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Tag: arts

Explore Persian culture

Explore Persian culture

Arash Khakpour and Alexis Fletcher première All my being is a dark verse (working title) Nov. 9-10 at the Rothstein Theatre. (photo by Peter Smida)

This year’s Chutzpah! Festival, which takes place Nov. 3-24, highlights Persian culture. The decision to feature Persian artists and stories – which was made well before the protests that erupted in Iran after the death of 22-year-old Mahsa Amini in the custody of the country’s morality police last month – seems even more important and relevant now.

“When the festival was offered the opportunity to support the creation of a new dance work by Alexis Fletcher in collaboration with Arash Khakpour, two Vancouver artists I admire and enjoy working with, I began to explore the resonances between Persian artists and stories of both Jewish and Muslim background,” Jessica Gutteridge, Chutzpah! artistic managing director, told the Independent. “These communities are culturally rich and have been intertwined for a very long time, while at the same time in lesser and greater political tension over the course of history. The festival’s mandate includes exploring what Jewish culture has in common with non-Jewish communities, and bringing artists of different backgrounds into conversation, so I thought it would be interesting to pull on this thread and bring Jewish and non-Jewish artists and culture into a themed programming thread.”

photo - On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution
On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution. (photo by Beking Joassain)

The two main programs of the thread are the Nov. 9-10 world première of Fletcher and Khakpour’s All my being is a dark verse (working title), which was developed through an artistic residency at the Norman and Annette Rothstein Theatre, and the Nov. 23 concert by Israeli singer, songwriter and actress Liraz Charhi.

Two digitally streamed programs round out the offerings. On Nov. 14, Jacqueline Saper, author of From Miniskirt to Hijab: A Girl in Revolutionary Iran, will speak and answer questions about Jewish life in Iran pre- and post-Revolution. And, on Nov. 21, Israeli chef Ayelet Latovich will present “a menu drawn from the Persian Jewish heritage of her mother’s family, which includes her grandmother, Kohrshid Hoshmand, a well-known and beloved figure in the Iranian community in Tel Aviv.”

“The festival has always provided public outreach opportunities, ranging from master classes to workshops to public conversations with artists,” said Gutteridge about these events. In addition to the Persian-themed outreach, Chutzpah! is partnering with rice & beans theatre’s DBLSPK program to offer a public workshop of Tamara Micner’s new Yiddish panto-in-progress, Yankl & Der Beanstalk.

photo - On Nov. 21, Israeli chef Ayelet Latovich will present a menu drawn from the Persian Jewish heritage of her mother’s family
On Nov. 21, Israeli chef Ayelet Latovich will present a menu drawn from the Persian Jewish heritage of her mother’s family. (photo by Sarit Goffen)

“We have a broad array of workshops to choose from as well,” Gutteridge continued. “David Buchbinder, Mark Rubin and Michael Ward-Bergeman will lead a creative workshop focused on making intercultural connections. Edith Tankus will bring clowning techniques for self-expression in a workshop tailored to parents and caregivers. Liz Glazer will lead a workshop on how to tap into your funny side and create comedy for the stage. And Maya Ciarrocchi will lead a series of workshops sharing the practice of Yizkor books as a means of remembering and mourning the lost people and places of our lives, that will lead into the final performance of the Site: Yizkor project.”

Life, love, longing, death

All my being is a dark verse is inspired by the poems of Forugh Farrokhzad (1934-1967), whose poetry was controversial enough in its expression of personal freedom to have been banned for almost a decade after the establishment of the Islamic republic in 1979. The project combines Farrokhzad’s poetry, the work of local artist Nargess Jalali Delia and the dance choreographed and performed by Fletcher and Khakpour. The shows will include a program of Persian storytelling curated by the Flame.

“I discovered Forugh’s poetry through Nargess, when I was helping her prepare for a visual art exhibit in 2020,” said Fletcher. “Nargess had a painting that captivated me, which I learned was inspired by Forugh’s beautiful poem, ‘Inaugurating the Garden.’ When I read the poem for the first time, I was moved to tears and felt so much of my own life inside Forugh’s words. From there, I started to research the work of this poet and felt viscerally connected to her work. When I began dreaming of creating a response through movement, I approached Arash – an artist I greatly admire and have always wanted to work with. We decided to create and perform together, and to bring together a mix of Persian and non-Persian artists to complete our team, including costume design, original music composition, lighting design, and translation work between Farsi and English.

“Both Arash and Nargess have welcomed me into their culture, language and their very personal connection with Forugh in the most generous of ways,” said Fletcher.

“I am excited to connect with an artist who comes from a completely different movement background from my own, and yet who shares so many of the same interests and curiosities about the place that dance holds in the world, what it can offer and how it can bring people together in unique ways,” said Khakpour.

“Growing up in Iran,” he continued, “I was reading Forugh’s poems at the young age of 11, even though I knew I wasn’t supposed to because her open-minded and dark-natured poems were not seen as ‘appropriate,’ and this experience had a profound effect on me. Forugh’s words were a revelation to read, something that someone wrote so many years ago and yet which seemed to speak directly to my fears and desires as if the words were both coming from me, and as if they were meant only for me.

“After moving to Canada at the age of 15,” he said, “I lost that connection to Forugh’s poetry, but now I am at a place that I feel the need to reconnect to her work again and integrate my love for her work, the knowledge and the sentiment it awakens in my dance practice.”

Currently, the pair are working with four of Farrokhzad’s poems: “The Wall,” “Reborn,” “Inaugurating the Garden” and “Window.”

“Forugh’s work is full of life, love and longing, yet full of death,” explained Khakpour. “I know from growing up in Iran that many people around me talked about her work as a forbidden reality, too forward, or too much – and the ways in which we should be talking, and the ways in which we should not be talking, as men and women. Forugh defied all of these binaries and all of this drew me to her magical poetry and body of work.

“As I was growing up, I have felt that similar feeling of defying the norms about myself, in terms of pursuing a dance career at all, as a man, which has many stigmas attached to it in my culture. I feel the same now as an artist at times.

“Forugh awakens the courage in us to be courageous,” he added. “This has always drawn me to Forugh’s work; her rigorous, rebellious nature has inspired many generations of artists since her death. Her writing, although being specific, is also timeless, transcends across cultures, and is full of humanity and love that goes beyond borders and ideologies. She longed for a world that could address and heal humanity’s pain.

“I think Alexis and I are drawn to Forugh and her work for these unapologetic tendencies and yet her humble nature of being, writing and expressing on the page. We strive for the same things in dance and choreography and long for a world that can address and heal its pain.”

“We both see dance as poetry in motion; a universal way of channeling poetry into the body and sharing that with the audience,” said Fletcher. “We believe this universality, along with the multidisciplinary and cross-cultural nature of this project, is a fertile ground that can draw new audiences to dance and connect different audiences to each other.”

Fletcher quoted from Rosanna Warren’s The Art of Translation: “The psychic health of an individual resides in the capacity to recognize and welcome the ‘Other.’” She explained that she and Khakpour “will use the act of translation as a practice of empathy; a way for artists and audiences to come together and lift the multiple veils of language, culture and ways of being that can obscure ‘the other,’ revealing the universality of our shared human experience, with language, visual art, dance and live performance as ways of ‘lifting the veil.’

“Expanding on the above,” she said, “we are curious about how we can use the practice of duet, including our partnership as performers, as a vehicle of exploration of ‘self’ and ‘other,’ and how this project can be a platform for this resonant conversation. This sparks our interest because, to execute duet skilfully and on an emotional level, one must delve into the other’s perspective more deeply…. We have the unique privilege of sharing this type of intimacy and connection with others as dancers because our bodies, especially in duet, are our physical and literal instruments: we must literally soften and yield our bodies and minds to give or receive the weight of another. We must take time to look into each other’s eyes and allow the other’s body to enter our private, personal space, learning what the impulses, dynamics, instincts and thought processes of that other person are. We must give each other patience and care for the relationship and choreography to work. We must acknowledge different subjective opinions and points of view. We feel that duet is a direct practice platform through which to investigate the myriad ways one can be in an empathic relationship with another.”

A dream come true

“Music in my life is the most important thing,” Charhi told the Independent. “When I started to create, to sing and to songwrite in Farsi, I knew that I had a message to be a little voice for the Iranian muted women. I knew that would be a continuation to the women from my family who are muted themselves. It wasn’t a question that I would do that. It’s not about me – I deeply feel I’m the pipe to tell a story.”

photo - Liraz Charhi gives a special concert on Nov. 23 at the Rothstein Theatre
Liraz Charhi gives a special concert on Nov. 23 at the Rothstein Theatre. (photo by Shai Franco)

On Oct. 7, Charhi releases her third album in Farsi. Called Roya – a vision, a fantasy, a dream – she recorded it with Iranian musicians in Istanbul. “It was an extremely emotional journey I cannot even express with words,” she said, “but we made a wonderful album with wonderful meaning and we all share the same dreams together.”

Charhi collaborated secretly with several Iranian artists – singers, writers, instrumentalists – on her second album in Farsi. Secrecy was necessary because of the political situation.

“Recording my album Zan (woman in Farsi) and collaborating with Iranian musicians was a dream come true,” she said. “I felt that I can give and be artistically freed, especially because I felt that we needed to meet and to create together. [That] we love each other with no boundaries is a fact we wanted to spread to the world. There are bridges we can build despite this crazy situation and we have the power to make a change.”

Charhi chose the name Zan for that album, she said, “because it’s all about women’s freedom I sing about. Struggling and, on the other hand, rejoicing, singing and dancing, making little by little resolution, which is very, very relevant to what’s going on today in Iran.”

Charhi’s first Iranian album was Naz, which, she said means “coquettish manners.” It has been described as a “rebellious soundtrack.”

“It’s about being a good Iranian woman, using all her charm and politeness to get what she wants from her man and still stay determined,” she explained.

Charhi’s parents emigrated to Israel in the 1970s, before the Islamic Revolution, and Israel is where Charhi was born, in Ramla, in 1978.

“My music is built out of layers of my heritage, Israeli and Iranian,” she said, “and so I knew always I wanted to use traditional Iranian instruments and to mix them with my psychedelic music that I love so much [from] the Iranian ’70s.”

She also has released two albums in Hebrew, one self-titled, the other Rak Lecha Mutar (Only You’re Allowed).

As an actress, Charhi garnered a nomination for best actress from the Israeli Film Academy for her role in the 2004 Israeli film Turn Left at the End of the World. She has acted in theatre, television and film, including playing the love interest of Phillip Seymour Hoffman in the movie A Late Quartet (2012), the role of Frida Kahlo in a production by the national theatre of Israel (2017) and an Israeli Mossad agent in the Israeli TV series Tehran (2020).

For the full Chutzpah! schedule and tickets, visit chutzpahfestival.com or call 604-257-5145.

Format ImagePosted on October 7, 2022October 5, 2022Author Cynthia RamsayCategories Performing ArtsTags Alexis Fletcher, Arash Khakpour, arts, Chutzpah!, culture, dance, Iran, Jessica Gutteridge, Liraz Charhi, music, poetry
Art show with a holiday feel

Art show with a holiday feel

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

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

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

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

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

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

photo - Ceramics by Hitomi McKenzie
Ceramics by Hitomi McKenzie.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The exhibit continues until Dec. 31.

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

Format ImagePosted on December 10, 2021December 8, 2021Author Olga LivshinCategories Visual ArtsTags Ande Axelrod, arts, crafts, exhibit, Hope Forstenzer, jewelry, Michael Shevloff, photography, textiles, Zack Gallery

That glitter gets everywhere

I’ve been thinking about Caillou, a TV show for toddlers and preschoolers. It’s been on television since 1997. Caillou is a little bald French-Canadian kid. He’s broadcast in both French and English, and offers gentle lessons to kids everywhere. My twins watched a lot of Caillou.

The episode I’ve been remembering offers something basic that we should all know. The summary: Caillou’s doing art at preschool with glitter. When he finishes, he doesn’t clean up or wash his hands. The rest of the episode shows off exactly where the glitter ends up, from light switches to friends’ bodies to snack and the table and chairs. That’s why it’s so important to wash your hands after playing with glitter.

The glitter message sticks with kids. It’s also a remarkably easy way to explain germ theory – useful during a pandemic. Glitter, like germs, gets everywhere.

As an early glitter fan, I found this lesson powerful. As a kid, I had several surgeries for birth defects by the time I was 5. I was in the hospital a lot. During one recovery period, I was brought to a big sunny room in the pediatrics ward to do arts and crafts, including glitter, which I loved. My mother still jokes about this more than 40 years later – remembering the day the surgeon came to check my incisions. My mom likely hovered, anxious, as he checked my abdomen and sides. He looked up and grinned when she asked how things were healing. He said things were coming along nicely and were “very colourful!”

What does this have to do with Judaism? I’ve been studying Tractate Pesachim as part of my pursuit of Daf Yomi (a page of Talmud a day). Pesachim’s topic is Passover. In Pesachim 15, the issue is how to burn all the chametz (leavened bread) that we get rid of right before the holiday. It’s considered “impure.”

Impurity here is often defined as something “in the wrong place at the wrong time.” There are many reasons why something is considered impure. The questions the rabbis are weighing are interesting. They wonder, “Is it OK to burn two different kinds of impure things together?” They imagine the Temple priests having to get rid of all this and finish cleaning by the start of the holiday.

The other impure things brought up – and this rabbinic impurity topic is complex – are pigul and nottar, two categories of sacrificial meats that have gone wrong. Jane Shapiro, in introducing this issue on the My Jewish Learning website, explains that pigul is something sacrificed “with improper thought.” That is, something sacrificed in error; that is, the priest thought it was to be burnt or eaten at the wrong time. Nottar was an offering made at the right time and not eaten – basically, leftovers, which are then considered impure. There’s common sense in this. Sometimes we cook things incorrectly (pigul) or, lacking refrigeration, we might just have to get rid of leftovers (nottar) to avoid food poisoning. In these cases, the impurity’s a mess-up. It’s not an unclean animal, another source of impurity, but, rather, a human mistake that leads to the disposing of something.

As the rabbis sort through what can be burned together, they examine how one kind of impurity causes a first-degree impurity, which, if it touches something else, becomes a second or a third degree of impurity. Something in this discussion reminded me of glitter and, then, germ theory.

Even the most careful person can be surprised by a sneeze, or get too close to someone when they are supposed to be social distancing. In fact, keeping oneself safe from invisible germs, like the coronavirus, can be difficult. Even healthcare workers, swathed in protective equipment, can slip up. In a sense, this rabbinic concept of impurity is a lot like catching germs. If we accidently mix items or people inappropriately, we pass along impurity, or germs.

If we visualize germs like Caillou’s glitter or my preschooler hospital craft project, we better understand how tricky a time we’re in. We’re still facing a long haul.

Yes, we hear a vaccine is on its way, but we don’t yet know how long it will take for enough Canadians to be vaccinated. We don’t know how effective the vaccine will be, or if enough people will be willing to take it. Meanwhile, COVID-19 is spreading just like that glitter. It’s everywhere that we are, and it’s scary. There’s every chance that we might encounter the virus through an inadvertent slip up (like the rabbinic impurity of pigul or nottar) but, since it’s germs and not glitter, we won’t know until later. We must act as if we are impure because the virus isn’t visible.

The most poignant part of this whole complicated impurity narrative is that the rabbis just can’t figure it all out. They say more than once that we’ll just have to wait for the prophet Elijah to return to give us the right answers. Reading it, you can imagine their shoulders shrugging as they struggle with what they don’t know and can’t figure out.

Scientists and doctors everywhere are also figuring things out as they go. They have to learn to live with the mystery. We don’t know everything – about the pandemic, how it works, when it will end and about those germs that spread like glitter.

For most, 2020 has been a rocky year. As we turn towards the secular year 2021, it’s important to remember that a vaccine might not be an instant fix. We face the future much as the rabbis faced some of these difficult questions about impurity long ago, and the researchers do today. We don’t know all the answers. We must do our best, square our shoulders, and keep on keeping on.

Yet, every week, as we end Shabbat, we sing about Eliyahu (Elijah) and we welcome him to every Passover and every bris. It’s in yearning for Elijah that we find the faith to keep trying.

Wishing you a happy and healthy 2021! I hope your home celebrations are great – and without glitter!

Joanne Seiff has written regularly for CBC Manitoba and various Jewish publications. She is the author of three books, including From the Outside In: Jewish Post Columns 2015-2016, a collection of essays available for digital download or as a paperback from Amazon. Check her out on Instagram @yrnspinner or at joanneseiff.blogspot.com.

Posted on December 18, 2020December 16, 2020Author Joanne SeiffCategories Op-EdTags arts, Caillou, coronavirus, COVID-19, germs, glitter, health, Judaism, lifestyle
Uncovering the story within

Uncovering the story within

A participant in Yehudit Silverman’s The Story Within process shows off their self-made mask. (photo from Yehudit Silverman)

This past spring, Prof. Yehudit Silverman’s new book came out. In The Story Within: Myth and Fairy Tale in Therapy, the Concordia University professor emerita walks people through a step-by-step process to healing.

“When a person embarks on this journey, they feel called to a story, but they don’t know why,” said Silverman. “And it’s the sense of the unknown that’s really important…. Sometimes, in conventional therapy, we just go around in circles and might not necessarily get to the deeper layers that are inaccessible to us. But, through the arts and through the use of a character from a myth or fairy tale, gradually we can access those areas in ourselves.”

In Silverman’s approach, clients start by choosing their own story after going through a couple of exercises. “That process of choosing the story is therapeutic and healing in itself, because it’s part of the person’s sense of their own sense of knowing their own strengths and their own intuition, which is really important,” she explained. “Also, it’s important to stay with one character in a story for a long time, allowing the depth work to be done … recognizing what the character’s quest is, which is so important in myth and fairy tale, which is why I think they are still so relevant.

“The protagonist is on a quest and has to face obstacles and challenges,” she continued. “That can be so helpful when people are facing their own challenges and obstacles, so they don’t feel so alone. Also, they get to work with fiction, which is very safe, providing a certain amount of distance.”

People choose their stories for different reasons.

“Someone might be really drawn to a character that is having to do an impossible task, like in Rumpelstiltskin, where the girl has to make straw into gold,” said Silverman. “A lot of people think they are facing an impossible task, so they might then choose that story.

“Sometimes, it’s just the title of the story. I worked with an adolescent who was homeless and, sadly, addicted to drugs. When I worked with her, she chose the story of the handless maiden, which led to, sadly, to the revelation of her having been abused as a child. It was just the title that drew her.”

Once people choose a character, they start to build a mask. Then, they build the environment for the character and go through the steps that are described in Silverman’s book. The process is usually done within the context of a group, so that it is witnessed, which, according to Silverman, aids significantly in healing.

“They work with other people so that, at some point, they actually direct someone else in their mask and in their costume,” she said. “They get to look at what their character looks like to an outsider. And then, they have people embodying the obstacle and the helper, so they actually embody going through the quest and the challenges of the character.”

Silverman once worked with an anorexic teen who chose the character of Dorothy from The Wizard of Oz. “For her, the tornado was her eating disorder that took her to the Wonderful Land of Oz … which was, for her, magical. It was the ‘Land of Starvation’ and the good witch, Glenda, was actually evil for her, because she was trying to get her to go back to Kansas…. I realized that, for her, everyone in the hospital was evil, was going against what she felt was her sense of reality and her sense of what was magical and important, which was her starvation.

“And so, little by little, she worked with it and she embodied the tornado,” said Silverman. “She was actually swirling around and started crying, and realized how destructive it was. It was the first time she had had that realization – she didn’t have it when people were just talking to her.”

The teen connected and embodied the “chaotic energy of the tornado,” said Silverman. “She began to realize it was destructive and, then, she very slowly started healing. But, for her, having that story was essential.”

Although COVID-19 has made holding in-person group sessions impossible for Silverman, it has opened the door to including people from all over the world in the online groups she leads.

image - The Story Within book coverThe Story Within outlines Silverman’s process step-by-step, taking readers through each one, and it can be useful for both therapists looking to implement the technique, as well as anyone wanting to understand why they do what they do.

“If you’re going through something that is severe or you are in crisis, you should definitely see a therapist,” said Silverman. “And, if you’re going to use the book, you should only use it in context of therapy. But, for people looking for personal healing and a way to have creative reflection about what their life and quest is, then it is definitely for those people – for seekers, for artists and, also, for therapists, as something to integrate into their process with clients. And that’s something I do a lot of right now – supervising therapists insofar as how to integrate this into their work.”

Silverman said already established groups can use the book, as well, to form a more solid structural foundation perhaps. And, “there are so many people at home right now, and they are really questioning what their life is about,” she added. With the anxiety, she said, “having this structure, where they can go through a creative process … is so life-giving. It really allows us to express what’s going on inside into an outside form.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Format ImagePosted on December 4, 2020December 2, 2020Author Rebeca KuropatwaCategories BooksTags arts, mental health, mythology, self-help, storytelling, The Story Within, therapy, Yehudit Silverman
Beauty of quilting tradition

Beauty of quilting tradition

One of Shlomit Etzion’s handcrafted quilts. (photo by Nir Falay)

Despite being generally considered the cradle of ancient civilizations and the source of the world’s monotheistic religions, the Middle East region is not known for its quilting. Yet, even in Jerusalem, you will find dedicated quilters.

Quilting is the process of sewing two or more pieces of fabric together to make a thicker padded material. Quilting is done all over the world, from Europe to America, to Southern Asia. While we don’t know its origins, we do know that, for many years, people quilted their clothes. Moreover – despite the Middle East not being recognized for its quilting – the earliest piece of quilted garment comes from the figure of a Pharaoh, dating to around 3400 BC, the period of ancient Egypt’s First Dynasty.

Shlomit Etzion, a Jerusalem resident since birth, said she has always worked with her hands. Her mother encouraged her to do handcrafts and she recalls that she started with embroidery. For a time, Shlomit considered going to a high school where she could pursue that, but decided not to go that route. In the end, she began quilting after she finished her university degree.

What would compel someone to begin quilting? For Shlomit, it was the beauty of traditional quilts. She likes Amish quilts and has even visited Amish quilters. She also likes the quilts of Native Americans. That is not to say, however, that she does art quilt, which employs both modern and traditional quilting techniques to create art objects. An art quilt is an original exploration of a concept or idea rather than the handing down of a pattern. It experiments with textile manipulation, colour, texture and/or a diversity of mixed media. Since this is not the type of work she creates, Shlomit describes herself as a traditionalist who uses traditional patterns as a jumping off point.

(As an aside, there are a number of quilt patterns based on the Hebrew Bible. They include Jacob’s Ladder, the Children of Israel, Joseph’s Coat of Many Colours and the Star of Goshen.)

In the beginning, Shlomit worked using scraps from old clothes and sewing by hand, just as was originally done in the United States. But now she buys her material, because it offers her more choices. She only uses cotton, as she likes the feel of it. When she visits the United States, she always goes to fabric stores to shop for material. However, there are now a few stores in Jerusalem that have a good cloth selection.

Shlomit uses a Bernina quilting machine, but there is a lot of picking of materials, measuring, pinning and cutting to do by hand. To secure her pieced top, the insulating fabric and the backing fabric, she brings her materials to a woman with a long-arm machine. Amazing as this may sound, Shlomit pointed out that nowadays, instead of sewing, some people even glue their pieces together.

photo - A handcrafted quilt by Shlomit Etzion
A handcrafted quilt by Shlomit Etzion. (photo by Nir Falay)

In her work, Shlomit often uses the nine-patch on point (consisting of nine evenly sized blocks stitched together). However, she has also made stunning quilts using the jelly roll pattern – for which the fabric is pre-cut and you can use a simple sewing method to put it together – and the log cabin pattern. In log cabin quilts, there is a repeated single block pattern of light and dark fabric strips that represent the walls of a log cabin; a centre patch, often of red cloth, represents the hearth or fire. Other geometric shapes such as trapezoids or right-angle triangles might appear in her quilts.

Shlomit likes fall colours the best – oranges, tans, brown shades. Because she is a red head, for a period of time she steered away from greens and blues. As a child, she had been pushed to wear those colours.

Life in general inspires her art, and living in Jerusalem plays a role, she said.

She derives tremendous joy from quilting, she added. She can sit for a whole day doing it. She enjoys not just the sewing, but also the technical work. She probably has 50 to 60 completed quilts at home, she said.

In Israel, unfortunately, people are not very interested in paying the price that quilt handwork commands, so her sales have covered the cost of her supplies, but not the hours she has spent making the quilts.

She prefers to work alone, but, when quilting meetings are held in Jerusalem, she joins the group. The Jerusalem quilting group is not formally active, though. Members seem to get together most regularly when they have an exhibit for which to prepare. While some readers may have seen movies or read books – such as Margaret Atwood’s Alias Grace or Whitney Otto’s How to Make an American Quilt – in which people attend quilting bees, working on the same quilt, this does not happen in Jerusalem. Like many groups, the Jerusalem quilters have met less often because of COVID-19 concerns.

Even though they aren’t an active group per se, the Jerusalem quilters have had some lovely exhibits at the International Convention Centre, the Jerusalem Theatre, the YMCA and the Mormon College. (See israelquilt.com/en/quilting-groups for more information.) Shlomit herself has exhibited in the United States and in the United Kingdom.

I suspect this quote about quilts originally targeted the receiver, rather than the giver: “Blankets wrap you in warmth, quilts wrap you in love.” In Shlomit’s case, however, the physical making of the quilt is a form of love.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Format ImagePosted on December 4, 2020December 2, 2020Author Deborah Rubin FieldsCategories IsraelTags arts, Jerusalem, quilting, Shlomit Etzion, textiles, tradition
Highlighting goodness

Highlighting goodness

Grounds for Goodness Downtown Eastside: Adventures in Digital Community Art Making, led by Ruth Howard, is part of the Downtown Eastside Heart of the City Festival, which starts Oct. 28. (photo by Adrienne Marcus Raja)

Tikkun olam, the imperative to repair the world in which we live, is a core influence of the project Grounds for Goodness Downtown Eastside: Adventures in Digital Community Art Making. Led by Toronto-based theatre designer and educator Ruth Howard, the residency is part of the Downtown Eastside Heart of the City Festival.

The festival runs Oct. 28 to Nov. 8, and Grounds for Goodness, which “explores why and how people sometimes do good things towards others,” takes place Oct. 30 to Nov. 12. It comprises participant and audience interactive story-sharing, art-making, workshops and an evolving gallery online, as well as Downtown Eastside window displays. The residency is co-produced by Jumblies Theatre and Arts and Vancouver Moving Theatre.

Howard – who has participated in the festival before (jewishindependent.ca/putting-heart-into-city) – is the founder of Jumblies. She said tikkun olam is an underlying motivator in all her work – “and one of this project’s explicit intents is to connect its themes and questions, my Jewish heritage as a second generation Holocaust survivor and my vocation a community-engaged artist.

“Community arts is predicated on the working belief that bringing people together across differences can foster commonality and understanding,” she explained. “And yet, growing up in the 1960s, as the child of a German Jewish refugee (my mother and family escaped to England in 1938) and an experimental psychologist, I was bred on evidence that groups of people tend to do atrocious things towards others, with goodness being individual heroic exceptions. I was told at a young age about [Stanley] Milgram’s electric shock experiments, and understood the link between such cautionary tales and attempts by survivors to explain the Holocaust. My own uncle – Henri Tajfel, both social psychologist and Holocaust survivor – coined the term ‘social identity theory.’

“Therefore, my attention was grabbed a few years ago when I read some books about the saving of Danish and Bulgarian Jewish populations during the Holocaust by citizens of those countries. The Danish story was slightly familiar to me and the Bulgarian one not at all. I have since become quite obsessed by these and other instances (for example, Albania, the Rosenstrasse protests) that run against the grain of my and other people’s common assumptions about human behaviour and ‘nature.’ I felt compelled to tell these stories and learn more about the reasons behind them. I started to investigate the notion of ‘social goodness’ from many angles: history, psychology, anthropology, philosophy, memory, folk tale, legend, theory.”

With the help of independent research and creation grants, Howard “gradually brought the project into the work of Jumblies, inviting and including the responses of diverse community participants and groups. Now, we have a broad and growing repertoire of stories with which to play.

“However,” she stressed, “it’s important to me to uphold the project’s origins in Jewish perspectives and histories, and my own Jewishness: a complicated mix of darkness, hope and urgency to understand how to cultivate grounds for goodness through never forgetting what can happen in its absence.”

The Jumblies team in Toronto includes Howard’s daughter, web designer and choir conductor Shifra Cooper, and composer Martin van de Ven, also a member of the Jewish community.

photo - Martin van de Ven 
Martin van de Ven (photo from Heart of the City Festival)

In addition to being a composer for film, television, theatre and dance, van de Ven is a music facilitator and educator. He is also a clarinetist and has performed with the Flying Bulgar Klezmer Band, Chutzpah Ensemble, and Beyond the Pale. He has been involved in many Jumblies projects – as musical director, composer and/or performer. “Ruth and I have written several choral works together,” he told the Independent.

“To me, Jumblies is the embodiment of a music and art-making philosophy that believes the arts are there for everyone to create and not just for the well-trained elite,” he said. “Composers such as John Cage and Canada’s R. Murray Schafer talk about this in their writing and both were an early influence on my music education. Jumblies allows me to use my own skills and training to combine the efforts of trained and non-trained performers to create art, and specifically music, that serves the purpose of the moment, whether a stand-alone piece or something that supports a story being told. I think this work is important; it democratizes and decommodifies music-making and breaks down barriers to creation for community members who are otherwise shut out of the creative process. The myth that music-making is the sole purview of the highly skilled, and it is only worthwhile if it is commodified into a product to be consumed, is damaging to the whole idea of ‘homo ludens,’ the idea that a fundamental human attribute is the ability to play, invent and create.”

The community choir that Cooper directs embodies this concept of art being for everyone.

“The Gather Round Singers is an intergenerational community choir, made up of 30-plus mixed-ability, multi-aged singers, from across Toronto and beyond,” she said. “We exist within Jumblies Theatre, and so share their dedication to radical inclusivity and benefit from their experience in creating interdisciplinary work.”

Despite the challenges of COVID-19, the choir has been meeting weekly online since April, said Cooper, “to rehearse and perform new choral works designed or adapted for this new context” – that “[c]horal music is among the more challenging forms to adapt to online gathering, as video calling platforms such as Zoom are designed to reduce vocal overlap, and create latency that makes in-sync singing impossible.”

The Gather Round Singers will perform two new pieces for the opening of the DTES Vancouver residency, said Cooper – “one a world première by Martin van de Ven and one a work-in-progress by Arie Verheul van de Ven, both of which were developed this summer especially to be performed on Zoom. These are both part of Jumblies’ larger Grounds for Goodness project, which continues until a final presentation in June 2021, and will include several other new musical and choral pieces … and other composers (including Andrew Balfour, Christina Volpini and Cheldon Paterson).”

“Grounds for Goodness overall is a multi-year project that includes many partners, places and participants,” explained Howard. “It has been taking place through real-live and virtual activities for almost two years. There have been episodes in Nipissing First Nation (near North Bay, Ont.), Montreal, Brampton, the Ottawa Valley, Algoma Region (northern Ontario), and with various Toronto groups.… We have received funds to tour the project, which have now been adapted to allow for ‘virtual touring.’ The Vancouver iteration is the next big chapter in this project.”

For Grounds for Goodness Downtown Eastside, Martin van de Ven said, “we’ll be premièring a work called ‘Besa.’ ‘Besa’ is an Albanian Islamic concept about hospitality and the need to help and protect guests and those in need within and beyond your community.

“In Albania, during the Second World War (and Italian and then Nazi occupation), this meant that almost all Jewish people living and finding refuge in Albania were sheltered and hidden, and Albania ended up with a larger Jewish population at the end of the war than at the beginning. We created a work based on texts found in writings and interviews with Albanians – from the book Besa: Muslims who Saved Jews During WW II by Norman H. Gershman.

“The COVID-19 restrictions prevented us from developing this piece as we normally would,” he continued, “and so I composed a work that could be performed and rehearsed with everyone being online. It involved researching the technology, experimenting with Zoom meetings and audio programs, as well as writing music that allowed for enough flexibility to deal with internet latency. For our Vancouver residency, we will be presenting this work and sharing our experience of creating an artwork to be performed online with members of the Vancouver art community.”

Those Vancouver artists include Savannah Walling, Olivia C. Davies, Beverly Dobrinsky, Khari Wendell McClelland, Renae Morriseau and Rianne Svelnis, as well as 10 DTES-involved participants.

* * *

Van de Ven started music lessons when he was 6 years old – on recorder. “In elementary school,” he said, “my friends and I decided we wanted to form a circus. As the only one in the group with musical training, I was charged with writing the theme for the circus band. I dutifully started writing down half notes and quarter notes on paper and tried to play them on the recorder. The method worked fine but I soon realized I would need some additional training if I wanted it to sound good.

“I ended up with a musical education partially shaped by my father’s interest and taste for very modern classical and jazz music and eventually formal training at university,” he said. “In my late teens, I realized that my interest in science and engineering paled compared to the excitement I felt for a live performance, whether as an audience member or as a performer.”

In university, in addition to his formal training, van de Ven was involved in various jazz programs and, eventually, studied and performed in free improv ensembles. He also did a short stint in Europe, studying early computer music in electronic sound synthesis.

“Klezmer music has a history deeply rooted in East European and Middle Eastern music traditions. As a clarinetist,” he said, “it provided for me a wonderful vehicle to not only deeply emerge myself into a culture other than my own but also perform a lead role playing in a band.”

photo - Shifra Cooper 
Shifra Cooper (photo by Liam Coo)

For her part, Cooper has loved choral singing her whole life. “And I bring this love to my own work,” she said, “while having always believed that bringing together community arts and choral singing requires a flexibility and a softening of our understanding of the boundaries of what ‘choral music’ can be – this is something that I have always been creatively driven by. In these times, I’m learning a lot more about how far this can go.

“Sometimes, turning things on their head can be revealing of new approaches, considerations or perspectives,” she said. “For example, one young woman who has sung with the choir for many years, said to me the other day: ‘In rehearsal, I always sit in the back row, so I only see the backs of people’s heads. I like on Zoom that I can see the faces of everyone I’m singing and performing with.’ Another choir member told me that she feels more confident and motivated to practise when she has her microphone off and is alone in her room following along – this confidence comes through strikingly in the recordings she shared with me for one of our digital projects. In these ways, sometimes, working online has revealed the limitations of our previously established norms for singing in-person. I think often now about how, whenever we can safely be back together, we might incorporate these learnings.

“Which is not to gloss over any of the challenges of meeting online,” stressed Cooper. “I think I can speak for at least the majority of the choir when I say we all immensely miss singing together – in sync, in harmony, in rhythm. And a digital space, even though full of many possibilities, is also full of boundaries and obstacles to folks joining in, especially those experiencing more precarious housing or financial insecurity. Our team worked closely all summer with members of the choir community to bridge this gap, purchasing and delivering internet-enabled devices to choir members and providing remote and in-person (socially distanced) trainings and trouble-shooting.” They did so with funding from several sources, notably the Toronto Foundation.

“Another part of my work has often included event management and digital design and, in the new reality of virtual art-making, these two often come together in interesting ways,” Cooper added. “I’m delighted to be designing a new interactive website for Grounds for Goodness at the DTES Heart of the City Festival, that will act as an online evolving gallery, showcasing new work created through the community workshops and acting as the container and guide for the culminating virtual event.”

For the full festival schedule, visit heartofthecityfestival.com.

 

Format ImagePosted on October 9, 2020October 8, 2020Author Cynthia RamsayCategories Music, Performing Arts, Visual ArtsTags arts, choral singing, coronavirus, COVID-19, Downtown Eastside, DTES, Heart of the City, Jumblies, Martin van de Ven, music, Ruth Howard, Shifra Cooper, tikkun olam
Inspired through story, song

Inspired through story, song

Musician Myrna Rabinowitz, left, and Jewish Senior Alliance’s Shanie Levin. (photo from JSA)

The theme of this year’s Jewish Seniors Alliance-Snider Foundation Empowerment Series is “Be inspired!” and the first of four sessions was called Be Inspired through Story and Song.

Held at the Peretz Centre for Secular Jewish Culture on Nov. 29, Gyda Chud, co-president of the JSA, introduced the two presenters, referring to each as “a gift to our community”: storyteller Shanie Levin, who is a member of JSA’s executive board and on the editorial board of JSA’s Senior Line magazine, and singer-songwriter and guitarist Myrna Rabinowitz.

Rabinowitz opened with the Yiddish song “Abi Gezunt” (“As Long as You’re Well”) and the audience echoed enthusiastically the refrain, “As long as you’re well, you can be happy.”

Levin followed with a story by Kadya Molodowsky, the first lady of Yiddish poetry. A House with Seven Windows is about a proud, strong heroine in the mid-19th century who embraced the dream of “normalizing” Jewish life through a return and settlement in the land of Israel.

Other songs by Rabinowitz included the Yiddish translation of Leonard Cohen’s “Hallelujah,” as well as “Sleep Little Boy,” a Yiddish song that she wrote eight years ago for her first grandson. She ended with the Yiddish rendition of “Sunrise Sunset” from Fiddler on the Roof (Tog Ayn Tog Oys).

Tall Tamara by Abraham Karpinowitz, both sympathetically comic and painfully tragic, was another inspiring story of Vilna’s poor and the unexpected dignity available to one woman through a chance contact with Yiddish literary culture.

Levin also shared Ted Allan’s Lies My Father Told Me, about the relationship between a 6-year-old child and his grandfather that transcends the differences in ages with deep connection. This story was made into a Golden Globe-winning film of the same name.

The last story Levin read – If Not Higher by I.L. Peretz – was about a rabbi who demonstrates that doing good deeds on earth may be a more exalted activity than doing God’s will in heaven.

Chud thanked the performers and urged the audience to attend upcoming JSA events, the next one being the screening of the movie Music of the Heart, starring Meryl Streep, at the Jewish Community Centre of Greater Vancouver on Jan. 15.

Marilyn Berger, who initiated the Light One Candle project and designed a card to help JSA celebrate Chanukah, encouraged the audience to spread the light and make a special donation to help JSA continue its peer support program, as well as its advocacy work.

For more information about JSA, visit jsalliance.org.

Tamara Frankel is a member of the board of Jewish Seniors Alliance.

Format ImagePosted on December 20, 2019December 18, 2019Author Tamara FrankelCategories LocalTags arts, literature, music, Myrna Rabinowitz, seniors, Shanie Levin, Yiddish
Many milestones for Wosk in 2019

Many milestones for Wosk in 2019

Dr. Yosef Wosk, right, with Max Wyman, 2017. (photo by Fred Cawsey)

The Yosef Wosk Poetry Initiative at the Jewish Community Centre of Greater Vancouver, which began in 2009, marked its 10th year with a celebratory gathering of artists and poets and with the publication of a commemorative book earlier this year. In addition, the Yosef Wosk Poets’ Corner, along with the adjacent Poet Laureates Garden, was inaugurated on the newly renovated top floor of the downtown central Vancouver Public Library – it was named in recognition of Dr. Yosef Wosk’s decades-long support of the VPL.

Wosk was an early major donor to the redevelopment of the eighth and ninth floors and the roof of the central branch of VPL and was asked to serve as honourary chair of the VPL campaign in 2018/19. The architect for the renovations, as for the library itself, was Moshe Safdie, while Cornelia Hahn Oberlander designed an extensive garden to complement her roof garden that crowns the award-winning structure.

In the library world, Wosk – who has established more than 400 libraries on all seven continents over the past 20 years – was able to fund more than 50 new initiatives in 2018/19, including 20 libraries in remote Himalayan villages and 37 in Jewish communities throughout the world.

As a writer and publisher, Wosk’s work has appeared in a number of publications. Most recently, these include having curated and written the preface for Memories of Jewish Poland: The 1932 Photographs of Nachum Tim Gidal, featuring photographs by Gidal from Wosk’s and the Israel Museum’s collections (Gefen Publishing, Jerusalem and New York, 2019). He also initiated and funded a biography, written by Christopher Best, of Faye Leung, the effervescent pioneer in the Chinese and real estate communities, affectionately known as the Hat Lady (Warfleet Press, 2020).

Wosk’s essay “On the Wings of Forever” was published in the online Ormsby Review this year in collaboration with the Canadian Academy of Independent Scholars. The editor’s preface notes that: “With prose as profound and learned as it is clear and accessible, here Wosk examines and appreciates the role of museums and museum workers in the digitizing modern world. It’s not gloom ’n’ doom. Instead, he outlines what he calls ‘a stirring vision, one of innovative technology on a human scale, heart-centred and soul-sized.’”

In collaboration with the Canadian Museums Association, Wosk helped transform the President’s Award into the President’s Medal; he also commissioned the medal and wrote the introduction in the booklet that accompanies the honorific, which was first awarded in 2019.

The province-wide Max Wyman Award for Critical Writing in the Arts, which was inaugurated by Wosk in 2017, formed an alliance this year with the VIVA Awards (the Shadbolt Foundation), which will begin in 2020.

In academia, Wosk was reappointed this year as an adjunct professor in humanities at Simon Fraser University and completed four years as a Shadbolt Fellow at SFU, where he was recently named a Simons Fellow.

During the year, Wosk served on 11 boards in the Jewish and general communities in areas such as education, medical research, museums, libraries, literature, business and the arts. These boards have included the Vancouver Holocaust Education Centre, Schara Tzedeck Cemetery Board, CHILD Foundation, Museums Foundation of Canada and Pacific Torah Institute. He was also an ambassador for the Vancouver Sculpture Biennale and is completing a second term with the B.C. Arts Council.

Format ImagePosted on December 20, 2019December 18, 2019Author Community members/organizationsCategories LocalTags arts, culture, libraries, Max Wyman Award, museums, philanthropy, poetry, SFU, Simon Fraser University, VPL, Yosef Wosk
Nechama Rivlin dies at 73

Nechama Rivlin dies at 73

Israeli President Reuven Rivlin and his wife, Nechama, in Jerusalem in May 2018. (photo from Ashernet)

Nechama Rivlin died June 4 at Beilinson Hospital in Petah Tikva, at the age of 73. She had undergone a lung transplant operation three months ago because of pulmonary fibrosis. She received a lung from Yair Yehezkel Halabli, 19, of Ramat Gan, who drowned in Eilat. President Rivlin extended his family’s thanks to the Halabli family, “who donated their late son Yair’s lung, for their inspiring nobility and wonderful deed.”

Nechama Rivlin was born in 1945 in Moshav Herut in the Sharon region. She completed high school at the Emek Hefer Ruppin Regional School. In 1964, she began studying natural sciences at the Hebrew University of Jerusalem. After graduating, she worked at the Hebrew University of Jerusalem as a researcher in the department of zoology, and other departments. In addition, she studied modern, classical and ancient art. In 1971, she married Reuven (Rubi) Rivlin and settled in Jerusalem. They have three children and many grandchildren; she was sister to Varda.

Rivlin’s fondness for Hebrew literature and art led her to write from time to time about writers and artists, who particularly appreciated the posts she published on the official Facebook page of the president. She generally began her posts with the words, “Hello everyone, Nechama here,” and signed them “Yours, Nechama.” In 2018, she established the President’s Award for Hebrew Poetry.

Format ImagePosted on June 7, 2019June 5, 2019Author Edgar AsherCategories IsraelTags arts, culture, Nechama Rivlin, writing
Spotlight on Israeli culture

Spotlight on Israeli culture

Shira Geffen shares how she met her husband, Etgar Keret, in the film Etgar Keret: Based on a True Story, which screens Nov. 14. (photo from facebook.com/etgarkeretfilm)

“I want to write stories so the readers will like mankind a little bit more,” says Israeli writer Etgar Keret in the documentary Etgar Keret: Based on a True Story. Similarly, as depicted in another film, the Israel Museum aims to uplift and educate visitors with its artistic, cultural and historical displays, and The Museum offers a glimpse into the breadth of its collections and the diversity (and quirkiness) of its employees. Both of these award-winning films screen during the Vancouver Jewish Film Festival, which started this week.

Danish filmmakers Stephane Kaas (director) and Rutger Lemm (writer) do an excellent job of introducing viewers to what makes Keret tick. They do so using a creative mix of interviews with Keret and his family, friends and colleagues; reenactments of sorts of a few key points in Keret’s life; and a few of Keret’s stories, the portrayal of which is mainly done in animation. Not surprisingly for anyone who has read Keret’s short stories, there are several laugh-out-loud moments in Etgar Keret: Based on a True Story, but there are also sombre elements, as we learn about how Keret has been impacted by tragedy, including the suicide of one of his best friends.

One of the funniest scenes is when Keret shares his first story with his brother, Rodi (Nimrod). Rodi brings his dog along for the walk and, after he finishes reading Keret’s story and praises it, he asks whether the typed copy he’s holding is the only copy. When Keret says no, Rodi uses the paper to pick up his dog’s poo. Perhaps a lesson in humility, Keret explains that it was at this moment he realized that a story is not in the piece of paper on which it has been written or typed – once a story has been read, it is in the mind of the reader. Keret calls this ability of a writer to transfer their ideas to another person a “super power.”

While many of Keret’s stories have gloomy aspects to them, the stories as a whole generally leave readers feeling good. He describes his stories as “an advertisement for life,” saying that he writes to answer the question of why he wants to live.

“I think the need to tell stories is, basically, the need to put a structure to the reality around you. And I feel that the more chaotic and the less sense it makes, the stronger the need I have to tell a story about it,” he explains in the film.

Etgar Keret: Based on a True Story screens Nov. 14, 8:45 p.m., at Fifth Avenue Cinemas (19+), following the 22-minute short Large Soldier, directed by Noa Guskov. “It’s 1973 and all that Sherry, a 15-year-old Israeli girl, wants is a boyfriend,” reads the synopsis of the film, which is in Hebrew with English subtitles. “A letter exchange with an unknown soldier makes her believe that it’s going to be her first love. But what will happen when the imaginary soldier becomes real?”

* * *

photo - A scene from The Museum, which screens Nov. 17
A scene from The Museum, which screens Nov. 17. (photo from goelevent.com)

The opening of Ran Tal’s documentary The Museum grabs viewers’ attention: a black screen, the sound of footsteps, some shuffling about, then a woman asks a man, “What do we have?” “That’s a huge painting,” he begins. When the scene is revealed, we see the man and woman sitting on a bench, looking at the painting, but the woman seeing it only through his eyes, as she is blind. Later in the film, this woman is part of a group of blind people visiting the museum – she and others touch various sculptures, feeling how the works are made.

The Museum makes clear the enormous responsibility and privilege of caring for, handling and presenting art and artifacts. Over a period of one-and-a-half years, Tal interviewed several museum staff – including a security guard who is also a cantor; the institution’s kashrut inspector, who notes that “a museum doesn’t replace spirituality”; and the then-museum director, who sadly had to miss his mother’s funeral because it took place on the day the museum reopened after an extensive renovation. Tal also films visitor interactions over that time, and highlights a 50th anniversary event (in 2015) featuring Prime Minister Binyamin Netanyahu and members of his government. Netanyahu remarks that the museum shows three things: “One is our bond to this land in a very dramatic display, and one of humanity’s most significant archeological finds, the Dead Sea Scrolls. Another is the great cultural treasure of the Jewish people in Israel and the world over, which symbolizes our contribution to humanity.”

Admittedly, The Museum only touches upon more serious concerns – there is a scene where a group of museum staff discusses a collection of traditional Palestinian clothing that is in storage, and the potential impacts of displaying (and not displaying) them – but it at least does bring up such issues, which will hopefully open the door for more in-depth discussion.

The Museum screens on Nov. 17, 6:45 p.m., at the Rothstein Theatre. For the full festival schedule and tickets, visit vjff.org.

Format ImagePosted on November 9, 2018November 7, 2018Author Cynthia RamsayCategories TV & FilmTags arts, culture, Etgar Keret, Israel, Israel Museum, short stories, Vancouver Jewish Film Festival, VJFF, writing

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