King David is set to expand

An illustration of the proposed King David High School expansion, as designed by Acton Ostry Architects Inc.

King David High School is slated for a whole new home in the redeveloped Jewish Community Centre of Greater Vancouver campus. However, that move could be eight, 10 or even a dozen years away. In the meantime, the continually growing student body needs more space – and that is why a new component is now being added, with intended completion this coming September.

Russ Klein, King David’s head of school, said the existing building, which opened in 2005, is at near-total capacity.

“Our room utilization rate is 98% for our regular classrooms,” he said. “There is zero wiggle room. Typically, a school’s utilization rate would be around 80%.”

This means that the school cannot increase course offerings, such as new Judaic studies programs or electives. The trend in secondary education is to offer a diversity of options to encourage students to explore their interests and passions. In addition, education is increasingly moving away from large group class lessons toward collaborations between pairs or small groups of students. That demands a greater number of more flexible spaces.

The new structure is a “modular unit addition,” Klein said, rejecting the term “portables.” The difference, he said, is that portables were inflexible, prefabricated buildings, while the new modular options can be adapted to whatever configuration an institution requires.

In King David’s case, it is expected to feature four classrooms, a small teachers’ work room, student changing rooms and a physical education office. In all, it will add about 3,500 square feet of space to the 40,000-square-foot school. The new building will be located at the east end of the property, adjacent the new Oakridge redevelopment, where a grassy hill now exists. Although this will result in a loss of that outdoor area, Klein said the hill is a nice place for kids to hang out in September and for a couple of months in the spring, but, for most of the year, it is not really usable space.

In addition to the changing expectations driven by educational trends, the school has been on a steady trajectory of growth. Enrolment is now at 240, up from 139 students 11 years ago.

The modular nature of the new facility slashes the time from conception to completion. It will take two or three months to prepare the site and another five or six months to construct the building. Acton Ostry, an architecture firm that has done many developments in the Jewish community, including KDHS, is leading the project.

While Klein acknowledges that the new building is a “stopgap” intended to allow the school to function adequately as they await the development of its new home in the JCC complex across the street, he adds that this is no chump-change endeavour.

“It’s an almost $3 million project,” he said. The funding is coming from the Diamond Foundation.

The Diamond Foundation – a family foundation directed by Leslie and Gordon Diamond and daughters Jill Diamond and Lori Glotman – purchased the land where the school is located and spearheaded construction of the building. The school pays rent to the foundation and then the foundation donates that money back to the school each year.

“I always think everybody should just recognize how generous the Diamonds are in everything they’re doing,” said Klein.

Examples of some of the new initiatives the space might accommodate are an expanded robotics program, as well as applied design and coding courses. Rabbi Stephen Berger, King David’s head of Judaic studies, would like to see more text-based education, where students can engage in chavruta-style learning, traditional, intense small group talmudic study, said Klein.

Comparative religions and other courses geared toward social action initiatives that inspire many students are other things Klein can envision growing thanks to the new space.

All of this is taking place as the JCC, in partnership with the Jewish Federation of Greater Vancouver and their constituent partners, proceed full-steam-ahead on the biggest capital project ever undertaken by British Columbia’s Jewish community. The two-phase redevelopment will see a 200,000-square-foot, state-of-the-art, multigenerational community centre constructed where the existing JCC parking lot is located. This will include expanded childcare, seniors’ services, arts and cultural spaces and amenities for all Vancouver residents, as well as becoming the home for more than 15 not-for-profit organizations, including a theatre and more space for the Vancouver Holocaust Education Centre.

Once that is completed, a second phase will commence on the site of the existing JCC building. This will include mixed-use rental housing, with units expected to be offered at or below market value and open to everyone. Beneath these residential floors, at street level, will be a “podium,” where the high school will be located.

Plans foresee a 60,000-square-foot school, which is a 25 to 30% increase over the existing structure – but Klein stresses those numbers don’t tell the entire story.

“The JCC is going to be built with two gymnasiums,” he said. “One of them will be dedicated to King David’s use, so we can use it whenever we want to, and then the JCC will be able to use it when we are not using it.” This is a reversal, of sorts, from the existing situation, where the high school can use the JCC’s gym when it is not otherwise occupied.

“That probably is as exciting to us as the extra learning spaces,” said Klein. “The other lovely thing for us is there going to be a small field, which is [currently] a real problem for King David.”

The field will be constructed behind the building, where the property juts out with an asymmetrical wedge at its southwest corner. The field will not be legal size, and so will not be suitable for competitive games, but will allow the school to hold practices at any time, unlike at present, where they have to rent fields, which are expensive and much in demand.

The redevelopment project has received $25 million commitments from each of the federal and British Columbia governments but a massive fundraising campaign is required to complete the project. When the school will be able to move into its new digs depends on a large number of variables.

“I’d say, best case scenario in my mind – and everyone will give you a different case – I think the best case is eight years,” said Klein. “Probably 10 to 12 is more realistic.”

Art show with a holiday feel

Ande Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. (photo from Zack Gallery)

The current show at the Zack Gallery, Affordable, opened on Nov. 17. It delivers on its name’s promise. Every item on display is less than $250 and thus in the realm of affordability for many people, not just art connoisseurs.

“That’s what I wanted for the Zack Gallery from the beginning,” said gallery director Hope Forstenzer. “I wanted to deepen the involvement of the JCC community in the gallery, wanted the art within people’s reach.”

Accordingly, this show looks more like a holiday craft fair than a high art exhibition.

“I don’t believe in the separation of art versus craft,” said Forstenzer. “For me, craft is another word for art, but art that is functional and affordable, designed for enhancing your life and your home rather than a wall of a museum. I hope we can make such a show an annual event.”

To achieve the artisan market feel, Forstenzer invited 10 artists in different media to participate. “They are all local B.C. artists,” she said. “Some Jewish, some not. I wanted to cater to different tastes, to represent different artistic fields. I wanted the show to be fun.”

photo - Ceramics by Hitomi McKenzie
Ceramics by Hitomi McKenzie.

The atmosphere of the show is jazzy and welcoming. The giclée prints of well-known Vancouver artist Linda Frimer glow with greens and blues. The glass and jewelry twinkle. The ceramics by Hitomi McKenzie stand proud and bright. Mariana Frochtengarten’s colourful shawls in Shibori patterns add a touch of elegance.

Frochtengarten teaches textile art at the Jewish Community Centre of Greater Vancouver. “This is a great opportunity for me to show the community my personal work,” she said. “My work is based on the principles of Shibori – a Japanese manual tie-dye technique. I combine the ancient Japanese tradition with a contemporary approach.”

She works with natural fibres, mostly cotton and linen, and has been working as a textile artist for more than 25 years. “My way into textile art was a bit accidental,” she told the Independent. “I was born in Brazil. When I was in high school, I took a batik class for a hobby, but I fell in love with it.”

After graduating from high school, she studied at Fine Arts and Education University in Brazil and later completed her master’s in fine arts (textiles) at Nova Scotia College of Art and Design, in Halifax. “For 17 years, I worked with batik,” she said. “I had a business in Brazil and sold my works in stores, galleries, shows and fairs. I also experimented with some Shibori. I slowly moved on to my own form and interpretation of Japanese Shibori after moving to Canada in 2006. I love the elements of surprise involved in the process of Shibori and I am fascinated by the idea of creating different designs by blocking areas of the fabric before dyeing it.”

Another artist who works with an unusual material and technique is Ande Axelrod. Her company, Treats Designs, produces whimsical and sophisticated tagua jewelry: necklaces, earrings, pendants, and bracelets. Axelrod is very enthusiastic about her artistic creations. “Tagua is known as ‘vegetable ivory,’” she explained. “The tagua palms are native to the rainforests of Ecuador and other South American countries. The nuts grow and harden inside their seedpods. Some tagua nuts can grow up to six centimetres. Once the seedpods are ripe, they’re picked, and the seeds are dried in the sun, peeled and polished.”

The creamy white substance of the nuts is incredibly hard, similar to elephant ivory, hence the name. According to Wikipedia, a mature tagua palm can produce up to 20 pounds of vegetable ivory a year.

“Tagua nuts have been used as a substitute for ivory since the early 20th century,” Axelrod said. “The local masters carve the nuts into a variety of beads and buttons and dye them using bright natural colours.”

photo - Mariana Frochtengarten shows of one of her colourful Shibori shawls
Mariana Frochtengarten shows of one of her colourful Shibori shawls.

She is thrilled to use tagua nuts as the base for her jewelry. “I worked as a graphic designer for more than 25 years. In 2011, a friend and I took some jewelry making classes and I explored a variety of media and techniques. The next year, I discovered tagua while traveling in South America. I was dazzled by the colours, and I loved how light and comfortable the pieces were. You could wear a bigger statement necklace or a pair of earrings and not have a sore neck or headache at the end of the day.”

The sustainability and eco-friendliness of tagua sealed the deal for her. “I wanted to save elephants and I was truly inspired by the vast creative potential of this versatile natural material. It also provides an economic incentive for the local communities to protect the rainforests,” she said.

Since then, Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. “Before COVID, I’d made annual visits to Ecuador each February. It gave me the opportunity to work with tagua throughout the process, from seed to bead. Of course, like everyone else, I’ve had to improvise these past two years. Zoom, WhatsApp, FedEx and Western Union have enabled me to stay in touch with my South American partners and get tagua here for me to create my jewelry.”

While Shibori scarves and tagua jewelry may more easily be thought of as unique artwork in the Vancouver context than photography perhaps, Michael Shevloff proves that he is an unquestionable master of the camera, producing his own singular creations. His images, both in colour and in black and white, are statements of his love for British Columbia: its forests, its mountains, its waterways, its streets.

“I do predominantly nature photography,” he said. “However, I also shoot street photography, portraits, and many other genres, both digital and film.”

For this show, Shevloff offers framed and matted photos and photo coasters. “In the past, I also produced books of my photos, collages, cushions and more. I even put one of my images on my phone cover. The choices are many, and there are online firms, as well as local places, that specialize in putting images on almost any surface.”

He has been taking photographs since he was a teenager. “That was a long time ago,” he joked. “I have albums filled with photographs from places I have worked and traveled throughout the years.”

For Shevloff, photography has always been a hobby, while he worked in information technology. It remains a hobby in his retirement, although he obviously has more time now to immerse in his artistic endeavours.

photo - “Tropical Vancouver,” by Michael Shevloff
“Tropical Vancouver,” by Michael Shevloff.

“I have taken classes with professional photographers to hone my craft. And I belong to two photo clubs in Vancouver,” he said. “Vancouver PhotoClub is a well-organized group with monthly meetings and outings. I enjoy being a part of that club because they have assignments, which gives me a challenge and focus each month. They also organize exhibits, which gives me an opportunity to show my work.”

He belongs to the West End Photographic Society, as well. “That one is dedicated to film work and darkroom processing,” he explained. “They also organize exhibits. I enjoy the challenge of working with film and working with prints.”

The 10 artists of this show incorporate different art forms, different artistic philosophies, different ethnic roots and different price ranges. But one fact unites them all – every piece of art in the gallery for the next month is affordable.

The exhibit continues until Dec. 31.

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

Antisemitism allowed?

An ongoing controversy in Canada’s largest school district took a more bizarre turn this week.

Last spring, the student equity advisor of the Toronto District School Board compiled and released a compendious assemblage he called “resources to educators.” The materials, issued via email by Javier Davila, were a hodgepodge of anti-Israel propaganda, and included outright antisemitic content and the glorification of suicide bombings.

The “resources,” for example, claim that Palestinians “have been legitimately resisting racism, colonization, and genocide since the 1920s to the present day by any means necessary: general strikes, demonstrations, armed struggle, and martyrdom operations (called ‘suicide bombing’ by Zionists).” Davila’s materials also included a link to the website of the Popular Front for the Liberation of Palestine, a group that is banned in Canada. Bibliographical recommendations include children’s books that characterize Israelis as thieves and murderers.

The materials Davila distributed are intended to guide teachers in educating students about the Arab-Israeli conflict. They were not vetted by senior officials in the school board and, when controversy ensued, Davila was put on leave but then reinstated. Despite the absence of even a slap on the wrist, he moderated a panel in June with the tagline “How can we educate about Palestine if we can’t even say it?”

Not only is Davila free to “say” Palestine, he is also, evidently, free to distribute whatever material he chooses to Toronto teachers. Which brings us to this week.

Alexandra Lulka is a Toronto school trustee who is Jewish and represents a heavily Jewish district of the city.

“I was outraged to discover that some of this material justifies suicide bombings and other forms of terrorism,” she wrote on social media during the conflict in the spring between Israel and Hamas in Gaza. “This is reprehensible. These materials were provided by an employee from the TDSB equity department, the very department that should be countering antisemitism and violence, not fanning the flames.”

The school board’s integrity commissioner investigated Davila’s materials and found they did indeed contain antisemitic content and promote terrorism – and then called for Lulka to be censured because, the commissioner’s investigation declares, it was the purview of the school board, not Lulka, to determine whether the content was unacceptable. The commissioner went further, condemning Lulka for not pointing out positive aspects of Davila’s “resources.”

The Centre for Israel and Jewish Affairs criticized this part of the situation in particular.

“It is astonishingly unreasonable to compel a Jewish trustee calling out Jew-hatred to also highlight positive elements in the resources. The recommendation to censure her for not doing so is misguided and must be rejected,” said CIJA’s vice-president Noah Shack in a statement. “Punishing Trustee Lulka is contrary to the values of an educational institution purporting to engender learning and mutual respect.”

Friends of the Simon Wiesenthal Centre also drew a contrast between what should have happened and what did happen.

“This outrageous process against TDSB Trustee Alexandra Lulka is just the latest manifestation of the institutional antisemitism afflicting the TDSB,” said Jaime Kirzner-Roberts, the centre’s director of policy. “Not only is the investigation and its findings unjust, but it’s ridiculous that the person who calls out a transgression is being punished but the person responsible for the transgression was not.”

We are familiar, by now, with antisemitism being downgraded by the very people who are appointed (or self-appointed) to monitor and combat racism and bigotry. The Toronto case, which presumably will have been decided Wednesday (after the Independent goes to press), is a step beyond. It threatens to condemn the very people who stand up against antisemitism, even as a perpetrator of what the integrity commissioner acknowledges was anti-Jewish racism gets off scot-free.

This outcome is problematic, not only for the potential danger it presents to Jewish students in Canada’s largest school district. It encourages teachers to miseducate students on a sensitive and complex international issue with very real consequences for intercultural harmony here at home.

Editorial Note: After the Jewish Independent went to press, the TDSB voted to not censure Lulka. For the full story, see thecjn.ca/news/alexandra-lulka-tdsb.

Learning to accept changes

Whew, we’re dealing with so much these days. The pandemic seemed all-consuming, until the serious weather events started. It’s a lot.

Lately, I’ve thought about a Jewish folk tale, often retold in children’s books. Usually, it’s a man who goes to his rabbi because his small house, full of relatives, is too loud. The rabbi suggests he brings his chickens inside. Then maybe a dog, or a cat, goats, a horse and a cow. Then, the man is beside himself with all the noise and mess! He goes back to the rabbi, who suggests he return those animals to the barnyard. Suddenly, his house seems big and quiet. The rabbi’s lesson, of course, is to be grateful for what we’ve got. We have to realize (over and over) that whatever we have, even if it’s small or loud, maybe wasn’t so bad in the first place. Through this sort of change and gratitude practice, we may come to realize that there are good aspects to many situations that perhaps previously seemed dire.

Last week, I felt so lucky. I managed to “score” my twins (age 10) COVID vaccine appointments in a medical clinic about two blocks from our home. We were absolutely thrilled. I’d gotten us on a list at this clinic just in case they should gain access to the pediatric vaccine. We were expecting and willing to wait awhile because we didn’t want to go to a supersite. To our surprise, the clinic got the vaccines in quickly. They called us at 11 in the morning, I picked the kids up from school early, a little after 1 p.m., and the vaccines were in their arms by 1:45.

I’d promised the twins gelati afterwards, but the windchill had been -30 that morning, and our neighbourhood gelato shop is not doing dine-in. Even Winnipeggers have their winter limits. We celebrated by eating pastries from a local bakery instead. Then we watched the Macy’s Thanksgiving Day Parade on the couch together. It was, coincidentally, American Thanksgiving. We had a lot to be thankful about.

All this luck evened out when, a couple days later, one of my twins developed what seemed like a full-blown head cold. We all went off to get tested because maybe we have new allergies, maybe it was a head cold or maybe it was COVID. The good news is that we all tested negative. Whew.

Bad news is that the kid still had a cold and he had to stay home from school with his twin while we waited for the test results. The good part is that, while at home, we had time to go through the kids’ bookshelf, removing all the easy readers and things we no longer needed. (It was then that I encountered multiple versions of that noisy house story I described above.)

I mention all this because, like me, you may be surrounded by those who are yearning for things to get better. Of course, this isn’t a bad hope. Sometimes, when things change, it’s seriously awful news, or it’s not a huge improvement in our lives. So, we maybe have to be grateful for what we’ve got, and learn to accept the change and work with it. It’s working with what’s in front of us, whether it’s climate change weather events or pandemic challenges.

I considered thoughts about change while doing my daily page of Talmud and studying the talmudic tractate of Taanit. In Taanit, on page 17, there’s a discussion about whether those who were high priests in the Temple can drink alcohol. In Rabbi Elliot Goldberg’s introduction from the My Jewish Learning website, he explains this situation. When the Temple stood in Jerusalem, the priests weren’t allowed to drink when they were on duty. Yet, when the rabbis are debating this in the Talmud, it’s been a long time, more than a century, since the Temple was standing. At first, their conclusion is that all priests must stand by, forever, completely sober. After all, they must be ready to be on duty, if the Temple should be rebuilt.

However, according to Rashi’s explanation, Rabbi Judah HaNasi’s decision becomes law. He says that, since it’s unlikely the Temple will be rebuilt any time soon, priests are allowed to drink alcohol every now and again. Rabbi Judah HaNasi is willing to accept that a big change has happened. He finds something good in a hard situation, which might bring somebody a little enjoyment.

Change happens, whether we like it or not. Maybe, like the loss of the Temple, or the destruction of homes due to climate change or people who die from the pandemic, it’s a horrible loss. There’s no denying some losses are life-changing.

Yet, there is also just change. At the beginning of the pandemic, I was working flat out to schedule my kids into a series of summer camps. In March 2020, I was desperate to find the next best experience. Long story short, in Manitoba, many camps were canceled in 2020. We had to learn a whole new way of keeping our kids busy all summer long. We were oddly prepared when, in summer 2021, our preliminary summer plans again hit a snag.

Oddly, for both me and my kids, those unstructured summer days were a gift. I would never have changed our lives that substantially if the pandemic hadn’t hit. Now, faced with twins at home for a day in December due to a head cold, I was happy to let them wile away the unexpected time. There was a lot of creative play. There were books to read and activities to do, the dog to feed and dinner to make. The day passed. My kids were upset at missing school but, like Judah HaNasi, we can try to find the bright side.  Roughly 2,000 years ago, it meant high priests could have an alcoholic beverage if they wanted. It goes without saying that this doesn’t make up for the loss of the Temple, but it’s not a bad side benefit, either.

May the changes that come be easy to cope with and good ones for you. At the very least, let’s hope some of the changes have an unexpected benefit!

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.

Four solos and a duet

Livona Ellis, left, and Rebecca Margolick, right, perform together Dec. 17 and 18 at Scotiabank Dance Centre. (photo by Faviola Perez)

Next weekend, choreographers and dancers Livona Ellis and Rebecca Margolick will première their first collaboration, a duet called Fortress. The Dec. 17 and 18 performances at the Scotiabank Dance Centre also feature four solo works.

Ellis performs Unmoved, “a response to the idea of overcoming the limitations we place on ourselves,” and Margolick’s solo Bunker draws “on themes of memory and the shared history of previous generations of women.” The other two solo pieces were revived last season specifically for them: Peter Bingham’s Woman Walking (away) (1997), danced by Ellis, and Allen Kaeja’s Trace Elements (2000), performed by Margolick. (See jewishindependent.ca/albert-solos-reimagined.)

Both dancers have had the chance to perform for live audiences recently and both have been touring – New York-based Margolick internationally with her own work and locally based Ellis with Ballet BC, for audiences in Ottawa and Montreal.

“From these past two years of experiencing how quickly it can be taken away and experiencing how deeply I miss it when it’s gone, performing has a renewed sense of urgency and importance for me,” Margolick told the Independent. “I’m so excited to perform for a live audience here in Vancouver, especially because last year, when we were about to do this show for a live audience, on the day of the show, we had to switch to livestream only. A lot of energy has been built in this show over the past three years, and I’m looking forward to being able to share it live.”

While Margolick and Ellis have known each other for a long time, Fortress is their first duet together.

“Livona has always been one of the best dancers and performers I know. We trained at Arts Umbrella together all through high school, but, since then, we hadn’t danced together, until now. So much of collaboration happens outside of the studio and so, in a way, I feel like through our friendship and conversations over the past number of years, the work and ideas were already starting to form and it felt natural to transition to a studio together.

“At the time we decided to work together, I had been creating a solo titled Harbour, which was about my grandmother and my relationship to her both in life and death. One day, Livona and I had a conversation about it and she began talking about her grandmother. I was moved by this, and this conversation naturally spiraled into how we’ve started to see our mothers and grandmothers differently; how we see their influence on us; our desires to become mothers one day, being in our 30s now; how dance has changed for us, etc. The conversation was vibrant and honest and there’s a lot of history and love between us and I just asked if she wanted to create together, and she said yes.”

Ellis added, “One of the silver linings about the pandemic is that we both found ourselves in Vancouver at the same time…. I have always admired Rebecca’s work from afar but we’ve never been in the same place long enough to even begin to think about a collaboration. She was working on Harbour and we started speaking about our family and our grandmothers. This sparked the inspiration for Fortress. We were both doing a lot of reflecting during our various lockdowns and quarantines and found we were thinking a lot about who we are as artists and as women. How does our matriarchal lineage affect who we are today?

“We both feel like we are in a moment of change or transformation,” Ellis continued. “We can feel our experience settling in and grounding us in a way that allows us to move forward into the next chapter of our careers. This felt like the perfect jumping off point to create a duet.”

The pair started creating that work this past August 2021, with a residency hosted by the B.C. Movement Arts Society, rehearsing at the Athletic Hall in Sointula. “We are now working with composer Ivan Shopov from Bulgaria to develop the music, and Mimi Abrahams to develop the lighting,” said Margolick.

For Margolick, while both Bunker and Trace Elements haven’t seen any changes choreographically, “as time goes on, and as I evolve, they naturally do as well.”

“Especially for Trace Elements,” she explained, “it’s been a journey since I began working on it with Allen Kaeja. I started to learn more about Jewish history and specifically Jewish leftist and Jewish resistance history, both in the U.S. and Europe. Specifically, in Trace Elements, there is a spirit of resistance and remembrance in the work, countering the text we hear out loud, text of German propaganda and generational indifference to the history of the Holocaust. In that, I think about resistance fighters, countering the narrative that Jews went quietly towards death – they didn’t. That is a history we’re not often told of, and it’s been a part of my Jewish education to learn that history. The work is really spiritual for me and every time I perform it, I feel the spirit of those who fought and those who keep fighting and inspire me to as well.

“More recently,” she said, “I’ve been learning about Jewish women activists and fighters, especially women like Hannah Senesh, Faye Schulman, Bella Abzug, Emma Goldman, Anna Sokolow and others. I can’t really explain into words how this knowledge affects my performance, but I feel it, and it gives me a sense of grounding and inspiration.”

Margolick highlighted the Jewish Women’s Archive and Judy Batalion’s book The Light of Days: The Untold Story of Women Resistance Fighters in Hitler’s Ghettos as resources.

Bunker is also steeped in research. While she premièred the full-length version of the piece (titled Bunker + Vault, which runs 35 minutes) a few weeks ago in San José, Costa Rica, the December performances will include only the first 10 minutes of the work.

“A part of my research for this piece included looking through the archives of the Clara de Hirsch Home for Working Girls at the 92nd Street Y from the late-1800s to mid-1900s,” said Margolick. “The Clara de Hirsch Home was a place where young, poor, mostly Jewish immigrant women were housed and supported with educational resources as they found jobs and worked towards being able to support themselves. These archives were records kept by the staff, with observations and notes about the women who resided there. These observations gave me a window into the lives of the women who lived there, ranging from extreme hardship, repression, mental health issues, Jewish culture, camaraderie, acts of extreme kindness and on and on. Some of these women informed the movements, and spirit of resilience and care in the work.”

Fortress + Four Solos is presented by the Dance Centre and B.C. Movement Arts Dec. 17, 8 p.m., and Dec. 18, 1 p.m. and 8 p.m. For tickets, visit thedancecentre.ca.

A lifelong love of performing

Left to right, the Hot Mammas are Mary Ella Young, Julie Brown, Georgina Arntzen. (photo by Dee Lippingwell)

The Hot Mammas are busy this holiday season – and year round. With three albums to their credit, they perform at venues ranging from jazz clubs to shopping malls. Readers can next see them at Robson Square Skating Rink on Dec. 15, and then at Water Street Café Dec. 18.

One of the holiday songs the group performs is “Mamma Julie’s Hanukkah Song,” so dubbed by Georgina Arntzen and Mary Ella Young because the third member of the Hot Mammas, Julie Brown, wrote it, and “too many songs are called ‘The Hanukkah Song’ or ‘Festival of Lights.’” (A video of it can be found via facebook.com/thehotmammas.)

Brown’s Jewish heritage is Ashkenazi. “My maternal grandfather, who I’m named after (Julius Cohen), was a rabbi,” she told the Independent. “My father always followed our traditions. My mother was a phenomenal cook and it’s because of her I’m able to make latkes, matzo balls, knishes, chicken soup, etc. When she didn’t want me to understand something she and her sisters were talking about over the phone, she’d suddenly switch from English to Yiddish. That’s where and how I picked up some fun expressions, which I use to this day.”

Born and raised in Montreal, Brown said she has been performing music since she could walk.

“My older, late, great brother Martin Overland was the founding member of the Canadian folk group the Raftsmen,” she said. “Your readers may recall the song ‘Something to Sing About,’ which was one of their hits. Martin had perfect pitch and the voice of an angel. He was also a terrific guitarist and accordionist. Eleven years my senior, we would sing together in harmony when I was a very young child. I still recall performing ‘Buttons and Bows’ in front of a roomful of relatives and friends.

“When the opportunity arose as a 10-year-old to actually sing on camera, I jumped at the chance. The Montreal kids show was called Small Fry Frolics and there I was with my cousin Shirley singing the Everly Brothers’ ‘Bye Bye Love’! At 15, I joined a rock band, while singing lead as Carmen in high school.

“The singing/performing didn’t stop at teacher’s college either,” she added. “McGill’s Macdonald College offered a two-year teaching diploma program at the time and, much to my delight, also had yearly talent shows.”

During her teaching days, Brown brought her ukulele to class. “The kids were as crazy about the Beatles as I was and we sang our buttinsky’s off to start the day,” she said.

While at university, Brown performed in stage plays and film. She recalled working on a movie directed by John Huston, which featured Sophia Loren – “and I was fortunate enough to garner a wee speaking role when Ms. Loren walked over to a table of background performers of which I was one, and asked me a question. I wasn’t supposed to answer her as a silent on-camera person but spontaneously blurted out a comment because I didn’t want to be rude. (Out of my peripheral vision, I noticed John Huston smacking his forehead.) And that was how I got my first ACTRA permit! Even after moving out to Vancouver and doing radio full time, I still continued to audition for film, TV and did a lot of voice work. In fact, I was the Telus voice for nearly 15 years – ‘We’re sorry, the number you have dialed is not in order. Please hang up and try your call again. Thank you, from Telus.’ That was me and one of 40 or so prompts I did for them.”

Brown left Montreal after the Front de libération du Québec “raised its ugly head in Quebec” and the Parti Québécois was in power.

“My child came home in tears from school with a notice that all English-speaking children had to be educated in French the following year,” she explained. “French didn’t come easy to my son but it was more than that. We lived in Canada, or so I thought. Stop signs had Nazi slogans scrawled across them. Shop windows in the English and Jewish communities were smashed and vandalized. An elderly Jewish woman who couldn’t speak French and wanted to order flowers for a friend was disgustingly treated over the phone because she was trying to place her order in English. The clerk hung up on her.

“As a teaching friend once said to me, if you say, ‘ich bin a Yid,’ you get it from both sides. I still don’t think the rest of Canada realized just how dangerous and revolting that regime was. Well, I did…. We came out to Vancouver for a visit and, with tears in his eyes, my son asked if we could move. And we did just that in 1978.”

Within a week, Brown got a job as a news broadcaster at CFMI, the sister station to CKNW.

“Not long after that, the program director allowed me to develop an interview show as well. I had been doing interviews at the Montreal radio station, along with news, so this was a huge relief to me. I love people and am a naturally curious person, so interviewing was, and still is, a good fit.  My radio career blossomed here in Vancouver. Eventually, I co-wrote, co-produced and co-hosted Vancouver at Noon on KISS-FM for 11 years.”

In her more than two decades as a broadcaster, Brown interviewed hundreds of people, including Bob Hope, Paul Newman, Shirley MacLaine, Johnny Depp, Leonard Cohen, Eartha Kitt, Sarah McLachlan, Neil Diamond, Buffy Sainte-Marie, François Truffaut, Jackie Collins, Jim Byrnes, Rick Hansen and Dee Lippingwell.

For Brown, singing in choirs has always fed her soul, and it was in one of those choirs she met Arntzen and in another that they met Young. The Hot Mammas have been together now for 11 years.

“They are both family to me – my sisters,” said Brown. “All three of us love performing because we give to our audiences and they give back. Something magical and marvelous happens, no matter where we are or how many or how few people are in that audience. Synergy. Energy. Love. Music heals. It is the ‘universal language.’

“We sing songs we love. That’s how we choose our repertoire. Jazz, pop, rock ’n’ roll, folk, show tunes, you name it. We don’t just cover groups. We also write originals. In fact, one of our tunes is called ‘The Hot Mammas’ Song,’ and it’s quite amusing – all about being mothers who love their kids but have ‘traded in their aprons for a microphone.’”

For more, visit thehotmammas.com.

Vitaly Beckman at the Anvil

Vitaly Beckman will bring some of his best illusions yet to his Dec. 22 performance. (photo from eveningofwonders.com)

“I have been working very hard on some new illusions that I consider to be some of my best work yet,” Vitaly Beckman told the Independent. “I created a lot of my illusions during

no-show periods, a few of which I plan to include in the upcoming show.”

Vitaly: An Evening of Wonders returns to the stage on Dec. 22 at the Anvil Centre in New Westminster. While it is Beckman’s first live in-person performance in Canada since the pandemic started, he already has performed in theatres in the United States.

“It is certainly exciting to start doing live shows again – both performers and audiences could feel the void of live theatre during the past two years,” he said. “Life is really not the same without theatre.”

But there have been some benefits from the enforced hiatus.

“It is really helpful for the creative process to be able to focus on just one goal, and not be distracted by anything else for a period of time,” acknowledged Beckman. “So the lockdowns were helpful in that regard, as I managed to finish some really great illusions – one involves a sculpted bust, another involves an oil painting that comes to life and another, a matchbox. The latter I created while visiting my family in Israel. Actually, I’ve created a lot of my illusions in the past while vacationing there – it seems that the sunny place boosts my creativity.”

In addition to creating new material, Beckman has been busy in other ways, as well.

“It was certainly a long period to go without doing a single live show,” he said, “but I did a lot of magic for virtual performances and recorded an illusion for Penn & Teller’s Fool Us show, with a second appearance there.” (In that appearance, Beckman once again managed to fool the master illusionists.)

About returning to the stage, he said, “I was wondering if I would be ‘out of shape’ when performing again, however, from recent shows in the U.S., it was like riding a bike. I really enjoyed going back on stage and especially seeing how the audience left the theatre feeling uplifted and full of joy.”

For tickets to see Beckman on Dec. 22, at 7:30 p.m., click here.

Photographing the rebellious

Photographer Dina Goldstein and Myles Peterson, one of her model-collaborators, at Goldstein’s OG Punk exhibit, which is at the Polygon Gallery until Jan. 2. (photo by Dina Goldstein)

Walking past the Polygon Gallery in North Vancouver, it is hard not to be drawn to the photographs adorning the walls. The powerful portraits of self-described original – OG – punks were taken by Jewish community member Dina Goldstein, whose work is known for its thought-provoking social commentary.

The exhibit OG Punk is on display at the gallery until Jan. 2. Curated by Helga Pakassar, it comprises portraits of major figures from the punk rock scene in Vancouver and Victoria, which were taken by Goldstein over the past year. It is accompanied by an audio guide written by author Michael Turner.

Turner notes, “Goldstein gave her model-collaborators little instruction on what to bring to their shoot, apart from their ‘leathers.’ As for poses, these too were left to the model-collaborators, though it should be noted that the poses chosen for display, as portraits, were decided by Goldstein and exhibition curator Helga Pakasaar.”

“I met some of my model-collaborators by chance around my neighbourhood,” Goldstein told the Independent. “They are artists, musicians and punk devotees; most of them over 50, in punk regalia, hairdos, piercings and tattoos. I was excited by their stories and memories of their time as punks during the late ’70s, ’80s and into the ’90s. There was a vibrant punk scene in Vancouver and Victoria, with local bands, like DOA, incorporating activism and social commentary into their music.

“I have always been attracted to individualism – those who openly express themselves, are unconventional and live an authentic existence,” she said. “Some of the punks were ailing and not well. Some key figures had already passed. Most recently, the iconic Chi Pig, who passed a couple of years ago. I felt an urgency to document this generation of local punks. The project evolved into a series when I was able to collect a good amount of participants.”

Among the participants featured are Murray “The Cretin” Acton, Myles Peterson and wendythirteen. Goldstein sent out questionnaires to better understand the participants. Turner discusses some of the responses to the questions – such as “Has punk changed much since the 1980s?” and “Is punk here to stay?” – in the audio guide, the script of which can be found at mtwebsit.blogspot.com/2021/11/og-punk-2.html.

Though none of the model-collaborators to date are Jewish, Goldstein noted that she “will be continuing to photograph more people for this series in January.”

As for what punk means to her, Goldstein said, “I have always been rebellious. I am non-conventional and have a DIY mentality. My photography requires critical thinking and is a form of activism. My art has been described as satirical, irreverent and subversive.

“As one of my model-collaborators Lisa Jak said and I totally agree: ‘Anywhere and anytime that there is oppression, ignorance, intolerance and f–king stupidity – some punk will be there to question and fight it!’”

Head to Metro for Panto

Lucas Gregory, left, and Daniel Cardoso, in Metro Theatre’s Snow White: The Panto, which runs until Jan. 3. (photo by Nicol Spinola)

“A lot of musical theatre is inherently silly and fun but it still doesn’t reach the level of a holiday panto,” said Daniel Cardoso, who plays the Prince in Metro Theatre’s Snow White: The Panto. An annual treat for more than 35 years, this year’s panto, which runs until Jan. 3, has added significance.

“The past year and a bit has been challenging, not only for the arts community, but for everyone,” said Cardoso. “I got to go to an opening night of a show last week and part of me had forgotten the energy of getting to be in an audience and the joy that it brings to people to get to go to live theatre. I hope that we can do something similar with the panto and that we can act as another step in a return to normalcy.”

“I love being back with the theatre community after so much time away,” said fellow Jewish community member Kat Palmer, who is stage manager of the production. “I think most of the team feels this way. So often actors would be finished working their scenes but would choose to stay a little longer to watch and support their fellow cast members rehearse. There is this sense of returning to what was and that’s been quite moving.”

Things aren’t completely back to normal, of course, as COVID is still is concern.

Metro Theatre requires proof of vaccination, said Palmer. “Usually, pantos have lots of kids and an ensemble – our show has a much smaller cast with no children,” she said. “Everyone – cast, crew and staff – is fully vaccinated. We have taken our inspiration from film sets and have rapid COVID tests on hand. Usually, kids in the audience get to come up on stage – we can’t do that this year. Luckily, there are still lots of opportunities to participate by booing and cheering our demon and good fairy.”

For Palmer, Snow White was “always a favourite growing up – I think mostly because she had black hair like me. But the traditional story is a little dated. Erik Gow, our writer, has done a great job breathing new life into this script. In our version, Snow White is spunky, independent and doesn’t need a prince. She takes charge of her own destiny.”

That said, the prince is still an important part of the story, and it was Palmer who suggested Cardoso try out for the role.

“I’ve known about the Metro Theatre since I was in university and have often gone to see shows there, but the panto this year is the first time I’ve gotten to work there,” he said. “I came to Snow White when Kat Palmer … reached out and asked me to audition for it. I hadn’t initially planned on it but it was an opportunity to work with Chris and Kat and Suzanne again, so I’m glad I did.”

Chris Adams is the director of the production, while Suzanne Ouellette is the choreographer.

Cardoso is a graduate of the musical theatre program at Capilano University and has been working in theatre around Vancouver since 2011. “I was also lucky enough to work on Disney Cruise Line for a few years,” he said. “In 2016, I went back to school to become a registered massage therapist and have been doing that in addition to theatre since 2018.”

While not raised attending shul, Cardoso said his mother and her family are Jewish, “so it is definitely a part of me that I am proud of and something that I think I will always want to learn more about and explore. I know it sounds cliché, especially for a theatre performer, but getting to do a production of Fiddler on the Roof (Gateway, 2012) was a special experience for me in that I got to play in that story and feel like I belonged there instead of just pretending like it.”

For tickets to see Cardoso as the Prince that Snow White (played by Scotia Browner) may or may not need to help her, visit metrotheatre.com. The panto promises to be a “zany and uproariously funny family pantomime,” but that’s not the only reason to check it out.

“The theatre community is hurting right now. We are trying to stay afloat,” said Palmer. “After almost two years of silence, we need your laughter – we need your applause. Please come out and support local theatre.”

Space beyond time

Sky Lilah’s new exhibition, Quantum Sky, is at Art @Bentall this month. Quantum Sky is an exploration of consciousness and what that means to the artist. This self-study is done using various mindfulness techniques, then interpreted through visual art. One dominant theme is the use of chakras, with 21 separate works, three per chakra, dedicated specifically to interpreting the meanings held within. As such, the exhibition is an exploration of an aspect of themselves through her art and letting others into that process, with the intention of creating a space beyond time.

“A lot of it is just trusting the process, which is I guess why I paint in the first place, which I find funny because I’m so organized in life. And when it comes to artwork, I find I just need to start and figure it out as I go, as opposed to planning it all and then starting,” said Lilah.

– Courtesy Art @Bentall