Ben-Gurion University of the Negev will soon produce 20% of its energy needs on the Marcus Family Campus from solar energy. Recently, solar panels were installed on the roofs of three buildings on campus in the first stage of the initiative.
The project is estimated to cost NIS 2 million (approximately $736,000 Cdn). Once completed, it will replace more polluting fuels that are typically used to power buildings. The university is expected to recoup this investment within a few years as it reduces its energy expenses.
Dr. Daniel Farb has donated a small wind turbine called the Tulip, developed by his company, which will charge laptops and phones from wind energy.
In April 2022, BGU announced it would stop investing in companies that produce oil and coal and move those investments and all future investments into alternative energies and investment vehicles governed by ESG (environmental, social and governance) principles.
The university was awarded Green Campus status by the Israeli Ministry of Environmental Protection in 2010 and has been among the top universities worldwide in green rankings. Bike racks, electronic recycling and solar and wind-powered charging stations can be found all over campus.
BGU’s Jacob Blaustein Institutes for Desert Research have been studying environmental issues for 50 years. Leveraging these strengths, the Goldman Sonnenfeldt School of Sustainability and Climate Change was dedicated in May 2022. It brings together more than 150 labs on the university’s three campuses to tackle these issues.
– Courtesy Ben-Gurion University of the Negev, BC & Alberta Region
Eleanor Boyle’s Mobilize Food! Wartime Inspiration for Environmental Victory Today offers concrete ideas for how food systems can be transformed. (Julie Doro Photography)
I plan to make the Honourable Woolton Pie. Just for fun, not necessarily because I think it’ll taste wonderful, though it might. Named after Lord Woolton (Frederick Marquis), who was appointed minister of food in 1940 Britain, it represents several of the British government’s goals during the war years: it was “meatless, thrifty, filling, and made use of domestically produced in-season foods.” The recipe is in Eleanor Boyle’s latest book, Mobilize Food! Wartime Inspiration for Environmental Victory Today (FriesenPress, 2022). The book is the only reason I know who Woolton is. More importantly, the book offers many reasons to feel less naïve for mostly believing that humankind can save ourselves and the planet before we kill ourselves and the planet.
Mobilize Food! is an optimistic examination of Second World War rationing and other wartime policies in England and how the lessons from that period could help us counter the climate crisis by changing our food systems, to start. Lest one think that Boyle is a pie-eyed dreamer, she has solid credentials – a bachelor’s in psychology, a master’s in food policy and a doctorate in neuroscience. The Vancouverite also has been a journalist and she taught for many years. She wrote the book High Steaks: Why and How to Eat Less Meat (New Society, 2012).
Despite all of Boyle’s education and experience, she still believes that radical change is possible. This is heartening in and of itself. But it’s the 42-page bibliography that I found more assuring. The recommendations Boyle makes in Mobilize Food! are based on extensive research. And they consider what individuals, governments and businesses are already doing, as well as what they could be doing more of (which is a lot). She is not arguing for a socialist utopia, or a utopia of any sort, though she does imagine more engaged, civic-minded communities than I think currently exist anywhere in the world. That said, she gives an example of a city that apparently has ended hunger – Belo Horizonte, Brazil, “which in 1993 declared access to food as every citizen’s right. It then implemented food price subsidies, supply and market regulation, supports for urban agriculture, education on food preparation and nutrition, and job creation in the food sector.”
How does this relate to Second World War Britain? As did Britain during the 1940s, Belo Horizonte set up state-subsidized restaurants that are open to everyone (to avoid stigmatizing people on lower incomes), it feeds kids in the public education system every day, it partners with private grocery stores so that they can sell cheaper fruits and vegetables, and it supports family farms, among other actions “that help democratize food.”
Boyle provides copious data and examples of how the food industry, as it stands, is contributing to climate change “by contributing at least a quarter of human-caused GHGs [greenhouse gases].” It does this through its use of fossil fuels, the cultivation of monocultures (“vast, unnatural acreages of single-species crops”) and destroying ecosystems by removing or burning vegetation, among other activities. One of the eye-opening stats is: “Some analysts calculate the contribution of livestock to overall anthropogenic GHGs as at least 30% and as high as 51%.”
Boyle argues persuasively that how we produce and consume food can be transformed. The first half of Mobilize Food! runs through all that Britain did to make significant changes, “from national agricultural policy to the family dinner plate. They didn’t wait for dire food shortages or society-wide agreement of exactly how to proceed. Even before war was declared, government set up a high-powered food committee to craft plans for making food systems crisis-ready.” They used multiple strategies and strived for general engagement using PR campaigns and other tools. “The programs were simple but transformational,” writes Boyle, “based on shifts toward domestically produced, plant-rich and minimally processed foods. Together those programs adequately fed the population – and, in many ways, better than prewar, by providing broader and more equitable access to food and enhanced health [reducing diabetes and heart disease, for example].”
The wartime measures also show that people can change how they eat and act, she notes. But leadership is key – Lord Woolton was very charismatic, it seems, and, on the larger scale, Boyle writes, “Only governments have the mandate for the public good, the oversight for national strategy and the legislative levers. Only public officials can do the necessary system-wide planning, coordinate sectors, forge agreements across regions, and make the tough decisions.” Lastly, such massive change relies on everyone participating: “We’ll need to think systems-wide and involve every segment of society, every community, every food-related business and civic organization, and every one of us.”
Boyle admits this all “sounds like fantasy. But, as the story of World War II Britain shows, such a transformation has occurred.” Am I personally convinced we have what it takes to mobilize so drastically? The larger whole is still too much for me to contemplate, but I can eat even less meat and fewer processed foods, buy more from local growers, invest in businesses that improve the environment and/or social outcomes, support politicians who are working toward a healthier and more inclusive society. No doubt, there is much more that I could be doing, but it’s a start.
I’m glad that I read Mobilize Food! Full of images (including awesome wartime PR posters), data and stories from people who lived through the war effort, it is engaging on many levels. It reminded me that what seems impossible may not actually be so. And the importance of hope – combined with action – cannot be overstated.
Dr. Larry Barzelai chaired the recent Canadian Physicians for the Environment climate conference. (photo from Larry Barzelai)
We can recycle everything possible, drive electric vehicles and take other steps to ameliorate our carbon footprints. At some point, though, says Dr. Larry Barzelai, we need to address our culture of consumption because we are simply using more resources than the planet can sustain.
Barzelai, chair of the B.C. branch of Canadian Association of Physicians for the Environment (CAPE), spoke to the Independent following a conference he chaired on climate issues. The third annual event, held entirely virtually, brought together doctors, nurses and other medical personnel to discuss climate and the environment from a specifically health-related perspective.
“It’s a physicians organization,” said Barzelai. “So people who tend to be most interested are doctors. But we’re always trying to expand it into other healthcare professionals.”
Interested people outside the profession are welcome to join, he said.
“It’s a general information conference to appeal to people that don’t know very much about environment or climate issues and people that are well-versed,” he explained. “We’re hoping there will be something in the conference for both those groups.”
Topics included “radical overconsumption, environmental genocide, economics and de-growth,” mobilizing climate action within the medical community, the impacts of food systems on the climate, and strategic approaches to successful advocacy campaigns. Canadian filmmaker, broadcaster and activist Avi Lewis gave a closing presentation.
Barzelai retired from his practice as a family physician in June of last year but still does work in seniors facilities including the Louis Brier Home and Hospital. He was pleased that, with the exception of Nunavut, the conference had representation from all provinces and territories.
The conference took place under the auspices of the continuing professional development department of the University of British Columbia and, while it is a national conference, most of the members of the steering committee are from the West Coast.
The October event was the third annual conference and Barzelai laughed about the fact that they had thought they were breaking new technological ground when they began planning for the first gathering. Believing that too many people spend too much time and resources flying, with deleterious impacts on the climate, they envisioned a virtual conference, or possibly a hybrid version with hubs in Vancouver and Toronto where locals could attend in person. By the time the inaugural event was nearing, the entire world had adopted virtual meetings (as well as religious services, seders and just about every other kind of interaction).
While Barzelai has thrown himself into the climate issue in recent years, he calls himself a “Johnny-come-lately” to the topic.
“I’m a late joiner,” he admitted. “A lot of the people in the organization have been doing this all their lives [and] are really dedicated people.”
Barzelai began reading and thinking more deeply about climate issues after encountering the American environmental author and activist Bill McKibben at a conference several years ago. He was particularly impacted by McKibben’s book Eaarth: Making a Life on a Tough New Planet.
Barzelai explained why McKibben spelled the book (and the planet) “Eaarth.”
“It’s changing and it’s changing rapidly and he says the expectations that seasons would be similar and that you would be able to predict rainfalls and temperatures on a fairly regular basis, with some exclusions, year after year – now that’s all gone out the window,” said Barzelai. “It’s a different world. That’s why he is calling it by a different name. He says, with a lot of work and a lot of luck, maybe we can create a new world that is somewhat akin to our old world, but it’s never going to be the same. We are going down a new direction here in a future that’s undefined and we’ve got to be careful and not let climate change get too far ahead of us.”
At the recent conference, Barzelai was struck by the message that, even as humans are taking these issues more seriously, we are still not getting to the core problem.
“Two of our speakers talked about consumption, that we can recycle as much as we want and drive as many battery-operated cars as we want but, at some point, we have to reduce consumption,” he said. “Even if we were as green as can be, we are still utilizing more resources than the earth can put out, so reducing consumption has to be a big part of this. It’s a tough topic because our whole society is based on consumption. But a lot of people think that we’re not going to get anywhere with climate change issues unless there is a general reduction of consumption in First World societies.”
Another issue to which Barzelai urged people to pay attention is corporate “greenwashing,” a topic addressed at the conference by Prof. Calvin Sanborn of the University of Victoria.
“That’s a big, big issue,” said Barzelai. “The fossil fuel companies are saying that they are greening and changing but, in reality, they’re just trying to find ways to keep doing what they’re doing and they don’t really want to change.”
Due to university copyright issues, recordings of the conference are not publicly available, but more information about CAPE is online at cape.ca.
Lori Goldberg’s artwork reminds viewers that “that which we discard doesn’t disappear.” (photo from Lori Goldberg)
If you attend a performance at Queen Elizabeth Theatre, you will see the artwork of Lori Goldberg. She is one of the artists whose creations are at the theatre for another couple of weeks. The exhibit opened Oct. 29.
“Queen Elizabeth Theatre has a program for exhibiting artwork by local artists,” Goldberg told the Independent. “There was a call that was sent out a few years ago and I responded. I was accepted and the work was to be installed just when the pandemic began, so it was postponed until this year.
“It is an ideal venue,” she continued, “as thousands of people a week attend events at the Queen E. My art has a message about climate change and it is important that it gets seen by as many people as possible. My pieces are on exhibit until Dec. 19, and people are only able to see it if they have a ticket to an event. Alternatively, I am available to take anyone interested on a private tour.”
The paintings in the exhibit come from three ongoing series: Plasticity, Poetics of the Discarded, and Reconstructing Nature.
“For many years, I have been investigating what happens when two opposing places – cities and nature – collide, connect and transform,” said Goldberg. “Through more awareness and experience firsthand, many of my works have ultimately been about the precarious relationship that we have with our natural world. Seeded in environmental advocacy, an animating factor in my practice has been reclaiming, recycling and reimagining refuse.”
“Rogue Fish” by Lori Goldberg (photo from Lori Goldberg)
In the description of Plasticity on her website, Goldberg mentions her discovery that ink can be transferred from, say, a plastic bag, to canvas. Her creative process invites such discoveries.
“I am a diverse artist and my ideas dictate my art,” she explained. “My practice has primarily focused on painting, but I have had to explore other mediums to adequately express my concept. Besides paint, I have explored photography, assemblage and sewing. I have worked with clay, glass, so-called ‘trash’ from my studio, single-use plastic bags that I fuse on canvas, and I have stuffed lost socks with fabric remnants given to me by tailors.”
For Goldberg, the camera is her “sketchbook” and a photo is generally the starting point for her painting.
“My work references the physical world at one point in my creative process,” she said. “When I research and gather information, I look for source material that is usually filtered through my own photo documentation. Other photo images can come from friends, the internet or by random discovery. I also use memory, dreams – and always my imagination. I take parts of photos that resonate for me and incorporate that visual language – usually recontextualizing and altering it – in my work.”
As an example, Goldberg spoke about the series Reconstructing Nature, which references nature/urban tensions found in Vancouver. “There is no lack of trees here and our city is in constant state of flux, with the demolishing of buildings and the construction of new ones, so I take photos of the nature that is all around me, but also of the scaffolding and cranes that are so prominent in the city as well,” she said. “In the Poetics of the Discarded series, I started by visiting a number of refuse sites, with an interest in memory and objects. Within the refuse, there were mounds and mounds of history: the detritus of days spent, life and death, business, conveniences used, sentimental things and so much more. I would photo-document these toppling heaps of refuse and re-contextualize and resurrect them as a visual reminder of the ongoing narrative between humans and their environment, reminding us quietly: that which we discard doesn’t disappear.”
“Reconstructing Nature” by Lori Goldberg (photo from Lori Goldberg)
While Goldberg does not paint on location often, she said, “My creative process is to go out into nature or the city, experience it, document it and return to my studio. Having said that, making work outdoors is becoming more interesting to me and it is a future direction that I plan to spend more time doing.”
With her art, Goldberg said, “I would like to think that I am creating work that is impactful to the viewer and especially the younger generation, that they will be empowered to take action towards making a difference as they engage with the world.
“The works are meant to be educational and I hope that they impart to the viewer a sense of personal responsibility – that they put to action what they feel and be one small ripple of change to create a better future for themselves.”
An educator for more than 30 years, Goldberg has taken her classroom outside and into the public arena, where, she said, “I create hands-on workshops using materials that address repairing the planet and healing ourselves. I created a project titled Lost Socks, where the public stuffed and sewed lost socks together to create a long tubular form that stood for connection, diversity and difference. Recently, I have used single-use plastic packaging to create wearable art. What I enjoy about these workshops is that they attract all ages and so it is intergenerational and accessible to all.
“Artists are essential in our communities,” she stressed. “Some of us choose to create work that challenges topics that are highly charged and sensitive, but, without venues in which to work and to exhibit, the messages cannot be passed on. I appreciate the exhibits I have had over my life at the JCC – I cannot imagine what would happen if we lost such a significant public space as the Sidney and Gertrude Zack Gallery. It is a venue for Jewish artists and Jewish content. It reinforces Jewish identity, conversations and connections. It is a gallery that has assisted me in my journey as an exhibiting artist and has given me opportunities to work with preschoolers, seniors and poets.”
Goldberg believes in giving back and donates her work frequently to different organizations, such as Big Brothers. “My recent donation was to Tikva Housing,” she said. “I gave them three paintings from my Judaica series. There is a satisfaction that is hard to explain, but it is a joy to be able to offer something of value to make others feel uplifted.”
Goldberg is currently applying for artist residencies in different parts of the world.
“I am interested in responding to the environment that I would be in and allowing it to dictate the direction of my work,” she said. “I want to contextualize my work in such a way that I am creating awareness about our healing of our planet but indirectly, through healing ourselves. Artist residencies offer opportunities for new perspectives and fewer distractions, so you can shed the restraints and discover what is there, but has been hidden.”
I was driving down the back lane, kids in the car, when I saw a neighbour. I stopped and rolled down the window for a chat. The neighbour’s children lived nearby and they were looking for flooring to refinish the landing on their stairs. Our family, through an ordering snafu, ended up with more flooring than needed. In fact, we’d avoided using any new flooring at all. We had asked our clever contractors to help us reuse 110-year-old quarter-sawn oak flooring from elsewhere in the house and the floor refinishers hadn’t needed any of the new “special order, not returnable” flooring. I asked the neighbour if her kids were still interested in it, because we had a lot. She said she’d ask.
The neighbour then asked me if we were doing serious “purging.” I smiled and said it was more like “redistribution.” She laughed, saying she’d have to remember that. She liked this way of seeing things.
We like to think of ourselves as a family that reuses, recycles and repairs things. While we’re not purists, we try to limit what ends up in the trash as compared to the compost. We try to give away or repurpose the things we no longer can use for their original purpose.
If one imagines three kinds of models for one’s household economies, there are sometimes three terms bandied about. A linear economy involves “take, make, use and waste.” A recycling economy involves something like “take, make, use, recycle, make, use … on repeat and eventually … waste.” A circular economy has a much more complicated chart or trajectory, involving words like “take, make, use, repair, make, reuse, return, make, recycle” but very little becomes waste. Everything is used.
The talmudic-era rabbis were part of a circular and recycling economy. We know it wasn’t entirely circular (most ancient civilizations weren’t) because archeologists keep finding the detritus of all those communities. Ask anyone interested in history about this. They wax rhapsodic about pottery shards, bone fragments, mosaics and more – these are essentially the great finds that finally broke completely. These trash bits were thrown down a privy a hundred to couple thousand years ago. Even that ancient trash has its use now: it tells us a lot about societies long gone.
I thought about all this as I began to study the talmudic tractate of Ketubot as part of Daf Yomi. In the practice of studying a page a day, it takes 7.5 years to finish reading the whole Babylonian Talmud. Nevertheless, this page-a-day approach is superficial. It’s just too much text for me to study in detail, so I try to explore one thing every day that I find interesting.
In Ketubot 4, there is a discussion about what to do if a death happens right when a wedding is supposed to take place. The short version is, well, it depends, according to the introduction offered by Rabbi Heather Miller for My Jewish Learning. However, in many circumstances, the wedding is supposed to happen even if someone has to leave a dead body nearby in another room. Why? There are several reasons.
One important reason is that there was no refrigeration. If a wedding feast was prepared and it couldn’t be sold to someone else, the food shouldn’t be wasted. It can’t be assumed that there was enough food to just waste a whole wedding feast. The rabbis really valued “bal taschit,” or “do not waste,” which comes from the Torah, from Deuteronomy 20:19.
Also, if the bride’s mother or the groom’s father died, it was essential to continue with the wedding. These parents had important roles in the planning of the wedding. Canceling the event would take away from their children’s opportunity to benefit from that work. A bride depends on her mother to help her get ready and setting up a wedding later, after a mourning period, would mean a do-over. The bride’s mother wouldn’t be alive to help then, either.
In a discussion with my online Talmud study group, it was pointed out that, in many cases, rabbis throughout history will find every way possible to help people not waste. If a poor family makes a potential kashrut mistake, asks the rabbi what to do and the rabbi knows they will be hungry without the food, the rabbi finds a way to enable the family to eat the food.
This tradition gives me hope for Jewish sustainability in the future. Here are legitimate Torah and Talmud references that encourage us to avoid waste and to reuse and value others’ work. It gives me extra motivation to recycle when it’s difficult to do so, or to patch and reuse a pair of pants yet again.
In some Jewish situations, these notions of avoiding waste are not always followed. Think of a big holiday meal or Kiddush, where everyone used disposable paper products and plastic utensils and, afterwards, it all went in the trash. Consider some well-to-do congregations where holiday services are a fashion show, and where being seen in new clothing is more valued than just being appropriately dressed. These are instances where perhaps we’ve fallen prey to a consumerist, linear economy.
It’s still possible to dress up or wear something new or different on a special occasion. It’s OK to occasionally make more trash than usual, too. However, doing it on a regular basis is not just bad for the earth now. It also affects us in terms of climate change. It’s probably also a violation of the rabbinic obligation to avoid waste.
It’s true that cleaning, decluttering and renovation trends these days are all about how much can be discarded. Maybe it’s time to save the old growth lumber. Reuse something really good. It’s also good to pass along that new flooring so it, too, can be used sustainably rather than discarded. Don’t just throw everything out and produce more waste. Reuse, recycle, make anew … the rabbis said so.
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.
Indigenous activist, scholar and farmer Dr. Randy Woodley was the keynote speaker on May 24 for the Vancouver School of Theology conference Religious Responses to Climate Change. Based in Yamhill, Ore., Woodley addressed the assembled Zoom audience on the topic Indigenous Spirit: Weaving Justice and Peace in a Wounded Land.
“The West has largely failed in its mandate to till and keep the soil; that is, to serve the community of creation, the whole community of creation,” Woodley began, introducing the concept of humankind’s responsibility to assure the well-being of those in its care, namely, the land and all the creatures that reside on it and in it.
Humans are co-sustainers of the earth, he stressed, showing a slide that highlighted the billions of bacteria, millions of protozoa, metres of fungi and thousands of nematodes in just one cup of soil.
Woodley gave examples of the unflattering views Western scholars have often had of Indigenous cultures and how such scholars (and others) have overlooked “many things that ‘primitives’ still know.” While North American curricula contain lessons on Greek, Egyptian and Chinese civilizations, for example, education on ancient American civilizations is lacking.
Indigenous American societies brought about such things as micro-agriculture and macro-environmental management, including botany, agronomy, forestry, raised beds and naturally self-sustaining fertilized gardens, said Woodley. Further, there was sustainable architecture that incorporated passive solar design, solar heating, water capture systems and mass water transport.
“I would argue that the Western worldview has been a failed experiment,” he said. “We need to dump it and we need to adopt a more Indigenous approach.”
He said the “faster, bigger, cheaper” method of food production in the Western world is depleting soils and leading to the loss of crop varieties. At the same time, forests are shrinking, species are going extinct and droughts are increasing. Blame for water waste could be placed on big agriculture, he asserted.
Meanwhile, Indigenous people have lived in North America for more than 20,000 years without permanently endangering the land. He said, “The earth has had enough and is not going to let humans get away with knocking things out of balance forever.
“Nature’s chaos, which we’re understanding now, is actually stable because it continues to adapt. If there’s one thing true about all of creation … it will adapt. Human beings are the only ones who resist that. Adaptation is stability.”
The nature of a closed system is to collapse in on itself or be consumed by other more adaptive systems, he argued. Therefore, he said, the religious response to climate change should be to adapt as well. Within adaptation, there is an order that builds open systems of unity and diversity. The West, on the other hand, introduced chaos and continues to maintain it.
“Lots of different diseases we have are because we have not lived in the way we should with the animal kingdom. We only have a short time to come back from our own unsustainable chaos and back to the Creator’s sustainable order,” Woodley said.
A handful of human generations has accelerated consumption exponentially. Mother Earth is now trying to rebalance the overuse through “random acts of nature,” he said. The planet is reclaiming its territory and “spitting out the inhabitants in order to restore harmony, the top of the food chain temporarily is now Mother Earth herself.”
It was a particular kind of human being, Woodley reiterated – the Europeans and Americans, and not the species itself – that brought us to this perilous stage. Woodley sees a connection between the way Europeans and Americans treat both creation and people, especially women, immigrants, the poor and other marginalized groups – with respect to nature and fellow humans, they have a need to control, exploit, expect production from and objectify, he said.
Practical steps forward, in Woodley’s view, include a critical examination of the Western world approach, the shedding of unhealthy paradigms, and the adoption of a more Indigenous perspective, such as sustainable ecosystems, a respect for the wisdom found in nature and an acknowledgement of the interconnectedness of all living things.
Woodley quoted environmentalist and economist Winona LaDuke as saying, “Food for us comes from our relatives, whether they have wings or fins or roots. That is how we consider food, food has a culture, it has a history, it has a story, it has relationships.”
And he cited a Shoshone elder: “Do not begrudge the white man his presence on this land. Though he doesn’t know it yet, he has come here to learn from us.”
Together with his wife Edith, Woodley runs Eloheh Indigenous Centre for Earth Justice, an organization that focuses on developing, implementing and teaching sustainable and regenerative earth practices. Eloheh is a Cherokee word meaning harmony, wholeness, abundance and peace.
Woodley has written several books, including Indigenous Theology and the Western Worldview: A Decolonized Approach to Christian Doctrine, and Shalom and the Community of Creation: An Indigenous Vision.
Director of the VST conference was Rabbi Dr. Laura Duhan-Kaplan.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
Martin Thibodeau, RBC’s B.C. region president, will be honoured at the Ben-Gurion University Gala Dinner June 14. (photo from RBC)
On June 9, Ben-Gurion University president Daniel Chamovitz and members of the Canadian Associates of Ben-Gurion University (CABGU) will visit Vancouver to recognize the launch of its new School of Sustainability and Climate Change (SSCC) and the local supporters who have helped make its opening possible. In particular, Royal Bank of Canada and Martin Thibodeau, RBC’s B.C. region president, will be honoured at the event.
SSCC opened last October at BGU’s Be’er Sheva campus, where its growth has been rapid. Seven months old, the school currently offers two undergraduate degrees and four graduate-level environmental science-related degrees. Its two graduate fellowships, which have supported work in renewable energy and smart city design, were funded by RBC.
“The RBC Research Fund at BGU’s School of Sustainability and Climate Change [is] being established in Martin’s honour, [and] will enable undergraduate and graduate students to be trained as, and pursue meaningful careers as, climate change innovators, entrepreneurs and policy experts,” said David Berson, who serves as CABGU’s executive director for the B.C. and Alberta Region. The funding that is raised at the gala will help further SSCC’s research programs.
SSCC’s mandate isn’t just to address environmental concerns at home in Israel, said Chamovitz. It will have a global reach, as well. BGU is currently working to cement research partnerships with universities and countries that have similar interests in addressing climate challenges. Chamovitz said RBC’s investment in its new school will provide a pathway to meeting that global need.
“RBC was one of the early supporters of SSCC, and this support was essential for leveraging subsequent support,” he said. “The Royal Bank of Canada believes in us,” and that support has served as an encouraging model for other companies to invest in BGU’s programs as well, he said.
Lorne Segal, president of Kingswood Properties and director of the Vancouver Board of Trade, who is an honorary co-chair of the June event with his wife, Mélita Segal, said corporate sponsorship is crucial to startup programs like SSCC. He said corporate support is also vital to finding answers to environmental challenges like global warming.
“Sponsorship from leading businesses and industry leaders does provide imaginative solutions to complex issues impacting our people and the planet,” he said. “Without significant and generous sponsorship support, this crucial work, simply put, would not be possible.”
Segal said supporting initiatives that bring about positive change is part of Thibodeau’s nature.
“Martin Thibodeau truly is a lifelong builder of community,” said Segal. “He is deeply praised by Ben-Gurion University for his commitment to the cause of finding solutions to climate change. It is truly remarkable how much he and RBC Royal Bank have done to enhance the capacity of the Ben-Gurion University community programs and agencies, and advance the conversation on Canada’s transition to a net-zero economy.”
Thibodeau’s support of Canadian Jewish communities and of Israel goes back decades. Originally from Quebec, he served as RBC’s regional president in Montreal until he moved to Vancouver. He oversees some of the largest – and smallest – branches and more than 4,000 employees.
In 2015, while working in Montreal, Thibodeau volunteered as a co-chair for Quebec’s largest multi-day walk for women’s cancers, held by Pharmaprix, to raise money for research at the Jewish General Hospital. “I have been involved with the Jewish community for almost my entire RBC career,” he told the Independent.
He is a strong supporter of the Jewish Federation of Greater Vancouver and the Jewish Community Centre of Greater Vancouver and their community initiatives, and he has been to Israel several times. It was in 2014, said Thibodeau, that he and his wife, Caroline, visited Be’er Sheva and learned of BGU’s environmental research. “[I was] so inspired by the research [and] the innovation,” he said, noting that it wasn’t hard to get behind the creation of a school that was working to find solutions to climate concerns.
“It’s right there in front of me every day,” he said. “I am a proud father of three children and I believe we have a responsibility to make sure that our climate can continue to thrive, and well beyond my lifetime. It is my personal belief that we need to do that today more than ever.”
Thibodeau said it’s been an interesting journey since that first visit to BGU in 2014. “It’s become such a tough priority for the world,” he said of climate change. In Canada, among other things, he supported RBC’s Blue Water Project, which helped provide clean water access to Canadian communities.
Still, Thibodeau is a reticent honouree. He admits that he is uncomfortable with the idea that he will be the guest of honour at a gala, even if it is for a cause he loves. “I’m very humbled,” he said. “I don’t like to have that kind of spotlight on me.” But, he said, raising money for research that might one day create a safer and better environment, that is something he will gladly get behind.
Mélita and Lorne Segal, honorary chairs of the BGU Gala Dinner for Sustainability and Climate Change. (photo by The Collective You)
The gala will also acknowledge Lorne and Mélita Segal, who are well-known for their philanthropy and other work. Both have been recognized by Capilano University with honorary doctor of letters, and Lorne Segal has a doctor of laws (hon.) from the Justice Institute of British Columbia. He was inducted into the Order of British Columbia for his work as founding chair of Free the Children’s WE Day Vancouver and as chair of the Coast Mental Health Courage to Come Back Awards. The Segals regularly open their home to fundraising galas.
“When Lorne and I built our home, we didn’t really do it for ourselves but, rather, to share it with the community,” said Mélita Segal. “Whether it was Dr. Peter AIDS Foundation, Arts Umbrella, Chor Leoni, JNF [Jewish National Fund] or WE Charity … it has been a great joy for us and very fulfilling to give back and share in this way.”
Berson described the Segals as “tireless builders of community, leading by example while creating opportunities for people in the business world to make a difference in the lives of others. Ben-Gurion University, Canada, is genuinely fortunate to have their leadership for this event and for our organization.”
Jan Lee is an award-winning editorial writer whose articles and op-eds have been published in B’nai B’rith Magazine, Voices of Conservative and Masorti Judaism and Baltimore Jewish Times, as well as a number of business, environmental and travel publications. Her blog can be found at multiculturaljew.polestarpassages.com.
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.
The Consulate General of Israel in Toronto and Western Canada marked World Water Day on March 22 with a webinar entitled “Squeezing Water from a Stone.” Dr. Alex Furman of Technion – Israel Institute of Technology in Haifa and Dr. Roy Brouwer of the University of Waterloo focused on Israeli and Canadian perspectives of water conservation and management.
Furman, director of the Stephen and Nancy Grand Water Research Institute at Technion, provided an overview of water management in Israel, describing how a land that is 60% desert – and uses more than 100% of its water – still has water left for use.
“The issue of water scarcity in the future is going to grow as the population grows and we need more water to feed people and for agriculture,” Furman said.
Israel’s population, which has expanded tenfold in the past 75 years, continues to climb. Further, its Western standard of living, including such things as daily showers, presents a further strain on the country’s water supply.
Israel recognized the need for innovation in this area several decades ago. Starting in the 1980s, it began treating wastewater for reuse in agriculture and, in the 2000s, the country started major desalination projects. Desalinated water now constitutes a large amount of the water consumed in Israel, but is not a completely win-win scenario. For example, a detrimental consequence of desalination is that the process also removes essential minerals, such as magnesium.
Another area where Israel is taking the lead is in water-saving technology, such as drip irrigation. Agricultural use of water in Israel has decreased in the past 30 years, a period over which agricultural production increased.
“Instead of irrigating the land, we irrigate the plant. Drip irrigation is providing water for what the plant needs. It’s not the amount of water that is important but the precision in how water is applied,” Furman said.
Concurrently, Furman added, Israelis are doing more to reduce water usage in the home, and the country has developed educational campaigns to inform its citizenry on ways to minimize water consumption.
“We are a very fast-growing country that requires a lot of water and requires the development of new water resources at all times,” Furman said.
Brouwer, an economics professor with an academic interest in water resources, highlighted the broader need for collective international partnership in looking at solutions for water issues through interdisciplinary cooperation, policy expertise and innovation.
“Water disregards boundaries and so must we,” he said, employing the motto of his department at the University of Waterloo.
The working definitions of water security, as put forward by the United Nations, Brouwer explained, are to have stable, peaceful and reliable access to adequate quantities and acceptable quality water. This, in turn, should sustain livelihoods, human well-being, socioeconomic development, protection from pollution and other water disasters, and preservation of ecosystems.
“From an economic point of view,” he said, “we need water to produce all kinds of things.”
As examples, Brouwer showed how much water is needed for basic clothing items: 10,000 litres of water are used to produce a kilogram of cotton, which, therefore, means 2,500 litres are required to make a 250-gram T-shirt and 8,000 litres for an 800-gram pair of blue jeans. For a morning cup of coffee, the equivalent of 1,000 cups of water are needed – from growing the bean, processing it and transporting it to the consumer.
Pressures on the international water supply are further exacerbated as countries such as China, Brazil and India achieve a higher standard of living and demand more goods like Western clothing and coffee.
“We expect that water stress will continue into the future,” Brouwer said, noting that two billion people in the world currently live in areas where water is scarce, including in the Middle East and in Northern Africa.
Global demand for water is, according to Brouwer, expected to grow one percent per year until 2050. By that time, 45% of global output would come from countries experiencing water scarcity. Tel Aviv, along with Sao Paulo, Cape Town and Karachi, is among the cities in the world most at risk of experiencing water shortages.
In a chart, Brouwer showed the skewed distribution of water usage around the world – from the average American, who uses 156 gallons per day to a French person who uses 76, an Indian at 38 and a Malian at three. Canada is the second-largest consumer of water per capita in the world. The average Israeli consumes 40% less water than their Canadian counterpart.
In his final remarks, Brouwer said the widely held view of water abundance in Canada may be a misperception when water quality and access to clean and safe drinking water are taken into consideration.
He concluded that water has value, but that its price is not reflective of its true value. Attention, he said, should be paid to both increasing water supply and policies that reduce water demand, and that water pricing is one way to raise awareness for essential water services.
Technion Canada partnered with the consulate on the World Water Day initiative.
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
Art Vancouver returns after a two-year COVID-imposed hiatus. Artists and galleries from across Canada and the United States – as well as from countries including Argentina, Cuba, Iran, Kenya, Mexico, Taiwan and Zimbabwe – are scheduled to exhibit at the Vancouver Convention Centre May 5–8. Several of the artists are members of the Jewish community, and they spoke with the Independent about their art and the return of the event.
The international fair, first held in 2015, is the main annual event of the Vancouver Visual Art Foundation, which was formed in 2017. The foundation has not let the pandemic quash its momentum.
“The creation of Art Downtown was introduced as a safe space during COVID, where people could have a place to get out and enjoy arts and culture,” Art Vancouver founder Lisa Wolfin told the Independent.
The summer outdoor festival invites artists to create art in various public spaces in downtown Vancouver. People can come and see the creative process in action and speak with the artists. The artists’ works are exhibited, and available for purchase.
“There is an area where people can sit down, get their hands full of colour and learn how to make art at no cost, as this is sponsored by Opus Art Supplies, giving people an opportunity to try things they may have never done before,” said Wolfin. “Live music is part of the festival. Each week, there are two new musicians, including singers, guitarists, bands, and duets, in all genres.”
During the pandemic, the foundation also offered online art classes. Since the easing of health restrictions, in-studio classes have started.
“People from all over B.C., Canada, the United States, Costa Rica, and as far away as Australia, [have] registered for the classes,” she said. “The instructors are professional local artists, teaching in a variety of different styles – florals, landscapes, abstract, graphite, neurographic, impressionism and figurative are some of the subjects demonstrated, with acrylics, watercolours, oils, markers, palette knives and metallics … [being] some of the materials we use.”
Wolfin herself has taken more than 100 classes over the last two years.
“There are stations all over my art studio with different mediums waiting to be experimented with,” she said. “In every class I took, I received a golden nugget that has added to my repertoire and moved my work in a different direction…. Each instructor had their own style and colours that they preferred, which took me out of my comfort zone and back to kindergarten to start all over again, being open to trying new things.
“Neurographic art is a new direction my work has shifted into,” she continued. “Russian psychologist Pavel Piskarev coined the term neurography, or neurographica, in 2014 – it helps us engage more neurons. By this, he specifies how using the simplest tools to draw, through this technique, is a link between conscious and unconscious. This connection is made by the brain cells called neurons being activated in a way that brings forth awareness and mindfulness…. This is a healing project for people of all ages, no artistic abilities are required, only the interest in creating an artwork that is not only intuitive but greatly beneficial to our emotional and calming states…. Neurographical art is a way to transform the stress, fear and chaos of our world into something more calming and peaceful. Art is always about expression and finding that inner peace.”
While still undecided about exactly which art pieces she’ll be showing at Art Vancouver, Wolfin described a new tree series she has been working on.
“I start out with acrylics using bright colours instead of the neutral and natural colours found in nature, including various mediums and acrylics because they create more depth and richness to my work, which is meant to be more realistic,” she explained. “Life is colourful. I look deeply into the forests and feel the colours, then transfer what I pick up onto the canvas. Next, I add Posca paint pens, dabbing colours all over the canvas for an added dimension. Then I go over the canvas with oil pastels and add another texture to it. The pastels skip over the gaps in the weave, leaving little dots of another medium. Lastly, a layer of resin is poured over the canvas and spread out to create a luscious thick layer of gloss which intensely brings out the layers of the colours, making the colours pop.”
She also has been creating florals with KrinkNY paint markers. “Because the tips are much thicker than a paintbrush, I have had to loosen up and go with the flow of the paint,” she said. “This paint mixes with itself when you go over it and it gets wet again. You can blend as you paint, and it is a challenge to get what you think you want [based on the] traditional way of painting.”
Artist Sky Lilah also has used the pandemic years to branch out. “I am continually striving to do something new,” she said. “Over the past few years, I have started to teach online art classes, for youth and adults. I have done a series of abstracts with the theme being on consciousness. For Art Vancouver 2022, I am doing a new series of mixed media, with the focus on love, thoughtfulness and manifestation. I have also been spending more time creating a unique fashion line and hand-painted clothes.”
The work she’ll be bringing to Art Vancouver is a new style of mixed media, she said, “with the focus being on my family – making unique pieces based on each member, including components from their past, present and future. I am fascinated by time and consciousness and how our minds create our reality.”
In addition to her art, Lilah will be bringing to Art Vancouver a personal development workbook that “includes self-awareness exercises and creative exercises to help one further develop themselves and live their best life,” she said.
One of the works Sky Lilah will be bringing to Art Vancouver.
“My personal development practice always influences my style of artwork,” she added. “The constant strengthening of my creative muscle, I believe, helps me in all areas of life.”
Lilah is excited by Art Vancouver’s return.
“I love the thrill of prepping for a show, and the impact that the show has on the community is so rewarding. It is always a pleasure to connect with each attendee and hear different perspectives from the art world.”
“When creating the pieces for the Art Vancouver exhibition, I was on Cloud 9,” said Taisha Teal, explaining the title of one of her series of works.
“When I create art, I am in the flow,” she said. “I am in a meditative state where time does not exist. On Cloud 9 has a deeper meaning – of being in another space in time, in the ninth dimension of pure bliss and happiness. When I am in the studio, I am at peace. There is no stress. It is where the magic happens. My name, Taisha, also means number nine in Hebrew; so the title felt pretty perfect.”
During the pandemic, Teal said, “I had the chance to really experiment with new materials and the courage to play around with no judgment.”
“I am fearless,” by Taisha Teal, part of her series called the Naked Line Ladies.
The Naked Line Ladies, also known as her “sparkle ladies,” are women in her life “promoting body positivity and female empowerment,” said Teal. Reminders, she said, “that you’re beautiful no matter what, and your body is the only one you’ve got…. We’re embracing our uniqueness, celebrating who we are.”
About her Spraypainted Hearts series, Teal said, “Infinite hearts, infinite strength. There is enough love to go around.”
And the Abstract Alcohol Ink collection is dedicated to her travels. “During this pandemic, I have felt very stuck,” she said. “I have been reminiscing about the places I’ve been and the colours I’ve felt along the way. This abstract series has really helped my mental health in overcoming the chaos in this pandemic. Not having to create the perfect realistic image, I use colours and gestural marks to create a piece that resembles places I have been.”
Artist Monica Gewurz also has been doing more abstract work over the pandemic, focusing more on the feelings generated by the landscape than its literal appearance.
“During the lockdown,” she said, “I continued to explore new techniques and tools, incorporating heavy textures and thin veils, to capture moments that uplift and refresh. We have all been held back from so many important things in life and, hopefully, these paintings can bring some uplifting and beauty to people’s lives.”
Gewurz is planning on bringing a new collection of more than 30 works to Art Vancouver.
“I paint primarily in acrylic,” she said, “but combine this with a variety of other media such as gesso, mediums, glazes and inks. I also like to use materials that excite me, like gold leaf and unusual acrylic mediums.”
“Exposed,” by Monica Gewurz.
During the pandemic, Gewurz said she has taken several online courses and “successfully increased the number of virtual juried exhibitions in B.C. and the U.S.” She also has “participated in numerous art shows conveying the climate change and our large carbon footprint in our planet. I am now being recognized as an eco-artist in the U.S.,” she said.
The environment is a top concern for Gewurz. For example, a piece of hers, “Ebbing,” was chosen for “the label of Safe Haven fortified wine of the 40 Knots winery,” she told the Independent in an April 2020 interview. “A portion of the wine sales goes to support salmon habitat restoration. I donated the artwork.”
Gewurz is one of 11 artists – with her painting “SOS” – in the year-long touring exhibit Diving In: The Art of Cleaning Lakes and Oceans’ Art Tour, an environmental art campaign initiated by the Sea to Sky Arts Council Alliance with Divers for Cleaner Lakes and Oceans, Return-It and local artists. It showcases “stunning pieces of art by selected artists created from a range of objects recovered through clean-up dives at local lakes and ocean sites.”
For a professional artist, said Gewurz, “it is important to exhibit at high-calibre international art exhibition shows. Art Vancouver provides me with a platform to display my works as well as sell them – this will be my fifth time exhibiting there.”
Grateful for the opportunity, she said, “To showcase my work in person was something I truly took for granted. Over these last few years, I have found a new appreciation and gratitude for events like this. To be able to connect, converse and exhibit amongst other creative people in my hometown is such a great opportunity.”
Given the continuing pandemic, safety won’t be lost in the excitement.
“We have a larger room in the Convention Centre West building so we can create a safe, socially distanced exhibition with more space between the aisles,” said Wolfin, acknowledging the work of the women-led organizing team of the event and the many volunteers.
The art exhibit is but one of the weekend’s activities. There will be a talk on non-fungible tokens (NFTs), for instance.
“There will be a whole section with NFTs for people to enjoy and learn about this whole new direction in the arts,” said Wolfin. “Art classes are going to feature non-traditional art mediums so anyone interested can try their hand in art…. Opening night starts off with The Face of Art, our runway show that puts a face to the artwork. Friday night will have an all-new art game feature – teams of three people will compete with each other for one hour to build a sculpture out of Lego…. Saturday night is Art Masters, a one-hour painting competition where the artists are given a theme and one hour to create using non-traditional tools, as there are no paintbrushes included!”
