A collage of Israeli wildflowers. (MathKnight/Wikimedia Commons)
Every year, spring returns like a miracle and Israel is carpeted with wildflowers. There are nearly 3,000 types of wild plants in this tiny land, a wonderful profusion – among the most abundant on earth, growing in deserts and marshes, mountains and forests, and open fields.
We protect the wildflowers in Israel. Nature reserves prohibit picking any flowers, even the most common, which helps them propagate over wider areas. In turn, this brings the sunbirds, who feast on their nectar.
The Song of Songs, which we read every Passover, is the most beautiful love poem in the world. King Solomon wrote it as a dialogue between a young shepherd and his beloved: “Rise up, my love, my fair one and come away / For lo, the winter is past / The rain is over and gone / The flowers appear on the earth / The time of singing is come / And the voice of the turtle is heard in the land.”
The flowers he refers to, nitzanim, still carpet the fields – red poppies flaunting scarlet beauty in the grass.
In the Jerusalem Forest, cyclamens bloom in the crevices between the rocks. Called “Solomon’s Crown” in Hebrew, they lift their pink, cream or lilac heads on slender stalks. Clumps of wild violets, the dew shimmering, add their touch of magic.
We had good rains this winter and they have left a bequest of green. The Sharon Valley is dotted with tulips and narcissus – “I am the Rose of Sharon, a lily of the valleys.”
It is believed that King Solomon was referring to the black tulips of the Galilee. In spring, even the weeds are beautiful – the milk vetch (gadilan), which is just a common thistle, adds purple blooms to the roadside. The rock rose (labdanum) flowers abundantly in forest glades, and the orange ranunculus bursts forth. Like its velvety cousin, the anemone, it is a protected wild flower in Israel.
The perfume of daffodils, which delighted our winter, still wafts on the breeze, and the white, cream, yellow and blue noses of lupins are pushing through the soil. Oleanders are in bud, growing wild by the banks of the River Jordan and near streams in Galilee, promising summer. And the blue statice reminds us that we, too, have a Mediterranean coast like the famed Riviera – this sea plant flowers from spring until mid-summer, when its corolla drops off and only the sepal remains.
When you see the splendour of the land’s spring glory, the wildflowers glowing, you’ll echo the poet’s words: “Had I but two loaves of bread, I would sell one of them and buy white hyacinths to feed my soul.”
Dvora Waysmanis a Jerusalem-based author. She has written 14 books, including The Pomegranate Pendant, which was made into a movie, and her latest novella, Searching for Sarah. She can be contacted at dwaysman@gmail.com or through her blog dvorawaysman.com.
Pam Wolfman is chair of the Yom Ha’atzmaut committee and Geoffrey Druker leads the Yom Hazikaron committee. (photos from Jewish Federation)
For many years, Vancouver has been home to North America’s largest celebration on erev Yom Ha’atzmaut. While Israel’s Independence Day is marked in many cities around the world, Vancouver is unusual in that it marks the occasion on the day it occurs – many bigger communities celebrate on an adjacent weekend or later in the spring. The event is usually the largest Jewish community gathering of the year in British Columbia, which is a statement about the connection between Vancouver’s Jewish community and the state of Israel, say organizers.
Last year, with the pandemic declared mere weeks before Israel’s anniversary, the tough decision was made to cancel the local event and join an international celebration convened virtually by Jewish Federations of North America.
While Pamela Wolfman, chair of the Yom Ha’atzmaut committee of the Jewish Federation of Greater Vancouver, wishes the community could come together in person, being online does have a silver lining – it allows the program to be more expansive. Every Yom Ha’atzmaut features an Israeli musical performer or group. This year, the committee has arranged for five performers who have joined the Vancouver celebrations in years past to return in a virtual “best of” concert.
“We decided to bring back five of the favourite artists from recent years who performed here already, so they already had a connection with Vancouver, they’d already visited us and gotten to know us and vice versa,” said Wolfman, who has chaired the event since 2014.
She credits Stephen Gaerber, who preceded her as event chair, and his brothers and father, as the impetus for the focus on Israeli talent at the annual get-together.
“Our community really responds to that,” said Wolfman. “A majority of our community really does feel connected to Israel, wants to celebrate all the positive things about Israel. We want to take a break from the news and we want to celebrate Israel, the miracle of Israel – Israeli art, Israeli culture, Israeli music – and to do that together is just really fun for everybody, really positive.”
Wolfman herself became involved via an earlier involvement with Festival Ha’Rikud, the Jewish Community Centre of Greater Vancouver’s festival of Israeli dance for young people. Since the festival began 18 years ago, the kids have participated in Yom Ha’atzmaut celebrations every year.
“This year, especially, there’s a lot to celebrate, with everything positive that’s going on with Israel … with the Abraham Accords, with the vaccine rollout, it’s a really good year to get together and celebrate – and lots and lots of great music has come out of Israel this year, too.”
In addition to the “five favourites,” Wolfman promises “cute kids and a few surprises.” Lu Winters and Kyle Berger will emcee, and keep an eye out, as well, for many other familiar faces, as scores of community members have come together virtually for a community song – the iconic 1970 Israeli ballad “Bashana Haba’ah” (“Next Year”).
Since the community event always sells out, this year’s virtual version will turn no one away – plus, it’s free. (Donations are welcome during registration at jewishvancouver.com. Food can also be ordered online via links at the same time.)
There can be no Yom Ha’atzmaut without Yom Hazikaron. Israel’s Independence Day is celebrated the day after Israel’s national day of remembrance for those lost defending the country or killed in terror attacks. This year’s commemoration of Yom Hazikaron will also be online, but the committee, led by Geoffrey Druker, has experience at a virtual version of the solemn commemoration – they delivered a virtual commemoration last year.
Like Yom Ha’atzmaut, Yom Hazikaron holds a special place in Vancouver’s Jewish community. Many other cities in North America mark the occasion, but ours is somewhat unusual, said Druker. Gaby Peled, an Israeli-Canadian who passed away in 2019, was pivotal in structuring our commemoration along the lines of the Yom Hazikaron he knew on his kibbutz, Givat Haim.
When Druker, also from Israel, arrived here in 1988, he was surprised to discover how many members of the Vancouver Jewish community had lost loved ones – family and friends – in Israel’s various conflagrations. A slide show every year remembers the individuals who are connected to British Columbians – and, every year, more faces are added. Often, local people have not shared their stories of loss, and so, as they come forward with their experiences with bereavement, their people are added to the ceremony. Druker invites anyone to contact Federation to add a loved one to be acknowledged and mourned communally.
This year’s gathering will share the story of, among others, Shaul Gilboa, a pilot shot down in 1969 and a cousin of Vancouverite Dvori Balshine. Shimi Cohen will remember his brother, Shlomo Cohen, by reciting Yizkor.
“The ceremony itself is for the bereaved families,” Druker said. “That’s how I see it. We want to remember their loved ones and we want to give them a community hug to recognize their loss and their pain. Everything is geared toward that.”
The event has grown significantly over the years, partly because the Israeli population in Metro Vancouver has grown significantly. Many or most of the participants in the annual Yom Hazikaron commemoration have Israeli ties and it is a hugely significant day in Israel.
The virtual format does not allow the person-to-person interaction that a regular gathering does, where people can share condolences and commiserate, said Druker. But virtual is absolutely preferable to no commemoration at all.
“It’s a significant date for many,” he said, “so that’s why we have to keep going.”
“Sometimes Being Human … Can Be Hard” by August Bramhoff.
The Jewish Community Centre of Greater Vancouver’s inclusion services’ third annual art exhibit at the Zack Gallery is on display this month. And people can meet the artists at a March 23 virtual reception.
“For the last two years, the JCC has celebrated Jewish Disability Awareness and Inclusion Month through an art exhibit that interrogated and explored themes of community longing and belonging,” Leamore Cohen, inclusion services coordinator, told the Independent. “We asked artists of mixed ability: How do we make meaning of the concept of community, the real and the imagined spaces we inhabit? What does community longing look like and what are the possibilities for belonging in an ever-changing world?”
This past year, the world has changed almost beyond recognition. “In Vancouver, we are nearing a year since the COVID pandemic shut down our city and transformed all aspects of our social world,” acknowledged Cohen. “However, while we were isolated, we also saw our creativity flourish.”
In the two previous exhibits, artists responded enthusiastically to inclusion services’ challenge, unfolding a fascinating slice of society through their art, and both shows were successful, well-attended cultural events. Unfortunately, the pandemic has moved most of our interactions online, and so it is with this new show, though it is also available to view in-person by appointment.
The participating artists are of differing abilities and artistic levels, so the artforms vary. There are paintings and multimedia collages, figurative and abstract imagery, landscapes and still life. Some pictures are disturbing in their naked emotional pain. Others are quietly sad, or funny, or absurd. One thing is universal: the artists’ willingness to express their feelings, both in their art and in words, as each piece is accompanied by its creator’s short writeup.
It is impossible to mention all 57 pieces on display, but here are a select few to represent this multifaceted show.
August Bramhoff’s painting “Sometimes Being Human … Can Be Hard” depicts a woman sitting, alone. She is sewing or knitting. The painting’s muted colours permit no joy. There is obviously no one there with her, even beyond the edges of the painting. The woman’s isolation and loneliness are palpable despite the spare simplicity of the image.
The artist wrote about his painting: “My main practice is analogue photography, with a focus on street photography…. This is the first painting I’ve created in over 10 years. The inspiration for this work is from a feature film. It captures the sense of longing and displacement we all seem to be juggling during the COVID shutdown.”
In contrast, Tracy-Lynn Chernaske’s “Whispers” is a dreamy landscape. The moon shines over the night forest and a trail of shiny fog weaves its way between earth and sky. Maybe it is just the weather. Or maybe the fog illustrates our mutual desire to connect with one another. Maybe it is a whisper of our souls.
The artist explained: “Community is … a place and a way to tell stories and journeys so they can be witnessed, heard and held. They are a way of bonding together … and the need to push away and seek out new and more fitting spaces.” According to Chernaske, we all nourish “the invisible threads of relationships that cross borders, land, sea and time.”
In Evelyn Finchman’s “Roots” – an abstract composition in the earthy colours of brown and beige – interconnected spirals, lines and shapes allow the viewer’s imagination to stir. Is it food? Is it a surreal terrain? A carpenter’s schematics?
“Belonging to a community is much more than interacting with our societies and being accepted by our peers,” mused Finchman. “This year, I realized how important it is to coexist within the nature that surrounds us…. There is no human life if we don’t respect all living beings on our planet and understand that we are part of the whole environment.”
“Roots” by Evelyn Finchmann.
Another artist who touched on the theme of nature and its connection with humanity is Peggy Logan. Her painting “Flowers Adrift” shows single blooms, all different – a tulip, an orchid, a daffodil, a daisy – but all similarly pale and faded, bobbing on the blue background. The image seems dejected and symbolic.
“The piece of work I have created,” said Logan, “is about that sense of disconnection that exists now with friends and family with restrictions on travel, social distancing, and isolating inside. This image is about the lack of roots the flowers have as they float over the water via the internet.”
Symbolism is also the main approach of Theresa Moleski in her painting “Life In and Beyond our Bubble.” The painting is dark, almost black and white. A tree is imprisoned inside a sharply delineated bubble, striving to get free. But there is something vaguely optimistic outside the bubble, too. And the artist expressed herself in no uncertain terms in her writeup: “COVID or not, I will continue my journey as an artist!”
While most of the images in this show are serious in tone, a few offer a humorous slant on our very human follies. Danielle Haslip’s painting “First Date Red Flags” is a tongue-in-cheek exploration of dating. Its style – childlike and undeniably funny – includes a figure with lots of teeth. You see it and you know: something is gonna bite.
“Reflecting on my own personal growth, as I wait for conditions to be safer for meeting people, I thought I’d be cheeky and depict an exaggerated vision of dating, in which we can either fall prey to manipulative people, who mean us harm, or attempt to force a connection with someone who is not a good fit for us,” wrote Haslip.
Another smile-inspiring work is Paul Leighton’s “Not Over the Moon Yet.” On the painting, a sad cow is floating on a cloud. Or is it an island? The style is two-dimensional, but the meaning is much deeper. Is the poor cow attempting to fly away from stupid humans? The artist thinks so: “My approach to the theme of longing and belonging is to use oblique humour to ponder unfathomable human global problems through the lens of the preposterous…. An individual, no matter how earnest, can’t solve all the interrelated problems of the Anthropocene or rescue a cow fleeing into the clouds,” said Leighton. “However, social pressure and citizens’ assembly can help.”
“Not Over the Moon Yet” by Paul Leighton.
And then there are paintings like Gail Rudin’s “Home is Where the Heart Is.” Folk art in style, it is heart-warming in its essence. It reminds all of us of the importance of home.
The show is on display at the gallery until April 2. To view the exhibit anytime or attend the March 23, 5 p.m., reception, visit jccgv.com/community-longing-and-belonging.
Olga Livshinis a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
Spring and the holiday of Passover are all about renewal and hope. This year, as our elders begin receiving the coronavirus vaccines and our economy appears to be recovering from the most critical disruption in living memory, things seem promising. We anticipate fleeing our bondage of social isolation and being transported to a land, if not of milk and honey, at least to a place of mixing and hugging.
We have (hopefully) learned a great deal. There have been many opportunities to benefit from the disruption in our lives. At the individual level, we may have learned new skills or crafts – like cross stitch or baking sourdough! – or used the time to study new fields or languages. On the collective level, we have learned that the entire world, regardless of governance, religion, language and every other difference, could mobilize (albeit not equally well) to respond to a crisis.
We also learned that, when necessary, many governments and societies could rise to the occasion (again, with different levels of competence) to save lives. Billions of dollars were “found” to save potentially devastated economies and support businesses and households. Scientists and medical professionals cooperated across boundaries to search for vaccines and to care for the ill. Ordinary people – not just first responders and others in the direct line of care but grocery clerks and those who provide services previously taken for granted – became heroes of the moment.
As the months dragged on, divisions emerged. People and their governments sometimes differed on the best responses, or any response at all. A cohort emerged questioning everything, from the best ways to stop the spread of the virus to the very existence of the virus that has infected more than 100 million and killed more than 2.5 million.
As we hopefully approach the beginning of the end of this extraordinary era, let us remember its beginning – not the fear of the unknown that engulfed us, but the unity the world seemed to exhibit in coming together to confront a danger that knows no borders.
Imagine the challenges we might be able to face and resolve if we could mobilize the world the way we did in those earliest moments of the pandemic. Can we come together to finally confront the climate emergency, which could be every bit as fatal as an unchecked virus if not addressed? Can we unite to overcome racial divisions and inequality? Can we even marginally close the chasm between richest and poorest in Canada and across the planet?
The incredible hurdle that was thrown across our civilization’s path a year ago showed our capacity for coming together when the stakes were high enough.
There are a lot of areas where the stakes are high. Can we take the lessons we’ve learned over the past 12 months and apply them there?
Illusionist Vitaly Beckman fooled the famous Las Vegas duo Penn & Teller on his first appearance on Penn & Teller: Fool Us, in Season 3. Now, four years later, he will attempt to do it again – this time, filmed remotely from Vancouver, and with only a virtual audience. The episode airs March 19, 6 p.m. PST, on CW Network, and the appearance will later be posted online.
The performance will be shot so as not to allow any camera trickery, and the secret of the act will be disclosed to a judge, who will be watching Vitaly’s act, as well as listening to every word Penn & Teller say to see if their guess is correct, or whether Vitaly will be receiving a second Fool Us trophy.
Vitaly, most recently, had his show produced off-Broadway by Daryl Roth, whose producing credits include Tony winners such as Kinky Boots and Indecent. Vitaly was booked for a 16-week run at New York City’s Westside Theatre, where Penn & Teller started their careers in the 1980s.
From making drawings and paintings spring to life to making audience’s faces disappear from their own driver’s licence photos, Vitaly’s illusions have never been replicated anywhere in the world. (See jewishindependent.ca/a-wonder-full-evening and other articles on the JI website for more on Vitaly.)
Watch facebook.com/vitaly.beckman for news of what happened on March 19, if you can’t watch Penn & Teller: Fool Us that night.
Anton Lipovetsky is among the professional artists working with Studio 58 to develop Monoceros: A Musical. (photo by Dahlia Katz)
In the face of a pandemic and all its associated restrictions, the show is going on at Langara College’s Studio 58 – albeit in a very different way. Monoceros: A Musical runs through the end of March and features the contributions of two Jewish community members: writer Josh Epstein and composer/lyricist Anton Lipovetsky.
In contrast to other Studio 58 productions, Monoceros is seen as a “development lab,” an opportunity for the creators to tweak the piece, while allowing students to work on a new musical and learn about the process. The production is not a performance in a traditional sense, as the public will not be able to come and watch it. Ordinarily, shows are performed in Langara’s 100-seat theatre, but this is the first time Studio 58 has created a production outdoors – because of the risks of singing inside.
Josh Epstein (photo from Studio 58)
Adapted from a Suzette Mayr novel by Epstein and his business partner, Vancouver writer/director Kyle Rideout, Monoceros tells the story of Faraday, a high school wallflower who dreams of becoming a famous veterinarian. When Ethan, a classmate known for wearing a unicorn outfit, dies unexpectedly, Faraday sets off on a quest to fulfil Ethan’s last wish.
“The book starts with one of the most powerful chapters I’ve ever read,” Epstein told the Independent. “I was engaged from the first sentence, my heart was drawn to every word. I, too, lost my best friend much too early and I felt very connected to this book. We were about to turn the book into a film, for which we had funding, but, at the same time, we felt a musical bursting out of it and attached Ben Elliott and Anton to write the music. We fell so in love with the musical that we halted the film for now to keep working on the piece. Our show tackles difficult subject matter but in a fresh, humorous way, daring the audience to go on a wild adventure and to listen.”
“I read the book and I loved it. It was heartbreaking and brutal and honest – the kind of book that really stays with you after you read it,” said Lipovetsky. “We decided to centre the story more on a singular character, Faraday, and her quest to bring unicorns to Calgary in honour of the student who passed away. Her quest challenges who she is as a person and she discovers herself along the way.”
Putting on a production in 2021 is “completely wild,” said Epstein, an award-winning actor, writer and producer. “Until the day we started, we had no idea if it would actually happen. Now, here we are with a full tent city built by Studio 58, a rock concert sound setup and an incredible creative team that includes one of Canada’s top directors, Meg Roe, and Lily Ling (Hamilton’s musical director) – who was only available to us because Hamilton is on hiatus.”
Epstein emphasized that, “while the show’s path has been altered by COVID-19, the team has used the time to strengthen the script and score, as well as attach some of the best people around [to the project]. Above all, the process is very safe and we’re having fun being able to work together, if only from a masked distance.”
“Acting, singing and connecting with your collaborators while most of your face is covered is not easy. The students are doing a wonderful job,” Lipovetsky said. “And rehearsing outdoors during early March in Vancouver can be challenging – but sometimes it’s magical. There are moments where the students’ voices soar in beautiful harmony and the sun will come out above us and I’ll feel real joy. I have missed making music and theatre so much and I’m grateful to get to do it even under these strange circumstances.”
In addition to the staff and faculty who are involved, Studio 58 has 10 professionals working with the students, 14 student performers, and many other students helping with technical requirements. One of the top theatre schools in Canada, with the only conservatory-style program in Western Canada, the professional theatre training program at Langara is in its 55th season. It typically produces four main-stage productions a season, ranging from dramas, to comedies, to musicals.
Monoceros is commissioned and supported by Toronto’s Musical Stage Company and funded by the Aubrey and Marla Dan Foundation. The show has an elaborate development road planned out that will include workshop productions in British Columbia and Ontario – culminating in Toronto – before continuing to other stages.
Epstein, whose work has taken him around the world, is currently writing an original feature for Paramount with Rideout. Lipovetsky is an acclaimed composer, lyricist, performer and teacher, and he is currently an artist-in-residence in the Musical Stage Company’s Crescendo Series.
For more information about Studio 58 and its programs, visit langara.ca/studio-58.
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
Yvette Gagnon holds one of her works. (photo from Yvette Gagnon)
Yvette Gagnon, a local French-Canadian multimedia artist, uses a unique technique: she combines acrylic paintings with mosaics. The glass shards she glues to her canvasses create a three-dimensional effect, while supplying a glittery, festive atmosphere for every one of her joyful images. Her flowers wink and grin at you. Her trees hang over your head, their dense foliage providing shade from the sun and homes for the birds. Her works, decorative and bright, infuse many local homes with her enthusiasm and imagination.
In a recent interview with the Jewish Independent, Gagnon reminisced about how her artistic path began.
“My grandmother lived next door to my family when I grew up. She was always creating something, and I loved that she always included me in her little art projects,” shared Gagnon. “One morning, I remember running in our backyard and I was blown away by the wildflowers that had opened over the night. I ran to my grandmother’s house, to her craft room, and, with an idea in mind of what I was going to recreate, I started to work. When I was done, I was so proud of myself for having created something so beautiful on my own.”
Completely self-taught, creativity runs in her family. “My parents were very creative,” she said. “They didn’t call themselves artists. My father was a carver. My mother sewed all the clothes for our family. I believe my artistic gift came from them.”
Gagnon has worked different jobs over the years, some art-related, some not, but her creativity was always present, always illuminating her life. She was a painter before she started using glass.
“When my kids were growing up, I created a lot of folk art. It was popular in the ’70s,” she said. “Then, I gradually progressed to teaching myself trompe l’oeils and started painting murals for my clients.”
The idea of using glass in her paintings came when she was working as a home and office decorator. “It happened about 30 years ago,” she said. “I was picking up glass shelves for a client and I found myself looking at tons of shattered glass on the ground in the shop’s backyard. I thought to myself: what can I do with this stuff? I asked the owner if I could take some, and he said, yeah sure. I took bags of glass home, washed it, put it in my closet, and started dreaming how I could create with it. Later, I used the glass to make large pieces for my clients. I think this technique has endless possibilities.”
Gagnon’s method lends itself beautifully to various art styles and themes. One of the pieces she produced recently was “The Tree of Life” for Jewish community members Irv and Betty Nitkin.
She originally met them not through her art but through Jewish Family Services. “I worked for JFS for three years, and my specialty was cooking. That’s how I met Irv and Betty Nitkin,” she explained. “I’ve been cooking for them once a week since the beginning. They have become like family over the years. They knew I was passionate about my glass art and they commissioned me to make ‘The Tree of Life’ for them.”
Trees and flowers are common features in Gagnon’s art. She loves gardening, and her garden is a constant source of inspiration. She has created a large series of painting dedicated to flowers.
Another inspiration is traveling. For years, she took in foreign students. “I was a ‘host mom,’ and kids from all over the world stayed with me,” she said. “They came from South America, Germany, France, the U.K. Long after they returned home, I might call them and say: I’d like to visit for a week or two. We made great memories during those visits. Not only did I get to see my ‘kids’ again, but I also met their parents. Those trips were fun.”
“French Cottages” is artist Yvette Gagnon’s most recent series. (photo from Yvette Gagnon)
One of her latest trips – to France – inspired her latest series of paintings, “French Cottages.” A former home-stay invited Gagnon to visit them. “I spent a month in France. We walked around and talked. On the weekends, we drove to garage sales in the old villages. I went nuts taking pictures of the old architecture. Later, I couldn’t believe how many photos I took there. I photographed doors, windows, stairways and flowers. When I looked through those pictures after I returned home, I thought they were gorgeous. They reminded me of what I experienced there. I decided to base my newest series on them.”
Of course, the pandemic put a stop to other travel plans, but Gagnon hopes the situation will change soon. “I’d like to go to Thailand,” she said. “They have amazing art and nature. Maybe I would find my next series there.”
COVID also disrupted her exhibition prospects, as it did for the majority of artists. “Right now, my only exhibit is at Hollyburn Country Club, but, unfortunately, only members are allowed in,” said Gagnon. “The other exhibits were recently taken down. With COVID, it’s really hard. I feel it is artists’ biggest challenge now: finding venues for our art. But I’ve been invited to display my glass art in virtual galleries in New York, London and South America. And, of course, the hallway in the building where I live, off Commercial Drive, has many of my pieces.”
In all her paintings, Gagnon uses exclusively clear glass. “I never wanted to use coloured glass – I paint over the glass or leave it as is, especially on the black background. It all depends on my muse,” she explained. “Glass gives texture and depth to my pieces. They become more realistic with it.”
In the past, she could get all the broken glass she wanted for free, but that is no longer the case. “Now, for whatever reason, they don’t give away broken glass anymore,” she said. “I have to buy sheets of glass from a company in Abbotsford and then I break them up myself. I use every fragment of glass, large and small. I’m frugal this way. My parents and grandparents would be proud of me. I learned my frugality from them. I don’t waste anything.”
More often than not, the sizes and shapes of the glass in her storage bins direct her next painting. Wherever her glass leads, she follows.
Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
I recently was appointed board chair for Tikva Housing Society. When I was asked to join the board three years ago, I knew nothing about Tikva or their invaluable work. However, as a real estate professional, I did have a keen understanding of the housing affordability crisis in the Lower Mainland, and knew that our Jewish community was not immune to the crisis. Hence, I understood the importance of Tikva Housing, which is why I joined the board.
Tikva is a charitable, nonprofit society providing access to affordable housing for low- to moderate-income Jewish individuals and families. Every year, in March, the society turns to the generosity of the community to support its mission and now, more than ever, Tikva needs that help.
The widespread effects of COVID-related job loss have placed many members of our Jewish community at risk of homelessness. Tikva offers short-term rent subsidies for those living in market rental housing who are facing a temporary crunch and are unable to afford their rent. The demand for this kind of assistance has increased greatly in the last 12 months. The amount of subsidies that we can provide is directly in correlation to the amount that we can raise from private donations and foundations, and donations are urgently needed to help people stay in their homes. There are already more than 200 Jewish people on a waitlist for affordable housing, and the demand is only growing.
With all levels of government focused on affordable housing in general, we are seeing numerous initiatives being considered and Tikva is in conversation with government agencies and housing developers to explore new partnerships. Currently, Tikva owns and/or operates 61 affordable housing units in the Lower Mainland: 11 units at Dany Guincher House in Marpole; 18 units at the Diamond Residences (Storeys) in Richmond; and, thanks to the Ben and Esther Dayson Charitable Foundation, 32 townhomes were added last summer. The Ben and Esther Dayson Residences in Vancouver’s River District form a family-oriented community with more than 60 children.
This coming summer will see Tikva tenants occupying 37 units at the Arbutus Centre on Yew Street. The cost to Tikva will be a nominal $1,500 per unit annually, and the Diamond Foundation has pledged to cover this expense for all 37 units for the first five years.
In 2022, 20 units on the third floor of a five-storey building will be home to Susana Cogan Place. In partnership with Polygon, BC Housing will provide full financial support for this project, which is named in memory of Tikva’s founder and affordable-housing trailblazer, Susana Cogan, z’l.
Expanding Tikva’s affordable housing portfolio means that more low- to moderate-income Jews can stay close to their synagogues, schools and the multitude of Jewish community amenities. While Tikva Housing will operate a total of 98 units by the end of summer 2021 and 148 by the end of 2022, it’s still not enough to meet the needs.
Housing is the cornerstone and foundation of a dignified life. The Hebrew word tikva means hope. Please support Tikva Housing Society’s current campaign, which runs to March 22, and help us bring hope – and housing – to those most in need in our Jewish community.
Visit tikvahousing.org or call 778-998-4582 to donate and for more information.
When we think of Pesach, the theme that emerges is: “We were slaves of Pharaoh in Egypt, but the Lord brought us out of Egypt with a mighty hand.” As slaves, we endured years of torture and hardship, with no choice but to obey the edicts of the Pharaoh. In essence, we were powerless. Those addicted to either drugs, alcohol or a behaviour (think gaming, gambling) are slaves as well. They are chained to a disease that has control over their lives – their brain has been kidnapped into thinking “this is what I need to live, to survive.” They no longer have freedom. Often, the notion that they can break free is beyond what they can envision.
When the Jews left Egypt, their days in the desert were a struggle. Some wondered why they left what they knew for the unknown. Yet, here they were. With manna for food, a cloud for protection, they wandered for 40 years: a long, hard journey to learn how to live with their new-found freedom.
When someone initially breaks the chains of addiction, the struggles they face are no less daunting. There is fear, a sense of loss; a feeling of, will this work? Can I be successful? Will I be better off? In essence, they can feel like they are in a desert.
To assist individuals in the precarious time of new-found freedom, JACS Vancouver has launched the Sustaining Recovery program: a wrap-around service that supports clients with individual counseling, assessment and program planning.
Working with our client, we together build and implement a personalized set of supports and tools that focus on where they are in their journey, and what specific supports they need. When the opportunity arises, we help them focus on identifying the forces, triggers and/or messages that are beneath the surface of their addiction. They learn how to make different choices, where to go for help and how to recognize that life is better, health is possible.
The path to freedom, as our ancestors found out, was not easy – nor is it for those wanting to sustain recovery from addiction. With personal willingness and commitment, and solid and constant support, success and a purposeful life is within reach.
Shelley Karrel is a registered clinical counselor, and is manager of counseling and community education at JACS Vancouver. For more information about JACS, contact shelley@jacsvancouver.com.
One of my twins is always looking for something new to learn online. For awhile, he was fascinated by a Massachusetts service dog project, where Great Danes are trained to provide support to those with balance and mobility impediments. He found this amazing service dog program through the website explore.org. It has live cams of animals all over the world. While we’re not traveling anywhere, my kid is bird watching, seeing service dogs, polar bears, and more. When we least expect it, he rushes up with his iPad and demands that I admire a nesting owl, or that his biologist dad identify an animal he’s never seen before.
This kind of intellectual curiosity is something I’m excited to see. Open-ended questioning about the world and how it works is a special kind of Jewish exploration. This intensity and enthusiasm is how we delve into studying Torah and Talmud, or how we engage with the world in general.
Passover is an obvious time to think about questions and how we approach and answer them. Our families have been telling the Exodus and “Once we were slaves and now we are free” story for thousands of years! Still, our questioning can’t just stick to the Four Questions and be done. Sometimes, even with good intentions, we get hung up on the rote narrative of the seder. We know we have to get through it. We start at the beginning and head to the end. It’s a yearly ritual routine, punctuated by matzah, lots of other foods, wine, and, in normal times, family and guests.
When we were first married, I once attended a smaller seder with some of my husband’s family. I was excited and nervous to engage over the Haggadah’s ideas – but it didn’t turn out as I expected. The family was committed to getting through the ritual traditionally and to the food part. They looked uncomfortable when I tried to talk about ideas or ask questions. In retrospect, I realized I knocked them off their game. There was a seder routine – and I wasn’t following theirs.
My other twin is also learning. He’s not into the animal live cams. Instead, he comes up with questions about school projects. He brainstorms and makes suggestions, even when they’re not welcome. The remote learning teacher suggested he limit his research on one social studies project to their “class time” online rather than do more research later.
Of course, the minute he logs off, I help him look up his questions and learn – whenever he wants. His teacher maybe wants to slow down the group learning, or avoid making more social studies lesson plans, but feeding intense curiosity with knowledge helps enthusiastic learners blossom. In my experience, putting somebody off when they want to learn more feels negative and does the opposite.
For many people, the pandemic has knocked them off their game. Losing regular routines may have felt negative. As people anticipate getting vaccinated, they talk more about which things they miss the most and long to do when things return to “normal.” For another view, I recently read a CBC news article that quoted David Eagleman, a neuroscientist.
Eagleman suggested that, in fact, the pandemic might be good for people’s brains, because the huge lifestyle changes we’ve experienced have forced us off our “path of least resistance.” We’ve been forced to be more flexible and innovate. This can be positive for our brain health. In some cases, forcing our brains to adapt may result in positive growth and changes in our work or home lives.
In a Jewish context though, when we consider our ritual routines, we must balance the comfort of what’s familiar with the opportunity to learn. Questioning and continuing to grow intellectually are valuable, particularly during Passover.
In the talmudic tractate of Pesachim, on page 105a, there’s a discussion about when to say certain blessings such as the Kiddush. Should we interrupt a meal in the middle to do Kiddush? Rav Hamnuna the Elder says, “You don’t need to do this, because Shabbat establishes itself.” In other words, our holidays, like Shabbat or Pesach, will happen whether we are ready or not. We must automatically rise to the obligations associated with them. So, yes, we do a lot of things by rote and habit.
Even so, the next page, Pesachim 106, teaches that there are times where leaders must do things extemporaneously, or work to learn more to figure out what to do. A good leader both continues with the routines and remains able to ask questions, be flexible and learn.
It’s too early for me to conclude whether our freeform research online this year has helped my twins become lifelong learners. (I hope so!) I don’t know if observing animals via live cam will result in a career like field biologist or even a hobby like bird-watching. Whatever they choose, creating a routine-based learning environment that encourages and cultivates questioning, improvisational thinking and flexibility may go a long way towards helping them succeed later on.
It’s true, as Rav Hamnuna the Elder explains, that holidays happen whether or not we’re ready for them. As Rabbi Sari Laufer explains on My Jewish Learning’s explanation of Pesachim 105, “Kiddush doesn’t make Shabbat begin, we make Kiddush because Shabbat has begun.” Yet, once our holidays begin, it’s our obligation to engage with them, to learn and to question.
“Due to the pandemic” is a phrase we’ve heard too often, usually in relation to cancelations or programs offered exclusively online. Perhaps we might add a positive “due to the pandemic” twist. We’re forced to be more flexible thinkers in our ritual routines, too. We can question why we always did them this way. In the end, we might be all the better for that brain jostling and chance for intellectual inquiry.
My family and I wish you a wonderful, thoughtful, questioning Passover, full of joy this year, however different it may be from your usual routines. Chag sameach.
Joanne Seiffhas 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.
