culture

Six Jewish musical journeys

Amber Woods and Gary Cohen are the musical duo Kouskous. They were among the speakers in the six-part Journeys in Jewish Music series. (photo from Kouskous)

In ordinary times, the Victoria Jewish Community Choir meets in person at the synagogue building of Congregation Emanu-El. Unable to do so during the pandemic, the choir has instead been offering Zoom presentations on a diverse array of Jewish music.

Throughout the spring, the six-part Journeys in Jewish Music series, funded by the Jewish Federation of Victoria and Vancouver Island, has brought in an audience from around the world. It has featured talks on biblical cantillation by Vancouver’s Moshe Denburg; the songs of Sefarad, with Prof. Judith Cohen of the University of Toronto; Chassidic meditative melodies (niggunim) with Emanu-El’s Rabbi Matt Ponak; and Sing a New Song to G-d: New Prayer Compositions, with Rabbi Hanna Tiferet Siegel, who lives on Hornby Island. The last event in the series, which takes place June 20, will see Denburg return, to speak on the topic The Way of the Klezmer: Klezmer and Yiddish Song.

The Jewish Independent attended the May 23 musical voyage, which was guided by Gary Cohen and Amber Woods, who form the Victoria-based duo Kouskous. It explored Mizrahi music and how it differs from other Jewish musical styles. To demonstrate this, Cohen and Woods took the liturgical song “Lecha Dodi” and sang it with Ashkenazi, Sephardi and Mizrahi interpretations.

“In general, we see the Mizrahi world being divided into three major geographical blocks: North Africa, Turkey and the Middle Eastern (Arabic) countries,” said Cohen.

Following their expulsion from Spain in 1492, Sephardi Jews migrated to many countries in Europe, as well as going to North Africa, Greece, Turkey and Middle Eastern/Arabic countries. “Wherever Jews went, they blended their own musical traditions with those of the countries to which they moved. For example, the Sephardim combined their own musical style with Moroccan rhythms, Arabic instrumentation and Middle Eastern vocal expressions,” he explained.

“The Sephardim in Turkey and Greece often incorporate odd-metered rhythms such as 7/8, 9/8 in their music. In addition to traditional Arabic instruments, Greek instruments like the bouzouki were commonly used,” Cohen said.

Sephardi musicians who moved to Middle Eastern/Arabic countries were heavily influenced by Arabic musical styles, including “a wide melodic range, as well as vocal and instrumental embellishments,” he said. “Lyrics were often in Arabic, Hebrew or Judeo-Arabic.”

Throughout the presentation, Cohen and Woods performed some musical selections – including a few hot and spicy numbers – from the aforementioned genres for the assembled Zoom audience.

Carol Sokoloff, who co-directs the Victoria Jewish Community Choir with Kenny Seidman, is the person who came up with the idea for the lecture series.

“It has been so well-received it seems natural to repeat it and I hope to do that in the fall, going deeper into many of the subjects, as well as exploring new territory, such as Jewish composers of popular songs, Jewish women’s music, the music of the hidden Jews of Spain and Portugal, cantorial traditions and more,” Sokoloff told the Independent.

“Jewish music has so many flavours and is so rich and varied we have only begun to scratch the surface. Through our conversations, we are learning about other people with knowledge to share and, so far, everyone has been very generous in their enthusiasm for this series,” she said.

The shift from live venues to Zoom since the start of the pandemic has allowed the choir to expand its audience outside of Victoria.

“The series has been wonderful in that people who never knew about the Victoria Jewish Community Choir are now aware of us,” said Sokoloff, “and I believe that, when we finally can meet again to sing together, we shall likely attract many new members or new audiences for our performances and concerts. So, the series has allowed the choir to weather this challenging period and likely emerge stronger than ever! I think it has also generally increased interest in Jewish music in our region as well – all very happy outcomes.”

In non-pandemic times, the choir sings a variety of Jewish music: Psalms and prayers in Hebrew and Aramaic, niggunim, Yiddish songs, Sephardi music in Judeo-Spanish, Israeli songs, Broadway tunes, Yemenite music and contemporary compositions. For more information or to support the choir, send an email to [email protected] or visit their Facebook page, where you can also learn how to receive the link for the June 20, 7:30 p.m., talk.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Jewish film fest runs in March

Niv Nissim, left, and John Benjamin Hickey co-star in Sublet, one of the Vancouver Jewish Film Festival’s many offerings this year. (photo from facebook.com/subletfilm)

The Vancouver Jewish Film Festival will take place exclusively online March 4-14. And, while you might think that COVID’s continued presence would necessitate a trimmed-down festival lineup, there are as many high-quality and diverse films being offered this year as in previous years. We give JI readers a small teaser of what’s to come, with more reviews in our next issue.

Sublet explores divides

In the film Sublet, a New York Times travel writer whose shtick is to get a feel for a city in just five days arrives in Tel Aviv. Michael (John Benjamin Hickey) has booked the apartment of film student Tomer (Niv Nissim) but, realizing the student has nowhere to go, the pair end up as temporary roommates.

The somewhat uptight middle-aged Ashkenazi American, standing out like a sore thumb in his semi-casual blazer, is contrasted with the hot-tempered, in-your-face young Sabra. The differences between the two men – and, by extension, between two generations of Jews, of gay (or, in Tomer’s case, possibly bisexual) men, of Israelis and Diaspora Jews – form the heart of the leisurely paced film. Just as Tomer ridicules Michael’s touristy ideas of Tel Aviv’s highlights, the cinematography captures the city at some of its grittiest best.

Is it a generational divide or a cultural one that has Tomer and Michael adopting wildly different sensibilities toward the tragedies of recent Jewish history and the experiences of gay men in the AIDS crisis, which Michael’s first book explored?

“It’s so depressing,” Tomer says of the AIDS pandemic. “Why does everything always have to go back to that?”

A more stark response – and one that is darkly humorous but startlingly confusing to Michael and perhaps many viewers – comes when one of Tomer’s friends is discussing fleeing Tel Aviv for a more successful artistic life in Berlin.

“It’s a bit odd that you’re moving to Germany, the place that symbolizes Jewish tragedy,” Michael observes. The Israeli pair pauses for a moment, then burst into hysterical laughter.

“Berlin’s, like, the coolest place,” Tomer assures Michael.

The theme of patrimony runs through the drama. Michael and his partner are struggling to find a surrogate for a baby they want to parent. Tomer, it turns out, is himself the product of a mother who chose the path of artificial insemination. Michael is wondering if he is getting too old to start afresh as a father. Tomer, in his clumsy way, may be struggling with the absence of his own paternal influences.

The bonds and divisions between generations, between conceptions of the past, between Israel and exile are explored but unresolved in this pleasant (if sometimes PG) film. The brief glimpse of Tomer’s hilariously awful horror film is just a bonus.

A shiva from hell

photo - In Shiva Baby, Danielle (Rachel Sennott) gets her comeuppance. — In Shiva Baby, Danielle (Rachel Sennott) gets her comeuppance. *(photo from tiff.net/events/shiva-baby)*

When her parents browbeat her into attending a shiva, Danielle does not expect to run into Maya. The two young women have an entwined past, so much so that other attendees can’t remember which one is which. The film Shiva Baby quickly turns into a subtly riotous adventure in the joys and drawbacks of tight-knit communities and the challenges of keeping secrets in a yenta-intensive environment.

Though their shared history is a source of immense awkwardness and brilliantly snarky sparring, for Danielle (Rachel Sennott), this shiva is a house of horrors. Having told so many lies to cover her failure to launch successfully into adulthood, every turn, every new face at the shiva, is an opportunity for sequential interrogations and fresh humiliation. It becomes an unintentional parlour game to piece together the variety of stories Danielle has told of changing majors, areas of specialization and plans for the future. Family, friends and acquaintances compare conflicting tales Danielle has woven over the years, creating an elaborate narrative of mostly imagined endeavours.

Her parents Debbie (Polly Draper) and Joel (Fred Melamed) seem both oblivious dupes and co-conspirators in Danielle’s web of deceptions. The loving but exasperatingly overbearing parents add to their daughter’s discomfort time and again, leading to an understated climax that literally shoves Danielle’s bad choices in her own face.

This “comedy of discomfort” is a masterpiece of interfering adults and world-weary youth. The unifying bond between generations is a shared art for the backhanded compliment and straight-up insults. After Danielle spills coffee all over herself and a friend’s baby, her mother offers solace: “Well, thank God Sheila’s coffee is always lukewarm.”

Shiva Baby, a Canadian-American co-production, features a musical score that amusingly invokes the horror genre to emphasize the nightmare scenario in which Danielle finds herself, almost exclusively of her own design. Any awkwardness on the part of the viewer is alleviated by schadenfreude that whatever she has coming is probably well overdue.

For tickets to the festival, visit vjff.org.

What’s up in gerontology?

At the second program of the season in the Jewish Seniors Alliance Snider Foundation Empowerment Series, a few Simon Fraser University graduate students shared their research interests with the 70-plus participants who tuned in via Zoom on Jan. 15.

Jointly sponsored by the JSA and Sholem Aleichem Seniors of the Peretz Centre for Secular Jewish Studies, the Gerontology Research Panel: Eager to Share our Interests and Help our Community – What’s Up With Seniors event featured master’s students Lindsay Grasso and Kishore Seetharaman, and PhD student in gerontology Eireann O’Dea.

Grasso became interested in exploring the impacts of separating couples in long-term care settings when her own family experienced it. She said this problem of separation will become more severe as more couples age together. Current long-term care settings separate couples, depending on each partner’s individual needs.

The effects of dementia on couples is profound and, often, one partner ends up as the caregiver for the other, she said. When the point is reached that institutional care is required, being together would alleviate a lot of the pain, believes Grasso, who has received a grant to look into the long-term effects of separating couples, as well as the effects on visiting spouses, when only one partner is in care. In both scenarios, there is the loss of a shared life, shared memories and the beginning of mourning. It is important to continue the relationship through visiting, sharing activities and eating together, she said. The healthier spouse would need to monitor care and advocate for their partner. For her research, Grasso will be conducting in-person interviews with couples, and will also meet with staff to review their understanding of the issues surrounding separation.

The second presenter, Seetharaman, has a background in architecture and is interested in planning and designing dementia-friendly neighbourhoods, especially in Metro Vancouver.

Worldwide, 70% of dementia-affected adults live at home, so dementia is more than an individual health issue, it is a community issue. Communities must be more inclusive, he said. He would like them to focus on eliminating stigma, raising awareness, social engagement, accessibility to services, improving planning and design of public spaces and support given to caregivers.

In terms of design, he said, familiarity and easy recognition are important. Signs should be clearly visible and easy to read. Distinctive landmarks are helpful for finding the way, he added. There is some work being done in Vancouver in this area but it is not clear as yet how it will be implemented. Seetharaman would like to create a body of knowledge for designers. He is hoping to interview both dementia patients and public servants.

O’Dea is looking into volunteerism and cultural generativity. She became interested in these topics as an undergraduate, when she was volunteering at the Jewish Community Centre of Greater Vancouver and its L’Chaim Adult Day Centre. There, she encountered seniors who were volunteering with other seniors, and she is looking into the benefits on health and sense of purpose in life, as they move away from former roles. The strengths and capabilities of these older adults motivated other seniors to become involved, she noted, adding that each person’s aging process is unique.

O’Dea already has interviewed a number of senior volunteers regarding their motivation. She said many spoke of being motivated by the values of tzedakah (charity) and tikkun olam (repairing the world), and the passing on of Jewish culture. These responses led her to the exploration of cultural generativity, i.e., the desire or need to keep cultural identity alive and pass it down to future generations. This is especially relevant to ethno-cultural minorities, she said, and O’Dea will be researching four minorities: Jewish, Chinese, South Asian and Iranian. She will be studying the effects on both the volunteers and the members of the communities.

During the Q&A session, there were queries about dementia villages; the design and cost of facilities for couples in long-term care; and retention and recruitment of volunteers. The City of Vancouver is apparently looking into an age-friendly action plan that could include persons with dementia.

JSA co-president Gyda Chud reminded everyone about the evaluation questionnaire, then Shanie Levin, program coordinator for JSA, thanked the presenters. The entire program, including the PowerPoint images, is available via the JSA website, jsalliance.org.

Shanie Levin is program coordinator for Jewish Seniors Alliance and on the editorial board of Senior Line magazine.

Zack Gallery reopens

“Resistance” by Dorothy Doherty. Part of the Beyond the Surface exhibition now on at the Zack Gallery until Sept. 8. (photo from gallery)

The Jewish Community Centre of Greater Vancouver has opened its doors again, at least partially, and the Sidney and Gertrude Zack Gallery is presenting a new exhibition, Beyond the Surface. Art lovers can make appointments to tour the show in person. It features five local artists – Janice Beaudoin, Olga Campbell, Dorothy Doherty, Jane McDougall and Ellen Pelto – and the Jewish Independent interviewed them recently by email about their art, and how the pandemic has affected them.

photo - Olga Campbell — Olga Campbell *(photo from the artist)*

“This exhibit was originally scheduled for June 4,” said Campbell. “Because of COVID, it was a bit late. It was hung on June 18, and the virtual opening through Zoom was on July 8.”

Last year, the five artists attended a five-day workshop in Victoria led by California artist Michael Shemchuk, though some of them had met before then.

“Dorothy and I have been friends for 45 years,” said Pelto. “I met her in a clay class she was instructing. I’ve also known Olga for eight years.”

“I met Olga Campbell in various art workshops in Vancouver and then spent five years on campus with her at Capilano College between 2008 and 2014,” said Doherty. “We took some classes together and worked independently in others, all the while growing in friendship.”

Doherty, who has taken Shemchuk’s workshops several times over the years, met McDougall and Beaudoin at one or another of those sessions. And Shemchuk’s teaching, especially on the paper layering technique, has been instrumental in the birth of this Zack show.

“A couple of us thought that it would be interesting to show some of the work that we had created in his workshop,” Campbell recalled. “We thought that five [artists] would be a good number to demonstrate the cohesiveness of the art, as a result of us all using the same techniques, but also showcase each of our individual styles.”

photo - Dorothy Doherty — Dorothy Doherty *(photo from the artist)*

Doherty came up with the title, Beyond the Surface. She said the rest of the group quickly agreed. “I think the word surface resonated with us because we all do unique surface treatments,” she said. “Surface is really important in art and in life, but we always want people to look beyond appearances – learn about people and artwork in greater depth.”

To produce the works, the artists manipulated a surface in many ways. They layered, sanded, abraded and painted it; even cut into it to reveal what lay beneath.

Beaudoin elaborated: “Beyond the Surface is the ideal name for this show, as the technique we all used is based on the process of layering paper and paint. As we add and subtract paint and materials by sanding or scraping, each artist makes decisions about what elements to reveal and what to hide. The final surface is one that often appears aged and somewhat mysterious, providing the viewer with enticing glimpses of things that are hidden beneath the surface and leaving them to wonder what has been covered.”

In a way, this show’s unusual story echoes its title as well. While a traditional vernissage is an event where art connoisseurs mingle inside a gallery, the pandemic forced Zack Gallery director Hope Forstenzer to show and promote the art digitally.

“She did a virtual tour of our show at the JCC,” said Campbell, “and she is also interviewing each of us in our studios live via Zoom, so that people can see our art and have a virtual tour of our studios.”

photo - Janice Beaudoin — Janice Beaudoin *(photo from the artist)*

The artists mused about the changes in their field and in gallery procedures wrought by COVID-19.

“My sense is that pandemic or no pandemic, artists will always make art. The biggest challenge is going to be getting the art out to the world to enjoy,” said Beaudoin. “There is always a basic human desire to stand before a work of art in person. That is definitely the best way to engage with a painting. However, there is a generation of media savvy younger art buyers who are used to purchasing things by seeing them on a computer screen. I think that galleries that are working to provide virtual viewing options are the ones that will survive. The art world, like all industries, really has no choice but to adapt.

“I also feel that it must be acknowledged that many people still find comfort in seeing art in person. The art world is known for its fun social events – and we know now that the comfort of human contact cannot be fully recreated online. My sense is the future of art shows and museums will be a carefully managed balance of socially distanced in-person viewing and virtual showings.”

“I have been fortunate,” said Campbell. “I continue to meet regularly with three other artists. We create our art at home and then share it with each other on Zoom. With another artist friend, I have been playing Photoshop tennis online. One person sends the other an image, the other person adds another image through Photoshop, and this continues until the piece is finished.… I think that we are in this for the long haul; two years, maybe more. I think that, in the future, art shows will continue in real life – in fact, it is already happening – but I do think that some of the virtual things will remain.”

“It’s hard to say how the pandemic will change exhibition practices in the future,” said Doherty. “I do appreciate all the online exhibits, as there would be no other way to see many of these exhibitions. But I really believe there is no substitute for the gallery system as we know it, with wonderful opening nights and the ability to see the artwork in person. We need that direct exchange of human energy, and the feedback we get from visitors and friends. We need access to art in galleries and to artifacts in museums – it’s how we learn. I have always said, despite my gratitude for online Zoom meetings, that the human experience is not the same. It’s flat instead of three-dimensional. We are looking at screens. We are not looking at the real person. There is no exchange of human energy online. We need direct human contact. That’s what we need to live happy, successful lives.”

photo - Jane McDougall — Jane McDougall *(photo from the artist)*

For McDougall, the pandemic hasn’t changed much for her. “I think most visual artists are used to working in isolation. My art practice has remained the same,” she said. “Listening to CBC in my studio keeps me up to date on the world and, of course, most of the talk is about COVID. I feel grateful to live in B.C.

“I am generally a positive person and my thoughts reflect that. I think there will be more of an online presence for art,” McDougall continued. “And, like Hope Forstenzer’s example throughout this show, there will be interactive web calls and taped studio visits. Because of that, artists will become more involved in the galleries. Long term, I think the pandemic will pass. Art galleries and museums will always be an important element in education and sharing the past. Nothing will replace the up close and personal view of art.”

photo - Ellen Pelto — Ellen Pelto *(photo from the artist)*

Pelto agreed. COVID has changed exhibition practices, she said, and “will inevitably change the future practice of making, exhibiting, buying and selling art. However, people will always need to see art. That will not change. People need to see it to appreciate the scale, proportions, richness of colours and textures, and to feel their evocative response. Some of the positive outcomes include the creation of more and stronger online artistic communities. The online presence increases exposure for artists, and interesting themes will emerge in art that will define the human condition of COVID.”

Beyond the Surface runs until Sept. 8.

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

Misappropriation of Israeli flag

According to the Associação Scholem Aleichem, in Rio de Janeiro, right-wing religious groups are misappropriating the Israeli flag in their show of support for Brazilian President Jair Bolsonaro. (photo from ASA)

This article is a response to the continuing misappropriation of the Israeli flag by right-wing religious groups, followers of a certain Christian belief known as “progressive dispensationalism” (no political connotation), whose adherents support Brazilian President Jair Bolsonaro.

Bolsonaro and his stalwarts have consistently raised the Israeli flag while promoting their reactionary views and hate-mongering. Most recently, several Israeli flags were displayed at a public rally in support of Bolsonaro and his policies regarding COVID-19, including his stance against preventive measures such as social distancing and stay-at-home orders, and the championing of hydroxychloroquine as a sufficient means of treatment and prevention.

Within any nation, there may be contention over its symbols. Two Brazilians may wield the same flag in favour of two different ideals. Such a case is restricted to members of the same country. Likewise, as the state of Israel was created to take in and represent Jews, the only non-Israelis who may claim its flag are Jews from other countries. If non-Jews raise an Israeli flag, for whatever reason, they appropriate a symbol that is not theirs. This is all the more serious in a prejudice-filled world in which various peoples have been losing the right to tell their own story.

It is only natural – indeed, healthy – that Jews, in Israel or elsewhere, should discuss the meaning of a Jewish state. Debate has always been part of our culture, and we have never felt the need to agree on everything. But the spokesperson of another people, by seizing another nation’s symbol, makes it the hostage of their own political agenda. It is one thing to raise the Soviet flag, conceived by a party as an emblem of an international revolution. It is not so much an appropriation of a national symbol as it is an endorsement of Bolshevik ideology. The Israeli flag, by contrast, was meant to rally a people in the Diaspora. Jews outside Israel may brandish it; a non-Jew would be overrunning someone else’s realm.

Throughout history, we Jews have constantly encountered non-Jews ready to ascertain if we are a religion, a race or a nation. The consequences have always been tragic. Yet, just as it is for every people to define itself, it is a Jew’s prerogative to determine the depths of his or her Jewishness and, likewise, to determine his or her relationship with Israel. Nowadays, many Christian groups believe that the Second Coming of Jesus will be ushered in by the regrouping of all Jews in the “Holy Land.” It is no gesture of goodwill toward Jews, just another of the many ways of inserting us into a foreign narrative.

Strains of thought within dispensationalism grant Israel an importance peculiar to their religious aspirations, but the country was not established for this reason. Christian dispensationalism sees history as a series of specific stages (“dispensations”) of the “administration” of the “divine plan.” In this scheme, the prevalent trend has imputed a particular role to “the ethnic nation of Israel” – “Israel,” the people chosen for Jesus’s divine revelation. Its fulfilment entails “the end of disobedience,” namely, the embracing of Jesus as our saviour. This entails a kind of eschatological glorification of the Israeli state. Let it be said that this is no favour for Jews. Indeed, were that “dispensation” to come to pass, it would be the effective end of Judaism. Not a single architect of the state of Israel could have entertained such a notion.

But that is not all. To blur the purpose of the Jewish state with the myth of “Israel’s salvation” is to cloud public opinion and impair its perception of what Israel can – and should – represent. Far more troubling, however, is that these very same groups that preach the aforementioned Christian theory and misappropriate the Israeli flag also polarize the political climate wherever they live. In Brazil, they hold considerable sway, and their conduct is extremely controversial, to say the least. The improper use of Israeli symbols links us Jews to these controversies in a wholly detrimental fashion. And regardless of the collaboration between the current Brazilian and Israeli governments – the current Brazilian government has a strong ideological identity with the Netanyahu government, and its members seek to establish profitable commercial relations with Israeli companies – flags symbolize states, not governments.

Brazilian Jews may and should oppose “bolsonarism,” but a delusion under which Bolsonaro links his policies to a universe as complex and diverse as Israel’s will always be harmful. For starters, there is a cultural element to the issue: Bolsonaro is Brazil’s representative, and a disgraceful one at that, but he does not represent Israel in any shape or form, disgracefully or otherwise. It requires immense ignorance on his part to equate the Israeli experience with his political project.

And there is another level, of a more political note. Israelis have their own problems and, regardless of the kind of society they wish to make, it would be detrimental to link it to Bolsonaro’s administration, with all the dire misfortunes the latter casts upon Brazil.

Finally, there is a matter of principle. By parading his submissiveness towards the United States, saluting its flag and playing the lackey to its president, Bolsonaro undermines the sovereignty of his country and degrades his own authority. By juxtaposing Israel’s flag with those of Brazil and the United States, he seizes someone else’s authority and, above all, affronts the sovereignty of someone else’s country. He transgresses the complexities of Israel’s society to subject it to the same submissiveness he expects for Brazil. The United States has a long history of interference in Brazilian affairs and in those of Latin America in general. This – and the specific perversity of the current U.S. president – adds further weight to Bolsonaro’s folly.

The misappropriation of the Israeli flag effectively represents a transgression of the meaning of Israel, regardless of its government, a disdain for the liberty of the Israelis, regardless of their religious tradition and ethnic identity, and a hindrance to the personal choices of Jews, regardless of our country. As Brazilians, we assert that Bolsonaro lacks standing to uphold national sovereignty. As Jews, we maintain that he lacks legitimacy to wield the Israeli flag – and that he is both fraudulent and destructive when he does.

Esther Kuperman submitted this article, which was written by the Associação Scholem Aleichem, in Rio de Janeiro ([email protected]). ASA is a century-old institution founded in Brazil by Jews who came from Europe in search of security and survival, fleeing persecution and wars. Its main mission is the cultivation of Jewish culture, without losing sight of Brazilian cultural manifestations and the defence of human rights.

Song of healing is a hit

Israeli artists Yair Levi and Shai Sol sing Moses’s prayer to heal his sister Miriam of leprosy. The song, “Refa Na,” has resonated with people during the pandemic.

The song “Refa Na” (“Heal Her Now’”) by Israeli composer Yair Levi, together with vocalist Shai Sol, has become a global hit during the current COVID-19 pandemic.

Based on Moses’s prayer to heal his sister Miriam after she contracted leprosy, the song was released on Levi’s Facebook page April 6. The lyrics include the words, “O Lord, heal her now. O Lord, I beseech thee. Then we will be strengthened and healed” (Numbers 12:13) and Levi’s original is in multiple languages: Hebrew, as well as English, Spanish, French, German, Chinese, Arabic, Russian, Hindi and Swahili. The song has been picked up in dozens of covers, from Lebanon to Argentina.

When Levi’s grandmother fell ill, he composed a tune incorporating Moses’s prayer for his sister’s wellbeing. The song has resonated throughout the world during the current pandemic, garnering hundreds of thousands of views and shares.

“My grandmother had an illness unrelated to coronavirus, but the pandemic obviously affected everyone, myself included,” Levi, 31, told Ynet news portal. “Due to the epidemic, I received the names of people in need of prayer and a list of about 20 names accumulated on my fridge. Every day, I would say a prayer for the sick, and I searched for words and a tune related to medicine.”

Then Levi remembered the “Al na refa la” prayer in Numbers.

“I took my guitar and composed the music for it on the spot and, since I have a recording studio in my home, I recorded the song within a week.”

Levi then approached Sol, a vocalist with Miqedem, a band that composes and sings Psalms all around the world.

“In quarantine and with no way to actually meet, she recorded herself,” Levi said.

After posting the song on social media, he said, “It was amazing. We received many responses and translations. Immediately after we released the song, it was shared online by evangelist Christians, Jewish communities, and even the Friends of the IDF organization.”

But not only the obvious audiences were enthusiastic.

“We have received cover versions from all over the world, including from a Lebanese singer, and, on Saturday evening, I received three new covers from Namibia … India and a Brazilian singer, Fortunee Joyce Safdie, who performed the song live on her Instagram page,” he said.

“Getting so many messages from people all around the world is incredible,” he added. “If I have the privilege to spread prayer around the world, to me, it’s just crazy. When people from all over the world translate and sing a prayer for health, it feels like it is literally the End of Times.”

During his three-year service in the Israel Defence Forces, Levi – who grew up in Israel’s secular mainstream – became intrigued by traditional Judaism. A turning point in his life came on May 31, 2010. Serving as a naval commando, his elite unit stormed the MV Mavi Marmara, one of six ships in the Gaza Freedom Flotilla attempting to breach Israel’s blockade of the coastal enclave. Nine Turkish activists were killed in the incident, while 10 IDF soldiers from Levi’s unit were wounded. After the sea battle, Levi was determined to join an IDF officer course. But, at the age of 26, he decided to pursue a musical rather than military career.

“I spoke with my commander, who told me people often regret what they had not done,” Levi said. “It opened my eyes and I realized that the flotilla incident pushed me in the direction of the course, but my real dream was to make music and become a singer.”

Levi has released two albums, Breathing Again (2016) and Let Go (2017).

“People see me as a religious person but I don’t like labels,” he said of his oeuvre.

To hear more of Levi’s music, visit yairlevi.bandcamp.com/releases.

Gil Zohar is a writer and tour guide in Jerusalem.

Culture & accessibility

Visitors to Masada learn more about the site through Gadi Mathov’s miniature model of the landmark. (photo from Mathov Design)

What would it take to make museums, cultural sites and tourist attractions more accessible to people with visual, intellectual or developmental disabilities? For the past 25 years, Israeli professional miniaturist Gadi Mathov has been working on solving this problem using models.

At Masada National Park, for example, people with visual impairment can understand the site’s unique topographical structure and history through Mathov’s 3D tactile models.

“We also created for them miniature models of siege vessels that illustrate the Roman siege of Masada,” he explained. “The way I define it, a model is a physical representation of a product or an idea. A model is a medium that allows people to communicate and pass along ideas between them.”

Mathov Design models are used in leading cultural institutions such as the Israel Museum and sites managed by the Israel Antiquities Authority and the Israel Nature and Parks Authority. Mathov also cooperates with the Commission for Equal Rights of Persons with Disabilities, the National Insurance Institute and the Access Israel nonprofit organization.

Mathov Design’s 100-square-metre model of Jerusalem, featuring the Temple Mount, the Tower of David, the Knesset, the new Jerusalem Light Rail and other iconic structures, can be seen in Times Square in New York City as part of the Gulliver’s Gate project.

Birdwatching via models

Agamon Hula, a must-visit birdwatching and natural beauty attraction in northern Israel, is also enhanced by Mathov’s models. Here, he cooperated with Pnina Ceizler, Keren Kayemeth LeIsrael-Jewish National Fund’s northern region projects and accessibility coordinator, and KKL-JNF’s chief ornithologist Yaron Charka to make the site’s research station a place of interest for people with disabilities – visitors can see and/or feel models of the birds that migrate in the area, as well as special globes and maps that highlight migratory routes.

“There are quite a few models that we’ve created to enhance the experience for people with visual impairments,” said Ceizler. “We see that it’s useful for everyone, also for children with disabilities or with autism.”

The accessible experience at the research station has proved to be a huge hit, she told Israel21c. She tried it out on a group of people with visual impairments before opening it up to private visitors and organized trips for schools and people with special needs.

“They enjoyed this whole experience up close. They were impressed and admired everything,” she said of the accessible centre’s first visitors.

Back to the future

Mathov has worked in his profession for 37 years, but it came about quite by accident. “It was a temporary job while I was an architecture student, and then I found out that I liked it better,” he recounted.

Decades later, he’s still in love with the job. “They’ll have to take me out of here in a coffin,” he joked, speaking of his workshop in the central city of Lod.

Along with cultural institutions, his clients include the defence establishment and medical instrumentation companies.

Mathov is not worried about work drying up in the age of technological advancement. “There’s nothing more comfortable or clearer than a model,” he said. “There are dozens if not thousands of uses.”

Lately, it’s become much easier and cheaper to create a model. “The biggest development was the introduction of what we call computerized production,” Mathov explained, citing 3D printers, lasers and CNC (computer numerical control) machines. “Each of these technologies helps us create a much more complex and higher-quality product in less time and for a cheaper price.”

Mathov hopes that, one day, people will be able to print out models at home of the places they’re planning on visiting. “Today, no one goes to the store to buy music; no one goes to Blockbuster to watch a movie. I imagine that, when you’ll want a miniature model, you won’t go to a miniaturist. You’ll be able to download them and print them by yourself,” he explained.

However, printing is only the end of a process that begins with human creativity. Mathov said a model should contain “the human spark of the soul of the person who created it.”

And, while he mourns the disappearance of craftsmanship, Mathov is a firm believer in advancement. “You have to keep on looking forward,” he said. “To understand what the technologies are and where they’re heading; how to adopt them or compete against them or circumvent them.”

For more information, visit mathov.co.il/English.aspx.

Israel21c is a nonprofit educational foundation with a mission to focus media and public attention on the 21st-century Israel that exists beyond the conflict. For more, or to donate, visit israel21c.org.

We’re all in this together

Does it seem like people are behaving more kindly this week? Maybe it’s the sunshine. But maybe it’s the realization, amid all the alarming news and concerns over the spread of coronavirus, that we are all, truly, in this together.

We live in particular times that may be defined – especially as exemplified by some political leaders and their followers – as uncharitable, xenophobic, chauvinistic, mean-spirited and self-interested. These attitudes have been demonstrated, among other ways, in the attitudes of many people toward migrants from other places. These ideas trickle down to the way we treat one another – in traffic, in online interactions, in schools and workplaces, in voting – behaving in ways that take into consideration only (or mostly) our own well-being at the expense of the well-being of others. There are magnificent exceptions, of course, everyday acts of kindness and gestures of humanity great and small. But our age, it can probably be agreed, includes a lot of pettiness, intolerance and plain old snark.

Our parents or grandparents understood the meaning and necessity of sacrifice for the greater good. The communal effort during the Second World War, on the home front and among those serving, was a generationally defining undertaking. While wars, sadly, have continued, in our corner of the world, the burden has fallen on an increasingly smaller number of people – those families with members in the service. But, for at least a generation of North Americans, we have not been called upon for an unavoidable collective sacrifice for the greater good. Again, this is not to say that many people are not sacrificing for the greater good – individuals are devoting themselves to causes greater than themselves, including climate change, but they are doing so by choice. They may be driven by desperation, fear, environmental justice or other motivations, certainly, but, ultimately, it is voluntary.

Then along comes a virus with apparently incalculable potential to cause illness and death and we realize that we are not so separate after all. While they have resisted on issues like climate change, governments worldwide have stepped up (some of them more slowly and irresponsibly than others) and taken seriously the science that predicts grave consequences if we do not take urgent actions now. And individuals, in the first days of what will be an unprecedented period of unknown duration, appear surprisingly amenable to following government-issued restrictions on behaviour for the hope of long-term health, not only for themselves but for those who are more vulnerable due to age or underlying health conditions.

There is nothing good about a global pandemic. But good things happen when people act in unity to advance collective well-being. Individuals and groups have responded with astonishing immediacy when called upon to act. Places of public meeting, including restaurants and cafés, have faced the painful but unavoidable truth that they have to temporarily change their service model. This will have untold economic and social impacts as staff are displaced, with concentric circles as these workers lose purchasing power and these realities ripple through the economy, already suffering multiple unknowns and slowdowns.

In our community, synagogues and communal organizations have adopted stringent and unprecedented measures, many canceling live services and opting for alternative venues like online learning.

We witness the immediacy of these factors’ economic ripples. As our community cancels public events, advertisements are understandably pulled from our newspaper. As a result, we have made the choice to cancel an additional issue next month, and not publish for two weeks, April 10 and 17, rather than the scheduled one-week hiatus. We will have a healthy Passover issue on April 3 and we urge you to support our work and celebrate the holiday by considering advertising or inserting a greeting message in that issue or in the ones resuming April 24 and after.

In the meantime, as we come together to confront this very serious challenge, we are reminded, as Temple Sholom’s Rabbi Dan Moskovitz writes in this week’s issue writes in this week’s issue, we do not do so as Canadians or Chinese or Italians or Israelis. We are people living in different places who face the same pathogens and the same reality.

In Jewish tradition, the value of pikuach nefesh, of saving a life, overrides almost every other consideration. Among other things, this suggests that we should view our current situation through a slightly altered lens. While all of us should be doing everything we are advised to avoid getting the virus, we should be doing so not only, perhaps not primarily, for our own health, but in order to prevent us transmitting it to another person. For many of us who are younger or do not have underlying health concerns, COVID-19 could be a very unpleasant inconvenience. For others we know and love, it could be far more serious.

The top advice we have received is to wash hands with soap frequently and thoroughly, and also to stay home to avoid physical contact as much as possible. Some people are suggesting we treat these days like Shabbat. Spend time with family. Read books. Take a walk. Engage in passive activities. Turn off electronics for a time to avoid the noise of the world which, at this time, is particularly loud.

And be kind to one another. If you know of a senior or other person whose health could be endangered by going out, do their shopping. See what else they might need. Call your family and friends. Set up a virtual dinner party or a play date for your kids. Since you’re not spending money on restaurants and theatre, consider donating to charity and arts organizations.

This is all good advice. But we suspect, given some unscientific observations of kindness and communal care in the last few days, that most of us already know what to do.

For more information and latest updates from Canada’s public health authorities: canada.ca/en/public-health/services/diseases/coronavirus-disease-covid-19.html.

Play’s vital importance

Shepherd Siegel, author of Disruptive Play. (photo by Laura Totten)

Shepherd Siegel is a hardcore idealist. At least, it would seem so, based on his book Disruptive Play: The Trickster in Politics and Culture (Wakdjunkaga Press, 2018).

“What if we didn’t take everything so seriously and capitulate to the competitions of war and business?” he writes. “What if we let our utopian dreams and desires out to play, out of the box? What if we did more than talk about it and constellated our lives around play and art instead of work and commerce?”

While all about play, Siegel’s 358-page analysis is more academic than whimsical. A writer, musician and educator, he earned his doctorate at University of California Berkeley and has more than 30 publications to his credit. Quickly into the book, he admits the inherent difficulties in writing on this topic: “By attempting to put play, an irrational activity, into the rational fictions of words, I fear that naming this magic will dispel it.” And, to some extent, it does, but his prose is clear and engaging; his examples well-explained and well-researched.

Siegel defines three types of play. Original play is what kids up to three years old do; it has no purpose except fun, it is spontaneous and creates a sense of belonging. Cultural play entails games with winners and losers; it involves learning skills through practise, it comprises rules and moral lessons. Disruptive play “disrupts the normal functioning of society”; it is “resistance to contest-based society and a public affirmation of the natural play element that pervades all life.”

Disruptive players – or tricksters – have existed throughout history, in both oral and writing-based cultures. Siegel gives some 25 examples, beginning with the trickster Wakdjunkaga, whose precise origins are unknown, but whose story comes from the Winnebago (or Ho-Chungra) tribe, “which emerged in northwestern Kentucky in roughly 500 BC. From 500 AD and for about a thousand years, they lived in what is now Wisconsin.” He ends with the Yes Men: “Jacques Servin and Igor Vamos are known by many aliases, but they are Andy Bichlbaum and Mike Bonanno when they are the Yes Men,” and they operate under the motto, “Lies can expose truth,” using guerilla theatre and other tactics, Siegel writes, to “embarrass and proclaim the sins of those who would wage unjust wars, destroy the environment, or cause the suffering and death of other people.”

Siegel discusses in depth several trickster tales from various parts of the world. He analyzes King Lear’s Fool, Bugs Bunny and The Simpsons in this context, as well as real people, such as Alfred Jarry, Marcel Duchamp, Andy Kaufman, Abbie Hoffman and others, and movements like dadaism in art, the Beat Generation in literature and rock and roll in music. He also offers a couple of models on which a play society could be based: the Fremont Solstice Parade in Seattle and Burning Man in Nevada.

While acknowledging that there are many problems in the world, Siegel foresees a time when society will be able to meet all of its members’ basic needs. When this time comes, he writes, “the greatest remaining problem will be one of establishing and maintaining societies of trust. Play, as we shall see, absolutely requires trust in order to thrive, even to exist.” However, until that time comes, disruptive play – which threatens power brokers and structures – is a dangerous venture.

“Playful adults, artists, the poor, people with disabilities and deviators are all sent to the margins,” writes Siegel. “From the 17th-century development of military tactics and the industrial revolution of the 18th century came a more prescriptive sense of the normal and the suppression of carnival celebrations and urges … thus the binding of the Trickster spirit. The concentration of power, by its very nature, requires divesting this spirit, treating the Trickster as the Fool or court jester. But eventually the Fool makes fools of those who would constrain, punish and repress Trickster spirit.”

Unfortunately, while most of the tricksters Siegel highlights do indeed have their time in the sun and they manage, for awhile, to speak truth to power and get people to question their values and society’s direction, their lasting impact has been minimal, even if they themselves have proven memorable. The potential for building a play society – given Siegel’s convincing argument that capitalism or commercialism and play are antithetical – is a long shot. The models of Fremont and Burning Man are small-scale, time-bound events and do not seem feasible as models for society as a whole, for any length of time.

That said, Siegel’s is an exciting vision. “As (and if) our society achieves economic, environmental and social balance, the search for a meaningful life will take on greater importance and become more complex,” he writes. In this utopia, play, which “has meaning but not purpose … is the perfect antidote for existential crisis in a world of questionable purposes. Only by entering a state that discards purpose – that plays – might our true purpose be discovered.”

Jewish films span the globe

Taika Waititi’s Jojo Rabbit and Roberta Grossman’s documentary Who Will Write Our History were two standouts in Jewish film last year.

Last year was a busy one, but not a great one, for Jewish-related movies. There was plenty to see, but only a couple films – Jojo Rabbit and Uncut Gems – broke through the clutter to make an impact.

While Jewish characters were front and centre in high-profile TV shows – The Marvelous Mrs. Maisel, The Kominsky Method and Broad City – in movies, they were largely relegated to glorified cameos, such as Al Pacino as old-school agent Marvin Schwars in Once Upon a Time in Hollywood and Alan Alda as menschy divorce attorney Bert Spitz in Marriage Story.

Jewish artists and celebrities were, as always, exceedingly popular among documentary makers. Sammy Davis, Jr.: I’ve Gotta Be Me, televised on PBS’s American Masters, and Ask Dr. Ruth led the parade, which included less-widely-seen portraits of singer-songwriter Leonard Cohen (Marianne and Leonard: Words of Love) and actor Anton Yelchin (Love, Antosha).

Picking a Top 10 was a bit of a challenge for 2019. Here are the films that left a mark.

Jojo Rabbit: The most ambitious and audacious film of the year was made by a Maori Jew from New Zealand. Taika Waititi, the director of Marvel’s Thor: Ragnarok, radically adapted Christine Leunens’ novel into a sharp satire of Nazi racism and groupthink that garnered the San Francisco Bay Area Film Critics Circle Award for best screenplay.

Who Will Write Our History: My only criticism of Jojo Rabbit is that it didn’t convey the depth of the Holocaust’s horror. Roberta Grossman’s artful documentary about the men and women in the Warsaw Ghetto who secretly amassed an archive of documents and diaries that would survive (if they didn’t) fills in a missing historical chapter for people of all ages. (See jewishindependent.ca/a-different-kind-of-resistance.)

Prosecuting Evil: The Extraordinary World of Ben Ferencz: The last surviving U.S. attorney from the Nuremberg trials has an impeccable memory, a spotless moral compass and enormous gravitas. This terrific doc serves as an inspiring counterpoint to Matt Tyrnauer’s slick biography of another Jewish lawyer from New York, Where’s My Roy Cohn?, who lacked an iota of integrity.

Uncut Gems: What makes Howard run? Jewelry hustler and compulsive gambler Howard Ratner (Adam Sandler, impressively manic) races around New York City to keep his increasingly angry debtors at bay. En route, Benny and Josh Safdie’s nerve-jangling drama rips the Band-Aid off black-Jewish relations.

Mike Wallace is Here: Avi Belkin examines another iconic New York Jewish character, the penetrating TV journalist who made 60 Minutes essential viewing, entirely through archival TV footage. It is one of the smartest and best documentaries of 2019.

Synonyms: Nadav Lapid’s abrasive, semi-autobiographical drama about a self-loathing young Israeli army veteran’s effort to shed his identity in Paris won the Golden Bear for best film at the Berlin International Film Festival. It is painful and revealing, with some flashes of humour.

Tel Aviv on Fire: Sameh Zoabi’s clever comedy about a Palestinian soap opera writer trying to navigate the demands of his bosses and an Israeli checkpoint commander was one of nine (!) films with Jewish themes among the official submissions for the best international film Oscar.

Transit: German director Christian Petzold transposed Jewish novelist Anna Seghers’ 1944 story of refugees trying to flee France to an enigmatic time and place that has echoes of both the past and the present.

To Dust: Shawn Snyder’s debut feature explores the grief process through a Chassidic cantor (Geza Rohrig of Son of Saul) who wrangles a community college science professor (Matthew Broderick) into his obsessive investigation into how his wife’s body will return to dust. Meanwhile, his sons worry that he’s possessed by a dybbuk.

Fiddler: A Miracle of Miracles: A crowd-pleasing, by-the-numbers doc about the historical (shtetl life) and literary (Sholem Aleichem) roots, creative development and enduring cross-cultural popularity of the Broadway musical Fiddler on the Roof. Formulaic, but Jewish through and through.

Some of the best films of the year won’t open in North America until 2020. The Ophir Award-winner Incitement powerfully dramatizes the life of Yitzhak Rabin’s assassin, leading up to his irreparable act. Roman Polanski’s well-reviewed portrayal of the Dreyfus affair, An Officer and a Spy, has opened across Europe but awaits a North American distributor (a long shot given the likelihood of protests and boycotts).

Czech director Vaclav Marhoul’s harrowing adaptation of Jerzy Kosinski’s Second World War-set novel The Painted Bird is also on European screens, with a U.S. release likely now that it was shortlisted for best international film. In that eventuality, look for it during its brief run – and on next year’s Top 10 list.

Michael Fox is a writer and film critic living in San Francisco.