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"The Basketball Game" is a graphic novel adaptation of the award-winning National Film Board of Canada animated short of the same name – intended for audiences aged 12 years and up. It's a poignant tale of the power of community as a means to rise above hatred and bigotry. In the end, as is recognized by the kids playing the basketball game, we're all in this together.

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Tag: Angela Clarke

Community milestones … JFS, Krell, Hart, Rappoport, Broca & Gottlieb

Community milestones … JFS, Krell, Hart, Rappoport, Broca & Gottlieb

Clockwise from top left: committee members Tanja Demajo, Michelle Dodek, Michelle Gerber, Stan Shaw, Renee Katz and Simone Kallner. (photo sextet from JFS)

Jewish Family Services has formed a food security committee. This team will be responsible for leading the transition plan of the JFS’s Jewish Food Bank to its new and dedicated facility near Main and East 3rd Avenue in Vancouver. The committee, which reports to the board of directors, will be focused on supporting the Food Security program development project as a steering committee for the move into the new facility; and assisting as content advisors on an ongoing basis in the areas of food programs planning, security, building management, partnerships and community engagement, and communication.

Committee members have served on the Jewish Food Security Task Force and sit on several committees in the community. The committee co-chairs – Simone Kallner and Stan Shaw – also serve on the JFS board.

This year, a Food Security Project website will be launched to keep people apprised of the committee’s work. It will also contain upcoming town hall meetings, with the most current community stakeholder engagement and input opportunities.

* * *

Created in 1967, the Order of Canada is one of our country’s highest civilian honours. Its companions, officers and members take to heart the motto of the order, “desiderantes meliorem patriam” (“they desire a better country”). Appointments are made by the governor general on the recommendation of the Advisory Council for the Order of Canada and, on Dec. 30, it was announced that Dr. Robert Krell was among the 61 new appointees.

photo - Dr. Robert Krell
Dr. Robert Krell (photo courtesy)

Krell was appointed Member of the Order of Canada for “his contributions to our understanding of mass ethnopolitical violence, and for his advocacy on behalf of Holocaust survivors.”

A professor emeritus of the University of British Columbia, department of psychiatry, Krell’s research and interests are the psychiatric treatment of aging survivors of massive trauma; and antisemitism, racism and prejudice education.

Krell was born in Holland and survived the Holocaust in hiding. The Krell family moved to Vancouver, where he obtained an MD from UBC and eventually became professor of psychiatry. In his psychiatric practice, Krell was director of child and family psychiatry and also treated Holocaust survivors and their families, as well as Dutch survivors of Japanese concentration camps.

Krell established a Holocaust education program for high school students in 1976 and an audiovisual documentation program recording survivor testimony in 1978 and assisted with the formation of child survivor groups starting in 1982. He served on the International Advisory Council of the Hidden Child Gathering in New York in 1991, and he is founding president and board member of the Vancouver Holocaust Education Centre, which opened in 1994 and which teaches 20,000 students annually. He has authored and co-edited 10 books, 20 book chapters and more than 50 journal articles. He continues to write and speak on Holocaust-related topics.

* * *

With thanks to HaShem, Schara Tzedeck Synagogue members Alexander Hart and Kathryn Selby are honoured and delighted to announce the engagement in Jerusalem of their son Shmuel Hart to Reut Rappoport, daughter of Rabbi Jason and Meira Rappoport of Alon Shvut, Gush Etzion, Israel.

* * *

An article on the mosaic work of Lilian Broca has been published in the international peer-reviewed academic magazine Journal of Mosaic Research, out of Izmir, Turkey. It can be found at dergipark.org.tr/tr/pub/jmr (click on English version or translation if necessary), scroll down to article 18, which is “From Virtue to Power: Explorations in Female Heroism – The Mosaics of Lilian Broca,” and click on PDF on the upper lefthand side. The article was written by Angela Clarke, PhD, of the Italian Cultural Centre here in Vancouver.

* * *

Jerusalem-born, Montreal-based composer and vocalist Ayelet Rose Gottlieb released the album 13 Lunar Meditations: Summoning the Witches on Jan. 12, the first new moon of the new year.

image - 13 Lunar Meditations CD coverA collaborative project, this double-vinyl release includes poetry by more than 20 women and girls from around the globe, a choir of improvising vocalists conducted by DB Boyko, and features vocalist Jay Clayton. Through a multicultural approach, 13 Lunar Meditations is an acoustic exploration focusing on the moon, our relationship with it and its effects on us.

“The moon speaks to the universal and to the intimate female presence,” Gottlieb shared on her inspiration, from her personal journey as an artist and mother. “In this difficult time we live in, having a connection with each other, with the world around us and with the universe may be the most radical act of resilience.”

In 2015, Boyko commissioned Gottlieb to compose a new song-cycle for her VOICE OVER mind Festival in Vancouver. Gottlieb composed the first draft of this song-cycle for her own quintet and Boyko’s improvisers’ choir. Later that year, the piece was presented again at John Zorn’s the Stone, in New York City, where Clayton joined in for the first time.

Gottlieb’s song-cycle traces the phases of the moon, from birth to full glory and all the way back to emptiness. The compositions range in musical expression from wild and experimental, to melodic, rhythmic and light. All are laced with improvisation and rooted in jazz with Turkish and Armenian undertones. Primarily sung in English, also interwoven are Hebrew, German, French, Turkish, Arabic, Spanish and Japanese.

Gottlieb invited more than 20 women and girls to write texts on their personal relationship to the moon, which inspired her compositions. Ages 4 to 70, these contributors represent a global community from diverse backgrounds and nationalities – from Australia to Morocco, a poet, a gynecologist, a lawyer, an energy healer, a sex worker, a grandmother, and others.

Supported by Canada Council for the Arts and a Kickstarter campaign that concluded at 109%, the album was recorded in Montreal. On it, Gottlieb, Clayton and Boyko are joined by Coeur Luna, Turkish violinist Eylem Basaldi, guitarist Aram Bajakian, contrabassist Stéphane Diamantakiou and drummer Ivan Bamford.

The album and accompanying lunar calendar and box set of 13 postcards (with art by Sarit Evrani, designed by Dan Levi) are available for purchase at ayeletrose.com and ayelet.bandcamp.com.

For more about Gottlieb, see “A life of music-poetry” (2019) and other articles on jewishindependent.ca.

Format ImagePosted on January 29, 2021January 27, 2021Author Community members/organizationsCategories LocalTags Angela Clarke, art, Ayelet Rose Gottlieb, food security, Italian Cultural Centre, Jewish Family Services, JFS, Lilian Broca, mosaics, music, Order of Canada, Reut Rappoport, Robert Krell, Schara Tzedeck, Shmuel Hart
Marriage no fairy tale

Marriage no fairy tale

“Kiss! Kiss! Kiss!” by Lilian Broca is part of the exhibit Brides: Portrait of a Marriage, which is at the Italian Cultural Centre’s Il Museo until Sept. 30.

In most romance novels and fairy tales, a love story ends in a wedding and the couple lives “happily ever after.” In real life, it’s not that simple. Marriage has its challenges.

The show Brides: Portrait of a Marriage, which opened at the Italian Cultural Centre’s Il Museo in Vancouver this summer, examines some of the aspects of marriage that fairy tales purposefully omit. The show incorporates the works of several local artists in different media: textile art by Linda Coe, photography by Grace Gordon-Collins, drawings by Jewish community member Lilian Broca and a tapestry by fellow Jewish community member Barbara Heller.

“I always wanted a show about brides,” Angela Clarke, curator and director of Il Museo, told the Independent. “We have weddings at the centre almost every week. There is so much energy, so many emotions. But the Roman goddess of marriage, Juno, was not a happy woman. Hers was not a happy marriage, and the controversy attracted me.”

Brides is part of the museum’s Gendered Voices series, and looks at marriage from a woman’s perspective.

“This exhibition places the institution of marriage under the looking glass,” said Clarke. “Each participating artist tackles the deep psychological complexity and immense social pressure involved in a traditional marriage. Historical perspectives and family dynamics, personal reflections and the impact of feminism are explored in the show.”

Each artist contributed her own personal outlook. Coe’s fabric panels belong to her Dirty Laundry series. Colourful and sophisticated-looking hangings were all created from fabric snatches that were once parts of women’s dowries, used and reused for several generations before they ended up in the artist’s stockpile.

“The eight fabric panels represent eight stages of a woman’s life,” explained Clarke. “Each one incorporates relevant texts from Renaissance romance novels and etiquette manuals. In the 16th century, such manuals were very popular in Italy, especially among the middle classes. They were written to instruct young brides in the proper comportment, in the ways to become a successful bride and mother.”

In addition, those eight panels reference the eight requisite parts of a romance novel, from the Middle Ages to the modern Avon romances. “Those stages have names, the same names as the panels,” Clarke said. “No. 1, Stasis (infant). No. 2, Trigger (young girl). No. 3, Quest (betrothal). No. 4, Surprise (courtesan). No. 5, Critical Choice (bride). No. 6, Climax (wife). No. 7, Reversal (matron). No. 8, Resolution (widow). Every love story published these days must follow this structure.”

Heller’s tapestry and Gordon-Collins’s photographs explore wedding dresses and the commodification of weddings. The tapestry shows a bride in a beautiful dress, but her face is blurry, unimportant, and the dress becomes the focal point, a uniform, a symbol.

The photos, in the photogram or X-ray style, lack faces altogether, only the wedding attires of four generations of women of the artist’s family can be seen.

“Grandmother’s wedding tunic was modest, especially in comparison to the artist’s daughter’s wedding dress, much more opulent and sensual, and designed for one-time use only,” said Clarke. “Here, we can trace how, through the generations, the weddings grow into an industry, and the wedding accessories become commodities.”

While neon-bright colours dominate Gordon-Collins’s images and Coe’s collages shimmer with the patina of gold, Broca’s contribution to the show is a sequence of stark black and white lithographs, all from her Brides series.

“My mother passed away in 1989,” Broca said, as she explained the roots of her series. “I was devastated by her death, although it was a blessing after suffering for years from cancer. Soon after her passing, I started dreaming about her as a young bride. I decided to draw my dreams.”

Her drawings reflect the dichotomy between the happily-ever-after concept and the fact that most marriages in the past were arranged, and not unions of love.

One of the drawings, “Kiss! Kiss! Kiss!” depicts a bride sitting in a chair, regarding a frog in her lap. A few more frogs – potential princes? – wait at her feet, expecting her to choose between them.

“I knew my bride would not kiss that frog,” said Broca. “So I added several other potential grooms. Some small, others big…. Still, I had a feeling she would resist them all.”

The work “Upon Reflection” is even more powerful. It shows a bride in a gown and veil looking into a full-length mirror. The image in the mirror depicts the bride, face and posture serene, as befits the occasion, but Broca has left the image of the bride herself white and, from within it, there is the drawing of a woman, the bride, trying to escape.

“That woman, upon reflection, discovers how much she doesn’t wish to be married, to be tied down. What happens next is up to the viewer’s imagination,” said the artist.

For Broca, black and white was the only possibility for the series. “It was the most appropriate way to describe what I felt…. After the first two or three drawings, I began to realize that many brides were not happy at the altar – I showed them. Only a very few happy brides appear in my drawings. Not because happy brides are a minority, but because happy brides are difficult to portray without slipping into a less-than-powerful mode. I may be wrong, I may be able to do it today, but, at that time, it didn’t seem possible.”

Clarke knew about Broca’s series and wanted to include it in its entirety in the show, but that wasn’t possible. “We couldn’t include so many that Angela wanted because they had been sold,” said Broca. “We couldn’t borrow them. The owners live in the U.S. and Eastern Canada. As it is, the two works in the exhibition were borrowed from local owners.”

Brides is at the Italian Cultural Centre until Sept. 30.

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

Format ImagePosted on September 13, 2019September 10, 2019Author Olga LivshiCategories Visual ArtsTags Angela Clarke, art, Barbara Heller, Brides, Il Museo, illustration, Italian Cultural Centre, Lilian Broca, tapestry, women
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