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To do or not to do (the Bard)

To do or not to do (the Bard)

Bard on the Beach’s Done/Undone, written by Kate Besworth, co-stars Harveen Sandhu and Charlie Gallant. (photo from bardonthebeach.org)

Throughout COVID, Vancouver’s Bard on the Beach has been unable to mount its popular summer festival at Vanier Park. However, it is easing its way back into the hearts and minds of Shakespeare fans with its innovative film production Done/Undone, written by Kate Besworth and starring Bard veterans Charlie Gallant and Harveen Sandhu, who take on multiple and diverse roles. The creative team includes community member Mishelle Cuttler as sound designer.

The film raises many probing questions. Is time up for Shakespeare’s works in the #metoo, woke, cancel culture era? Is there room today for plays written 400 years ago that can be interpreted as misogynist (The Taming of the Shrew), racist (Othello) or antisemitic (The Merchant of Venice)? Are the Bard’s works not just the reflections of a white, privileged male, written for colonial audiences to glorify British mores and culture? Or was English writer Ben Johnson, who died in 1637, right when he said Shakespeare was “not a man of his age, but a man for all times?” Should any form of Bardolatry continue or should Shakespeare and his folios be laid to rest as we move forward with contemporary artists telling contemporary stories?

To answer these questions, the film, set against the backdrop of a working theatre, uses snappy vignettes to showcase the pros and cons of the debate with interesting and perhaps unexpected results.

It opens as the two actors arrive at the theatre to prepare for a production of Hamlet, and the question first arises. Sandhu appears as Shakespeare to state that the purpose of writing is to “hold a mirror to humanity,” as she lists off the myriad subjects that the Bard explored – the sea, star-crossed lovers, a donkey in the arms of a fairy queen, an exiled warrior, an emperor of Rome, a triumphant king, how choices matter, and how governments fail us.

We then are spectators to a battle of wits between dueling professors, explaining and emoting from their respective lecterns. Gallant emphatically argues that Shakespeare is a product of a white, patriarchal society, using words as a tool of cultural imperialism written, originally, for white men to perform (women were not allowed to act in Shakespeare’s times, so male actors would take on the female roles) and that there is no place today for his work. Sandhu counters that Shakespeare’s texts still evoke emotions that resonate within the contemporary world – his topics of love, hate, greed and lust are timeless and embedded in the human character, she argues. She sees Shakespeare as remarkably progressive, with many of his characters in gender-fluid roles and with his portrayals of strong women – Rosalind, Cleopatra and Lady Macbeth, to name a few. His works can provide teaching moments, says Sandhu, giving the examples of Taming of the Shrew to show the harm that misogyny causes, King Lear, the scourge of elder abuse, and Othello and Merchant as vehicles to elicit tolerance and empathy in society.

Other vignettes in the film include a Bard board member – a neurosurgeon – who, during an opening night audience address, poignantly recounts the solace he found in the dark spaces of the theatre during a production of King Lear after the loss of a patient. He says that darkness was the escape from the reality of his grief.

Another scenario depicted is a couple taking in a performance of Romeo and Juliet, where the woman is clearly more into it than her male partner, who finds the Shakespearean language highbrow and difficult to understand.

Then there are the gothic, spectre-like creatures who denounce the Bard’s portrayal of women and Blacks in a macabre pas de deux; a talkback session after a Measure for Measure performance, where the female actor embarks on a scathing indictment of colour-blind casting; and the finale, in French, as the two actors attend an inventive Shakespeare festival in Montreal.

Shakespeare’s influence is global. At any given time, somewhere on the planet, one of his plays is being produced, either in its original form or as an adaptation. Do we judge him with our contemporary lens or should we remember the times in which he wrote and appreciate his genius? Done/Undone is a thoughtful and intelligent production that seamlessly blends the worlds of cinema and theatre, and considers some difficult questions. It leaves you to draw your own conclusions.

Done/Undone, with a run time of 76 minutes, is available for streaming online until Sept. 30. Tickets can be purchased at bardonthebeach.org or from the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Format ImagePosted on September 10, 2021September 9, 2021Author Tova KornfeldCategories Performing Arts, TV & FilmTags antisemitism, Bard on the Beach, Charlie Gallant, colonialism, debate, Harveen Sandhu, misogyny, racism, Shakespeare
Challenging VIFF Films

Challenging VIFF Films

Michal Wiets uses her great-grandfather’s diaries as the basis for her film Blue Box. (image courtesy)

At press time, the Vancouver International Film Festival lineup had not yet been announced. But the Independent received the names of some of the movies to be presented, as well as a couple of screeners.

Starting with the more challenging VIFF choices, most Jewish community members will either take a pass – with a roll of the eyes as to what film festivals often consider appropriately provocative fare – or get up the fortitude to watch the disparaging portrayals of Israel, so as to be better prepared to confront the criticisms, and perhaps learn from them. I admit that I have taken both routes in life and it was with great skepticism and high anxiety that I watched Michal Weits’s Blue Box.

Weits is the great-granddaughter of Yosef Weits (aka Weitz), a Russian immigrant to Palestine in the early 1900s who was instrumental in foresting Israel, as well as purchasing land for the Jewish government from the Arabs who owned it at the time (who were mostly absentee landlords and not the people who lived on and worked the land). Depending on one’s point of view, Weits was either a legendary pioneer to be tributed, as “the father of Israel’s forests,” or a notorious pirate of sorts, stealing land from Arabs and expelling them from it, as “the architect of transfer.” His great-granddaughter seems to believe he’s the latter, while he himself was conflicted.

The basis of the documentary is Yosef Weits’s diaries, some 5,000 pages. In them, he expresses his belief in the need for the reestablishment of the Jewish homeland and his fears for Jews’ continued existence (even before the Holocaust). He also details aspects of his work, with whom he negotiated land sales and meetings with David Ben-Gurion and other Israeli leaders. Presciently, he admits to misgivings about the way in which the Arab populations were being treated, predicting that such treatment would end up causing Israel severe problems if not dealt with.

The diary entries are fascinating and reveal some of the complexities of that era and of Yosef Weits’s legacy. The archival footage and photographs are compelling and expertly edited to make clear director Weits’s viewpoint – there is no mention of events that don’t fit her narrative, such as the expulsion of Jews from Arab lands.

Weits interviewed several family members about what she discovered from the diaries and other research. Their reactions are varied, with the generations closer to that of her great-grandfather more defensive and those closer to hers, more questioning, even condemning.

It might be helpful to watch this film with a non-Jew, as I did. In doing so, I found there were a few parts – such as the Israeli government’s relationship with the Jewish National Fund and why Weits named her film after the JNF’s donation box – that could have been better explained to viewers without prior knowledge. As well, a non-Jew is perhaps better able to keep in mind that every country deals with similar issues relating to how they were established, who was displaced, etc., and that Blue Box could be seen not only as a personal tale of one family, but as the beginning of a conversation about nation-building in general rather than as a stifling condemnation of Israel.

The same may or may not be said about The First 54 Years: An Abbreviated Manual for Military Occupation, directed by Avi Mograbi. There was no screener available for this documentary, which is described as “a ‘how-to’ guide to civilian subjugation along ethnic and religious lines, through the example of the Israeli occupation of Palestine. This is jet black, ice-cold political satire. But the harrowing statements of 38 former Israeli military personnel must be taken at face value as eyewitness testimony of decades of state-licensed crimes against humanity.”

Noam Imber plays a pothead teen in Quality Time
Noam Imber plays a pothead teen in Quality Time. (image courtesy)

Thankfully, there are at least a couple of more innocuous films in this year’s VIFF. One is the short Quality Time, written and directed by Omer Ben-David. When mom goes on a brief vacation, father (Shalom Korem) and son (Noam Imber) are left on their own together, and the awkwardness of their relationship is highlighted. Imber plays a pot-dealing and -smoking teen who’s just received his draft notice, while Korem is his recently retired – from the defence ministry – father. Both actors are wonderful and the story is quirky and fun, even if it doesn’t hold up logically at the end. While Israel-specific – a gym bag being blown up by the bomb squad is a key element – it has universal meanings.

The JI always sponsors a film at VIFF and, this year, we’ve chosen the animated feature Charlotte, about Charlotte Salomon, a German-Jewish artist who created her masterpiece work – called Life? Or Theatre? (comprising nearly 800 paintings) – between 1940 and 1942. She died in Auschwitz in 1943, at 26 years old. We’ll review that film next issue.

For more on the festival, visit viff.org.

Format ImagePosted on September 10, 2021May 2, 2024Author Cynthia RamsayCategories TV & FilmTags Adath Israel, Arab-Israeli conflict, David Ben-Gurion, history, Israel, Jewish National Fund, JNF, Michal Weits, Omer Ben-David, politics, Vancouver International Film Festival, VIFF, Yosef Weits
Chutzpah! coming soon

Chutzpah! coming soon

Josh “Socalled” Dolgin leads an evening of Yiddish songs as part of Chutzpah! 2021. (photo from Chutzpah!)

The Chutzpah! Festival returns this November, presenting music, theatre, comedy and dance that reflect the joy of coming back together. For more than two decades, Chutzpah! has been an annual highlight of Greater Vancouver’s arts season. From Nov. 4 to 24, artists will once again grace the stage of the Norman & Annette Rothstein Theatre, the festival’s hub, and share their work in person and online. Tickets go on sale Sept. 15.

The 21st Annual Chutzpah! Festival will include a variety of performances, paired with conversations and opportunities to interact with the artists. Audiences will have the chance to attend in-person shows, with COVID safety protocols in place, or enjoy digital streams from their homes. With an emphasis on artists from across Canada, the festival will also present work from Israel, the United States and the United Kingdom.

“Artists and arts enthusiasts alike have been eagerly awaiting our chance to come back together to share our stories,” said Jessica Mann Gutteridge, artistic managing director. “With the joy of reconnecting comes the knowledge that our lives have profoundly changed over the past year-and-a-half. The Chutzpah! Festival will explore and celebrate the many ways we tell stories now, with a variety of ways to experience and participate in the work.”

The festival opens Nov. 4 with a screening at the Rothstein Theatre of the Marx brothers classic A Night at the Opera, during which City Opera Vancouver will sing the operatic music parodied in the film. The 1930s cinema experience will include festive treats, glamour and a costume contest.

In the comedy realm – all in-person performances at the Rothstein Theatre – Canadian-born, New York-based stand-up comedian, storyteller and writer Ophira Eisenberg, host of NPR’s comedy and trivia show Ask Me Another, performs Nov. 10. Israeli-American stand-up comedian Avi Liberman is joined by special guest Jacob Samuel and host Kyle Berger on Nov. 20. And Iris Bahr, who impressed Chutzpah! audiences in 2020 with her festival hosting and her solo show DAI (enough),  performs her new solo show Nov. 23.

The dance performances at the Rothstein will be in-person events, as well as digitally streamed. Nov. 6 and 7, a Project inTandem double-bill features the works of Calgary producers and choreographers Sylvie Moquin and Meghann Michalsky, which explore the themes of female struggle and empowerment. Nov. 13 and 14, Shay Kuebler/Radical System Art return to Chutzpah! as resident artists with the third “chapter” of Kuebler’s research that began in 2018, after he read about the United Kingdom hiring a minister of loneliness. On Nov. 16 and 18, Ballet BC artist in residence Alexis Fletcher, who was 2019 and 2021 Chutzpah! resident artist, returns to the festival with a solo integrating movement and the visual art of Vancouver painter and HIV/AIDS activist Tiko Kerr, while 2020 and 2021 Chutzpah! resident artist Ne.Sans Opera & Dance, led by Idan Cohen, returns to showcase a new solo drawing inspiration from the myth of Orpheus and Gluck’s opera Orfeo ed Euridice, with co-creator Ted Littlemore (aka Mila Dramatic).

Theatre works featured are Lilach Dekel-Avneri and the Pathos-Mathos Company’s The Eichmann Project – Terminal 1 on Nov. 8 (digital stream available); The Flame – An Evening of Storytelling on Nov. 17, under the stewardship of artistic director Deborah Williams, featuring storytellers including Stephen Aberle, Glenda Zenoff, Eleanor Lipov and Helen Schneiderman, with musical guest Anton Lipovetsky; and Halifax-based Surplus Production Unit’s A Timed Speed-Read of the Triangle Shirtwaist Factory Fire Trial Transcript on Nov. 21 and 22.

Montreal’s Josh “Socalled” Dolgin, accompanied by a local string quartet, leads an evening of rediscovered Yiddish songs, with stories and perhaps a little magic, on Nov. 19, and Israel’s Guy Mintus Trio’s performs A Gershwin Playground Nov. 24. (Digital streams available for both shows.)

Nov. 8-12, Chutzpah! Festival favourite, U.K.-based theatre artist Tamara Micner, transforms her theatrical work-in-progress (workshopped in the 2020 festival) into an audio installation. Audience members will be invited into the Zack Gallery to listen to Micner’s reading of letters written to Paul Simon and Art Garfunkel, reflecting on how their music informs her feelings about friendship, activism, Jewishness and art. There will be opportunities to “meet” the artist via video stream for conversations about her work and ideas.

Throughout the festival, Bahr converses with festival artists, featuring her stand-up and a wide-ranging cast of characters.

Due to COVID-19 safety processes, all tickets must be purchased in advance and will not be available at the door. Visit chutzpahfestival.com starting on Sept. 15 or call 604-257-5145.

– Courtesy Chutzpah! Festival

Format ImagePosted on September 10, 2021September 9, 2021Author Chutzpah! FestivalCategories Performing ArtsTags Chutzpah!, comedy, dance, Iris Bahr, music, storytelling, theatre
Bema mounts Wells’ Mazel Tov, John Lennon

Bema mounts Wells’ Mazel Tov, John Lennon

Nicholas Guerriero as John Lennon, left, and Perry Burton as his Jewish lawyer, Leon Wildes, in Bema Productions’ rendition of Mazel Tov, John Lennon by David Wells, which had a virtual run at the Victoria Fringe Festival this year (photo from Bema Productions). Based on the true story of the Nixon administration’s attempt to deport John Lennon because of his political activism against the war in Vietnam, it is a fascinating play about a lesser-known aspect of American history. The years-long case ultimately led to various changes in the country’s immigration laws.

“I was so happy to be back in live rehearsal after a year-and-a-half, and had tears in my eyes at the first rehearsal,” director Zelda Dean told the Independent.  “Of course, we all wore masks until near the end.  This is the 142nd show I have directed in my long career and the first time that I couldn’t see the expression on the actors’ faces while we were working together.  Of course, their masks came off at the last few rehearsals and at the filming of the show [by Jason King] and, by then, everyone was fully vaccinated.  A new experience and I was delighted to learn much and develop new techniques.  I am always grateful to learn from the many skilled artists I am privileged to work with.”

Format ImagePosted on September 10, 2021September 9, 2021Author Cynthia RamsayCategories Performing ArtsTags Bema Productions, David Wells, John Lennon, Leon Wildes, Victoria Fringe, Zelda Dean
Light of holiday meals

Light of holiday meals

Light of Shabbat Volunteers packaging kosher meals for the High Holidays. (photo from Chabad Richmond)

On Aug. 29, a contingent of 12 Chabad Richmond volunteers worked to ensure that recipients of the Richmond community Light of Shabbat (LOS) meal program would be well fed throughout Rosh Hashanah, Yom Kippur and Sukkot.

The volunteers cooked more than 800 LOS meals in a local kosher commissary. “This is truly a labour of love,” said organizer Chanie Baitelman, co-director of Chabad Richmond. “Our Light of Shabbat participants rely on these meals. It’s not just about feeding individuals and families, it’s about nourishing their souls as well.”

Since 2011, Chabad Richmond has run a community-building program called Light of Shabbat, where volunteers cook and deliver kosher Shabbat meals to old and young, singles and families, the unemployed and working poor, immigrants and born-and-raised community members. The program is run entirely by volunteers, who coordinate, plan, shop, cook, bake, package and deliver full, healthy, kosher meals.

Since the pandemic began, more than 12,000 such meals have been prepared and delivered to people in the Richmond community. All of this is made possible through the generosity of donors, many of whom are LOS volunteers themselves. They know that everyone needs a helping hand at some time in their life.

For more information about Chabad Richmond, visit chabadrichmond.com.

– Courtesy Chabad Richmond

Format ImagePosted on September 10, 2021September 9, 2021Author Chabad RichmondCategories Celebrating the HolidaysTags Light of Shabbat, tikkun olam, volunteering

Delving into roots of memory

I have more years behind me than most of you. I remember what seems to me all the big events. While prominent in my mind, I do try to pay more attention to the daily round. Today, for example, I bought some plants to fill spaces in my garden in the sky, seeking yellows and oranges to harmonize with the bountiful presence of the red geraniums, fully in their flowering. We ate breaded chicken for breakfast, a gift of our Jimmy, Cookie’s son, while watching the Tokyo Olympics results – Canada is doing great! I spent Saturday morning at the community centre, playing with clay, creating fantastical faces I would not hope to meet on my street.

I think it’s important that we pay lots of attention to the minutiae of daily life, glorying in the simple things that fill our present, appreciating how they add to the pleasure of living. But I also worry about losing the detail about my life in the past, the bits and pieces that brought elements of that life into the now. It takes some work to ferret things out. I’m rummaging about in the closets of memory, poking into the corners to see what I can find.

Can I remember what it was like when I was a kid? I was the only boy, being raised with sisters. Didn’t I get the feeling that I was favoured as the male, as my older sister was called upon to help my mother with the housekeeping? My youngest sister was nevertheless the spoiled one, being considered the most vulnerable to mistreatment. I recall how I tried to keep my room neat and tidy, so that was where we had our family meetings. All this might be a figment of my egomaniac’s self-image, and the facts would have to be checked with living witnesses.

Can I remember what it was like to be the only Jewish kid in the neighbourhood when the family moved to Jarvis Avenue in Winnipeg? The kids next door tried to make our lives miserable by throwing stones at our windows, and parading in front of our house with catcalls deriding my mother’s Jewish names for us. How many times did I fight with Mikey, down and dirty in the mud? And Tony and Danny, from three houses over, scrapping in the schoolyard? And Eddie, who knocked me unconscious in front of a crowd, in Grade 7? I survived the blemish on my brain, and Eddie, too. Didn’t my tiny sister protect me when Big Harry on Dufferin was going to beat me up on our way to school? What did it smell like outside our house, with the coal yard in front and the junkyard at the back?

And yet, it felt like we, my family, lived a totally peaceful, private life inside our home there. Dad had his job shoveling coal at the Cold Storage Co. down the street. (He would end up a graduate engineer after years of home study.) We ate our three squares a day in our rented home, and went the four blocks to Aberdeen school each day. We celebrated the Sabbath every Friday with a special bread and the best meal of the week. I frequented the library every chance I could – maybe escaping the then-current world – and often spent the night reading by flashlight under my covers. We went to the neighbourhood synagogue for the High Holidays. I remember eating chicken in the back lobby on fast days. And, there, I had my bar mitzvah, wearing a suit and with a fedora on my head.

Somehow, I don’t remember much about greenery, though Winnipeg had a reputation for trees. I do remember holding my arms round the trunk of one when we played Buck, Buck, How Many Fingers Up? I remember sucking the honeysuckles I gathered off the hedges for their sweetness, and holding dandelions, which were so plentiful, under our chins to see the yellow there. I remember we liked blowing the dandelions’ heads off when they were ripe. And collecting bulrushes from the ditches, where they grew in the gathered water. Winnipeg had some of the deepest ditches. Winnipeg was famous for its lilac bushes, I remember their heavenly scent.

In the summer, gangs of kids used to gather on the street corner, I think it was Powers Street, and play road games far into the night. Sometimes, we’d end the night raiding summer vegetable gardens and have fights with the tomatoes we stole. And, yes, I do remember the mosquitoes.

Winnipeg was a city with a diverse population. There seemed to be large communities of people from a dozen different origins, from Iceland to the Ukraine, from France and, of course, England; Russia, Germany, the Middle East and Asia were all represented. While city government was initially in “English” hands, it changed over time to represent other ethnic communities.

What I remember above all was how active the Jewish community was, and how every political viewpoint and every internal community need was represented by some Jewish organization. I got the feeling that, although I lived in Canada, I could in some way be living within a totally Jewish environment if I so desired. It dispelled the feeling of isolation that I felt in my younger years. And, when I launched myself into the wider world, when I left Winnipeg, I felt totally at home in my Canadian persona. I really only appreciate that now in retrospect.

Digging into the roots of memory and coming up golden!

Max Roytenberg is a Vancouver-based poet, writer and blogger. His book Hero in My Own Eyes: Tripping a Life Fantastic is available from Amazon and other online booksellers.

Posted on September 10, 2021September 9, 2021Author Max RoytenbergCategories Op-EdTags lifestyle, memoir, Winnipeg
Chosen Family now at Zack

Chosen Family now at Zack

JQT Vancouver executive director Carmel Tanaka at the Zack Gallery, where the Chosen Family exhibit is on display until Sept. 30. (photo from Carmel Tanaka)

In a Simon Fraser University survey of more than 4,000 elderly Canadians (55+), conducted from August to October 2020, to see how people were coping with the pandemic, about 10% of respondents identified themselves as part of the LGBTQ+ community. These respondents were more likely to follow COVID protocols and to have said they “feel they have been here before” – they were 10 times more likely to report experience with HIV/AIDS than heterosexual persons. Among the many other findings, LGBTQ+ respondents were less likely to ask relatives for help, but more likely to call upon close friends.

In the context of the pandemic, then, the focus of the new exhibit at the Zack Gallery has added significance. The show, called Chosen Family, is a multimedia partnership between the gallery and JQT Vancouver in honour of Vancouver Pride. It opened officially on Aug. 26, with the artists in attendance.

JQT (Jewish, Queer and Trans) is an arts, culture and education nonprofit organization. It is dedicated to creating connections and seeking space to celebrate the intersectional identities of Jews of diverse sexual orientations and genders. The organization’s executive director, Carmel Tanaka, said JQT’s members are accomplishing their goals “by queering Jewish space and ‘Jewifying’ queer space in Vancouver.”

“We started JQT in Vancouver four years ago, as a grassroots movement, everyone was a volunteer,” Tanaka told the Independent. “We incorporated as a nonprofit in 2020. This show feels like a milestone. It is probably the first exhibition here, at the Zack Gallery, that features exclusively queer Jewish artists.”

The theme of the show, Chosen Family, reflects that some LGBTQ+ individuals face rejection by their immediate family and must look elsewhere for understanding and acceptance. “I’m lucky,” said Tanaka. “I didn’t have to look for another family; my family was supportive. Unfortunately, that’s not true for everyone.”

image - One of the images in a series of six by Ari Fremder
One of the images in a series of six by Ari Fremder.

Only a few artists are featured in the exhibit. “We invited more artists from the JQT community, plus their families, to submit art for the show, but not everyone was easy with the invitation,” Tanaka said. “Some didn’t feel ‘artistic’ enough. Others didn’t feel Jewish enough. Still others – the older people mostly – didn’t feel entirely safe to identify themselves as queer to the wider community. It is an ongoing vulnerability issue with many of us.”

Another reason might lie in the location of the gallery. “The Zack Gallery is inside the Jewish Community Centre, so the art must be family friendly. That might be a limiting factor for some artists,” Tanaka mused. “We might look at another venue next time.”

The show includes art in a variety of media: paintings, prints, textiles, cinematography, sculpture. A series of six pictures by Ari Fremder all have the same size and structure – a human face surrounded by flowers – but they centre on different faces, representing different friends or family members, and have varied arrangements of flowers. Nonetheless, they all have one thing in common – they are all beautiful and upbeat.

Two of Fremder’s paintings are self-portraits. One looks like a face in repose; the other an angel with black wings. The angel soars in the dark sky and, unlike the six-photo series, this image is moody and contemplative.

image - A collage by artist Holly Steele
A collage by artist Holly Steele.

On another wall, there are several paintings by Holly Steele. In one, a multimedia print, hands clasp together in various combinations: hands of friends and hands of family, interspaced with positive, trust-affirming words. The image, done in a muted greenish-yellow palette, screams of the yearning for acceptance.

In the centre of the gallery resides a sculptural composition by Morgan Strug. A dinner table with chairs around it shows us what a family meal means to the artist. There is understanding and affection there, benign teasing and fierce joy in the others’ fulfilments. Is it wishful thinking? Is it the artist’s reality? Everyone can decide for themselves.

Strug is the director of the short movie Enby, which screened at the Vancouver Queer Film Festival earlier this month, and the film is part of the Zack exhibit. The gallery planned three screening dates, the first being for the exhibit opening Aug. 26, as well as Sept. 9 and Sept. 30. Those who want to see it should contact the gallery first.

“This is a very eclectic show,” Tanaka said. “It is the first art show for several of the participating artists. Some of them celebrate both their identities: as a queer and as a Jew. We would love this show to become an annual tradition.”

Chosen Family continues until Sept. 30. To learn more, visit jqtvancouver.ca.

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

Format ImagePosted on August 27, 2021August 28, 2021Author Olga LivshinCategories Visual ArtsTags Ari Fremder, art, Carmel Tanaka, collage, Holly Steele, JQT, LGBTQ2S+, Morgan Strug, multimedia, painting, photography, Zack Gallery
Animatedly tackling issues

Animatedly tackling issues

In Bayla’s Issues, the title character is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

Bayla’s Issues, a 2020 animated short based on the comic strip Bayla’s Comics by Vancouver artist Hinda Avery, has been making the Jewish film festival circuit, with a recent stop in Washington, D.C. The 15-minute film, which follows the story of its title character and her quest to be recognized as an artist, was directed and edited by Victoria’s Michael Kissinger, and is voiced by Ellen Kennedy and animated by Marty Emanuel.

Divided into eight chapters, Bayla’s Issues delves into the inner thoughts – a turbulent sea of doubts, fears and anxieties – of its heroine and her conversations with an expensive and expletive-laden therapist, who is neither encouraging nor helpful.

The character of Bayla came into being after Avery retired from her career in academia. At the time, she wanted to do two things: return to painting after a long break and establish a means of connecting with family who died in the Holocaust.

“Clearly, the only way for me to make this connection would be through an imaginary process, and painting seemed a tangible tool,” Avery told the Independent. “I decided to paint myself with my late mother and, with the help of only two motley photographs, my murdered aunt and grandmother. This would suffice as a way of spending time with them.”

Avery’s mother had left Poland before the start of the Second World War, but was severely traumatized by the murder of her family by the Nazis.

“The atrocity affected both her mental and physical health; her trauma was passed down to me, hence my close connection to the Holocaust,” Avery said.

Over time, in a process that began in 2005 and lasted 13 years, Avery was able to separate herself from, as she puts it, “an overt depiction of the Holocaust experience – an event too catastrophic for me to depict using conventional representation – and instead depicted it as a phantasmagoric event. I added more women and called us all ‘The Rosen Sisters.’” Rosen was her mother’s family name.

The paintings feature strong, confident women resisters in situations that are both humorous and dark. Avery found it therapeutic and liberating “to fight the Nazis in this vicarious method.” Still, she said, “beneath the surface of all the paintings, the calamity and horror of the Holocaust is ever present.”

screenshot - In Bayla’s Issues, Bayla must deal with her past
In Bayla’s Issues, Bayla must deal with her past.

When the paintings, in her view, had run their course, she was “desolate” and expressed this by drawing a comic about a befuddled, unfulfilled older Jewish woman who is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.

“In many of the comics, Bayla expresses her angst about being Jewish. Her Jewishness has never been a joy for her. In one of the comics, she says it feels like a huge lead-heavy Star of David, attached to a thick chain-link, hanging from her neck – it weighs her down, she can’t pull it off,” said Avery.

Kissinger’s collaboration with Avery can be traced to 2015, when he served as the editor of the now-defunct Vancouver Courier. “She left a message on my work phone about an upcoming art exhibit of her paintings and I, of course, never returned her call…. But she left another message, and another message,” Kissinger recounted.

“We didn’t do a lot of art exhibit coverage,” he explained. “But, for some reason, I decided to Google her name and up came these paintings of elderly women in bikinis holding automatic weapons and swearing and taking down Hitler and having a great time while they were at it. From that point on, I was in.”

Kissinger went on to write a story and created a five-minute video to accompany it on the newspaper’s website.

screenshot - Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons”
Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons.”

A year later, Avery reached out again – this time to share that she had obtained a Canada Council grant and to ask Kissinger if he would be interested in making a documentary about her, her paintings, and her journey in dealing with the Holocaust and depression.

A 27-minute documentary, Hinda and Her Sisterrrz, ensued. That 2018 film screened at a number of Jewish film festivals, including those of San Francisco, Toronto, Boston, Vancouver and Victoria.

“The documentary ends with Hinda talking about retiring the characters in her paintings and moving on to working on a comic strip about an ‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons,” said Kissinger.

“Because I know Hinda’s work and backstory and she trusts me with it and was happy with the documentary, she asked me if I could help her animate her comic strip,” he added.

“Bayla lends herself to being animated. I love seeing her come alive!” Avery said.

The original strip, Bayla’s Comics, appeared in Jewish Currents. More episodes about Bayla’s tribulations – under the title Bayla’s Got Problems – are currently underway.

To watch the trailer for Bayla’s Issues, visit vimeo.com/439541618.

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

Format ImagePosted on August 27, 2021August 25, 2021Author Sam MargolisCategories TV & FilmTags animation, Bayla's Issues, cartoon, film, Hinda Avery, Holocaust, Michael Kissinger, painting
A tragedy in progress

A tragedy in progress

(photo from internationalaffairs.org.au)

The interview was a moment of clarity and despondency. A cable news anchor asked an Afghan-Canadian activist what the West should do to save the Afghan people, especially women and girls, from the Taliban.

The hesitation by the interviewee probably conveyed the hopelessness so many feel in direct proportion to their geographic or familial proximity to the crisis. The most powerful, heavily resourced military the world has ever known left Afghanistan this month after almost 20 years. Instantaneously, it seems, all the work of nation-building, developing security capacity and attempting to instil the structures of civil society, evaporated. If that force, backed by other Western powers, including Canada until 2014, could not hold back the tide of the Taliban, what can ordinary Canadians possibly do?

Based on the lessons of history, and the comparatively recent invention of the concept of “responsibility to protect,” the world, by any measure, should be coming to the aid of the Afghan people. But U.S. President Joe Biden is also correct, declaring, “American troops cannot and should not be fighting in a war and dying in a war that Afghan forces are not willing to fight for themselves.” U.S. leaders faced an impossible choice, probably with no possible good outcome.

It is unquestionably inhumane for the world to leave the Afghan people to the whims of tyrants. But the American people, particularly military families, have understandably had enough of “endless wars.” Who will step up to fill that vacuum? The United Nations was created, in part, for precisely this sort of moment but it has been, in many ways, corrupted and deracinated from the humanitarian foundations on which it was created.

If there were an easy solution to this quagmire, you wouldn’t be reading it in the pages of a small Jewish newspaper on the Pacific fringe of the continent. We have little beyond hopes and prayers to offer the Afghan people.

The fall of Kabul almost certainly represents something enormous, although we may not understand yet the full implications.

The beginnings and ends of historical eras are not always visible to those who live through them. Our current era, which began almost exactly 20 years ago, on Sept. 11, 2001, in some respects, came to an end this month with the U.S. pullout from Afghanistan.

Many observers have compared the chaos at Kabul airport with the Saigon airlift in 1975, when America fled, as some put it, with its tail between its legs. Forty-five years later, America remains a force not to be trifled with. But neither is it the undisputed powerhouse it was since the Second World War. Whether it remains a recognized (and feared and respected) superpower – or whether the fall of Kabul is a bookend to the fall of Saigon in the longer fall of America – remains to be seen. Whatever eventuality, America is no doubt diminished.

This comes, not coincidentally, as central Asia and the Middle East roil with instability and the broader troubles of that part of the world will certainly present problems for Israel. But Israel has faced existential threats throughout its history and will most likely adapt to the new reality.

The events of recent weeks will have many consequences we cannot yet foresee. One thing is particularly notable, however. Hamas, who control Gaza, sent a message of congratulations to the Taliban for “defeating” the United States.

With thankfully few exceptions, no one believes the Taliban to be a force for any sort of good. When people who for decades have defended or apologized for Hamas violence against Israel are faced with the realization that Hamas and the Taliban are ideologically adjacent, will that alter the attitudes to the Israeli-Palestinian conflict?

We won’t be holding our breath.

Format ImagePosted on August 27, 2021August 26, 2021Author The Editorial BoardCategories From the JITags Afghanistan, conflict, geopolitics, Hamas, Taliban, United States
Brian Jessel BMW turns 35

Brian Jessel BMW turns 35

Brian Jessel has loved cars since he was a kid. (photo by Alfonso Arnold)

Brian Jessel chose one of the most consequential years in Vancouver’s history, 1986, to embark on his self-named BMW dealership. Since Expo 86, both the city and Brian Jessel BMW have changed, but, according to Jessel, one thing remains constant.

“We take a personal approach to the car business. We cherish our relationships with our clients and like to spoil them and treat them as VIPs. This is how I want to be treated, so this is how I grow my business relationships,” Jessel said in a recent interview.

And he also works to grow community. Among the organizations that have benefited from his philanthropy are Jewish Federation of Greater Vancouver, Jewish Family Services, Congregation Schara Tzedeck, Lubavitch BC, the Jewish Museum and Archives of British Columbia and the Isaac Waldman Jewish Public Library.

In the general community, Jessel’s Cabriolet Charity Galas, started in 2004, are among the premier philanthropic events of the year in Vancouver. The annual galas, which raise money for pancreatic cancer research, have brought in more than $2 million and have seen the likes of talk show host Jay Leno and blues singer Colin James perform in the past.

Enthusiasm for the automobile runs in Jessel’s family. His father, Bernie, a leading figure the Toronto car market, instilled a fascination with the industry – an excitement that has carried through to future generations.

“I loved cars from the time I was a toddler; it’s probably in my DNA. I now have a 4-year-old grandson who is exactly the same; he sleeps with cars in his bed and won’t let go of the steering wheel if he gets into the driver’s seat. I bought him and his 6-year-old brother cars – yes, real cars. I just need to wait 12 years to give them to them,” he related.

The desire to be in the car business maintained such a strong pull for Jessel that other career possibilities did not stand much of a chance.

“I went to university (in Michigan) but never graduated – I wanted to get to work. I interviewed at a prestigious Bay Street stock firm and was accepted for the position, but I never started. A couple of weeks later, I was selling cars at a classy GM dealership on the west side of Toronto,” he recalled.

Eventually, in 1972, he made it out west, opening his first used car lot with six automobiles on a leased space at Burrard and 1st Avenue. Jessel sensed the appeal of foreign cars, even back in the 1970s, and turned that first car lot into a Fiat dealership – along with selling pre-owned vehicles, specializing in imports.

“These were days when, if a Jag went down the road, people stopped and looked,” said Jessel, who also attributes his success to having the gumption to take a chance when opportunity comes calling.

Before establishing itself at its current location in Vancouver in 2004, Brian Jessel BMW operated out of locations in Langley and Coquitlam. Today, it occupies a 66,000-square-foot new-car facility on Boundary Road, with an additional 36,000 square-foot pre-owned-car space nearby. Brian Jessel BMW sells more than 5,000 cars a year.

Jessel gives much of the credit to his staff for his thriving business. “Our people are knowledgeable but also warm and engaging,” he said. “And we are laser focused on all things BMW. We aren’t using a cookie-cutter format that works for selling everything from Bentley to Hyundai, like large dealership groups need to be. Yet we are the size of five dealerships, so we still have all the economies of scale of the multi-brand.”

When asked about the differences in running a dealership now as opposed to 35 years ago, he said, “As with everything in the world, the computer has changed how cars operate. Twenty years ago, I went to Europe and drove the upcoming BMW 7 Series. It had a dial in the centre console that controlled many of the car’s functions. Auto journalists hated the iDrive System when they first saw it. Now, almost every manufacturer has followed BMW’s lead and has a similar operating system.”

And there is the move to electric vehicles as well.

“The new frontier is the electric car. There is a mystique I like about electric cars,” he said. “They are so quiet and have amazing low-end power. I still love the feeling of an internal combustion engine, however, it is inevitable that electric vehicles will dominate by the end of this decade.”

Brian Jessel BMW has started taking orders for the new BMW iX, as well as the four-door sedan version, the BMW i4 – both of which are fully electric.

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

Format ImagePosted on August 27, 2021August 25, 2021Author Sam MargolisCategories LocalTags BMW, Brian Jessel, business, cars, electric cars, entrepreneurship, philanthropy

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