אכן יש אנטישמיות בקנדה כמו במרבית המדינות בעולם לאור מה שישראל עשתה בעזה. לפני כניסת צה”ל לעזה (לאחר השבעה באוקטובר) טענתי שהפעולה הצבאית שם תגרום נזק אדיר לישראל. זה כולל גם את הישראלים והיהודים בעולם. לישראלים בארץ לא היה אכפת כלל ממה שצה”ל עשה בעזה ונעשו דברים חמורים ביותר וחפים מפשע נהרגו. למרות השבעה באוקטובר זה לא היה צריך לקרות. עכשיו כאמור רואים את המחיר
מי שמתלונן שקר קנדה הוא טיפש מטופש. הרי ידוע שקנדה היא מדינה קרה והרבה יותר קרה מישראל. הישראלים ברובם לא יכולים לסבול קור ואין להם אפוא מה לחפש בקנדה
“ישראלים רבים שהיגרו חשבו שמחכים להם פה עם שטיח אדום”. באמת? למה? זו מחשבה אווילית המתאימה לישראלי הצפוי שחושב שכל העולם מתנהל סביבו, שכולם צריכים לקבלו בחום ואהבה? האם מישהו המתין לי בנחיתתי בוונקובר עם שטיח אדום והתחיל להחמיא ולדאוג לי? כל מה שעשיתי היה בזכותי בלבד, ללא עזרה של חבר או בן משפחה. אם הייתי ממתין לשטיחים אדומים בוודאי שהייתי נכשל כאן. האם לבנו של אחי ואשתו המתין מישהו בנחיתתם בארה”ב? הם עשו שיעורי בית כנדרש, לפחות לאישה הייתה עבודה מראש, הם ידעו מה צריך ללמוד וכיצד להתקדם מקצועית, ללא שום “ישראליות” שיכולה רק להזיק
“ישראלים רבים לא מבינים שהם מהגרים” – נכון מאוד. הם לא מבינים שבקנדה כמו כל מדינה מערבית, אין מפעילים קשרים אישיים, לא מפתיעים בביקורים לא מתוכננים, לא “קופצים” לפגישה עם מנהל סניף הבנק ללא תיאום מראש, ולא נתונים לך שום חשיבות כיוון שהגעת בישראל – על מה ולמה
כל מי שהיגר לקנדה (ובכלל לכל מדינה אחרת) עליו לדעת מראש מה כולל תהליך ההגירה, הדרישות המדויקות, הניירת הנכונה, ומה צריך להציג בפני השלטונות. כמובן צריך לדעת פחות או יותר כמה זמן זה יקח. אני למשל ידעתי שכדי לקבל את האזרחות הקנדית עלי לשהות בקנדה במשך שלוש שנים. ולכן לא עזבתי את המדינה באותה עת למעט פעם אחת לעשרה ימים, ולכן נאלצתי להמתין לאזרחות שלוש שנים+עשרה ימים. אם זה לא היה מתאים לי הייתי עוזב. מה שמתלונן שלא יהגר
אכן צריך “ניסיון קנדי” בכל עבודה רצינית. זה ידוע מראש ומי שאינו יודע זאת הוא פשוט לא רציני. ומה עושים: אפשר להיות עצמאי, להתחיל לעבוד כשכיר בעבודה פשוטה ולהתקדם, להשלים לימודים בקנדה ועוד
אכן קנדה יקרה מאוד אך לא יותר מישראל. הכל מתייקר בכל מקום בעולם ומי שיש לו בעייה אם זה שלא יהגר למדינה מערבית
נכון בתקופת הרפר היה טוב יותר לישראלים לעומת כיום. המלחמה של ישראל בעזה כאמור גרמה נזק איום לישראל שהיא כיום אחת המדינות השנואות בעולם. ולכן גם ישראלים ויהודים בעולם משלמים מחיר כבד. זה נורא ואיום אך בישראל לא מבינים זאת. כמובן שמי שמדבר עברית ברחוב ומסתובב עם סמלים יהודים וישראלים נמצא בסכנה גדולה יותר
לישראלים קשה לפצח את התרבות הקנדית או בעצם כל תרבות שהיא לא ישראלית. הישראלים לא מבינים שבמערב לא אוהבים את ההתנהגות הישראלית, השחצנות, הוולגריות, הבלתי אמצעיות, הספונטניות ללא גבול, להתקשר בטלפון לאחרים בכל שעה, וכאמור לפגוש אחרים כולל חברים ללא תכנון מראש
בסיכומו של דבר: מי שרוצה להגר לקנדה או לכל מדינה אחרת במערב מוטל עליו לעשות שיעורי בית רציניים ביותר. מי שרוצה להתנהג כישראלי מצוי במערב עדיף שלא יהגר
Zohran Mamdani, the new mayor of New York City, was a controversial candidate who won, in part, because of a campaign focused on local concerns, and not global politics. (photo by Kara McCurdy / commons.wikimedia.org)
New York City just elected as mayor Zohran Mamadani, an anti-Zionist who has been dogged by accusations of antisemitism. Recent civic elections in Canada, on the other hand, had brighter news for Jewish and pro-Israel observers, according to Emile Scheffel, managing director of CJPAC, the Canadian Jewish Political Affairs Committee.
Scheffel presented an online briefing Nov. 14 on how Mamdani won, what it means and how Canadian voters in several cities sent somewhat different messages.
During his campaign, Mamdani responded emotionally to accusations that he is antisemitic. In the end, according to exit polls, he received votes from about one in three Jewish New Yorkers and was endorsed by numerous prominent Jewish individuals, as well as organizations like Jewish Voice for Peace Action, the political arm of the anti-Zionist group Jewish Voice for Peace.
“When you have this kind of a movement running cover for Mr. Mamdani, it became relatively easy for him to skate past those or to push through those allegations of antisemitism,” Scheffel said. “I don’t know what’s in Mr. Mamdani’s heart. I don’t genuinely know exactly what he believes. But I’m a firm believer that you can tell a lot about a person’s character from the people with whom they choose to associate.”
Scheffel noted a controversy in which Mamdani was photographed with Imam Siraj Wahhaj, who the US justice system calls an unindicted co-conspirator in the 1993 Al-Qaeda bombing attack on the World Trade Centre in New York City. Mamdani later chose not to distance himself from the imam.
Another controversy that dogged Mamdani was his hesitation to condemn the slogan “Globalize the intifada.”
“He repeatedly refused to condemn that language,” said Scheffel. “I want to again be fair by acknowledging that there are different interpretations of what ‘Globalize the intifada’ means, depending on the context. But I am a believer … that there is a great deal of evidence that ‘Globalize the intifada’ is first and foremost a call for violence against Jews and against Jewish institutions and individuals.
“But here’s the catch,” said Scheffel.
Prior to the mayoral election, Scheffel “did a pretty deep dive” on Mamdani’s website, looking for keywords like “Israel,” “Palestine” and “Gaza.”
He found nothing, because the Mamdani website and the campaign’s broader messaging was laser-focused on the core theme of affordability and lowering the cost of living for working-class New Yorkers.
Scheffel shared statistics about housing costs and other expenses in New York City.
“You can start,” he said, “to understand how he built a coalition of people who are primarily motivated not by Mamdani’s views on the Middle East, not by his relationship or lack thereof with members of the Jewish community, but by what he promised to do for the future of New York City and the people living there.”
In contrast, Scheffel, who has extensive background in political communications and issues management, skewered the website and messaging of Mamdani’s prime opponent, former New York governor Andrew Cuomo. He said Cuomo’s campaign website was filled with mixed messages and meaningless jargon.
“If I can’t figure out what the candidate is trying to tell me, how would I trust them to have a clear vision or a reasonable plan to tackle the issues that are facing me and that are facing the city?” he asked. “Mamdani, whatever you think about him, ran an extremely effective campaign that’s in line with all the best practices we would recommend to a candidate running for any office anywhere.”
While many Jews have been tuned in to politics in the largest American city, they may have overlooked other elections closer to home.
Municipalities in Quebec voted on Nov. 2. In Montreal, which Scheffel noted has been home to some of this country’s most worrying incidents of antisemitism, and in some other communities, activists tried to make the Israeli-Palestinian conflict an election issue by asking candidates to sign a so-called “anti-apartheid pledge” and commit to cutting ties with the state of Israel.
The eventual winner of the election, Soraya Martinez Ferrada, Montreal’s new mayor, refused to sign the pledge and was accused by opponents of complicity in genocide. In addition to her victory, her party won a majority of seats on city council, after a campaign in which they pledged to take seriously law enforcement and public safety, including a crackdown on protesters that Scheffel said include extremist elements that make Montrealers unsafe.
“That was a vision that ultimately proved to be compelling and appealing to the largest number of Montrealers,” he said.
A few days earlier, on Oct. 20, Calgary also elected a new civic government.
The incumbent had declined to attend the annual menorah lighting ceremony at Calgary City Hall, claiming it was too pro-Israel and too political, said Scheffel, who lives in the city.
“She was rejected by 80% of voters,” he said. “She became the first mayor in 45 years in Calgary not to win a second term. That happened not because she didn’t show up to a menorah lighting or because she made every effort, frankly, to isolate the Jewish community at a time when the Jewish community needed support from elected leaders. She lost – and she lost in such a crushing fashion – because voters believed that she had failed to tackle the everyday quality-of-life, cost-of-living issues that are facing people here in Calgary.”
Jeromy Farkas, the new mayor, won narrowly, with the incumbent mayor placing third.
Scheffel made the case that none of these campaigns pivoted on issues of foreign affairs but were determined mostly by voters who wanted potholes filled and cities to run efficiently. He then made a case for engagement in the political process, noting that many of the elections turned on very small vote counts. Farkas, for example, won the Calgary mayor’s race by fewer than 400 votes after a recount.
CJPAC engages Jewish Canadians in the political process and encourages them to build strong relationships between the Jewish community and elected officials across parties, said Scheffel. Close races like some recent municipal elections, he said, underscore the impact an individual can have in the process by volunteering as little as two hours of their time to a campaign.
The cast of Theatre Replacement’s East Van Panto: West Van Story, left to right: Tom Pickett, Ben Brown, Ivy Charles and Meaghan Chenosky. (photo by Emily Cooper Photography)
If you want a ticket to East Van Panto: West Van Story, you’d better move fast. At press time, the show had just opened and most performances at the York Theatre were already sold out.
Theatre Replacement’s romp for all ages is inspired by Romeo and Juliet this year. The annual event is popular for many reasons, including a consistently stellar creative team and talented actors, its local flavour and political bent.
In East Van Panto: West Van Story, written by Marcus Youssef with Pedro Chamale, a tsunami strands West Van influencer Holly and her curling team in East Van, where she falls for Joes – a member of their sworn rivals. Adding to her troubles is her mega-developer “motherfather,” Boberta Rainy. The question is will Holly “follow her heart – and Joes – into a new world of love, dance battles and civic resistance? Or will Boberta’s towers and renovictions crush everything in their path?”
“It’s really fun to be part of a show that takes being silly so seriously,” technical director Daniel O’Shea told the Independent in a recent interview.
O’Shea has been involved with the Panto for a few years now.
“The creative team will come up with such wacky characters and gags, and then we have to earnestly sit around the table and figure them out,” he said. “My first year with Theatre Replacement’s East Van Panto, we had to have the king of the skunks shoot a ‘Stink Canon 9000’ into the audience – who wouldn’t enjoy coming up with that?! Also, because the Panto is a new satire every year, getting to be part of a show that speaks to the current community concerns from a local perspective always feels like a breath of fresh air.”
O’Shea first worked with Theatre Replacement on a show called MINE, which, he said, “was a performance that took place half on stage and half in Minecraft. I was colleagues with a number of the devisors on the show and we needed to build some systems for controlling the projection integrating the video input from multiple gaming computers and building in game cues. As part of that show, we built a tech booth in Minecraft and I had little avatar who would run around and hit in game buttons to teleport people or spawn creatures; it was quite fun. I guess I mention it because the pleasure in working with Theatre Replacement is that I’ll often be solving unorthodox problems or working in novel ways.”
The biggest challenge of working on the Panto, he said, is its size.
“We want East Van Panto to feel like a big show, with clever sets and big costumes and arresting moments, and we often succeed, but all of that has to fit into quite a small container,” he explained. “The York Theatre is a wonderful home and we love being there, but we are often pushing the limit of what we can fit onto the stage. It often requires extremely thoughtful planning and clever technical solutions to achieve this big story book mise en scène in a converted movie theatre. We are grateful to our partners at the Cultch and the tech team there that help to pull it off each year.”
Daniel O’Shea (photo from Theatre Replacement)
O’Shea has a bachelor of fine art from Simon Fraser University, where he majored in theatre performance and film production.
“I’ve always had a love of both film and stage since I was a kid, fostered by my parents taking us out to shows, and a somewhat onerous VHS mail arrangement through which we received dozens of old back catalogue titles. Though they present quite differently now, both film and theatre share so much DNA, going to back to early cinema. That particular artist-alchemy of narrative, imagination, character, emotion, etc., that both seek has always been something I’ve been drawn to create.”
He gave a shout out to his high school, Burnaby North, and to Alison Schamberger and Phil Byrne, who ran the theatre and media arts program. “They were both instrumental to instilling the sense that creating in both fields was possible, valuable and worthy,” he said.
Career-wise, O’Shea has focused on lighting and projection design, filmmaking and technical direction. He has done some performing, but not for about 10 years now. Nonetheless, his acting experience continues to help his work, in that it allows him to have a fuller sense of the world a show creates.
“It’s possible to get overly engrossed in the issues that feel pertinent to one’s role, like the efficiency of technical rehearsal or the familiarity of ‘how things are done’ and miss the chance to allow for creative risk-taking and imagination,” he said. “Having that performance background helps remind me that achieving the desired audienceexperience during a show is the goal rather than whether your plan going into tech looks like what’s on stage opening night.”
O’Shea is also a founding member of A Wake of Vultures, with Nancy Tam and Conor Wylie.
“It’s a vehicle for us to make work that is true to our artistic core,” said O’Shea. “The three of us work as freelance designers/ artists in the broader community and convene together when someone has a juicy idea.
“Working as a freelancer, you are often given creative agency, I mean it’s clearly part of what you are there for, but it’s often within the constraints of the production or the shows’ genre/esthetics. If it’s a play about a character journey, then the design has to serve that. When we work together in A Wake of Vultures, we really get to dream wildly as designers/conceptual thinkers and follow our process…. That freedom to dream and build ways of affecting the audience before serving other elements of the show is deeply enjoyable.”
Currently, A Wake of Vultures is working on a piece called SweatCry, “which will be some sort of structured social experience investigating ecstasy, purgation and dance,” said O’Shea. “I’m also going on tour with Jade Circle, a show on which I did the projection design, made by Jasmine Chen, which is a beautiful show tracing the cascading chain of mother-daughter relationship and stories buried within our own families.”
O’Shea described his own connection to Judaism and Jewish community as “cultural and fostered through the deep networks that I’ve grown up a part of and, yet, it feels most represented by the Groucho Marx line, ‘I wouldn’t want to belong to a club that would have me as a member’ – a belonging and exclusion at the same time. That, or Moses’ line about being a ‘stranger in a strange land.’ There is a tension in being a tribe of the estranged that has meaning to me, both in the way that it seats one in relationship to the world and in how it asks of you to make kinship with ‘the stranger.’
“I think it is also the reason why I have such a love of ritual,” he concluded. “Whether it’s in a show or a meal of special ceremony, the sense that formal choices, of how to do things, can have deep symbolic and historical ties, and be a thread that links people across time really moves me … both of these facets of my Jewish identity shape my life and work.”
For tickets to East Van Panto: West Van Story, which is directed by Chelsea Haberlin, with music by Veda Hille, go to thecultch.com. There are shows through Jan. 4.
At an event hosted by the National Council of Canadian Muslims on Nov. 1, Toronto’s Mayor Olivia Chow said, “the genocide in Gaza impacts us all.”
Four days later, protesters attacked a group of Jewish students from Toronto Metropolitan University at an event featuring a speaker who served in the Israel Defence Forces during the recent Gaza war.
Is this cause and effect? Did Chow’s words give a kind of permission for anti-Israel activists to act out violently?
Human nature doesn’t work so neatly. Suggesting one directly led to the other is both unprovable and probably specious.
Both of these incidents, however, are part of a larger zeitgeist.
For (at least) two years, Israel has been accused of monstrous barbarities. Accusations against the Jewish state include deliberate starvation, ethnic cleansing, intentional mass killings, wanton destruction of infrastructure and other assorted war crimes.
There are legitimate debates around the definitions of terms and whether or how they apply to recent events in Gaza. However, public discussions, as Chow demonstrated, rarely reflect these nuances.
As a society, we now widely accept that incendiary language can lead to incendiary actions. In discussions around immigration levels, for example, responsible public figures generally engage in discourse that does not demonize migrants or new Canadians. Concerns have been raised in recent years around the tenor of discussion around transgender issues, with advocates warning that some of the language can exacerbate emotional isolation, especially in transgender youth, and can lead to suicide ideation. Words, it is widely accepted, can have tangible, indelible impacts.
This thoughtfulness seems nowhere to be found when Jews and allies warn that the provocative language against the Jewish state is having serious impacts on Jews in Canada.
While cause and effect are rarely provable, correlations can be clearer. Over the past two years, combustible rhetoric against Israel has coincided with an unprecedented spike inantisemitic acts against Jewishinstitutions and people. One would think, under the circumstances, that reasonable people might see the potential that one is at least somewhat related to the other.
Raise this possibility, though, and you can expect to be met with assertions that “Zionists” are trying to silence criticism of Israel or that there is a “chill” on discussion of urgent and legitimate international matters.
This is an admirable defence of free speech. It is interesting, though, that concepts of almost unfettered free expression seem to be the redoubt of Israel critics who accept limitations on civil discourse in a vast range of other topic areas.
Is it a coincidence, also, that the very concept of “Zionists” controlling what other people are permitted to think and say about Israel dovetails with traditional antisemitic concepts of Jewish power and control?
What everyone should be able to accept – because the evidence is plain – is that there is a parallel between the intensity of rhetoric against Israel and increasing attacks on Jews in Canada (and elsewhere).
Toronto’s mayor is just one of many Canadian leaders who should know better than to nonchalantly toss around accusations, understanding that the pitch of condemnation against Israel is having concrete impacts on Jews in Canada.
Anyone with a public platform should behave in ways that recognize the intended and potentially unintended consequences of their words. A mayor of a Canadian city, for example, should know that her words will have limited effect on the lives of Palestinians, but plenty of impacts here at home.
In a diverse country like Canada, where inclusivity is considered a core value, people in positions of respect and power have a duty to act responsibly, to promote unity and avoid phrases that might inflame community tensions.
Did Chow’s words directly lead to the violent attack on Jewish students this month? Almost certainly not.
But they contributed to an environment already aggravated with tension and peril.
Avi Benlolo of the Abraham Global Peace Initiative was in Vancouver Nov. 5 to screen the AGPI’s new film, Heart of Courage, about Jewish resilience in the wake of the Oct. 7, 2023, terror attacks. (photo by Pat Johnson)
Against a “tsunami” of anti-Israel and antisemitic content online and in the broader society, Jews and pro-Israel voices need to do a better job getting their message out, according to Avi Benlolo.
Benlolo is founding chair and chief executive officer of the Abraham Global Peace Initiative (AGPI), whose mandate is to study and research international human rights, fundamental freedoms, democracy, global peace and civil society in Canada, Israel and around the world. He was previously founding president and CEO of Friends of Simon Wiesenthal Centre and writes weekly in the
National Post. He was in Vancouver screening AGPI’s new 40-minute film, Heart of Courage and spoke with Rabbi Jonathan Infeld at Congregation Beth Israel Nov. 5. He was introduced by Diane Friedman, the congregation’s adult program director.
The film features a soldier playing John Lennon’s “Imagine” on a piano in Tel Aviv’s Hostages Square.
“His music becomes his voice, a testament to the resilience of his spirit and the strength of his people,” the narrator intones. “His teary eyes remain wide open, reflecting the weight of his generation’s struggle. He plays for a world he longs to see, a world of peace. In that moment, his dreams reach beyond the darkness, yet his resolve remains unshaken. This soldier is part of a chain, a line of defenders stretching back through history, each bound by an unyielding commitment to Israel’s survival.”
Produced prior to the ceasefire, the film includes Benlolo interviewing people at the weekly rallies that drew hundreds of thousands of people in Tel Aviv, many of them family members of hostages. Some have risen to prominence as voices for those held in Gaza and their relatives.
Benlolo visits an art installation that serves as a memorial monument adjacent to the Ministry of Foreign Affairs’ building in Jerusalem. The work, titled “Memory Pomegranate 7.10.2023,” is a sculpture of a pomegranate with multi-coloured glass and ceramics, visual shards and fragments that metaphorically reference broken lives, trauma and loss, but together form a hopeful whole, emphasizing life, resilience and collective memory. The artwork integrates electronic tags that allow a smartphone or other device to access digital content to learn more about the events of 10/7 and the people and communities affected.
Sharing stories of non-Jews who saved lives on 10/7, the film declares, “In Israel, heroism knows no bounds of religion, ethnicity or background. On Oct. 7, amid the chaos, countless stories emerged of Muslims, Druze, Christians and Bedouins risking everything to protect their fellow citizens.”
After the screening, Benlolo and Infeld spoke of the hurdles to getting the message out.
Benlolo, who has worked extensively in multicultural and interfaith sectors, plans to screen Heart of Courage for diverse audiences, as his organization has done with previous films.
The biggest challenge, Benlolo said, may be reaching younger audiences, for whom anti-Israel activism has become “cool.”
“We have to go to them and get to them through the technology that exists today,” he said. “Social media in particular.”
This presents its own challenges, he noted, as there is a “tsunami” of anti-Israel and antisemitic content.
The silver lining of this era, according to Benlolo, is a new generation of engaged Jewish young people.
“What we all saw as a result of Oct. 7 was Jewish youth for the first time ever walking proudly with Magen Davids around their necks, fighting back, distancing themselves from people who have rejected them and reject the state of Israel,” he said.
While the film paints a picture of a unified Israeli society, Benlolo acknowledged divisions, rifts that will likely be exacerbated in next year’s national elections.
One of the most visible points of discord is the debate over Haredi conscription. Benlolo is unequivocal on this topic. Asked by Infeld what he would say to the Haredi community, Benlolo said, “What’s wrong with you? I mean, honestly.… To not participate in defending the country and to insist that others do it for you, I think, is wrong.”
Benlolo also pulled no punches on issues closer to home. He said Canada’s government is “pretty much siding with Hamas” and other leaders, such as Toronto’s mayor, are “emboldening the other side.” This inspires violent people to act out, he said, citing a vicious attack on Jewish students near Toronto Metropolitan University earlier that day.
“What gives them permission to do that?” Benlolo asked. “It’s the environment that feeds it. It’s the political leadership that allows it. That is the central problem.”
Responding to a question from Infeld on the future of Jewish life in Canada, Benlolo noted that Jewish schools and other institutions in parts of Europe are protected by armed guards and he warned that North American Jews may find themselves “in a much more defensive posture.”
“I can’t promise you that there’s going to be a good future here in Canada,” he said. “But, in Israel, at least, we have an ability to wear the uniform and protect ourselves, and that’s an important distinction. It doesn’t mean Israel is 100% safe, as we all know, it doesn’t mean that’s an easy life, but at least it’s a place where we can stand up for ourselves.”
He has plenty of hopefulness for Israel.
“I think that the next chapter for Israel is an optimistic one,” he said, suggesting that more countries will normalize relations with Israel and join the Abraham Accords. He suggests also that Israel’s economy will skyrocket, in part because of all the technology developed as a result of the war. He also predicts continued increasing levels of aliyah.
At the Kristallnacht commemoration in Victoria on Nov. 6, Congregation Emanu-El’s Rabbi Elisha Herb led a community pledge of mutual respect and support, joined by local politicians, faith leaders and law enforcement. (photo by Penny Tennenhouse)
“Hate has no boundaries and needs to be resisted wherever and against whomever it is found. This is necessary to protect our whole society. The history of the Shoah teaches us the dangers of complacency,” said Micha Menczer in his opening remarks at the Nov. 6 commemoration in Victoria of Kristallnacht, the Night of Broken Glass.
Menczer is a founding member of the Victoria Shoah Project, which held the community’s commemoration at Congregation Emanu-El. The project is a group of Holocaust survivors and their descendants, as well as educators and other individuals, dedicated to Holocaust remembrance and education.
Micha Menczer, a founding member of the Victoria Shoah Project, gave the opening remarks at the Nov. 6 commemoration in Victoria of Kristallnacht. (photo by Penny Tennenhouse)
After Menczer spoke about the increase in hate crimes in Canada – of which Jews are often the target – Kristin Semmens, a history professor at the University of Victoria, spoke about Kristallnacht, the organized anti-Jewish riots in Germany and Austria on Nov. 9-10, 1938. The violence sent a clear message to Jews that they were not welcome in Germany, said Semmens, noting that, although Jews had already faced extreme persecution, no one foresaw what would come.
“Even after November 1938, even after the destruction and horror and humiliation and fear, even after the shattered storefronts, the burning synagogues, the mass arrests, the physical assaults and murders, few could have imagined how much worse things could get,” she said.
Semmens stressed that, while people came on Nov. 6 to commemorate what happened in the past, it is also fundamentally important to act in the present, to differentiate among people when it comes to basic human rights today.
“We cannot turn a deaf ear or a blind eye to defamation and demonization,” she said. “We must find the courage to challenge the wrongs we see in our society. And, as the events leading to Kristallnacht reveal, we must beware of the beginnings.”
Nina Krieger, British Columbia’s solicitor general and minister for public safety, was the keynote speaker. Due to inclement weather that evening, she spoke from the Lower Mainland via Zoom.
“How can we, today, fathom six million lives cut short solely because they were Jewish?” asked Krieger, who, before entering politics, was the executive director of the Vancouver Holocaust Education Centre (VHEC).
“Sadly, as we gather to remember events of 87 years ago, our historical imagination, I think, is less challenged than we thought. With the recent Manchester synagogue attack and the graffiti scrawled on this congregation, the echoes of the past are particularly and painfully resonant.”
In August, antisemitic graffiti was painted at the entrance of Congregation Emanu-El. According to a September post by the synagogue, Victoria police have since found the suspected perpetrator, who “has been charged on two counts: mischief relating to religious property and wilful promotion of hatred.”
Krieger noted that, during the pandemic in Canada, contingents within the anti-vaccination movement borrowed symbols from the Holocaust, such as yellow stars and photos of Anne Frank, to portray their feelings of being marginalized and victimized for the requirement to carry proof of vaccination. She said a commitment to history and memory is the necessary antidote to such Holocaust distortion and trivialization, “which we are seeing with increasing frequency as the Holocaust transitions from lived to mediated memory.”
She pointed to the VHEC’s use of primary sources when engaging with the 25,000 young people the centre educates each year. “Fragments of the Shoah – artifacts, photographs, documents – provide tangible entry points into the past and to individual human experiences during an event that might otherwise be an abstraction of numbers,” said Krieger, who reminded the audience that, in a time of rising antisemitism, the Holocaust may not simply be a lesson but a warning, “an inescapable fact that speaks to what is possible.”
Remembrance of the Shoah, she said, “provides an opportunity to wrestle with fundamental questions about the fragility of democracy and our responsibility as citizens today.”
Music performed by Kvell’s Angels, a local klezmer group, and the Capriccio Vocal Ensemble of Victoria, conducted by Adam Jonathan Con, was interspersed between speakers at the commemoration.
Politicians, leaders from other faith groups and members of the Victoria Police Department rose at the end of the ceremony to recite a pledge of mutual respect and support.
In the program notes to the commemoration, the organizers drew attention to the events that transpired in Germany 87 years ago, when at least 91 Jews were killed and 30,000 Jewish men were forced into concentration camps, Jewish homes and institutions were ransacked, businesses destroyed and synagogues burned. It was, the notes read, “a reflection of the inability of ‘polite society’ – of Jews and non-Jews – to comprehend that the institutions at the very heart of civil society (the police, uniformed people, political representatives) would be at the very core of this violence inflicted on the Jews of Germany and Austria, or contribute … to its devastating effect.”
The commemoration was sponsored by Congregation Emanu-El and the Jewish Federation of Victoria and Vancouver Island.
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
Prof. Robin Judd, author of Between Two Worlds: Jewish War Brides After the Holocaust, speaks with community members at the Kristallnacht commemoration in Vancouver Nov. 9. (photo by Sova Photography)
The history of war brides – generally British or European women who married Allied military men – is widely known and has been explored by historians and social scientists. Between 1944 and 1948, about 65,000 dependents came to Canada as spouses or intended spouses of military personnel.
Speaking at Vancouver’s annual Kristallnacht commemorative event Nov. 9 at Congregation Beth Israel, Prof. Robin Judd discussed an almost unknown subset of this phenomenon: Holocaust survivors who met Allied soldiers in displaced persons’ camps after the war and went on to marry them.
Judd is associate professor of history at Ohio State University and immediate past president of the Association for Jewish Studies, the largest international society for scholars of Jewish studies. Her award-winning book Between Two Worlds: Jewish War Brides After the Holocaust explores the harrowing task of rebuilding a life in the wake of the Holocaust.
Many Jewish survivors, as well as community and religious leaders, viewed marriage between Jewish women and military personnel as a way for the survivors to move forward after extraordinary trauma, said Judd, whose academic interest in the subject stems from family history.
“My grandmother was a war bride,” Judd said. “She was a survivor. She and my father survived the war in hiding. My biological grandfather died at liberation, and my grandmother married an American soldier after the war, who then adopted my father.”
Her grandmother spoke little about her experiences during or immediately after the war, though Judd knew the rough outline of her past. Only when Judd began research into the subject did she learn that her grandmother’s experience was not as unique as Judd had assumed.
The individual stories of these war brides, and their efforts to integrate, offer lessons around survival in the aftermath of trauma, as well as larger issues concerning marriage, immigration and citizenship, she said.
Judd focused on a few couples, including Isaac and Leesha (neé Leisje Bornstijn) Rose, and Sala (neé Solarcz) and Abe Bonder.
Sala survived in the Warsaw Ghetto for more than a year, before deportation to a ghetto outside Lublin, then to Majdanek and a series of other camps. She was liberated during a death march in April 1945.
At Rosh Hashanah services at a DP camp in Hanover, she met Abe, a mechanic in the Royal Canadian Air Force. Until then, Judd said, Sala had avoided the Canadian and British soldiers overseeing the DP camp because she said they made her feel like a monkey in the zoo.
“But Abe came to her and started to speak to her in a very quiet Yiddish,” Judd recounted. “It was his questioning, his real interest in understanding who she was and what she had experienced that made her want to seek a second encounter with him.”
Many of the war brides found themselves at the whims of their new extended families, subsumed into existing structures that were foreign and unfamiliar. Often, they arrived in the new country and did not have homes of their own but lived with their husbands’ families, sometimes with multiple generations in the same home.
Leesha arrived in Ottawa and moved in with fiancé Isaac and her soon-to-be mother-in-law, with whom she had limited language skills to communicate. The groom’s mother took it upon herself to plan the wedding.
“Leesha and other war brides are often talking about how, in these moments, whether it was the marriage or it was having their first child, or it was their first child’s bar or bat mitzvah, or their first child’s wedding, how they so desperately missed those murdered family members at that time,” Judd said.
Newcomers were sometimes judged unfairly, as if their healthy appearance diminished the perception of their suffering. A newspaper article described Leesha as “a good-natured chubby little girl.”
“There was this notion that these women looked almost too healthy,” said Judd, “That the trauma was almost not written sufficiently enough on her body.”
Associations and networks existed for the newcomers to connect with others from similar backgrounds, including Jewish war bride clubs and synagogue-affiliated groups.
The war bride experiences Judd studies are diverse and include sad but also happy memories, she said, from the difficulties of reconstruction and recovery to stories of resilience and rebuilding.
Prof. Chris Friedrichs, a scholar of German history who taught at the University of British Columbia from 1973 until his retirement in 2018, contextualized Judd’s presentation, as well as Kristallnacht and the larger history of the Holocaust.
Kristallnacht sent a message to the world, he said. But the world did not listen.
“This horrific Night of Broken Glass was front page news all over the world, but not for long,” he recounted. “Much else was going on in the world at that time and, within a few days, Kristallnacht was forgotten. In fact, the world learned nothing from Kristallnacht. But the Nazis learned a lot. They realized that whatever they might do to the Jews, there would be no consequences. And thus, once Hitler’s war started in 1939, within Germany itself and in every country the Germans conquered under cover of war, a relentless program to exterminate the Jews began to be carried out by beatings, by shootings, by starvation and by gas.”
Hannah Marazzi, executive director of the Vancouver Holocaust Education Centre (VHEC), which presented the event in partnership with Beth Israel and the Jewish Federation of Greater Vancouver, called Kristallnacht “a defining moment in which the shadow of hatred quite literally burst into flame.”
Dr. Abby Wener Herlin, associate director of programs and community relations for the VHEC, introduced Holocaust survivors, who lit candles of remembrance.
“Tonight, as we are about to light candles … we vow never to forget the lives of the women, men and children who are symbolized by these flames,” she said. “May the memory of their lives inspire us to live so that we may help to ensure that their memories live on.”
Beth Israel’s Rabbi Jonathan Infeld thanked the speaker and reflected on his family’s experience.
“My father left the DP camp and moved to Pittsburgh,” Infeld said. At a party at the Jewish community centre specifically to make shidduchim, marriage matches, for Holocaust survivors, he met the woman who would become his wife and the rabbi’s mother.
Vancouver Deputy Mayor Sarah Kirby-Yung, centre, and councilors Lenny Zhou and Lucy Maloney at the Nov. 9 Kristallnacht commemoration. (photo by Sova Photography)
Cantor Yaakov Orzech chanted El Moleh Rachamim, the memorial prayer.
Taleeb Noormohamed, member of Parliament for Vancouver Granville, warned of the dangers of ignoring the lessons of history.
“If we don’t take the lesson that remembrance requires us to take, we end up with a quiet normalization of what that night represented,” he said. “This is a fight that we all take on. We take on with responsibility, we take on with conviction, and we take it on to honour all of you who survived and all of you that have relatives and friends and loved ones that didn’t. So, we say, may their memory be a blessing and, indeed, may it be, but may it also be a reminder to all of us that the work that is to be done is for all of us.”
Terry Yung, member of the BC Legislature for Vancouver-Yaletown and a retired senior officer with the Vancouver Police Department, told the audience the future depends on education.
“We cannot arrest ourselves out of hate, we cannot,” he said. “We have to educate people in this world of darkness.”
Sarah Kirby-Yung, deputy mayor of Vancouver, and fellow city councilors Lenny Zhou and Lucy Maloney read a proclamation from the city.
Yuri Elperin’s solo show, Cycles of Being, opened at the Lipont Gallery in Richmond on Nov. 15. The show consists of Elperin’s large abstract mixed media paintings of the last few years. The art is powerful, eloquent and elegant, reflecting the artist’s personal voyage across Europe, Asia and North America, but also humanity’s collective journey. Memory, history and spirituality merge and interplay.
Elperin was born in Riga, Latvia, a year after the Second World War ended. Unable to pursue his artistic goals inside the limits prescribed by the Communist Party of the Soviet Union, he emigrated in 1977. Searching for artistic freedom, he lived in Rome for about a year while waiting for his Canadian immigration papers.
“During his time in Rome, and his subsequent travels and research across Spain, France and Italy, he immersed himself in Western modern art,” notes the Lipton Gallery’s site.
In Vancouver, Elperin has had a decades-long career as a commercial photographer and in film, and he became dedicated to being a full-time artist in 1998, according to the gallery. His current show explores Eastern and Western philosophies.
Many religions and philosophical tenets of both Eastern and Western cultures throughout time are concerned with common questions: What is life? Why are we humans here? What is the purpose of life? How does everything link together? Elperin’s art contemplates possibilities, and the show’s name, Cycles of Being, underscores the cyclical nature of our unending chain of existence.
The paintings in this exhibit are three-dimensional, a fusion of paint and sculpture, golden leaf and marine plants. Paper, wood, metal and fabric combine and emerge as more than a sum of their parts.
The images tell stories, convey legends. They inspire questions and personal responses. Every title card in the gallery is a mini story, and the abstract artistic style suits the complexity of the philosophical exploration.
No reflection of the outside world manifests. No photographic likeness. Just meditations on the timeless themes of life, death and rebirth, which lead to further associations on the part of viewers.
The first painting that meets our eyes upon coming into the gallery is “Phase One” – a golden spread on the dark background. Does it reflect evolutionary theory or the world’s divine beginnings? One will interpret it according to one’s own beliefs.
“Beginning of Endless Knot,” left, and “Impermanence” by Yuri Elperin, whose solo exhibition, Cycles of Being, is at the Lipont Gallery in Richmond until Dec. 4. (photos by Ning Li)
“Beginning of Endless Knot” continues the viewer’s journey, with its contrast of blue and gold, a simple circle versus a complex knot. In Buddhism, the endless knot represents, among other things, interconnectedness.
“Impermanence” reminds us that everything in the world is ephemeral. The red twisted shape, sinuous and enigmatic, teases with its perpetual dance. To me, it defies definition and implies that everything around us, physical and mental, is transient – the only constant is change.
On the opposite wall, the painting “Wu Zetian Dream” is a symphony in blue, a tribute to the only female ruler of China, Wu Zetian (624-705). During her reign, China became one of the greatest powers of the world. Many historians consider her the force that revitalized the Chinese culture and economy.
Many paintings in the exhibition include a circle as one of their main elements. The exhibit title piece, “Cycles of Being,” refers to the Buddhist idea that existence is an eternal sequence of birth, growth, transformation and renewal, that life and death are not linear, and that all living creatures are linked. This concept is represented by a mandala, a circular image of the universe.
Other images involving a circle are those of the five elements of wood, fire, earth, metal and water. The artist’s visualization of them incorporates what could be called the traditional colours and energies of those elements (blue for water, red for fire, for example), but go beyond literal meaning. Again, all is connected, there are no beginnings and no ends.
Readers can meet Elperin on Nov. 26, 3-5 p.m., at the gallery. The exhibit runs until Dec. 4. To learn more, visit lipontgallery.ca.
Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].
On Dec. 3, Rabbi Deborah Sacks Mintz will speak on Harnessing the Potential of Our Comfort Songs, as part of Kolot Mayim Reform Temple’s Building Bridges Speakers Series. (photo from Hadar Institute)
Kolot Mayim Reform Temple’s annual six-part series of free lectures – the Building Bridges Speaker Series – returned earlier this month with the Nov. 2 talk by Dr. Lori Şen of Shenandoah University on Classical Echoes in Ladino: Sephardic Songs Reimagined. It continues Dec. 3, with Rabbi Deborah Sacks Mintz of the Hadar Institute speaking on the topic Harnessing the Potential of Our Comfort Songs.
The Building Bridges Speaker Series’ theme for 2025/26 is Kolot Zemirot: The Many Voices of Jewish Music. In the wake of the dramatic rise in antisemitism following the events of Oct. 7, 2023, it is more important than ever to celebrate and amplify the rich tapestry of Jewish culture, history and heritage. This series of lectures will explore the role of music in shaping and sustaining Jewish identity across generations and around the world, delving into the diverse expressions of Jewish music – its history, traditions, and its cultural, religious and secular aspects. Music has always been a source of strength, resilience and hope for the Jewish people, and this series will highlight its power to unite communities and inspire pride in our shared heritage.
An educator, practitioner, composer, vocalist, multi-instrumentalist and facilitator of Jewish communal music, Sacks Mintz will explore, on Dec. 3, how Jews use the internal strength we source from singing our own anchor songs to serve our communities in times of disruption. For Sacks Mintz, the power of communal music ignites spiritual creativity, fosters participation and deepens connections within Jewish life.
Historian and lecturer David Benkof, “the Broadway Maven,” will speak in person in Victoria on Jan. 11, with hybrid access for a wider audience. His presentation will dig into Jewish creators, characters and themes that have shaped – and continue to shape – the world of Broadway, revealing how musical theatre reflects and influences Jewish identity.
A leading voice in the study of contemporary Israeli music, ethnomusicologist, Dr. Naomi Cohn-Zentner of Bar-Ilan University observes that Israeli songs about the war and the army have always been about a hope for peace, and this was even more the case after Oct. 7. Her Feb. 8 talk – called Music and War: An Optimistic View – will examine how Israeli musicians have responded to the tragedy, offering an exploration of music’s role in processing grief, inspiring resilience and connecting community in times of crisis.
On March 8, Dr. Joshua Jacobson, author, composer, scholar and founder and director of the Zamir Chorale of Boston, will speak on Jewish Music: What’s That? One of the world’s leading authorities on Jewish music, Jacobson will share his expertise in the history and ongoing evolution of Jewish music. His presentation will invite listeners to consider what we mean by Jewish music and how musical expression is a rich part of our identity.
Toronto author and biographer Michael Posner wraps up the 2025/26 series on April 12 with the lecture Hallelujah and Beyond: Leonard Cohen’s Torah of Song. Posner will explore Cohen’s Jewish heritage, philosophy and musical legacy and how Judaism influenced the singer-songwriter’s lyrics, philosophy and life.
The Jewish Independent will feature coverage of the lectures in future issues, including Şen’s Nov. 2 lecture, which can be viewed on Kolot Mayim’s website.
Kolot Mayim, from the Hebrew “Voices of the Water,” is Victoria’s Reform Jewish Congregation. The Building Bridges lecture series is partially supported by the Jewish Federation of Victoria and Vancouver Island and donations are gratefully accepted, with tax receipts available for contributions over $25.
The webinars are free and mostly occur monthly mostly on select Sundays (with the exception of Sacks Mintz’s), at 11 a.m., on Zoom. Pre-registration is required via kolotmayimreformtemple.com.
Love is at the heart of three new children’s books that would make great Hanukkah gifts.
Many different types of families welcome their newborns in Mazel Toes!, written by Dr. Audrey Barbakoff and illustrated by Annita Soble. Each set of pages is a work of art with a rhyming poem that highlights playful gestures of love, like a kiss on the pupik (belly button), and more serious ones, like making sure baby is safe and warm in their schmatte (rag or, in this case, “a well-loved baby blanket”). Multiple generations of Jews are depicted, multiple family configurations and multiple cultures. It is a fun board book for both reader and listener – and can be as interactive as you want it to be. You can read it quietly, all snuggled up, or more raucously, with tickles of “mazel toes” and other giggles.
A more serious but equallyadorable and educational book is Waiting for Max: A NICU Story, written by Emily Rosen and illustrated by Esther Diana. Based on Rosen’s own experiences of having had a baby who had to spend 16 days in the hospital’s neonatal intensive care unit (NICU), Waiting for Max centres around Louise, Max’s big sister, who is very keen to meet her new baby brother and doesn’t really understand why Max, who was born premature, can’t come home yet. So, she puts her mind to figuring out ways to help him escape from the “little plastic box” (incubator) he’s in. She puts a lot of imagination and work into drawing out her ideas. Each one she comes up with, she gives to her parents to take to Max, so that he can follow her instructions. She shows great perseverance, always thinking up a new idea when one doesn’t work. She keeps at it until Max eventually makes it home – no doubt, because of her idea.
Apparently, one in 10 babies in the United States must spend time in an NICU, and Rosen will donate a portion of her book’s proceeds, as well as copies of Waiting for Max, to NICU hospitals and nonprofits across the States.
At the other end of the life spectrum, author Kathy Kacer, who specializes in writing books to educate younger readers about the Holocaust, has come out with a different kind of lesson. In Memory Stones, which is beautifully illustrated by Hayley Lowe, we meet Sophie, who has just lost her beloved grandmother. We see some of the many fun things Sophie and Granny would do together, and how heartbroken Sophie is when Granny dies. Sophie brings flowers to Granny’s grave, but they never last long. When Sophie’s mom shares that people in some cultures, including Jews, place stones on loved one’s graves,Sophie figures out a special way to remember her grandmother.
Memory Stones, published by Second Story Press, is intended for readers 6 to 8 years old. Published by the Collective Book Studio, Waiting for Max is for readers 4 to 8 years old, and Mazel Toes!, for babies to toddlers.