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STEAM-powered schooling

STEAM-powered schooling

ORT delegate Nata Saslofsky with students from the D. Dan and Betty Kahn STEAM Centre at the Rodman Middle School in Kiryat Yam, Israel. (photo from ORT)

As a town with one of the highest percentages of new immigrants in Israel, Kiryat Yam is welcoming many refugees from Ukraine. One of the most important elements of helping these families process their trauma and settle is ensuring that their children’s education resumes.

Kiryat Yam’s low socioeconomic index means that local students face more academic challenges in comparison to their counterparts in the centre of Israel. But it’s here that kindergarten children are being taught how to build and even program simple robots, enabling them to gain rudimentary familiarity with technology in preparation for studying STEAM (science, tech, engineering, art, math) subjects in the future.

“Through our robotics programs in kindergartens, and continuing at the D. Dan and Betty Kahn STEAM Centre at the Rodman Middle School, we provide under-resourced children with an extra boost from the youngest age possible, so that they’ll gain the tools and the confidence to pursue higher education and fulfilling careers,” said Dan Green, chief executive officer of World ORT. Green was speaking on May 16 to World ORT delegates who, for the first time in more than two years, convened in Israel to experience firsthand the extensive work of World ORT and meet students who are directly impacted by it.

During a packed visit to Kiryat Yam, between meetings with the mayor and high-level municipal and educational representatives, delegates got an up-close view of the natural progression of World ORT’s STEAM education in action. After watching 5-year-olds playing with the robots they’d built and programmed, the group met middle-school students at the Kahn STEAM centre’s robotics lab who were delighted to show off the robots they’d built and coded from scratch.

“I was impressed by the Kadima Mada robotics demonstrations in Kiryat Yam,” said Jack Kincler of Montreal, who serves as the ORT Canada co-president. “It teaches kids from a young age about following a thought process, team effort, and step-by-step execution until the final, rewarding result is achieved.”

As an added value to the program, students who have gained a basic level of proficiency are encouraged to mentor their peers, thereby acquiring additional skills that will serve them well.

Nata Saslofsky of Atlanta, Ga., a member of ORT America’s National Leadership CohORT program, said, “Seeing firsthand the passion and excitement of ORT students for the robots they built from ideation to conception was exciting, impressive and heartwarming. It would be an amazing world if all kids had opportunities to pursue their interests by taking courses in STEAM subjects that advanced their skills and knowledge. I believe this will lead to fulfilling careers that bring them self-worth and an opportunity to give back to humanity with greater impact.”

Technion graduate Natalie Korlick, a resident of Kiryat Yam and originally from Russia, is one of the instructors at the STEAM centre. “I remember when an interest in science was considered nerdy. Today it’s become cool. Everyone wants to learn robotics.”

Korlick, who also works as a math and science tutor, said academic gaps are evident in almost all students from all grades. “It’s as if they lost an entire year,” she said, referring to the sporadic, long-distance schooling during COVID. “This year, they have to work extra hard to catch up.”

If that’s true for the students at Rodman, it’s all the more so for the Ukrainian students, who’ve seen their whole world turned upside down, and who must adapt to a new country, language and mentality. Thanks to her knowledge of Russian, Korlick is able to provide an extra level of support for the newly arrived Ukrainian students.

“Helping these kids who have been through so much and who arrived with little more than the clothes on their backs is exactly what we’re about,” said Conrad Giles, who has served as World ORT president for the last six years. “We couldn’t be happier that our programs are being used to help get them on track to a better future.” 

– Courtesy International Marketing and Promotion (IMP)

Format ImagePosted on July 22, 2022July 20, 2022Author Sharon Gelbach IMPCategories IsraelTags education, Israel, Kiryat Yam, ORT Canada, STEAM, World ORT
A composer for the Queen

A composer for the Queen

British-Israeli composer Loretta Kay Feld. (photo by Michal Sela)

Loretta Kay Feld was asked by someone close to Queen Elizabeth II to compose three tributes, which, said Kay Feld, “were gifted to Her Majesty to honour her 70 years on the throne, a life filled with grace, fortitude and dedication to her country.”

One work is a personal song, called “The Queen’s Soliloquy,” that premièred last February. The second is “A Symphonic Medley of Music for Her Majesty’s Platinum Jubilee,” which includes four instrumental segments – from “Soliloquy,” the pieces “We Never Felt So Glorious” and “The Lord Chamberlain’s Processional March and Song,” and the third tribute Kay Feld composed for the Queen, which premièred last month, called “70 Years a Queen.”

Kay Feld was born in London and trained in music composition and drama at the Royal College and Guildhall School of Music. She toured with plays and musicals in the West End of London and has published several books. She is a prolific, award-winning composer, lyricist and author, who now lives in Ra’anana, Israel. She made aliyah 11 years ago and is in her final year of a master’s at the Jerusalem Academy of Music and Dance.

“I wanted to come here [Israel] since I was a child in Hebrew school but life has a way of changing your plans,” she said. “I got married and lived in America. I gave concerts all over New York, from 1973 into the ’80s.”

Kay Feld wrote for a children’s television network and composed music in many genres. She has written about 900 songs and musical compositions. One of those is the song “Hymn for Israel.”

“I wrote it after the Yom Kippur War [in 1973] and I received letters from Moshe Dayan and Menachem Begin thanking me. The ‘Shabbat Song’ I wrote is also on YouTube and is sung in communities all over the world. ‘I’m Going to Keep America Singing,’” she said, “was performed at the inaugurations of presidents Obama and Biden, played by the Marine band.”

Making aliyah was one dream come true. Composing for the Queen was another.

When Kay Feld was 19, she performed for the royal family at the Variety Club for Great Britain at Victoria Palace and, after the show, was escorted to the box where the royals were seated. She remembers speaking with Princess Margaret and shaking hands with Queen Elizabeth II.

The opening lyrics of “The Queen’s Soliloquy” are: “You may ask me what I’m thinking on my Platinum Jubilee / And of all these celebrations, what they really mean to me / Well, my mind keeps drifting backwards, to a life yet unforeseen / Trembling at my coronation, unprepared to become a queen.”

“If we make it to threescore and 10,” said Kay Feld, “we’re considered by Judaism to be filled with wisdom, and the Queen is definitely filled with wisdom. They say the Queen learned five languages when she was young, and one of them was Hebrew.”

Kay Feld said she was offered a singer from the Royal National Opera House for “The Queen’s Soliloquy” but instead chose classical and contemporary singer Shlomit Leah Kovalski, who was born in Jerusalem to parents who made aliyah – her father from Montreal, her mother from New York.

Jamie Clarkston Collins and Eli Schurder of SoundSuiteStudio in Jerusalem do post-production of Kay Feld’s music and the videos are directed and edited by Jason Figgis.

Describing her creative process, Kay Feld said, “I compose when I’m out walking along the sea or in nature, and I think about what I’m composing and usually it just comes to me as if from the air. I write all the music in my head and the lyrics usually come at the same time and I go home and write out the manuscript.”

For her third royal tribute, “70 Years a Queen,” Kay Feld said, “I tried to write a song that I felt everybody throughout the world would be able to sing if they desired to. The melody is simple and the lyrics memorable with a tinge of humour.” Such lyrics as “… 70 years a queen / Four children in between / The Grandmama of future kings / Elizabeth, our Queen.”

The music is accompanied by the singing of renowned baritone Noah Brieger, who, Kay Feld said, “Has an outstanding voice with a great tone. He sang the lyrics with meaning and emotion.”

Brieger, like Kovalski, was born in Israel. He graduated from the Jerusalem Academy of Music and continued his training in the United States. An award-winning performer, he has sung in dozens of productions at the Israeli Opera, including lead roles in Don Pasquale (Donizetti), La Cenerentola (Rossini), La Bohème(Puccini), Romeo et Juliette (Gounod), Schitz (Rechter) and more. He also has performed in Germany, the United States, France, Italy and China.

Kay Feld is excited about a new project she has been working on for a number of years – 1897, The Musical. There are 27 original songs and the choreography is by her daughter, Dorothy Eisdorfer.

“The story is about the degrading things they did in Victorian times, but I want to tell the story with dignity,” said Kay Feld. “It expresses the desires of two women, one in the lower and one in the higher class.”

Her plan is to hire an all Israeli cast and crew, “to showcase all the wonderful talent we have here in Israel,” she said. “I’d like to find enough funding so I can pay all the performers fairly.”

She wants to film the musical and livestream it globally “for all the world to see. It will be a most splendid performance.”

For someone whose music has been performed for presidents and queens, Kay Feld remains humble. “I just believe everyone has a gift,” she said. “And if one can use the gift to make the world a better place, that’s what matters.”

Toby Klein Greenwald is an award-winning journalist, educational theatre director, teacher and the editor-in-chief of wholefamily.com. Anyone interested in supporting 1897, The Musical can write to Loretta Kay Feld at [email protected].

Format ImagePosted on July 22, 2022July 20, 2022Author Toby Klein GreenwaldCategories MusicTags aliyah, Israel, Loretta Kay Feld, Queen Elizabeth II

Different horror, same hell

As soon as they got into power, German Nazis began to make life hell for German-Jewish men – partly to promote their sadistically comic-book ideal of “Aryan” masculine supremacy, and partly out of a desire to plunder valuables and property. And also, it must be said, out of simple criminal/pathological malice.

image - Fighter, Worker and Family Man book coverFighter, Worker and Family Man: German-Jewish Men and Their Gendered Experiences in Nazi Germany, 1933-1941 (University of Toronto Press, 2022) is a thoroughly researched book. In it, Sebastian Huebel – a sessional instructor in the history department at University of the Fraser Valley – depicts various strategies used by the Nazis to isolate and degrade German-Jewish men in the years prior to the concentration camps. His metaphor for this program of debasement and humiliation is “emasculation,” and the word identifies the book’s focus: how the Jewish-German (heterosexual) male was shamed by the dispossession of any masculine identity as “fighters, workers or family men” – the traditional markers of masculinity in Europe in those days.

Gender is a rare focus in Holocaust literature and, when the topic of gender arises there, it is almost always about women, and written by feminist scholars, as Huebel notes.

But men’s victimization, as Huebel demonstrates, also deserves scrutiny. During the 1930s, the overwhelming percentage of camp internees were male (“cheats,” “traitors,” “greedy bankers,” “race defilers,” “manipulators of international capitalism,” etc.): in other words, women did not fit the Nazi stereotype of the gendered male Jewish fifth-column “enemy.”

The Jewish male “enemy” was uniformly forced out of work, his business expropriated; he was excluded from the military, and his military service in the First World War ignored. In public, he was ridiculed, he was caricatured in propaganda and openly derided – all, as mentioned, to further the absurd Nazi fantasy of the “Aryan” übermensch. For what reason? Simply to “justify the need for protecting Germany from within” by inventing a supposed internal threat – to this day, a tried-and-true strategy practised by would-be and extant dictators.

(It’s worth noting that Huebel does not address the perceived threat emanating from the predominance of Jewish men in the German Communist and Social Democratic parties, in labour unions, and among other dissidents.)

In private, the Jewish father/husband paradigm crumbled under the weight of Nazi deprecation. With no work, no “bread being won,” the only way the Jewish father/husband could show his worth to the family was to arrange for emigration. But, as Holocaust historians have amply shown, by the time it was clear to the German Jews that the Nazis were not going to go away, the “free world” had closed its doors to them. (Canada’s famous response to the question of how many Jewish refugees should be admitted was “None is too many!”)

On a more positive note, Huebel notes that the at-home father model led to increased bonding – unusual for the time – between father and family, and Huebel offers lots of documentary evidence of signs of love and affection between the unemployed father and his children. As well, fathers frequently became at-home teachers to their expelled children – more evidence of “a new presence at home” that led to a reaffirmation of men’s role as father/mentor-educators.

On the streets, as Nazi violence against men increased, men were often coated with tar, made to walk barefoot over broken glass, made to stand for attention for long hours in bitter cold, and forced to open their mouths for Nazis to spit in. As a result, women were more and more often required to go out in public for menial chores.

The gender-specific treatment of men in the camps has not, Huebel says, been examined as closely as has been the treatment of women. To illustrate his point, he stresses how forced labour demanded of men, particularly in brickworks and quarries, led to disfigured bodies, “violated psyches” and premature death. Those who survived returned home like ghosts, permanently traumatized both physically and mentally, tortured by nightmares and often considering (and committing) suicide.

At no point in his book does Huebel denigrate the experiences of Jewish women under Nazism: “different horrors, same hell,” as Myra Goldenberg and Amy Shapiro said in the title of their excellent 2013 book.

Huebel’s oft-stated intention is to draw attention to the specific way men were abused, from beard-pulling to climbing up and down rock quarries until death. Jewish males were, as mentioned, typically regarded by Nazis as the “greater threat,” and were victimized accordingly.

Overall, Huebel shares the hope, in his conclusion, that a study of the erosion of Jewish male masculinity under Nazism can “sharpen our understanding of contemporary issues related to gender.”

This is a daunting objective, if not fulfilled, at least boldly addressed in this groundbreaking book.

Graham Forst, PhD, taught literature and philosophy at Capilano University until his retirement and now teaches in the continuing education department at Simon Fraser University. From 1975 to 2010, he co-chaired the symposium committee of the Vancouver Holocaust Education Centre.

Posted on July 22, 2022July 20, 2022Author Graham ForstCategories BooksTags education, gender, history, Holocaust, men, Nazis, Sebastian Huebel, Shoah
Never waste life’s many gifts

Never waste life’s many gifts

The author with her grandmother. (photo from Becca Wertman-Traub)

In the story of the Jewish people, it is not just about our patriarchs but the matriarchs, too. I grew up knowing that both my grandparents, Babi and Zaida, were Holocaust survivors. Zaida would tell me his stories – I know them backwards and forwards from how he spoke about them. But Babi, who was just 13 when the Second World War began, did not really tell hers.

She did talk about her brother – Shaike – who was taken to his death by the Nazi SS when he came out of the house to help young Frieda carry a pail of water. He was taken to a police station and killed in its basement along with numerous other Jews from the town. And she told us that her father, mother, sister and another brother all perished in the Holocaust. But not much else. She was too busy making blintzes, perogies, chicken patties, chicken soup with kreplach and more for her family.

Thankfully, though, she did have the extreme courage to tell her full story to the University of Southern California Shoah Foundation, where I learned the details of how she survived. Frieda’s childhood home in Kamionka-Strumilowa, Poland, became part of a ghetto. During the liquidation of the ghetto, Frieda and her brother, sister and mother hid in a hiding space in the wall and managed to survive, when the rest of the Jews of the town were taken to their deaths at Belzec extermination camp.

Following the liquidation, the German’s declared the town “Judenfrei,” free of Jews, but Frieda and her remaining family were still there. Since their home was located on the edge of the ghetto, they jumped off the balcony, surpassing the ghetto’s fence, and walked to Busk, a town 30 kilometres away, where they had heard that Jews were still living. They went to the Busk ghetto and lived with an aunt. Frieda’s mother died of typhoid there, and Frieda was left with her brother and sister. Unannounced, the Nazis started liquidating the ghetto, and Frieda again hid but was separated from her brother and sister – she never saw them again.

While in the Busk ghetto, Frieda worked as a gardener for a German man who said, if she returned to Kamionka-Strumilowa, he would help hide her. At the time, Frieda did not believe such a thing was possible and simply mentioned it to her cousins. However, after the liquidation, with no immediate family, she decided to give it a shot and walked back to her hometown by herself. The man took her to the village of Obydiv, where she met Mr. Svets, a Polish farmer. Frieda hid in this Polish farmer’s barn for 12 months and, today, his sister-in-law Janina Pelc is listed among Yad Vashem’s Righteous Among the Nations.

Frieda was one of just 20 from a town of 3,000 Jewish people who survived the Holocaust and lived to tell her story.

And did she live!

Babi and Zaida met after the war and moved to Vancouver in 1949. Babi was always walking, or speed-walking, usually leaving Zaida behind so she could do laps back and forth around him. She just could not sit still, whether it was cooking for her three children and, later, eight grandchildren, or cleaning the entire kitchen with a single square of paper towel – there could never be any waste. I remember sitting at Babi and Zaida’s kitchen counter as a little kid and Babi giving me milk in a tiny shot glass because “if you finish this, you get some more.”

Babi played tennis at Richmond Country Club, exercised at the Jewish Community Centre of Greater Vancouver, and dined at the finest restaurants and cafés in downtown Vancouver.

Even when Zaida passed away, she was not done living. Right up until the end, my dad took her out for coffee.

In September, just a few days before my wedding, we were out for coffee and she took my left hand, looked at me and said, “Is he Jewish? Is he from a good family?” I said yes, and reminded her that she was coming to the wedding.

At 95, she came to my wedding. And she danced at it – to none other than “Od Lo Ahavti Di,” Hebrew for “I have not loved enough.”

Babi appreciated life and everything it had to offer to its fullest, never allowing any of its gifts to go to waste. We mustn’t either.

May her memory be for a blessing.

Becca Wertman-Traub grew up in Vancouver and currently lives and works in Jerusalem.

Format ImagePosted on July 22, 2022July 20, 2022Author Becca Wertman-TraubCategories Op-EdTags Frieda Wertman, Holocaust, lifestyle, memoir, reflections, Vancouver

Reuse, recycle, make anew

I was driving down the back lane, kids in the car, when I saw a neighbour. I stopped and rolled down the window for a chat. The neighbour’s children lived nearby and they were looking for flooring to refinish the landing on their stairs. Our family, through an ordering snafu, ended up with more flooring than needed. In fact, we’d avoided using any new flooring at all. We had asked our clever contractors to help us reuse 110-year-old quarter-sawn oak flooring from elsewhere in the house and the floor refinishers hadn’t needed any of the new “special order, not returnable” flooring. I asked the neighbour if her kids were still interested in it, because we had a lot. She said she’d ask.

The neighbour then asked me if we were doing serious “purging.” I smiled and said it was more like “redistribution.” She laughed, saying she’d have to remember that. She liked this way of seeing things.

We like to think of ourselves as a family that reuses, recycles and repairs things. While we’re not purists, we try to limit what ends up in the trash as compared to the compost. We try to give away or repurpose the things we no longer can use for their original purpose.

If one imagines three kinds of models for one’s household economies, there are sometimes three terms bandied about. A linear economy involves “take, make, use and waste.” A recycling economy involves something like “take, make, use, recycle, make, use … on repeat and eventually … waste.” A circular economy has a much more complicated chart or trajectory, involving words like “take, make, use, repair, make, reuse, return, make, recycle” but very little becomes waste. Everything is used.

The talmudic-era rabbis were part of a circular and recycling economy. We know it wasn’t entirely circular (most ancient civilizations weren’t) because archeologists keep finding the detritus of all those communities. Ask anyone interested in history about this. They wax rhapsodic about pottery shards, bone fragments, mosaics and more – these are essentially the great finds that finally broke completely. These trash bits were thrown down a privy a hundred to couple thousand years ago. Even that ancient trash has its use now: it tells us a lot about societies long gone.

I thought about all this as I began to study the talmudic tractate of Ketubot as part of Daf Yomi. In the practice of studying a page a day, it takes 7.5 years to finish reading the whole Babylonian Talmud. Nevertheless, this page-a-day approach is superficial. It’s just too much text for me to study in detail, so I try to explore one thing every day that I find interesting.

In Ketubot 4, there is a discussion about what to do if a death happens right when a wedding is supposed to take place. The short version is, well, it depends, according to the introduction offered by Rabbi Heather Miller for My Jewish Learning. However, in many circumstances, the wedding is supposed to happen even if someone has to leave a dead body nearby in another room. Why? There are several reasons.

One important reason is that there was no refrigeration. If a wedding feast was prepared and it couldn’t be sold to someone else, the food shouldn’t be wasted. It can’t be assumed that there was enough food to just waste a whole wedding feast. The rabbis really valued “bal taschit,” or “do not waste,” which comes from the Torah, from Deuteronomy 20:19.

Also, if the bride’s mother or the groom’s father died, it was essential to continue with the wedding. These parents had important roles in the planning of the wedding. Canceling the event would take away from their children’s opportunity to benefit from that work. A bride depends on her mother to help her get ready and setting up a wedding later, after a mourning period, would mean a do-over. The bride’s mother wouldn’t be alive to help then, either.

In a discussion with my online Talmud study group, it was pointed out that, in many cases, rabbis throughout history will find every way possible to help people not waste. If a poor family makes a potential kashrut mistake, asks the rabbi what to do and the rabbi knows they will be hungry without the food, the rabbi finds a way to enable the family to eat the food.

This tradition gives me hope for Jewish sustainability in the future. Here are legitimate Torah and Talmud references that encourage us to avoid waste and to reuse and value others’ work. It gives me extra motivation to recycle when it’s difficult to do so, or to patch and reuse a pair of pants yet again.

In some Jewish situations, these notions of avoiding waste are not always followed. Think of a big holiday meal or Kiddush, where everyone used disposable paper products and plastic utensils and, afterwards, it all went in the trash. Consider some well-to-do congregations where holiday services are a fashion show, and where being seen in new clothing is more valued than just being appropriately dressed. These are instances where perhaps we’ve fallen prey to a consumerist, linear economy.

It’s still possible to dress up or wear something new or different on a special occasion. It’s OK to occasionally make more trash than usual, too. However, doing it on a regular basis is not just bad for the earth now. It also affects us in terms of climate change. It’s probably also a violation of the rabbinic obligation to avoid waste.

It’s true that cleaning, decluttering and renovation trends these days are all about how much can be discarded. Maybe it’s time to save the old growth lumber. Reuse something really good. It’s also good to pass along that new flooring so it, too, can be used sustainably rather than discarded. Don’t just throw everything out and produce more waste. Reuse, recycle, make anew … the rabbis said so.

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.

Posted on July 22, 2022July 20, 2022Author Joanne SeiffCategories Op-EdTags climate crisis, environment, Judaism, lifestyle, Talmud

נסיעה שנייה לישראל

חזרתי מנסיעה שנייה לישראל בסוף חודש מאי. בראשית חודש פברואר טסתי בדחיפות לישראל כיוון שאמי היתה מאושפזת במצב קריטי בבית החולים איכילוב שליד ביתה, לאחר שנחנקה מחתיכת תפוח שהיתה בסלט שאכלה. היא נפטרה לאחר מספר ימים ונקברה בדיוק באותו יום בו אבי נקבר, שנה קודם לכן. הנסיעה השנייה לישראל במאי בוצעה על ידי כדי לעזור לאחי להמשיך ולפנות דברים מדירת הורי, במקביל לחתימה על מסמכים שונים בפני עורך הדין של המשפחה. זו בעצם הפעם הראשונה מאז שעזבתי את ישראל לפני למעלה משבע עשרה שנים (בראשית שנת אלפיים וחמש), שאני מגיע לשני ביקורים בשנה. מודה אני שזה יותר מדי בשבילי. הטיסות הארוכות, השינויים בזמנים וכן באופי של שתי המדינות (ישראל וקנדה) מעייפים מאוד

הביקור הנוכחי בישראל היה קצר ונועד כאמור לטיפול בעניינים משפחתיים ולא מפגשים חברתיים. לכן לראשונה מאז עזבתי את ישראל, לא הודעתי מראש לאף אחד מחברי שאני מגיע. למעט אחי ואשתו, באותה סיבה לא פגשתי את שאר חברי המשפחה. כיוון שהספקתי לעמוד בכל המחויבויות ניצלתי את מספר הימים המועט שנשאר לי לפגוש מספר קטן של חברים קרובים. למרות ההיכרות הארוכה, אותה שפה (עברית) בה אנו מדברים, הרגשתי הפעם יותר מתמיד כמה אנו רחוקים זה מזה. אין ספק שהמגורים מחוץ לישראל, הפכו אותי לרחוק וזר מול מה שקורה במדינה, ובעיקר אצל אלה שגרים בה. אינני בטוח שהייתי היום יכול לגור בישראל. זו מדינה שהולכת ומשתנה תדיר ולצערי לכיוון הלא נכון

לפני שטסתי בחזרה לוונקובר הצלחתי להסתובב קצת ברחובותיה העמוסים לעייפה של תל אביב. ומה מצאתי: רעש קשה שחלקו נובע מבניית רכבת תחתית, פקקים אינסופיים ובעיקר ישראלים שלא אכפת להם מכלום. הם מדברים בטלפונים בכל מקום, מעשנים בכל פינה, צופרים נון-סטופ בעת הנהיגה הפרועה שלהם ועוד ועוד. בכל ביקור אני שם לב שגם בתל אביב כמות חובשי הכיפות הולך וגדל. הזכרתי זאת לבעלת בית קפה בכיכר מסריק והיא הגיבה במשפט אחד: “כמות הדתיים והבורים הולך וגדל”. כנראה שהיא צודקת

לאחרונה שמענו שהממשלה החילופית בראשות בנט ולפיד לראש הממשלה הנצחי – נתניהו, לא הצליחה במשימתה להחזיק קדנציה שלמה, ובחירות חדשות יערכו במהלך חודש אוקטובר. לפיכך יש סיכוי גדול שנתניהו שעומד למשפט על מעלליו הלא חוקיים, יחזור שוב לכס השלטון, לאחר שישב כבר על כיסא ראש הממשלה במשך כחמש עשרה שנים. זה הדבר האחרון שישראל צריכה כיום, וזה הדבר העיקרי שימשיך להזיק למדינה ולאזרחיה. נתניהו הוא מלך מלכי הפילוגים. בתקופת שלטונו ההסתה נגד גורמי אכיפת החוק ובית המשפט גדלה באופן משמעותי, כמו גם השסע בין האזרחים: דתיים מול חילוניים, ימנים מול שמאליים, ספרדים מול אשכנזים ויהודים מול ערבים

כשאני מסתובב כיום בישראל אני מרגיש זר לחלוטין. אינני מתחבר למה קורה במדינה, אינני אוהב את התנהגות הישראלים וסדר העדיפות שלהם. גם מבחינה תרבותית אני מרגיש כיום רחוק וזר. זה לא מתאים לי יותר. הישראלים הופכים יותר ויותר ללאומניים, ימנים ודתיים. במקום דו שיח יש יותר שנאה ואלימות מילולית (ולפעמים גם פיזית), במקום סדר יום חדש ובריא יותר למדינה ולאזרחיה: ישראל חוזרת לאחור והדת תופסת מקום מרכזי בחיים

כשעזבתי את תל אביב בטיסה בחזרה לוונקובר, נשמתי עמוקות וניסיתי לארגן את מחשבותי. למסקנה אחת ברורה הגעתי: בשנים הקרובות אינני מתכוון לחזור ולבקר בישראל

Posted on July 13, 2022July 7, 2022Author Roni RachmaniCategories עניין בחדשותTags Canada, Israel, lifestyle, politics, travel, טיולים, ישראל, סגנון חיים, פוליטיקה, קנדה
Dreamy Midsummer’s Night

Dreamy Midsummer’s Night

The company of Bard on Beach’s production of Midsummer Night’s Dream. (photo by Tim Matheson)

The thespian delights of Shakespeare set against the glorious backdrop of mountains, sea and sky have been missed. But now, after a COVID-induced two-year hiatus, Bard on the Beach at Vanier Park is back with a bang, based on the audience buzz on opening night.

The comedy A Midsummer Night’s Dream, a perennial crowd pleaser, will occupy the BMO Mainstage all season. Harlem Duet, a tale of Black life spanning three periods in American history, runs until mid-July on the smaller Howard Family Stage, with Romeo and Juliet taking over that stage in August through to September.

This is the seventh time Bard has produced A Midsummer Night’s Dream, and this rendition has “hit” written all over it. It is one cheeky dream.

Set against the backdrop of the upcoming marriage of Athenian Duke Theseus (Ian Butcher) to foreign Queen Hippolyta (Melissa Oei), three stories weave their way through a mélange of mistaken identities, unrequited love, feuding fairy royalty and would-be actors, riotously intersecting in the enchanted wood outside of Athens.

Four young lovers, Hermia (Heidi Damayo), Lysander (Olivia Hutt), Helena (Emily Dallas) and Demetrius (Christopher Allen) dash through the woods in a mad, “looking for love romp” replete with a WWE-worthy cat fight and zingy insults.

Meanwhile, in the sylvan wonderland, Fairy King Oberon (Billy Marchenski) and his queen, Titania (Kate Besworth), are in the midst of a custody battle. Oberon sends his trusty servant, the mischievous Puck (Sarah Roa), to exact revenge on his queen with a potion meant to make her fall in love with the first thing she sees when she awakes.

Finally, we meet a troupe of bumbling tradesmen who seek refuge in the forest to rehearse Pyramus and Thisbe, the play they have written in honour of the duke’s pending nuptials. It is during this rehearsal, that one of them, Bottom (Carly Street), morphs into an ass, both literally and figuratively, and becomes the love interest of Titania.

In a nod to diversity and gender fluidity, director Scott Bellis (who knows this play from top to bottom, having performed in five of Bard’s previous Midsummer productions) has cast lovers Hermia and Lysander as a lesbian couple, while two of the tradesmen, Bottom and Snug (Jewish community member Advah Soudack), are played as females.

Bellis has also incorporated some interesting staging devices. Oberon arrives on stage on stilts, towering over his subjects. Bottom makes numerous asides to the audience and takes forays up the aisles. And the Mechanicals characters, at one point, move in a shuffling turntable motion around the stage.

Street steals the show as Bottom, the know-it-all of the working class group. Although given the lead of Pyramus, she wants to play all of the parts, thinking she can act better than the others. In her quest to prove this, she gives whole new meaning to the concept of emoting. It generally works and the audience loves it, although she often upstages her castmates.

Roa provides a refreshing spin on her impish character and Soudack, although in a minor role, is hilarious as the timid lion in Pyramus and Thisbe, as is Flute (Munish Sharma) as Thisbe, the reluctant object of Pyramus’s affection. Many of the actors are making their Bard debut and it is good to see new blood in the Vancouver theatre scene.

Jewish community members are prominent behind the scenes in this production. Amir Ofek’s set, backed by two leaded glass windows framing the view of the North Shore, easily transitions from the staid royal Athenian court to the warehouse of the tradesmen to the whimsy of the Oberon realm. Mishelle Cuttler, as sound designer/composer, provides original music that complements Tara Cheyenne Friedenberg’s ethereal choreography, as performed by students from the Simon Fraser University School of Contemporary Dance. You don’t usually get to see Shakespeare with so many dance elements, which adds an interesting layer to the mix.

Christine Reimer’s costumes are a delight – earth-toned, tailored day suits and cloche hats for the women, a white bejeweled gown for Titania, frothy candy-coloured tutus for the fairies and silky evening frocks for the final scene. Gerald King’s lighting – the greens, the purples, the reds – all work in harmony with the sun as it sets behind the stage.

To escape into the Bard’s fantasy world and enjoy the dream, visit bardonthebeach.org.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on July 8, 2022July 7, 2022Author Tova KornfeldCategories Performing ArtsTags A Midsummer Night's Dream, Advah Soudack, Amir Ofek, Bard on the Beach, dance, Mishelle Cuttler, Shakespeare, Tara Cheyenne Friedenberg., theatre, Vanier Park
A story of two families

A story of two families

Marsha Lederman’s Kiss the Red Stairs begins in 1919, when her father was born, on erev Yom Kippur. (photo by Ben Nelms)

In the last couple of decades, researchers have identified traits that affect many children of Holocaust survivors. There remains much left to uncover, including how much is epigenetic – that is, whether and how the genes of people like survivors, who have undergone extreme trauma, work differently than other people’s – and how much might be a result of the parenting styles of people who, in many instances, were ripped from their own parents in the most brutal circumstances. The old issue of nature versus nurture, in other words.

While psychologists and scientists try to unravel those mysteries, a genre of second generation memoirs is exploring the deeply personal experiences of being raised by survivors of the Shoah. A page-turning, sometimes shocking and nakedly vulnerable volume has recently added much to the growing library.

Vancouver journalist Marsha Lederman, Western arts correspondent for the Globe and Mail, has written Kiss the Red Stairs: The Holocaust, Once Removed. The book begins in 1919, when Jacob Meier Lederman was born on erev Yom Kippur. The auspicious timing of the birth of this baby, who would grow to become Marsha Lederman’s father, portended great things.

“[T]his was an occasion, an omen – a very good one, the hugest of deals,” she writes. “This person was special, he was going to be something, do something very important with his life.”

Indeed, he did. He survived the Holocaust – the only person in his immediate family to do so and one of only 10% of the Polish Jews alive in 1939 who survived to 1945.

Marsha Lederman’s mother was also a survivor, and one who participated in Steven Spielberg’s Shoah Foundation testimony project, video-recording her Holocaust experiences. This recording would become a touchstone because, despite the journalist daughter’s career asking questions of strangers, there were many unanswered questions in the family. This was due in part to the harrowing, abrupt response to a childish inquiry about the absence of grandparents, an early lesson that unexpected answers can have catastrophic emotional impacts.

Well into adulthood, Lederman decided to visit her mother during a snowbird retreat in Florida. But instead of sitting across the kitchen table learning about her mother’s darkest moments, she was instead living one of her own – delivering her mother’s eulogy. She had waited a day too long to fly south.

image - Kiss the Red Stairs book coverLederman’s book is the story of a family – two families, really. A family that in some ways never came together quite right, the author’s birth family with its silences about the past, and another that fell apart, that of her marriage. Kiss the Red Stairs, in fact, is a sort of applied case study in second generation (shorthanded “2G”) neuroses, as they distort the author’s reactions and coping mechanisms in a time of personal crisis.

As her marriage collapses, Lederman recognizes, on the one hand, that her responses may not be commensurate with actual events but are exacerbated by a lifetime of fears around loss and abandonment. On another hand, the undeniable anguish of her marital breakdown evokes an added burden of guilt, her own trauma juxtaposed with her parents’ experiences. Given what their mothers and fathers endured, do children of survivors have a right to feel the pain that other people seem to validly experience?

Lederman acknowledges that she was always ready for everything to fall to pieces. She inherited – or developed – an existential pessimism and a catastrophizing worldview: “The glass wasn’t just half-empty; it was half-full of poison,” she writes. “Or Zyklon B.”

The history that has formed Lederman’s identity was not imprinted on her at home only. It was in the zeitgeist of her coming-of-age as a young Canadian Jew in the 1970s and ’80s.

“The slogan ‘Never Again’ was drilled into us, implying – to me, anyway – that there was always the potential for an again, for another catastrophe. What would we do when the Nazis came back and came for us, like they came for our parents?

“This happened to us. This could happen to us again. I was one of the us. On some level I believed, from a very young age, that this could happen to me. I understood the need to be on guard, that we weren’t really safe. We needed to be on alert. Have a plan.”

For whatever were their good intentions, the organizers of a youth trip to Israel reinforced Lederman’s anxieties. Intending to instil in the participants the need for one solitary Jewish state in the world, they reminded their young charges that, in the absence of Israel, Jews would have nowhere to go should the need arise, “if the world once again turned on – or turned its back on – the Jews.”

She doesn’t disagree with the premise. “But the exercise scared the hell out of me. Don’t be so comfortable in that Canada you think of as home; you never know what could happen.”

That awareness of the unimaginable human capability for inhumanity had imprinted on her to the extent that everyday life became a gauntlet of inevitable disaster, misery the preordained endpoint of any happiness. When her marriage broke down, her reaction was extreme, “As if divorce, for instance, were some kind of death camp.”

Having consciously tried to eradicate (second-hand) Holocaust memory from its constant intrusion into her mind, Lederman finally faces the core question of her life, and of the book: “Could I possibly be a victim of the Holocaust, once removed?”

Now a mother, her obsessive worry has a new object, not only in terms of the world into which that child was born, but the potential for epigenetic inheritance. Will the baggage of the past be passed along to another descendant of survivors?

At the same time, Lederman is careful not to ascribe her challenges to the overburdened couple who raised her.

“I am not comfortable blaming what happened to my parents – and, in effect, blaming them – for my little problems. It feels self-indulgent, unfair and actually untrue,” she writes. What they accomplished after the war was almost as miraculous as their survival during it. “The fact that after such tragedy my parents were able to build new lives – purchase and set up a home, go to night school to learn English, buy a business, raise children – seems astonishing to me, as I contemplate it all as an adult. How on earth did they manage to do it, manage to be so normal?”

She quotes Elie Wiesel who, in 1984, told children of Holocaust survivors: “That your parents were not seized by an irrepressible anger … remains a source of astonishment to me. Had they set fire to the entire planet, it would not have surprised anyone.”

Elsewhere in Lederman’s book, Wiesel appears again, seemingly underscoring the legitimacy of second generation complexes by noting that it was they, not their parents, who were the ultimate target of Hitler’s plan.

“You were the enemy’s obsessions,” Wiesel told the children of survivors. “In murdering living Jews, he wished to prevent you from being born.”

Lederman confronts the reader with things she has learned from research, rather than from firsthand experience or from stories her parents shared (because they didn’t). The Holocaust experiences of her parents may be the impetus for her lifelong sense of danger, she seems to suggest, but the larger history of that era should be a warning shot for all humans – because it was humans who perpetrated everything that happened to her parents and to the millions of others of the Nazis’ victims.

In one of several graphic segments, she demands that the reader ponder how ordinary people could throw babies in the air and practise a merciless form of skeet shooting.

There are other psychological conundrums in the book. Reading her father’s journal of a trip back to Europe, Lederman confronts what reads like a cognitive rupture: her father’s love for and comparatively happy memories of Germany.

Rather than remain in Nazi-occupied Poland, young Jacob audaciously crossed into the belly of the beast, into Germany, posing as a Polish peasant boy, and got work as a farmhand, surviving until the end of the war. As a result, he took a perversely positive view. In a travel diary entry, he wrote, “I had a wonderful exciting day and my motto stands again forever: I will never forget you Germany and the peace and security I found here among these fields, meadows and trees in those murderous inhuman times of the year 1942.”

Of all the happenstances in the book – some life-altering and, in several instances, life-saving – there is a particularly poignant one that happened on her father’s trip back to his hometown. On that trip, her father found out that his parents had left a letter for him before they had been evacuated from the ghetto and shortly thereafter murdered.

“A Polish woman who lived there at the time, or moved in after the liquidation – I’m not sure which – had come into possession of that letter. There were photos in this packet and some other family keepsakes,” she writes. “The woman said she had held onto these items for a long time, but after so many years without word, she lost all hope that my father had survived; she figured nobody from the family had. She threw the packet away.

“What was that like for him – to learn that his parents had left him something: a declaration of their love, a wish for his future, some unknown secret, an explanation of what was happening to them? And to learn that those things once touched and left for him by his parents – a written document, photographs, who knows what else – proof that his parents had existed, evidence of their love – had survived, only to be discarded?”

On her own ventures to the blood-soaked continent, Lederman is reminded that the past has not passed. She sees antisemitic graffiti on abandoned synagogues, Polish youths giving obscene gestures to participants during the March of the Living. Lederman and four family members are paying tribute at a Holocaust memorial while a group of boys nearby chant something in Polish, something menacing that included one term she recognized: “Auschwitz-Birkenau.”

“It didn’t sound like they were expressing their condolences,” she writes.

After a lifetime of mostly solitary rumination and fears, Lederman has several epiphanies during the World Federation of Child Survivors of the Holocaust annual conference, held in 2019 in Vancouver. Here, she finds others who share her view that “the other shoe is always about to drop and the world is not safe”; “being plagued with obsessive doubt”; “a heightened ability – one might call it a curse – to observe and engage others”; “A constant expectation that someone is going to get you.”

There, she finds she is not alone.

“I had found my people,” she writes.

Format ImagePosted on July 8, 2022July 7, 2022Author Pat JohnsonCategories BooksTags Holocaust, Marsha Lederman, memoir, second generation, survivors

New era in U.S. politics

The explosive debate around abortion spurred by the U.S. Supreme Court’s rejection of a woman’s right to reproductive self-determination reminds us that the Jewish perspective on the topic is nuanced.

“Jewish law approaches each case according to its particular circumstances,” notes an article at chabad.org. This central dictum of halachah, Jewish law, makes generalizations difficult. One thing is almost universally accepted: abortion can be halachically required if the life of the mother is in danger.

In 2015, 83% of American Jews told Pew Research Forum that abortion should be legal in all or most cases, which is more than any other religious group, a finding around Jewish support for reproductive choice that has been true for decades. However, a story from the Jewish Telegraphic Agency recently noted that a growing alignment between some Orthodox Jews and the Republican party in the United States has led a minority of Jews to adopt what has been largely a conservative Christian approach to the subject.

The Orthodox Union released a statement that they are “unable to either mourn or celebrate” the court’s overturning of Roe. Their position is that an outright ban is unacceptable under Jewish law, but that abortion should be limited to cases where the mental or physical health of the mother is at stake, with an emphasis on the preservation of life. Further, they stated that abortion should be available regardless of someone’s economic status.

The tectonic decision by the court, overturning 49 years of precedent set by the landmark Roe v. Wade case, has set in motion frenetic activity across that country and beyond. State officials have had the issue thrown into their laps. The United States will become a patchwork of regulations on the subject. The ruling has led to triumphant celebrations by opponents of abortion and it has reenergized those endorsing reproductive freedom. What all of this will mean, not only for abortion rights but for social movements and society more broadly, can only be remotely imagined at this point.

The abortion decision was only one of several massive reversals of existing norms the U.S. court issued in its session. In other cases, the court made it more difficult for lower jurisdictions to limit access to firearms, weakened the power of federal agencies to address climate change and struck down a ruling that limited prayer in public schools (in this specific case, Christian prayer at school football games).

The succession of cases throws down a gauntlet that most people – whatever their opinions – knew was coming when the former president appointed three justices to the court, creating a 6-3 conservative majority.

In many cases, though, these decisions are deeply out of step with what the majority of the population believes. Of course, court rulings should not necessarily mirror societal norms. Historically, courts have made society-altering decisions in spite of opposition – desegregating public schools against the wishes of white racists, for instance. Leaving aside philosophy, public opinion may not be able to impact a Supreme Court packed with political appointees (three of whom testified in their nomination hearings that the abortion question was settled law) but public opinion will change society.

Anti-abortion activists (and anti-climate, anti-secularism and anti-gun control activists) have been celebrating their big wins in these cases.

In 1973, as pro-reproductive choice activists were celebrating their Supreme Court win, a new movement was gaining its footing. It would develop into one of the biggest, most powerful movements in American history, a new conservatism that led, among many other social and economic changes, to the elections of Ronald Reagan, two Bushes and Donald Trump. And it accomplished one of the core objectives it set out to address: it tipped the scales of the Supreme Court and stripped women of rights they have had since 1973.

Those who were celebrating in 1973 are today experiencing a vast array of emotions: grief, disillusionment, fear. But also rage, determination and purpose.

As the Roe decision did in 1973, last month’s ruling will launch a new movement that, like the new conservatism before it, will address a broad range of social issues and injustices. It was impossible, 49 years ago, to foresee the changes that would come. Whichever side one may be on, be assured that we have entered a new era.

Posted on July 8, 2022July 7, 2022Author The Editorial BoardCategories From the JITags abortion, human rights, Judaism, law, politics, United States
Folk festival returns to park

Folk festival returns to park

Michelle Demers Shaevitz, artistic director of Mission Folk Music Festival, which runs July 22-24. (photo from Mission Folk Music Festival)

“Mission Folk Music Festival is a wonderful combination of the familiar and the magical,” artistic director Michelle Demers Shaevitz told the Jewish Independent of how the festival has thrived for 35 years. “We’ve had the great privilege of presenting interesting and engaging music and art in a stunning setting. Imagine this creativity set among the trees, overlooking the river. We are very lucky.”

The annual festival takes place in Fraser River Heritage Park in Mission. This year, it runs over the weekend of July 22-24.

Demers Shaevitz’s history with the Mission Folk Music Festival goes back to 1991, the year she graduated from high school.

“I started by handing out volunteer tags, graduated to driving performers, moved into performer services and, from there on, to assisting our founder, Francis Xavier, with general management. When he departed in 2016, the board asked me to step into this role as the festival’s second artistic director. Adjacent to all of this, I spent 10 years working in student affairs for Simon Fraser University and the University of the Fraser Valley, as well as moving to Seattle, getting married, and having a kid.”

She credits the festival for that move and her marriage. People come to Mission from Seattle every year to volunteer and Demers Shaevitz said she has made many friends as a result.

“I was headed down there to stay with some of them and see a festival band, the Duhks, from Winnipeg,” she said. “These friends own a wine shop, West Seattle Cellars, and the night after the show, I met my future husband in the Riesling section. I’m so lucky for this festival for giving me the life I have.”

And part of that life is the Jewish community into which she married. She described herself as blessed to have it. “From the start of our relationship, Ben and I decided to incorporate Jewish traditions and holidays into our relationship,” she said. “We’re involved in the JCC here and our son attended Jewish day school for preschool and pre-K. We are members of Kol HaNeshamah in West Seattle and our son has just started Hebrew classes. I am grateful for the acceptance I’ve found in the community, as well as their amazing willingness to share knowledge, traditions and culture with me.”

In addition to the Mission Folk Music Festival, Demers Shaevitz works with Festival du Bois in Maillardville, an historic francophone neighbourhood in Coquitlam, and the Subdued Stringband Jamboree in Bellingham, Wash. She has also volunteered and served as a board member with Northwest Folklife in Seattle.

“I am lucky to have a supportive partner and a good internet connection,” she said of working remotely, notably on the folk festival. “The pandemic really demonstrated the capacity to produce and manage an event from outside of Mission. I’m generally up to Mission two to three times a month, which increases as we get closer to the festival.”

The organizing process for the music festival – which involves more than 300 volunteers – revolves around storytelling.

“If I can focus on the artistic side, I start with a story or an idea that I would like to explore,” she explained. “This year, I am digging into the idea of homecoming. I focus on artists who tell a great story through their music. Artists who are grounded in a culture and/or tradition. Artists who represent a diverse window through which to experience the world around us. It’s important to me that we highlight and celebrate diverse voices and communities. I take this responsibility very seriously.”

Another responsibility she and the festival as a whole take seriously is reconciliation – the event takes place in a park where a residential school once stood.

“We have planned our festival to respectfully acknowledge the footprint of the original site,” said Demers Shaevitz. “We are deepening relationships with the local Sto:lo community as we remain committed to the principles of the Truth and Reconciliation Commission. We continue to work towards a deeper understanding of what role we can play in the healing of this space.

“We recognize the privilege we have in presenting music and dance on these grounds and will continue to work with affected communities to prioritize their experiences,” she added.

“It’s a thrill for us to return in person to Fraser River Heritage Park for our 35th anniversary festival,” said Demers Shaevitz in the press release. “I’m excited to welcome folks back to the park to share some amazing global music with them. This year’s lineup offers festival-goers everything from singer-songwriter folk to Celtic, blues, bluegrass and soul to the uniquely amazing nu-folk of Estonia’s Puuluup, the electrifying sound of Chile’s Golosa La Orquesta and, for our Saturday night main stage final act, the dynamic Québécois zydeco of Le Winston Band…. From the heart of B.C.’s Rockies, Shred Kelly will help kick off the festival Friday night, and a true Canadian treasure, William Prince, will close the show on Sunday. And in between – there’s an incredible range of tunes to enjoy.”

Leading the festival through the worst of COVID had its challenges, but also its silver linings.

“I am so grateful to have been able to work with a talented bunch of dedicated folks to produce our two online festivals,” said Demers Shaevitz. “The highlight of this for me was all the ways in which people demonstrated their willingness to support us in any way that they could. The resilience of the artists, the community to continue was so heartening. It truly fed my heart and soul. I think that I’ve continued to draw upon that resilience to get through this return to music, this return to ‘live.’”

In addition to the concerts, the three-day live event includes music workshops, Wee Folks programming “so kids and their families can enjoy listening to the music while they play,” food and artisan markets and a licensed bistro on site. For evening, day or weekend passes, including an option to camp at the site, visit missionfolkmusicfestival.ca.

Format ImagePosted on July 8, 2022July 7, 2022Author Cynthia RamsayCategories MusicTags Fraser River Heritage Park, Michelle Demers Shaevitz, Mission Folk Music Festival

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