Barbara Adler

Community milestones … Federation, Glustein, Adler & Sadoff

Shelley Rivkin, left, Candace Kwinter and Ezra Shanken

Jewish Federation of Greater Vancouver’s annual general meeting on June 27 at King David High School celebrated Shelley Rivkin, vice-president of local and global engagement, for her contributions to the community. The meeting also honoured several volunteers for their leadership and contributions: Catherine Epstein (Dennis Frankenburg Award), new board chair Lana Marks Pulver (Harry Woogman Award), Stan Shaw (Bob Coleman Award), Brent Davis (Young Leadership Award) and SUCCESS (Community Partner of the Year).

In an email sent after the meeting, chief executive officer Ezra Shanken and immediate past board chair Candace Kwinter shared their joint message that will appear in Federation’s 2022-2023 annual report. In it, they cover much ground, noting that the organization’s “impact resonates farther afield than what the ‘Greater Vancouver’ in our name might suggest. From the Sea-to-Sky to Langley, and all points in between, Jewish community life is thriving – and we are proud to be at the centre of it through our Connect Me In program. On Vancouver Island and in Kelowna, we are now providing security training for volunteers and professionals in their growing Jewish communities.

“As part of her role on the Jewish Agency’s board of governors, Candace traveled to Ethiopia and accompanied some of the 3,000 Jews who were making aliyah. Together, we traveled to Mexico City with the Jewish Agency to see more of their international work, and from Ukraine to Turkey and Syria and beyond, we helped those in need when disaster struck.

“We continued to improve the quality of life for residents of our partnership region in northern Israel. Our work is focused on strengthening the region’s development and regionalism through leadership development and capacity-building while investing in academic excellence. Our long-term investments are helping residents tackle some of the most difficult and complex challenges they face living in Israel’s periphery.

“The political situation in Israel has proven challenging for many in our local community who care deeply about the country,” continue Shanken and Kwinter. “We and our partners have offered multiple events over many months to help people learn more about what is happening and to facilitate discussions.

“Here at home, inflation continued to take a toll on our partners and the people they serve. Across the board, our partners report that inflationary pressures are affecting every part of their work. Ninety-one percent are concerned or very concerned that inflation will affect community members’ ability to fully participate in Jewish life. And 100% of our social service partners are concerned or very concerned that inflation will affect their ability to support their clients’ needs.

“For five years, we have been bringing community together around issues of affordability. Together with key partners, we co-hosted an Affordability Summit on the experiences of children and youth in low-income homes. The three areas of focus identified by our planning council are advocacy for a national breakfast program, creation of a single application point for assistance from multiple organizations, and development of more inclusive, respectful processes.

“This year, we made strides in combatting antisemitism. We were proud to see Vancouver city council and Richmond city council adopt the International Holocaust Remembrance Alliance (IHRA) working definition of antisemitism and the province of B.C. commit to using it as a tool to identify and combat hatred. Identifying antisemitism is the first step in combatting it, which makes these milestones important for all of us, and we want to thank our partners and our advocacy agent, the Centre for Israel and Jewish Affairs, for their work on this.”

Federation also has started “an organizational design initiative intended to build significant capacity within the Federation over the next several years with greater potential for scalability, efficiency, excellence and agility going forward.

“Our unparalleled impact is possible thanks to the strength of our partnerships and the cherished trust of our donors,” Shanken and Kwinter write. “Collective giving is deeply rooted in our tradition, and we play a leadership role in raising the funds our community needs to grow from strength to strength. We invest strategically in initiatives that keep our community strong today, tomorrow and for years to come – as well as in times of crisis. Our partners depend on us to generate the support they need to deliver the vital programs and services on which thousands of people rely.”

The 2022 annual campaign generated more than $13 million for the community: $10.24 million directly through the campaign and $2.91 million in additional support, including special project funding, community relief and emergency relief. The Jewish Community Foundation’s contributions this year surpassed $12.7 million.

“This is more than double the contributions received in the previous fiscal year, which itself exceeded the contributions of the year before that,” write Shanken and Kwinter. “The Foundation strategically disbursed a total of $3.7 million into local, national and worldwide causes, including funding for the Foundation’s Unrestricted Grant Program, which allows response to critical emerging needs in the community.

“JWest also achieved unprecedented milestones. As one of the three lead organizations working together to bring JWest to life, we are excited at the progress made this year. From announcing the capital campaign cabinet to securing $75 million in funding and philanthropic gifts to a $36 million matching gift, this project has gained tremendous momentum.”

* * *

Ada Glustein received a silver medal for Canada-West Region, non-fiction, in this year’s Independent Publisher Book (“IPPY”) Awards for Being Different (self-published).

The “IPPY” Awards are a broad-based, unaffiliated awards program open to all members of the independent publishing industry worldwide who produce books written in English that are appropriate for the North American market. The awards are intended to bring increased recognition to the thousands of exemplary independent, university and self-published books released each year.

A memoir, Being Different tells a universal story about feeling different and longing to belong. Glustein recounts tales of growing up in a Jewish immigrant family during and following the Second World War, and the experiences that stand out during her school days, not knowing how to fit in to the world beyond home. She reflects on her years of teaching diverse children who also experienced life as “different.” She finds her own sense of belonging through helping those children find theirs.

* * *

Barbara Adler is the new artistic director of the Only Animal Theatre.

“After a rigorous national search by a leadership transition committee comprising board members and affiliated artists, we are delighted to have Barbara take the lead at the Only Animal,” said board chair Eleanor Stacey. “When we began the search process, we knew it would be an immense challenge to find a successor to founding artistic director Kendra Fanconi, who built such a visionary and essential company. Barbara’s distinctive combination of experience, artistry and vision for the future positions her uniquely to lead the company into its next chapter.”

Adler is an interdisciplinary artist and performer whose practice incorporates text, music, event-making and design. Recent projects centre slow and process-led creations that focus work around relational time and seasonal cycles. As a poet and musician, Adler spent over a decade touring North America, Europe and rural British Columbia as a solo artist and with ensembles, including the Fugitives, Proud Animal and Ten Thousand Wolves. She holds a master of fine arts (interdisciplinary studies) and a bachelor’s in art and cultural studies from Simon Fraser University.

Adler is “thrilled to join a company whose irresistible artistry and deeply held ecological values have brought both innovation and care to the climate crisis.” She added, “The Only Animal’s vision of enduring environmental stewardship reminds me that none of us will individually finish the work. I am honoured to add myself to the beautiful story that Kendra and the company have told for 17 years, and humbled by this opportunity to prepare the way for the next generation of voices in the climate struggle.”

* * *

photo - Rabbi Susan Tendler, her husband Ross Sadoff and their kids — Rabbi Susan Tendler, her husband Ross Sadoff and their kids.

Beth Tikvah Congregation brought the community together for a Shabbat BBQ at Gary Point Park July 7. Sponsored by the Sadoff family in honour of Ross Sadoff’s birthday and under the leadership of Rabbi Susan Tendler, the event drew around 100 attendees. Amid a picturesque setting, the atmosphere buzzed with ruach(spirit). Laughter and joy filled the air as families and friends relished the food, conversations and Shabbat traditions.

photo - Left to right: Ian Felgar, Elena Felgar, Yvette Tarko-Sabi and Donna Felgar — Left to right: Ian Felgar, Elena Felgar, Yvette Tarko-Sabi and Donna Felgar

photo - Roy Freedman and Caryl Koshen — Roy Freedman and Caryl Koshen

photo - Estelle Bleet, left, and Ann Kramer — Estelle Bleet, left, and Ann Kramer

photo - Jeff Rothberg and Stacey Kettleman of Star Catering — Jeff Rothberg and Stacey Kettleman of Star Catering.

photo - Libby Seltzer, left, and Mindy Zimmering — Libby Seltzer, left, and Mindy Zimmering

Orcas inspire creative music

The creation of Songs for a Lost Pod helped singer/songwriter Leah Abramson explore her family’s Holocaust history. (photo by Angela Fama)

The world première of Leah Abramson’s Songs for a Lost Pod was supposed to be part of this year’s PuSh Festival three months ago. Delayed because of COVID restrictions at the time, it now will debut May 28-29, 7:30 p.m., at Studio T, SFU Goldcorp Centre for the Arts.

Songs for a Lost Pod is a “nine-song cycle [that] makes spectacular use of orca vocalizations, transforming them into rhythmic beats in a musical exploration of historical trauma, environmental crisis and communication between species.” The theatrical production is the most recent development in a process that includes an album by the same name, released in 2017.

“It was just an outward spiral, really. The project started with dreams I had about whales, which turned into researching whales for fun, which then turned into a master of fine arts thesis, an album, a comic book, and now a stage show!” said Abramson when the Independent interviewed her in anticipation of the PuSh festival. “When I made the album, I knew there was so much research and information behind the lyrics and music of each song, and I felt like I wanted people to understand that context, so I made the comic book to highlight some of the research and stories. Then, as I was arranging the music to be performed live, I realized that I wanted people to have that context, too, so I’ve turned the research and background into a script. Then we decided that adding visuals would really help immerse the audience in the material. The project has just been expanding from the beginning.”

Abramson, who grew up in Burnaby, said she has been interested in music from a young age. “My grandma sang in her synagogue’s choir and my dad played the piano, so they tell me it runs in the family,” she said. “But I was also told that music was only for fun, and not a real career, unless you were a concert pianist or something like that. So, I tried to do other things, but I was miserable unless I was making music.

“Over the years, I’ve done lots of touring and playing in bands and teaching, but writing and composing has always been what I love the most. I have pretty varied interests – I’m fascinated by marine biology and I love learning about the environment, as well as human history. The great thing about writing songs is that you can research anything and put it into your work. Right now, I’m really excited about writing music for the stage, as well as choral music.”

Along with her MFA in creative writing (with a focus on lyrics) from the University of British Columbia, Abramson studied classical music at Capilano University, and also has studied traditional Appalachian balladry.

In addition to the song-cycle, Songs for a Lost Pod features the narrative script that Abramson mentioned, which “juxtaposes the whale histories with Leah’s own family and their experience surviving the Holocaust and its aftermath,” according to the program description. “Mind of a Snail’s handmade projections create an impressionistic and largely non-representational visual world to support the songs and narration, guiding the audience into a space of contemplation.”

“When I first started looking into whale histories, the parallels presented themselves pretty quickly,” Abramson told the Independent. “It was not my intention to delve into my family’s past, but, while learning about captures and commercial whaling practices, it was hard not to look at the bigger picture of human behaviour throughout history – aspects of cruelty and destruction that manifest in heartbreaking ways. But also, whales are similar to humans – whale intelligence is extremely high, and whale families are extremely tight knit.”

It was difficult for Abramson to explore her family’s Holocaust history – “the loss and pain are pretty overwhelming,” she said, “and it’s not always easy to find a way forward when that intensity is present. Whale families became a mirror for me, a way to understand and experience intergenerational trauma at a greater distance. The project allowed me to deal with my feelings in a more manageable way, through empathy for another species. And it provided a space for my grief, but also helped me find a way through it. Trauma is so common in families of all different backgrounds. Our ancestors may have lived through wars or other calamities and there are so many people living through these things right now. I think learning others’ stories can help people start to process their own family’s pain, even if the details are different. I felt like whale stories did that for me.”

Credit for Songs of a Lost Pod’s music and lyrics go to Abramson in collaboration with Antoine Bédard, J.J. Ipsen, Andrew Lee (Holy Hum), Aidan O’Rourke (Lau), Sandro Perri, Arliss Renwick and Marten Timan. The program notes that credit also could be given to the A5 whale pod, as the musicians “were given selected A5 pod orca vocalizations, along with Abramson’s other field recordings, to turn into beats and tracks, which formed the backbone of Abramson’s songwriting process, and the rhythms behind much of the music.”

Fellow Jewish community member Barbara Adler also has contributed to the project, and is the show’s narrator.

“Barbara and I have known each other for so long that we can’t remember when or how we officially met,” said Abramson. “It’s like that with people in creative community sometimes – you grow up making art alongside each other. We have shared some special experiences and projects over the years, and continue to work together and in parallel. We have some shared Czech-Jewish roots, which makes Barbara a really good fit for this project in particular. She’s working on a lot of interesting projects of her own, and I’m also happy to be one of her composer-collaborators for Mermaid Spring, which is a musical she’s making with Kyla Gardiner (who also happens to be our lighting designer).

“Barbara has been sending me song lyrics over the last few years, which I have been setting to music. I love working with the characters she has created, and it has truly been a joy to work on those songs. I also really admire Barbara’s artistic process. When she writes, she really digs into all the nuances of a situation or character. She welcomes complexity and the messy underside of creation. I think Barbara balances my impulsivity, and helps me step out from the shadows in my shyest moments. She’s also a great performer!”

Co-presented by Music on Main and SFU School for the Contemporary Arts, tickets for Songs for a Lost Pod ($15) can be purchased from musiconmain.ca/event/songs-for-a-lost-pod.

Ignite! festival is youth driven, skill building

For one week each spring, the Cultch comes alive with hundreds of local artists between the ages of 13-24 for the Ignite! Youth Festival. This is the 15th year of the event.

“The festival is a great place to discover new and emerging artists across Metro Vancouver and beyond. There’s food, laughter, dancing, dressing up, exciting acts and good times,” said Ellie O’Day of O’Day Productions, which handles publicity for the annual event. The festival “was created and run by a youth panel, working countless hours to put on an amazing festival every year, showing how important it is to have an opportunity like Ignite!,” she explained.

photo - Ellie O'Day — Ellie O’Day *(photo from Ellie O’Day)*

Hundreds of youth are involved in what is now Vancouver’s largest youth-driven arts festival, which includes showcases of music, dance and spoken word, the world première of three one-act plays, a visual arts exhibit and a variety of other acts. Events will be held in the Historic Theatre, Vancity Culture Lab, the Cultch lobby and the café galleries from May 2-10.

Though the festival is put on by youth, it is supported by a vast network of arts professionals to mentor the youth and help build their skills. Last year, a publicity mentorship was added to the list of mentorship opportunities. Publicity mentees get the opportunity to work with O’Day, the festival’s publicist five years running.

O’Day was brought up in a Reform Jewish family in the eastern United States and launched her career on radio in the late 1970s in Vancouver. From broadcasting, she expanded into writing, arts administration and arts advocacy, teaching music business for 21 years, and then – via her work as a publicist – helping to promote some of her favorite things: media and performing artists.

“I may have been thousands of kilometres away from my family and the customs that were part of our Jewish family life for many decades, but one of the principles that has stuck with me – particularly as I did not have children myself – is that we live on in the wisdom and knowledge we share with the coming generations,” she said. “That principle is so important to me that I would feel unfulfilled without it.”

O’Day does publicity for many shows at the Cultch, which is a complex of (now) three theatre spaces. “They have invested in this youth program,” said O’Day. “On staff, there is one youth program coordinator, currently Robert Leveroos,” who serves as guide, and also oversees a group of about 20 youth panel members who serve as the organizers of the festival.

During the weekend prior to the main festival, there is a showcase for mentored songwriters, spoken word artists and dancers. During the festival itself – which begins today – three short plays are presented in repertory. The young playwrights have been mentored by professional local playwrights; the young directors have been mentored by professional local directors.

“Last year, as a nearing-retirement publicist, I suggested we ‘mentorize’ the publicity, too,” said O’Day. “Young people may be savvy about social media, but don’t really understand how traditional media works.”

The publicity mentee helps with festival publicity. “Landon Krentz’s application indicated he was already doing some arts administration work, which meant he’d have a familiarity with the general infrastructure of arts organizations, which would add to his skill set,” said O’Day about this year’s publicity mentee.

photo - Landon Krentz — Landon Krentz *(photo from Ellie O’Day)*

Krentz and O’Day met a few times and split up the work, contacting artists for information, sending out media releases and following up on them.

Calling O’Day “my amazing mentor,” Krentz said he decided to join the mentorship program to improve his media relations skills and to become more involved in the industry. As the president of British Columbia Rainbow Alliance of the Deaf, Krentz has been involved with accessibility coordination, as well as with serving the deaf queer communities. A fundraiser and event coordinator for the contemporary dance community by day, Krentz is one of very few bilateral profoundly deaf people working in the arts community. “I hope to become a stronger advocate for deaf members and challenge audism in every day life,” said Krentz.

Some backstage roles, like stage management, lighting design, etc., have also been included in the mentorship program more recently. This year, promotional photography is being mentored by the Cultch’s house photographer.

“We’re not mentoring people to take over our positions next year,” O’Day explained. “The idea is to disseminate our skill sets and help mentor the next generation – who will eventually take our place(s).” The festival is all about empowerment, sharing knowledge and collaboration, she added.

There is an open application process in the fall/winter, when mentorship spots become available. In total this year, there are 18 mentorships, including three each in dance, songwriting and directing, two each in spoken word, playwriting and collaborative creation, and one each in publicity, photography, lighting design and stage management. The mentors hail from various disciplines and are all practising their art/craft in their professional lives.

Jane Heyman, a veteran director and theatre educator, is among the director mentors, as is Stephen Drover, artistic director of Rumble Theatre. A new category, collaborative creation, is mentored by Barbara Adler, who worked with spoken word mentees in the past. Among the dance mentors are Amber Funk Barton and Tara Cheyenne Friedenberg.

photo - Tara Cheyenne Friedenberg — Tara Cheyenne Friedenberg *(photo by Wendy D Photography)*

“This program is very unique,” Friedenberg, who is a dancer, choreographer and artistic director of Tara Cheyenne Performance, told the Independent. “It’s not a training program, but more of a lab with the amazing goal of a big performance in the fabulous Cultch. It’s an opportunity to mix with other youth committed to making art and to get guidance and support from some movers and shakers in Vancouver’s vibrant arts scene.”

O’Day added, “Each mentor’s role is going to be unique. Hopefully, they will be generous to share their knowledge and to let the mentee do a lot of the work, so they get hands-on experience.”

The Ignite! Youth Festival (igniteyouthfest.ca) runs until May 10. Tickets ($2 for youths 12-19, $6 for students/seniors, $10 for adults) are available online at tickets.thecultch.com or by calling 604-251-1363.

Rebeca Kuropatwa is a Winnipeg freelance writer.