target of a hate crime in 2021.

Jewish Canadians remain the most targeted religious minority for hate crime and second overall. There are approximately 380,000 Jews in Canada, representing only one percent of the population, yet members of the Jewish community were victims of 14.5% of all reported hate crime in 2021.

“Statistically, Canadian Jews were more than 10 times more likely than any other Canadian religious minority to report being the target of a hate crime. This is alarming,” said Fogel.

“This report should be a call to action for all Canadians to stand against antisemitism and all forms of hate…. We are grateful that police services across the country take these incidents seriously, but more needs to be done to protect vulnerable communities,” he said. “This includes greater support for security and safety at community institutions such as houses of worship; equity, diversity and inclusion education that includes training on antisemitism; and a national strategy to target online hate and radicalization.

“Although Canada remains one of the best countries in the world in which to be Jewish, or any other minority for that matter, these numbers should concern all Canadians. One hate crime is one too many.”

For more on the Statistics Canada report, visit www150.statcan.gc.ca and click on the link for the publication Juristat.

– Courtesy Centre for Israel and Jewish Affairs

A new creative arts market

Siblings Becky, left, and Margaux Wosk (photo from We Belong!)

The first-ever We Belong! Festival will take place Aug. 27 in Downtown Vancouver. Organized by siblings Margaux and Becky Wosk, We Belong! is a “one-of-a-kind creative arts market with a focus on giving disabled artists the opportunity to showcase and sell their art.”

Margaux Wosk is a self-taught artist, an activist and a disability rights advocate, fighting for disabled small business owners to get resources. Becky Wosk is an artist, designer, writer and musician; she and Emmalee Watts form the duo Hollow Twin.

Margaux Wosk started their business, Retrophiliac (shopretrophiliac.com), more than 10 years ago. Its focus is on visual art.

“Being an openly autistic person,” said Wosk, “I found that there was a void in the marketplace for the type of items I wanted to see and purchase.

“My business has really ramped up in the last five years,” they continued, “and I focus on autistic, neurodiversity and disability pride items, such as enamel pins, patches and stickers. I design retro-inspired pins, stickers and patches as well. I also have other items I offer and I have over 26 retailers between Canada and the United States.”

Wosk also uses their business “as a way to talk to the government about disabled small business owners” and they have gone to the provincial budget meeting two years in a row “to rally for funding and resources for other people like myself.”

They explained, “Currently, as it stands, we have no resources, and any of the funding that goes to ‘inclusive employment’ only goes to employers that hire disabled people, not disabled people who own their own business.”

Part of the mission of the We Belong! Festival is to raise awareness.

“I have been part of other markets and I do enjoy it, but none of them meet all of my needs,” said Wosk. “I find that sometimes there are financial barriers, sometimes the events are just too long and I find that it can take a toll on my mind and body. I wanted to create something with little barriers for other disabled artists and we were lucky enough to be the recipients of the Downtown Vancouver BIA’s [Public Space] Vibrancy Grant. This way, we won’t have to charge our vendors any costs and we can provide them tables, canopies and chairs. I want people to see what we’re all capable of.”

The Downtown Vancouver Business Improvement Association helped secure the market’s space at 855 West Hastings St. (Lot 19), and it is being provided free of charge. The location, which is between Burrard and Howe streets, is close to Waterfront Station and other public transit points.

“Once the location and date were confirmed,” said Becky Wosk, “we were able to figure out how many vendors we can accommodate and, from there, we put out a call to artists/makers. We have a specific budget to work with, so we have been able to gather quotes for the supplies we will need to make this event successful.

“When working on an event,” she said, “it’s important to work backwards from the date that you have secured and determine what needs to be ordered/booked in advance of that date – for example, canopies need to be booked 30 days out etc. [There are] lots of small details to be mindful of!”

In addition to the vendors who will be selling their creations, the market will include four nonprofits: Artists Helping Artists, Curiko, the Jewish Community Centre of Greater Vancouver’s Art Hive, which is run by Leamore Cohen, and the BC People First Society, on whose board Margaux Wosk sits, as regional director, Lower Mainland West.

While the deadline to apply as an exhibitor has passed, the Wosks are still looking for volunteers to help with set up and tear down. Anyone interested should email [email protected].

The Aug. 27 market runs from 11 a.m. to 3 p.m.

New school year starts

As a new school year approaches, many parents are looking for fresh ways to rekindle their child’s spark for Jewish – and general – learning. Chabad Richmond Hebrew School has put forward a curriculum that offers children an immersive experience.

“Over the course of last year and throughout the summer, we have had moms and dads asking us for advice on how to nurture their child’s Jewish identity,” said Chana Gordon, director of Chabad Richmond Hebrew School. “We believe that … knowledge is power and if you provide a safe and inclusive environment which teaches Jewish values, history and culture, children will thrive mentally, emotionally and in many other aspects of their life.”

Chabad Richmond Hebrew School constantly works to have a curriculum with fresh, new activities and crafts. Using modern methods of teaching, including STEM, they seek to accommodate the needs of every child.

For example, the learning program includes Bereishit: The Story of My Life, which explores the history of the Jewish nation. Beginning with the story of Adam and Eve, and through the birth of the Jewish people, students are taken on an immersive journey allowing them to use their creative minds and imagination.

Through interactive storytelling, inclusive activities and a comprehensive knowledge base, students are encouraged to take an active role of leadership and to express themselves. The program’s aim: students who have a nurtured Jewish identity, a healthy self-esteem, long-lasting friendships and a sense of community.

Chabad Richmond Hebrew School is an affiliate of the Chabad Children’s Network (CKids), which has chapters in 26 countries and engages 25,000 children each year with Jewish education and experiences. To register your child(ren), visit chabadrichmond.com/hebrewschool.

– Courtesy Chabad Richmond Hebrew School

Sculptures inspired by Kahlo

“She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940.”

“She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, was inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940.”

photo - “She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940”
“She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940.”

In her artist’s statement, Birstein writes about this ceramic work: “‘Self-Portrait with Thorn Necklace and Hummingbird, 1940,’ is one of my favourite Frida self-portraits. In it, she is at her most beautiful, surrounded by flowers, butterflies, her monkey and cat. Her direct stare compels us to reflect upon her body in pain, her complex relationship with Diego [Rivera] and her relentless drive.

“The metal headdress references an iron-clad spirit, topped with a golden bird holding my mother’s pill box. Both Frida and my mother required medication to alleviate their pain, which they housed in these beautiful containers.”

Birstein’s solo exhibit, When I Have Wings to Fly, opened at the Port Moody Arts Centre in the Canadian Pacific Gallery July 28 and runs to Sept. 4. For more information, visit pomoarts.ca/exhibitions/when-i-have-wings-to-fly.

– Courtesy Port Moody Arts Centre

The journey to healing

Katherine Matlashewski is creator, performer and co-producer of Disclosure, which “explores the struggles of a survivor searching for pathways toward healing in an adversarial medical system.” (photo from Disclosure Productions)

“Disclosure was inspired by a true story that focuses on the process of healing,” explained Katherine Matlashewski, creator, performer and co-producer of the production that will see several performances during the Vancouver Fringe Festival, Sept. 8-18.

“The way in which trauma affects the mind and body is complex and unique to each individual,” Matlashewski told the Independent. “Through movement, spoken word, soundscape and humour, Disclosure explores the struggles of a survivor searching for pathways toward healing in an adversarial medical system.”

An interdisciplinary artist, Matlashewski is a graduate of Studio 58. She has trained with Arts Umbrella and the Arts Club, and has performed with several companies, including Theatre Replacement, Metro Theatre, Stage 43 and Royal City Musical Theatre. The award-winning theatre artist is an instructor at Carousel Theatre for Young People and Arts Umbrella.

“Prior to attending Studio 58,” she said, “my training was based in movement and musical theatre. In musical theatre, when a character does not have the words to express themselves, they sing. When singing is not enough, they dance. I do not always have the words to describe how I am feeling, so I naturally turn to creating interdisciplinary works. While I was developing Disclosure, I realized that combining multiple disciplines could be utilized to convey what could not be communicated through text.”

Every Fringe performance of Disclosure will include a 10-minute post-show discussion facilitated by a representative from WAVAW Rape Crisis Centre.

The first iteration of the one-person show was presented at Studio 58 as part of Matlashewski’s graduation solo performance this past spring. “With the hopes of expanding Disclosure to a wider audience,” she said, “I applied for the 2022 Vancouver Fringe Festival. After my performance at Studio 58, I was approached by director Jane Heyman about developing my show further. After being selected as a Vancouver Fringe Festival lottery finalist, I reached out to Jane about directing the show for the Fringe and I was overjoyed when she accepted! I then began building a creative team of local emerging and early career artists.”

Heyman is also a member of the Jewish community, and she was already attached to the production when creative producer Natasha Zacher came on board.

“Katherine and I connected in May 2022, after Disclosure was accepted into the Vancouver Fringe Festival,” said Zacher. “However, we have known each other for a few years, since working alongside each other on a (very!) different Vancouver Fringe Festival show in 2015. Katherine reached my way as she knew a good deal about my professional journey, integrating work as an independent theatre-maker and a mental health clinician. We reconnected quickly on the premise and hopes for the production, and I was very glad to join the team.”

As a producer, Zacher said, “My primary focuses are on seeking funding for the show (grants, sponsorships, donations), creating and managing our budget, coordinating timelines for marketing and promotions initiatives for the show … contracting artists, liaising with the Vancouver Fringe team regarding production needs and, recently, developing and facilitating COVID-19 safety plans.”

Given the nature of the production, there are additional safety plans.

“It is important to take the time to create a safe, inclusive and accessible rehearsal and performance space,” said Matlashewski. “Part of my artistic practice is to create a ‘room agreement.’ This is a living document, written by the artists involved in the production. In our room agreement, we include boundaries and guidelines about how we will communicate and conduct ourselves in the rehearsal process. Something I value is taking the time to include a check in and out at the beginning and end of each rehearsal day.

“In addition,” she said, “to promote self-care, the artistic team has decided to stagger rehearsals, and also observe Shabbat by not rehearsing on Fridays.”

The seriousness of the material does not mean Disclosure is devoid of lighter moments.

“There are many ways to heal from trauma. Humour is one of them!” Matlashewski said. “Having witnessed and experienced generational trauma, I have come to understand that humour can help create distance from a difficult incident. In addition, sometimes humour is more palatable for an audience. For me, the journey to healing is like a rollercoaster. It is not linear in any way. Even in the most challenging of times, humour can facilitate healing.”

Disclosure will be presented at the NEST on Granville Island during the Fringe Festival. For anyone wanting to support the show, there is a GoFundMe campaign. “Funds raised will go directly to production costs and compensating the artists involved for their time, energy and expertise,” said Matlashewski.

Other ways to support the production include buying tickets to one of the shows (vancouverfringe.com/festival/disclosure), sharing the GoFundMe page link (gofund.me/43a8ae0d) with friends and following the production on Instagram (@disclosure.production).

“I am looking forward to seeing how the audience responds to the performance,” said Zacher. “I don’t have any expectations, and want to walk into the experience of getting the show on stage as an open book. I hope the audience feels empowered to take with them whatever supports them to feel seen and heard.”

Celebrating Leonard Cohen

Take This Waltz performers Ted Littlemore, left, and Daniel Okulitch. (photo by Victoria Bell)

Take This Waltz world premières at Rothstein Theatre Sept. 10-11.

“The concert as a whole tells a story, and each song finds its place within that story,” Idan Cohen told the Independent about Take This Waltz, which sees its world première as a Chutzpah! Plus event Sept. 10-11 at the Rothstein Theatre.

Cohen is the artistic director of Ne. Sans Opera and Dance, so it might seem odd that he’s staging a show celebrating the music of Leonard Cohen. But he’s a fan of the Canadian icon, who died in 2016, and this production piqued his interest.

“I’ve admired Cohen’s lyrics and music for years,” said Cohen, who is not related to the singer-songwriter. “So, when Daniel Okulitch, one of Canada’s most appreciated operatic baritones reached out to me to directly to produce Take This Waltz, I immediately said yes. Daniel’s vision was to look at Cohen’s music through the classical tradition of the Song Cycles (Lieds). I thought that it was a really interesting way to look at Cohen’s music through a fresh, exciting lens.”

Okulitch contacted Cohen after having created a successful online concert that included some of Leonard Cohen’s work, as well as that of other singer-songwriters, which took place via Pacific Opera Victoria in winter 2020. Okulitch wanted to add dance to the concert.

“I knew that, if I was to take this on, I would want to focus on Cohen’s body of work and say something meaningful about the times we live in,” said Idan Cohen. “Ne. Sans’ mandate is to follow the operatic tradition in the full sense of it – to create work that integrates all the classical arts of theatre, music, dance, set and costume design. It is challenging to do in this economy, but I strongly believe in this type of offering.

“It took us some time to fundraise so that we can present this work as I believe it should be presented,” he noted. “We have an ensemble of cello, violin and accordion, with stunning arrangements by Adrian Dolan, and Daniel’s voice is so rich and sensitive, that it speaks straight to the heart. Amir Ofek is designing the set, Itai Erdal creating the light design and Christine Reimer the costumes. Alongside Daniel is the dancer/musician Ted Littlemore, with whom I’ve been collaborating for almost five years, who’s such a wonderful artist. I am truly blessed, and I hope that we’ll not just do justice to Cohen’s legacy, but help audiences experience it in a different, new way.”

About that legacy, Cohen added, “I had coffee with the wonderful Vancouver-based composer Rodney Sharman the other day, to discuss a future project that we’re working on, and Rodney said something that I found to be really relevant to Take This Waltz. He said that he thinks that my body of work is a variation of two core elements: love and death. And I thought to myself, that’s life, right? Cohen got it. His wisdom is so profound that it sometimes seems as if he knew the secrets of the human soul. I think it’s because he was brutally honest, a thing that we don’t see a lot in our contemporary culture. There’s so much pain and often bitterness and anger in his work, that are then composed in such generosity and love. What a beautiful combination. My work is to honour that.”

About his collaborators on Take This Waltz, Cohen said the production started at Pacific Opera Victoria, “as an intimate, beautiful concert of various music that included just a few of Cohen’s songs, and Vancouver Opera decided to support its development and creation. Jessica Gutteridge, a wonderful human and the artistic director of Chutzpah!, has given us a very generous creative residency at the Norman and Annette Rothstein Theatre in Vancouver’s JCC [to further develop the work]. It’s all live, no film or projections. I felt that Cohen’s work needs to be honest and direct. Having said that, there are quite a few surprises in the show – you’ll just have to come and see!”

Take This Waltz is being presented with Pacific Opera Victoria and Vancouver Opera, and Chutzpah!’s live music programming is supported by a grant from AmplifyBC. The Sept. 10-11 shows are also being supported by the Bierbrier family, in memory of Len Bierbrier, who was a dear friend of Chutzpah! board chair Lloyd Baron, said Gutteridge. Bierbrier was also a friend of Leonard Cohen, she said.

While most people cannot claim that level of connection to the legendary musician, many people do feel connected to him in some way. When asked to confirm that, indeed, he was not related to the singer-songwriter, Idan Cohen said, “We are all related, aren’t we? I first heard Cohen’s music through my dad and, in many ways, always felt that he is a father figure to me. So many of us feel that way about him and his music and poetry. I love him like family. Does that count?”

For tickets to Take This Waltz, visit chutzpahfestival.com.

Flamenco dance, music

Henry Garf (photo by Herve Lebley)

Montreal guitarist and member of the Jewish community Henry Garf takes part in this year’s Vancouver International Flamenco Festival. Presented by Flamenco Rosario, the festival features live performances, with both ticketed and free events.

Garf performs at the Waterfront Theatre Sept. 23, as part of Kara Miranda’s company. Sombras/Shadows is a live music and dance presentation with projections reflecting personal experience both visually and thematically. Shadows are explored as interplay between light and dark, through the lens of Swiss psychiatrist Carl Jung’s theories of the Shadow Self. A parallel search is for intangible shadows of the past, Miranda’s ancestral roots, living in the shadow of the flamenco greats that came before and the masters that reign today and finally accepting and actualizing her shadow side.

Garf also teaches a master class at the Scotiabank Dance Centre Sept. 24, with Alvaro Echanove, called Theory and Practice: Exploring the Skills of Improvisation, Dynamics and Active Listening through Palmas. Palmas is a style of handclapping that accompanies flamenco dance.

Other master classes take place Sept. 17 and 18, with Mucha Muchacha, and on Sept. 24, with Albert Hernandez. Other ticketed shows include Mucha Muchacha at the Rothstein Theatre Sept. 16. Their eponymous show started as theoretical and practical research about women artists from the “Generation of the 27th,” known as Las Sinsombrero, and evolved into a contemporary dance project focused on the ideas of empowerment, determination, voice, participation, freedom and cooperation. The performance is developed from force-driven movement, effort, celebration and physical exhaustion. They put “at risk” traditional Spanish dance’s corporeality in a confrontation with contemporary dancing.

The two other shows at the Waterfront Theatre are Anastassiia Alexander on Sept. 22, performing The Machination of Memories Suppressed, based on the poem “Maquina de Olvido,” which Alexander wrote, and the performance contains elements of spoken word with dance; and Flamenco Rosario on Sept. 24, with Nuevo III, a collection of new choreographies by Ballet Nacional de España choreographer Albert Hernandez, Granada’s Sara Jimenez and Rosario Ancer.

On the afternoons of Sept. 3 and 4, free performances take place on the Picnic Pavilion stage at Granville Island. The Saturday features Mozaico Flamenco, A.J. Simmons and company, Bonnie Stewart, Jhoely Triana, and Michelle Harding and Calle Verde. Performers on the Sunday are Mozaico Flamenco, Kara Wiebe, Harding and Verde, Linda Hayes, and Stewart. There is also a free 20-minute workshop on Sept. 4 for children at noon, and a 30-minute one for adults at 12:20 p.m.

For registration, tickets and more information, visit vancouverflamencofestival.org.

– Courtesy Vancouver International Flamenco Festival

Be an ambassador of light

Ambassadors of Light putting together more than 2,000 packages of matzah at Lubavitch BC. (photo from Chabad Lubavitch of BC)

 

Ambassadors of Light in Kelowna. (photo from Chabad Lubavitch of BC)

“A little light pushes away a lot of darkness” – this quote from the Lubavitcher Rebbe (Rabbi Menachem Mendel Schneerson) was the impetus for the creation of a new program initiated by Chabad Lubavitch of British Columbia in response to the experiences of the last few years. These have included COVID-19, war in Ukraine, poor economic conditions and political upheaval, leaving so many in loneliness, depression and despair.

Ambassadors of Light is a year-long series of campaigns in commemoration of the Rebbe’s legacy and the 120th anniversary of his birth, which was celebrated in April of this year. It is designed to combat darkness and infuse the Jewish community of British Columbia – as well as other Jewish communities – with light.

The local project is a coordinated effort of the 10 Chabad centres serving the province. It is divided into six separate campaigns that encourage love and sharing, and doing mitzvot with friends and family. Each one is infused with creative materials to enhance the experience.

The first campaign began in March and extended through April, with distribution of Shmurah matzah for Passover. Each participant received free handmade matzah, an activities package and, most importantly, a second set to hand out to a friend. True joy comes when we “pay it forward”!

The second campaign, which took place over May and June, focused on the theme of Jewish books. Every Jewish home shines when it is adorned with books of Jewish learning, faith and prayer. People received the gift of a new Jewish book for their home library and one for a friend.

The current campaign is to ensure that every Jewish home in British Columbia has kosher mezuzot affixed to the doorposts of their homes. There are two parts to this campaign:

Part 1: First-time front-door mezuzah. Be an ambassador and introduce the gift of “Mitzvah Mezuzah” to a Jewish friend, co-worker or family member who doesn’t yet have one on their front door.

Part 2: See the Scribe. For those who already have mezuzot, bring them for a check-up to one of the in-person See the Scribe events. A certified scribe will be at various Chabad centres throughout the province for a full day, and he will be checking mezuzot for authenticity or errors. You will also have the option to book a time for the rabbi to come directly to your home to install your mezuzah – or you can take instructions on how to do it yourself. Check the website ambassadorsoflight.ca for the days, times and locations of these events.

The Ambassadors of Light initiative has already had an effect.

“Thank you for this wonderful gift before Passover. You’ve made our holiday so special!” said Igor, a student in Kamloops, who himself volunteered to become an Ambassador of Light. He distributed Passover matzah and other holiday goods to more than 20 more Jewish families in Kamloops through the campaign.

Rabbi Chalom and Esti Loeub from Chabad UBC shared, “One of our students’ parents (who we had never met before) received a gift of a Jewish book from their son. They were so impressed by the concept that brought their son to share Judaism with them in a creative way … and they loved the book about fascinating Jewish concepts.”

In Okanagan, Rabbi Shmuley Hecht received the following text: “Hello Rabbi Shmuley…. I took only one of the books on Jewish living, but, on reflection, I would like to get another four, if possible – one for each of my children.”

“Now, as we begin the third of six sweeping education and sharing themed campaigns of the Ambassadors of Light program, the impact is growing and the feedback is enormous,” said Rabbi Dovid Rosenfeld of Lubavitch BC, one of the team members leading the project. “People care, and people are being cared for. The circle continues to revolve, turning each recipient into a giver as well.”

Rabbi Yitzchak Wineberg, head director of Chabad Lubavitch of B.C., noted, “The sense of unity that this Ambassadors of Light program has created is incredibly heartwarming … and very telling. People are just so touched by the surprise gifts they’re receiving from their own fellow community members, and that is something that the Rebbe has been encouraging throughout the years as well.”

All in all the project has reached more than 70 cities, attracted more than 200 volunteer ambassadors and impacted thousands of people. Still to come are the shofar and lulav campaign, the menorah campaign and the Shabbat candles campaign.

To become a part of the program, contact your local Chabad. For details, visit  ambassadorsoflight.ca.

– Courtesy Chabad Lubavitch of British Columbia

Argue for the sake of heaven

When they were having their animated disagreements so many centuries ago, could the wise Jewish sages Hillel and Shammai have imagined how much we would still look to them today to help us navigate our fragmented world?

Mishna Avot, a third-century collection of teachings, reminds us that “any mahloket (disagreement) that is l’shem shamayim (for the sake of heaven) will continue to exist, but one that is not for the sake of heaven will not continue to exist. What is a disagreement that is for the sake of heaven? This is a disagreement of Hillel and Shammai.”

In our world that is both full of beauty and goodness and yet also permeated with divisiveness and polarization, Hillel and Shammai remind us that it was, and is, possible to hold opposing views while still respecting and learning from one another. A disagreement for the sake of heaven is one in which the parties are motivated by a genuine desire to seek the truth of the matter. There is no selfishness or lust for power. Rather, the disagreement is approached with humility, curiosity and a willingness to listen.

I recently completed an eight-week Mahloket Matters alumni fellowship through the North American branch of the Pardes Institute of Jewish Studies. I had previously studied at this pluralistic yeshivah (place of study) in Jerusalem, which is itself exemplary in demonstrating diversity, inclusiveness and a willingness to face challenging issues in respectful, cooperative and productive ways. What attracted me to applying for the fellowship was the topic – civil discourse. We would be delving into how to navigate difficult conversations and disagreements. When we all met, virtually, at the first class, we found that we shared a common concern about the fragmentation and jagged edges in our world, as well as a desire to learn and to equip ourselves with more skills to better navigate the types of thorny issues we face in our world.

Our studies were grounded in Jewish texts, which provided wonderful launch points for many of our discussions. We shared thoughts and ideas about what it means to have a disagreement l’shem shamayim and tried to bring those ideas forward to today. As Hillel and Shammai taught us, it is possible that sometimes both sides can be right and still hold opposing views. It’s also possible to debate an issue without harming relationships. Entrenched positions leave little room for genuinely listening to the other side or having the humility to admit that one might be wrong, qualities much needed for any truly healthy and productive disagreement.

U.S. Supreme Court Justices Ruth Bader Ginsburg and Antonin Scalia, may their memories be blessed, perhaps provide a more contemporary example of Hillel and Shammai. They were judges who held vastly different views on many issues and yet had a warm and lengthy friendship, never mind a shared love for opera, which they often indulged in together. In a statement that Bader Ginsburg released to the public on the death of Scalia in 2016, she said: “We disagreed now and then, but when I wrote for the Court and received a Scalia dissent, the opinion ultimately released was notably better than my initial circulation. Justice Scalia nailed all the weak spots – the ‘applesauce’ and ‘argle bargle’ – and gave me just what I needed to strengthen the majority opinion.”

Over the eight weeks of our studies, our diverse group from all over North America questioned, challenged, debated and confronted a multitude of issues, from moral foundations to creating our own mini Sanhedrin(Jewish High Court), taking on the role of judges and tackling some controversial issues from all angles. It was an enriching and meaningful experience, the fruits of which we are each now able to bring back to our own communities, with the hope that the small ripples we create through sharing our learning will radiate outwards and help, even in small ways. Help to smooth some of the sharp edges, soften rigid positions and create the safe spaces people need to have productive and healthy disagreements that create the fertile potential for new solutions to emerge – all for the sake of heaven.

Elisheva Gray is a lay leader and active member of the Victoria Jewish community and an alumna of the Pardes Institute of Jewish Studies.

Working to embrace change

We’re hoping the school bus will know to pick up our twins at the right address when school starts. They’re starting Grade 6 this fall. We’ve finally gotten good at figuring out the back-to-school letter, so we send them with most of the right supplies.

Yesterday, I took them shoe shopping, because, apparently – even though kids’ feet grow all year round – you can only buy sneakers for them before school starts. I even know where their lunch kit is located. Last year, the kids got good at packing their lunches – with mom supervision, of course.

I dread the start of school. It’s full of pitfalls. Inevitably, the bus doesn’t come, maybe one twin has a conflict and gets in trouble, or the teacher isn’t connecting with the other one. Things don’t always go smoothly. I have to line everything up as well as I can and hope for the best.

We’d be way ahead of schedule if it weren’t for one thing. We moved this summer. We only moved a short distance. It’s a little less than two kilometres if you walk from our old house, built in 1913, to our new one, also built in 1913. The differences lay in the neighbourhoods, zoning and a few other details.

Our “old” house was entirely habitable, aside from some walls cracked by nearby construction. It’s currently for sale as I write this. We staged it with our furniture and now we’re sleeping on the floor at the “new” house.

Our current home is almost twice as big as the previous one. It has a bigger yard in a quieter neighbourhood, amazing woodwork, a library, leaded glass, two enclosed sun porches, a second floor open-air porch, and more. It’s got all the fine details one might expect of a house built for a doctor who was the head of the Manitoba College of Physicians and Surgeons in 1913. It’s also got only one working bathroom – several remain broken – and only about half of a kitchen. The other half of the kitchen was demolished due to some, umm, small issues like freezing pipes, and structural concerns that need to be fixed.

We moved for a variety of reasons, but we loved how close the new home would be to the synagogue we attend most of the time. To be more clear, the synagogue we used to attend in person and now mostly livestream, due to the pandemic! We imagined that the easy walking distance would be great if Shabbat observant relatives came to stay, for instance. We like walking in nice weather. Then? Things changed.

It turned out the synagogue needs to do big renovations. It has just “moved out” of the building for two years to have asbestos removed, the HVAC system fixed and a few other updates done. Services will now be held in two other places in the Jewish community – both of which require driving. Oh well.

Change is challenging. Our dog isn’t ready to be by herself in the new house. She let us know this yesterday. She broke out of the third floor bedroom, where we had left her for an hour, complete with her dog bed, the radio on, a dollop of frozen peanut butter, and several other treats. She greeted us, in high anxiety, at the first floor front door with all the same toys surrounding her. While we appreciate her intelligent, Houdini-like abilities, we still do sometimes need to leave home. This morning, we signed up to a new dog daycare at the last minute so we could attend a weekend bat mitzvah for a family with whom we’re close.

I could go on with examples because, with the pandemic fluctuations, the house move and other work changes, our life is really keeping us on our toes just now. Like many people, we’re continuing to roll with it. What else can we do?

Around us, we see people nostalgic for some mythical normal they want to get back to experiencing. I’m stymied by this because, at least in Manitoba, even as pandemic restrictions go away, more people continue to die due to COVID. It ain’t over yet, folks.

When I bump into friends or neighbours while walking the dog, everybody asks how we’re managing. We’re probably more deadpan or low-key than people expect. I mean, what are our other options?

At the dinner table, I mentioned these exchanges with my husband and he said, “You know, I’m out of bandwidth right now. I hope that I act appropriately and keep moving.” That is when it hit me that, during these times of big stress, it isn’t uncommon to act this way. We function automatically. When I taught high school, my students called it “home training.” Jewish tradition might call it “derech eretz” or “how to behave.” We’re all doing the best we can, relying on basic skills and manners learned in childhood about how to do the right thing.

We hope that, in every autopilot email, conversation with a neighbour or phone call, we’re behaving in an upright and kind way. Right after we mention this lack of bandwidth, we remember how lucky and grateful we are. We have a home, food and clothing. During this summer of “the great move,” we’re doing fine. We’re not facing any of the many awful things that Jews have had to face. It’s not the Inquisition, a pogrom, the Holocaust or, in 2022, time spent in bomb shelters in Israel or Ukraine.

In Pirkei Avot 2:5, Hillel offers a long list of instructions for how to behave, including: “In a place where there are no people, strive to be a person.” Every day, if Jews recite any prayers at all, we’re reminded to be grateful, caring, appreciative people. The emphasis is to be a mensch, an upright, good person, even in a moment when no one else might be acting as such, or when no one else is around.

It’s really easy to get worked up and dread transitions and the start of new challenges. It’s harder for me to step up, not just face these changes, but to embrace them with good humour and enthusiasm. I wake up each day, heave myself up from the mattress on the floor, recite a very informal Modeh Ani (a prayer of gratitude for waking up) and hope I will meet the day with the right intention. Someday soon, when our furniture makes the move, too, I hope it will feel like less of an effort to get up and meet the challenge.

I hope you have a great start to the school year, and that you are also celebrating some big milestone events! Here’s hoping it all goes smoothly.

Joanne Seiff has written regularly for CBC Manitoba and various Jewish publications. She is the author of three books, including From the Outside In: Jewish Post Columns 2015-2016, a collection of essays available for digital download or as a paperback from Amazon. Check her out on Instagram @yrnspinner or at joanneseiff.blogspot.com.