history – Page 43

Pesach: story of a people’s birth

God Almighty Herself induces Egypt to give birth. We simply need to listen for the birth mother’s screams in the delivery room. We hear the screams throughout the plagues, as they become increasingly intensive, starting with the first plague, blood. (illustration by Nina Paley)

The idea of the Exodus as a birth story begins as Shemot (Exodus) begins. The first chapter brings us into the atmosphere of a giant delivery room. Things have gotten out of control: “And the Israelites were fruitful and increased abundantly and multiplied and grew exceedingly strong and the land was filled with them.” (Shemot 1:7)

The Israelites are having children all the time. There’s this anonymous, collective mass of people that are steadily spreading out. The only two figures mentioned by name are the midwives, Shifra and Pua, and there’s a reason for that. The book is telling us: “Pay attention, readers. We are entering a delivery room, and so the most important figures are the midwives. You will feel this sense of birth.”

If one didn’t get this sense from Chapter 1, take a look at Chapter 2. It begins with the personal birth story of Moses, the story of a natural, biological birth, in which a woman becomes pregnant and has a son. A few verses later, the mother places the baby in an ark, or basket, and, when Pharaoh’s daughter comes by, she takes him in and becomes his adoptive mother. She, too, has a birth story. There’s a womb – the ark. There’s water – the Nile. She sees the womb, the ark. She opens it and she sees the baby. She, too, is portrayed as having given birth. If we saw a portrait of the natural, biological birth by the Hebrew mother, we also have a portrait of the Egyptian adoptive mother who takes the child.

This “birth” mindset will intensify and be actualized through this grand metaphoric story we call the story of the Exodus from Egypt. There was a famine in Canaan, so the Israelites went to Egypt to buy grain and find seed. They stayed. Scripture tells us how they “were fruitful and increased abundantly and multiplied and grew exceedingly strong, and the land was filled with them.”

This little nucleus, the embryo that first descended, is developing within this large Egyptian womb, Israel’s “surrogate mother,” which nourishes this fetus. The time comes for the birth. As in any case of surrogate motherhood, there is difficulty. On one hand, it’s not my baby. I want it out. On the other hand, there’s emotional difficulty. I nourished that child. He’s part of my body.

From the perspective of the child, there will be problems, or challenges, of attraction and repulsion toward the surrogate mother in whom he developed. The Children of Israel grew and developed in that womb, and it must be taken out. But the Egyptian mother refuses to begin the birthing process.

Enter the most powerful midwife imaginable – God Almighty Herself. She induces Egypt to give birth. The entire story is described in this manner. We simply need to listen for the birth mother’s screams in the delivery room. We hear the screams throughout the plagues, as they become increasingly intensive. Blood. Frogs. Lice. Beasts. Pestilence. Boils.

We’re standing next to the birth mother, saying, “Push! Push! Scream! Scream! Let this baby out!” Just before the birth, a moment before the Children of Israel emerge, they are commanded to paint the doorposts with blood. Soon after, this people will pass through this doorway.

They will reach the waters. And the waters will descend, as well. Then the sea will split in two, and the Children of Israel will pass through the waters on dry land, through the birth canal that has opened for them. At the end of the birth canal, who will be waiting for them? The midwife, ready to grasp them and teach them to walk.

This story, this birth story, is the powerful story of the birth of a people. But, beyond the importance of hearing this story, it can also explain what happens later, during their travels in the desert.

Like any newborn baby, the people will cry and scream for their most immediate needs – water, food. Moses and God will provide for them because that’s how you take care of an infant. You give water and food. You can’t expect anything else. Slowly but surely, he will be taught to walk. Slowly, he will learn rules. He will be given laws to follow.

When we meet this child in Bamidbar (Numbers), once he has grown, he will make the same requests that he made in Shemot as an infant: water and food. But God’s response will be different, because we don’t have the same expectations of a little baby that we have from a growing child. We expect something different.

How do we connect this to the seder night? The Exodus, first, is a story. There is a strong emphasis on telling the story. It has all the detail it needs, and all the drama we want. These are what make this story a foundational story, one that can be transmitted generation after generation.

We sit around and tell our birth as a people. We try to impart it to the next generation. When we tell the story with all its detail, it excites us once more. But why is this done over matzah?

God planned the Exodus from the time of Abraham: “Know that your seed will be a sojourned in a land not theirs; they will serve them and be tormented by them for 400 years. But then they will go out with great wealth.”

It’s all planned, down to the moment. God tells them to have their loins girded, their bags packed and their food prepared and, when I say so, leave. Everything had been planned. So what happened? Why couldn’t the dough rise? Why couldn’t they have fresh rolls?

This is a precise dramatization of a birth story. If you want it to be credible, it has to be exact. As in the story of any birth, everything is planned. There’s a due date. There’s a packed suitcase, a list of phone numbers to call. If it’s not the first birth, there are arrangements for the older kids.

Yet labour will always be unexpected. It’s always sudden. The water breaks suddenly. Contractions come suddenly. Suddenly, it’s time to go. That’s birth. Everything is planned, but the moment arrives suddenly. This is the meaning of eating matzah. It’s as if we are saying, everything was there, everything was planned. This birth was a major event and, like every other birth, it was unexpected. Despite all the preparations, we had to run, we had to leave. The dough did not have a chance to rise. All that could be made from it was matzah.

Ilana Pardes’s book The Biography of Ancient Israel describes this as the story of a collective persona, the people of Israel: “The Israelites are delivered collectively out of the womb of Egypt. National birth, much like individual births (and all the more so in ancient times), takes place on a delicate border between life and death. It involves the transformation of blood from a signifier of death to a signifier of life. It also involves the successful opening of the womb, the prevention of the womb’s turning into a tomb…. God performs a variety of wonders in Egypt (the 10 plagues in fact are perceived as such), but the parting of the Red Sea seems to surpass them all. It marks the nation’s first breath – out in the open air – and serves as a distinct reminder of the miraculous character of the birth. Where there was nothing, a living creature emerges all of a sudden….”

As we sit around the seder table, around the matzah, telling the story of our birth each year, you may want to read from the poem, “Miracles,” by Yehuda Amichai: “From a distance everything looks like a miracle / But up close even a miracle doesn’t appear so. / Even someone who crossed the Red Sea when it split only saw the sweaty back of the one in front of him.”

Ask every participant at the seder to think of something that happened to them during the year, something that, because the individual was part of it, they “only saw the sweaty back of the one in front of him.” If we were to take a step back and look at things from a distance, we could have said to ourselves: “I’m living through a miracle. I’m passing through the sea, on dry land. I’m undergoing the process of birth, right now.”

It is worthwhile, and it even brings joy, to mention this miracle and think about it at this event celebrating the great miracle of the nation’s birth.

Dr. Orit Avnery is a research fellow at the Shalom Hartman Institute. She received her PhD in Bible studies at Bar-Ilan University. Her dissertation is entitled The Threefold Cord: Interrelations between the Books of Samuel, Ruth and Esther. This article is based on a talk she gave in Hebrew. Articles by Avnery and other institute scholars can be found at shalomhartman.org.

Could the plague come back?

With his latest novel, We All Fall Down (Simon & Schuster, 2019), Vancouver writer and emergency-room physician Daniel Kalla covers both familiar and new territory. He once again postulates with scary enough realism what might happen if there were an outbreak of a deadly disease, but this time, it’s the plague – the same bacteria that caused the Black Death in the 14th century.

Kalla, who is head of emergency at St. Paul’s Hospital and a clinical associate professor at the University of British Columbia, will talk about his new book on April 17 at Incite: Riveting Crime Tales, presented by the Vancouver Writers Fest and Vancouver Public Library, in partnership with the Crime Writers of Canada. He will be joined by fellow Vancouverite Eve Lazarus, author of Murder by Milkshake: An Astonishing True Story of Adultery, Arsenic and a Charismatic Killer (Arsenal Pulp Press, 2018), about the murder of Esther Castellani by her husband Rene in 1965 in Vancouver, and Toronto-based Kim Moritsugu, whose latest book is The Showrunner (Dundurn, 2018), described as a “Hollywood-noir, darkly humourous suspense.”

We All Fall Down is set in Genoa, Italy. It alternates between current-day events – the site of an old monastery that has been demolished to make way for new condominiums seems to be ground zero for the reemergence of the plague – and the year 1348, when that monastery’s inhabitants are almost decimated by the Black Death, as is much of Europe. There is a link between the two outbreaks and North Atlantic Treaty Organization infectious diseases expert Alana Vaughn, called in from Belgium, is among those who must figure it out, along with a World Health Organization expert, Canadian epidemiologist Byron Menke, and Alana’s former lover, Dr. Nico Oliva, who sounded the alarm when a patient was brought into his hospital, coughing up blood and with a bubo (lump, swelling) in her armpit. The patient had been working on the construction site when she took ill and was dead soon thereafter.

The rapidity with which the plague takes a life drives the urgency to determine its sources and stop its spread. The most emotive chapters of We All Fall Down are short. Kalla briefly introduces readers to various people in the midst of tender or happy moments, who then suddenly feel chilled or choked by phlegm and blood. These scenes add meaning to the consistently provided death tolls, and personalize the suffering. Readers will empathize, and shiver.

As in his previous novels – Pandemic (Forge Books, 2005), about a fictional new flu, more deadly than SARS, and Resistance (Tor Books, 2006), about the outbreak of an antibiotic-resistant bacteria – the disease in We All Fall Down is deliberately being spread. Initially, Alana’s theory is that it is bioterrorism, but eventually the WHO-led team comes to another conclusion and the race is on to find the perpetrator.

In the mid-1300s, one-third to a half of the European population was killed within three years, a character in the novel notes – “The worst natural disaster in all of recorded history.” And the novel offers a glimpse into that horrific time via the diary of a barber-surgeon, Rafael Pasqua, who lost his wife to the plague. His story is graphic at times, and it is he who relates how Jews were attacked and persecuted, as the assumed cause of the devastation. Kalla juxtaposes this persecution and violence with that of Muslims in the modern-day instance of the outbreak, as it is first thought that Muslim terrorists might have developed the plague as a bioweapon. Despite hundreds of years of evolution, people’s fear and desperation still drive them to seek a scapegoat.

Less interesting in We All Fall Down are the romantic storylines: Alana and Nico dealing with their past relationship, Alana’s new relationship with Byron, and Rafael’s with Camilla, the daughter of a Jewish friend and fellow physician. At least the medieval love story adds some tension to the plot, as Jews become more and more at risk as the plague continues unabated. And, in truth, the relationships provide some respite from the death taking place all around the characters.

On the whole, We All Fall Down is a good read. Kalla, being an emergency physician who has researched and written about different pandemics, makes the possibility of the Great Plague resurfacing seem frighteningly possible. There are countless benefits of globalization, but it certainly makes containment of an epidemic that much harder. It is a sobering thought.

Incite events are free, but registration is required. To attend Riveting Crime Tales, which takes place in the Alice MacKay Room at the central branch of VPL downtown at 7:30 p.m. on April 17, fill out the form at writersfest.bc.ca/programs/incite/incite-form.

First Temple stamps discovered

The stamp of “Ikar, son of Matanyahu.” (IAA photos courtesy Ashernet)

The 2,600-year-old stamp of “Ikar, son of Matanyahu” was among the artifacts uncovered in archeological excavations at the Givati Parking Lot, in City of David National Park in Jerusalem. The dig was conducted by archeologists from the Israel Antiquities Authority (IAA) and Tel Aviv University and, according to TAU’s Prof. Yuval Gadot and IAA’s Dr. Yiftah Shalev, the artifacts were found inside a large public building that was destroyed in the sixth century BCE, probably during the Babylonian destruction of Jerusalem in 586 BCE. Large stone debris, burnt wooden beams and numerous charred pottery shards were discovered, all indications that they had survived a fire.

The stamp and bulla (seal impressions), which are about one centimetre in size, were deciphered by Dr. Anat Mendel-Geberovich of the Hebrew University of Jerusalem and the Centre for the Study of Ancient Jerusalem. “The name Matanyahu appears both in the Bible and on additional stamps and bullae already unearthed. However, this is the first reference to the name Ikar, which was unknown until today,” said Mendel-Geberovich.

According to Gadot and Shalev, “These artifacts corroborate the highly developed system of administration in the Kingdom of Judah and add considerable information to our understanding of the economic status of Jerusalem and its administrative system during the First Temple period, as well as personal information about the king’s closest officials and administrators who lived and worked in the city.”

Mystery photos … March 29/19

Photographs from an unidentified event, possibly a University of British Columbia event, likely in honour of Harry Adaskin, 1985. In the photo immediately below, of the women socializing by the piano, Shirley Kort is second from the right. (above photo JMABC L.13770)

photo - Shirley Kort is second from the right — Shirley Kort is second from the right. *(JMABC L.13761)*

photo - from an unidentified event — *(JMABC L.13765)*

If you know someone in these photos, please help the JI fill the gaps of its predecessor’s (the Jewish Western Bulletin’s) collection at the Jewish Museum and Archives of B.C. by contacting [email protected] or 604-257-5199. To find out who has been identified in the photos, visit jewishmuseum.ca/blog.

Glory tour starts soon

The original cast of Glory. (photo by Barbara Zimonick)

I hope Glory inspires audience members to look up the Preston Rivulettes and learn how amazingly driven, committed, skilled and bad-ass these female hockey players were,” Advah Soudack told the Independent.

The Rivulettes were entered into the Canadian Hockey Hall of Fame in 1963. According to the website of the Rivulettes Junior Hockey Club, “The team played an estimated 350 games between 1930 and 1940, tying three and losing only two. In that 10-year span, the Rivulettes were 10 times the winners of the Bobbie Rosenfeld Trophy that was presented each year to the champions of Ontario. They were also six-time winners of the Eastern Canadian championship and the Elmer Doust Cup that went with it. They won the trophy each time they competed for it. The team’s crowning achievement was capturing the Lady Bessborough Trophy as Canadian champions no less than six times.”

“Their determination, their courage, their fight and their passion” were what inspired Tracey Power to write Glory, which starts its touring run March 29-30 at Kay Meek Arts Centre in West Vancouver.

Power was also interested in 1930s Canada, which “presented many personal challenges, a national depression, the growth of international hatred that would ultimately become the Second World War, and how those international relations greatly affected Canadian multicultural relations, antisemitism and sexism, to name just a few.

“Through hard times,” she said, “we often turn to sport or entertainment for escape, for community and for strength. For me, the women on this team and their coach represented not just a team of hockey players, but a country fighting to survive.”

Glory premièred last year, and the touring production brings with it some changes, including two new actors, Andrew Wheeler as the team’s coach, Herb Fach, and Soudack as the character Marm Schwartz.

photo - Tracey Power — Tracey Power *(photo from Gateway)*

“The choreography grows and strengthens with every run,” said Power of other changes. “I’m a huge believer in trying new ideas, and the more detailed we can be in our storytelling, the more exciting it will be for our audience. There may be some new text ideas that come out of rehearsal. I’m always open to a new play exploring new territory each time we go back into rehearsal.”

Kate Dion-Richard reprises her role as Helen Schwartz.

“Tracey reached out to me a couple of years ago to play the part of Helen in a workshop and reading for the show,” said Dion-Richard. “A few months after the workshop, I auditioned formally for the role. That included reading a couple of scenes, as well as taking part in a group dance call. The dance was a new style of ‘swing-skate’ that Tracey had created, which incorporated swing dance moves of the 1930s with hockey skills and plays.”

It is not an accident that Jewish community members have been cast as the real-life Jewish sisters.

“Marm struggles with being able to get the education she wants because of quotas universities had at the time; she fights back against antisemitism and must find ways to deal with her anger both on the ice and off. Helen is confident in her femininity and struggles to figure out how such an aggressive sport fits within the expected view of a woman of that time. It has always been important to me to have Jewish actors play these roles,” explained Power.

“During the development of the play,” she said, “the conversations we had were instrumental in bringing the characters’ truths to the stage. I am not Jewish, but it’s my duty as the playwright to understand the souls and bones of these women and what they went through. I’m extremely thankful to Kate Dion-Richard, Gili Roskies [who played Marm last year] and Advah Soudack for being so open and honest with me about their own Jewish history.

“Bobbie Rosenfeld was one of the most famous Canadian athletes of the 1920s/30s,” she added. “She was an Olympic gold medalist and, among many other sports, played hockey for the Toronto Pats. She inspired many women to follow their athletic dreams – including Hilda Ranscombe, who was the Hayley Wickenheiser of the Preston Rivulettes – and, much like Marm, she also fought against antisemitism in her sport and life.”

“The awareness of, frustration and personal experience with antisemitism are a big part of Marm’s storyline and journey in this show,” said Soudack. “I personally have not experienced the extent of antisemitism that Marm experiences in this story, however, my close family members have, and I can understand and imagine what it would be like. I feel that I bring my strong sense of Jewish identity to the role of Marm, with all its deep-rooted traditions and expectations. I also share and connect with the concern and, at times, discomfort Marm feels with being Jewish in a world where antisemitism lingers right around the corner.”

photo - Kate Dion-Richard — Kate Dion-Richard *(photo from Gateway)*

Dion-Richard, whose Jewish side of the family is from London, England, grew up hearing stories of living through the war from her grandparents. “Those stories stay with me and in many ways is why this role is so close to home,” she said. “Although Helen is Canadian, the antisemitism felt in Canada in the 1930s was strong and I am able to connect to that through my family’s experiences. Also, on a lighter note, I married a man who isn’t Jewish and so did my character, so that’s a nice similarity.”

And there are other connections for Dion-Richard, who was a hockey fan before taking on this show. “My large extended family of Richards are huge Montreal Canadiens fans due to our distant cousin Maurice Richard (‘The Rocket’),” she shared, “and I grew up on the West Coast, so the Canucks were frequently on the television at home. I have definitely become more of a fan since doing this show – especially of women’s hockey. The Canadian women’s team is incredible and I’d love to meet them and chat about their experiences as women in a traditionally male-dominated sport. I’d also love to know if they know about the Rivulettes!”

Soudack admitted to not having been much of a hockey fan before she started her research and work on Glory. “My husband is a big fan, so I always hear him talking about it, and get dragged onto his computer to watch videos of amazing plays and goals,” she said. However, since Glory, she has become more interested in the game. “I recently went to Thunderbird Stadium to watch the UBC Women’s Hockey playoffs,” she said. “Their commitment, drive and talent were inspiring. I was moved to tears as I sat there, thinking of Hilda, Nellie [Ranscombe], Marm and Helen, realizing and deeply understanding why they loved the game so much.”

photo - Advah Soudack — Advah Soudack *(photo from Gateway)*

About sports and the relevance of the Rivulettes’ experiences for today’s audiences, Soudack said, “It still feels the same, in regard to women not having the same opportunities and not really being seen as equals to men in athletic ability. I find it sad that young girls can fall in love with a sport and be exceptional at it, like Hilda Ranscombe; however, there is no future career they can look toward. Once the war was over, women’s opportunity to play sports vanished, whereas the men’s opportunities and careers took off.”

“Women not only had to fight for ice time – often having to play and practise in the very early hours or very late hours of the day; essentially when the men didn’t need the ice – but they also had to fight to be taken seriously,” said Dion-Richard. “Many of the reports of the women’s hockey games included remarks about the apparent lack of femininity within the game and some even questioned the sex of the players because of how aggressive the women were. Also, women were unable to be professional hockey players. The men were paid and the women weren’t. As a woman living in 2019, I still see the need to fight for equality with pay, representation and respect.”

Directed by James MacDonald, Glory has some minor profanity and is recommended for ages 9+. The Western Canada Theatre production – which includes Katie Ryerson as Hilda and Morgan Yamada as her sister, Nellie – heads to Gateway Theatre in Richmond April 4-13 after the March 29-30 Kay Meek shows, then to Capitol Theatre in Nelson April 16, Vernon’s art centre April 18 and Coquitlam’s Evergreen centre April 23-27. It also travels to Ontario, where it plays in several communities over the course of a few months.

“I’d love to add that this show has something for everyone,” said Dion-Richard. “The Canadian history is so important to know, as well as the fight for respect and equality that these women pushed for. They really paved the way for all of us and I hope we can show how grateful we are to them for that. This is a show that could be a link for people who don’t normally go to the theatre. It fuses sport and theatre with Canadian history, and the story is as relevant today as it was in the 1930s.”

Take new walking tour

Grade 8 monitors, Lord Strathcona Elementary School, 1948. The new Cross Cultural Strathcona Walking Tours start at the school and then take visitors through Hogan’s Alley, Jewish Strathcona, Japantown (Powell Street) and Chinatown. (photo from Bev Nann)

The Cross Cultural Strathcona Walking Tour celebrates the history of Vancouver’s Downtown Eastside neighbourhoods Hogan’s Alley, Jewish Strathcona, Japantown (Powell Street) and Chinatown. The guided walking tour builds awareness of the contributions of early immigrant communities then and now, in celebration of Vancouver Asian Heritage Month and Canada’s Jewish Heritage Month, both of which fall during the month of May.

The walking tour theme is education, and each tour starts at the oldest elementary school in Vancouver, Lord Strathcona Elementary School, at 592 East Pender St. Referred to as the “League of Nations” for its multicultural make-up, this school brought and continues to bring many communities together.

Tours will feature community experts and wind their way through the streets of Vancouver’s Eastside pioneer neighbourhoods, concluding at the Vancouver Japanese Language School (475 Alexander St.), where participants can enjoy complimentary “after-school” snacks from the featured communities.

“Last summer, I had the privilege of going on a number of walking tours, where it dawned on me that we were walking the same streets and even talking about the same homes, just through different community lens,” said Carmel Tanaka, co-founder of the Cross Cultural Strathcona Walking Tour. “A lightbulb moment was to bring all these experts into one room and create one inclusive walking tour highlighting all our voices together!”

The tours will take place on the traditional, ancestral and unceded territories of the Musqueam, Squamish and Tsleil-Waututh peoples, with the support of the Grant family, who offer greetings from the Musqueam Nation. The Cross Cultural Strathcona Walking Tour project is a coordinated effort by the following participating organizations: Association of United Ukrainian Canadians; Benny Foods Italian Market; Dr. Sun Yat-Sen Classical Chinese Garden; Musqueam elder Larry Grant; Greater Vancouver Japanese Canadian Citizens Association; Heritage Vancouver Society; Hogan’s Alley Society; Jewish Independent; Jewish Museum and Archives of British Columbia; Nikkei National Museum and Cultural Centre; Pacific Canada Heritage Centre Museum of Migration; Vancouver Asian Heritage Month Society’s explorASIAN; Vancouver Heritage Foundation; Vancouver Japanese Language School and Japanese Hall; Vancouver School Board; Vancouver School Board Archives and Heritage Committee; Wongs’ Benevolent Association; and Youth Collaborative for Chinatown.

Tours will run Sunday, May 5, 12, 19 and 26, 11 a.m. and 1:30 p.m., rain or shine. Each tour will last just over two hours and cost $15/person (free for children and moms on Mother’s Day). For tickets, visit strathconawalkingtour.eventbrite.com.

Adding to Einstein Archives

A newly acquired photograph of Albert Einstein, left, with his lifelong friend Michele Besso. (HU photo courtesy Ashernet)

photo - Albert Einstein, right, with his grandson Bernhard, centre, and son, Hans Albert — Albert Einstein, right, with his grandson Bernhard, centre, and son, Hans Albert. *(HU photo courtesy Ashernet)*

One hundred and ten pages of Albert Einstein’s handwritten notes and other documents and photos have been added to the Albert Einstein Archives at the Hebrew University in Jerusalem. This latest material (dating mainly from 1944 to 1948) was acquired by the university thanks to a donation by the Crown-Goodman Foundation, which bought it for an undisclosed sum from Gary Berger, a North Carolina doctor. After Einstein’s death in 1955, most of his more than 80,000 scientific and personal papers were left to the Hebrew University. Einstein, who was one of the founders of the university and a great supporter of the Jewish state, was invited to become president of Israel, but declined the offer, implying that he did not feel worthy of such honour.

Why Purim costumes?

Purim in Tel Aviv last year. (photo by Igor Zed)

What is the origin of wearing costumes on Purim? One theory relates to the fact that the Jews in the Purim story live in the galut (“exile,” outside of Israel). Haman says to the king: “There is a certain people scattered abroad and dispersed among the peoples in all the provinces of thy kingdom and their laws are diverse from those of every people; neither they keep the king’s laws.” One might say, these Jews in Shushan are the minority in a Christian country who disguise themselves or mask their identity by trying to dress like the majority and blend in.

Probably the closest explanation as to why we wear costumes is because Esther masqueraded as a non-Jew and dressed up as a queen. Esther also hid her assertiveness and her strength – and her Jewish identity – until she had no other choice. One source has said wearing costumes is to imitate the costume parties of the court mentioned in the story.

Another source says traditional Jews believe that G-d is hidden behind all the events of the Megillah. Although there is no mention of G-d in the Book of Esther, we believe he had a hand in the saving of the people. In a sense, he was masked or disguised and rabbis referred to G-d’s role as “hester panim,” or “hiding of the face,” which is also said to be a play on the words Megillat Hester, rather than the Hebrew name for the Book of Esther, Megillat Esther.

Philosophers and scriptural commentators believe that G-d’s name is omitted to emphasize the very point that G-d remained hidden throughout the story, but was nonetheless present and played a large role in its outcome. Megillat Esther may show that, although G-d may not be conspicuously present at times, he nevertheless plays an important role in everyone’s lives and that of the Jewish nation. In remembrance of how G-d remained hidden throughout the Purim miracle, Jews dress up on the holiday and many hide their faces.

Another explanation is in the Book of Esther’s eighth chapter, verse 17: “And many from among the peoples of the land became Jews, for the fear of the Jews was fallen upon them.” Non-Jews converted or perhaps pretended or disguised themselves as Jews for fear of Haman’s fate befalling them.

We do know for sure that the Book of Esther and the Talmud never discuss Purim costumes.

One source says the costumes and masks originated at the end of the 15th century among Italian Jews, influenced by the country’s carnivals. From there, the custom spread across Europe and to other countries where Jews lived, except perhaps the Far East.

Another source contends the custom could have originated in the medieval period in Germany and was an imitation of Christian carnivals, which took place around the same season.

Judah ben Eliezer ha-Levi Minz was a Venetian codifier of the 15th century, known as the “Mahari Minz”; he died in Padua, Italy, in 1508. In his responsa No. 17, quoted by Moses Isserles, the 16th-century rabbi and talmudist, in his book Orach Chayim (696:8), the Mahari Minz expresses the opinion that, since the purpose of the masquerade is only merrymaking, it should not be considered a transgression of the biblical law regarding dress, but he does not provide the origin of wearing Purim costumes. Furthermore, he permitted men and women to wear clothing of the opposite gender, even though this violates the biblical prohibition of cross-dressing (Deuteronomy 22:5). Some have speculated that it commemorates when Mordechai was dressed in regal clothing and escorted by Haman (Esther 6:11), a clear turning point in the plot of the story.

Although some authorities issued prohibitions against the custom of dressing up in costumes, people did not heed them and the more lenient view prevailed. Jews of the Middle East, however, did not start this custom until the 19th century.

Whatever its origins, dressing in costumes has been a tradition for many a Purim now, for adults and children alike. Purim sameach!

Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.

Using absurdity to illuminate

Left to right are GOLDRAUSCH actors Tebo Nzeku, Gray Clark, Karthik Kadam, Matthew Rhodes and Hannah Everett. (photo by Javier Sotres)

GOLDRAUSCH is described as “a comedy with music that journeys through film director Oskar’s efforts to make a film about the man who started the Gold Rush Fever of 1848: the ‘Emperor of California.’ Mixed with classic country and Mexican banda songs, GOLDRAUSCH is the story of rampant jealousy, greed and ambition run amok, as dueling actors fight for their close-ups in Oskar’s magnum opus.”

The University of British Columbia’s theatre and film department presents GOLDRAUSCH at Frederic Wood Theatre March 14-30.

“GOLDRAUSCH follows the story of director Oskar, creating a film on Johann Augustus Sutter, based on the book Gold by Blaise Cendrars,” explained Hannah Everett, who plays the role of Marlene in the UBC production. “Sutter was a German-born colonizer who came to America, set up a farm for himself and became rich – until the gold rush of the 1850s, which destroyed the land he had taken.

“The playwright, Guillermo Calderón, is commenting on how Blaise Cendrar’s Gold is an exaggerated and fictionalized version of Sutter’s life that glosses over his problematic character, and the history surrounding the land and people during this time,” she said. “The play begins months into the shoot when Oskar realizes his film has become boring, and lacking ‘soul.’ He decides to bring in two new actors and shoot a porn scene, much to the other actors’ surprise.”

Marlene is one of the new actors.

“Marlene has been hired by Oskar to perform a porn scene and body double the leading lady, Greta, on set,” said Everett. “Marlene represents Oskar’s ‘fresh start’ to the film, in order to make it more interesting. Throughout the play, we learn she contracted hepatitis from the porn industry and is incredibly poor. She needs this job to make money and survive, which sends Greta into a panic as she learns Marlene is her replacement.”

Appropriately for a play about a film, GOLDRAUSCH is a multimedia work.

“GOLDRAUSCH features real cameras and sound equipment that will project film scenes onto the stage,” said Everett. “We are calling it a ‘meta-theatrical comedy with music’ and, in a way that is somewhat Brechtian, the play often breaks into song and dance, with karaoke tracks projected onto screens. In a final scene, where Oskar and the four actors interview about their film, it becomes clear that these songs are included in the film soundtrack. The multimedia layers to this piece create an effect that continues to take the audiences out of these different worlds of the past and the present, and remind them that they are watching a performance – and that not everything is always as it seems.”

Calderón, a Chilean playwright, wrote GOLDRAUSCH in 2017, “in a continuing time of political upheaval and uncertainty, particularly in United States,” said Everett. “Johannes Augustus Sutter came to America in the 1800s, stole land and enslaved indigenous peoples. His story, Calderón highlights, is unfortunately still incredibly relevant.

“Calderón asks us to think about land ownership, freedom and immigration. He shows us how history repeats itself,” she said. “The play satirizes Cendrar’s book, Gold, demonstrating how we become numb and alienate ourselves from people and politics that attempt to take away basic human rights. This is seen in Oskar’s film, and the ego and greed between the four actors, all struggling for the spotlight…. Calderón has decided to illuminate these issues in a way that is absurd and entertaining, as a way to get audiences to think more actively than perhaps watching or reading a news story.”

Hannah Everett plays the role of the model, Marlene, in UBC Theatre’s production of GOLDRAUSCH. (photo from UBC)

Born in White Rock, Everett grew up in Tsawwassen. She got into acting through various avenues, including Gateway Theatre and high school productions. During a three-year internship with the Riotous Youth program at Bard on the Beach, she helped create A Shakesperience and Shakespeare Unhinged. She also participated in the InTune Young Company Intensive with Touchstone Theatre and with the Stratford Theatre Performance Intensive.

In the course of her university studies, Everett has performed in many theatre and some film productions at UBC, as well as in other theatre productions. In her fourth and final year of UBC’s bachelor of fine arts acting program, Everett graduates in May.

“I’m hoping to get a film agent and, ideally, work in both film and theatre,” she said of what comes next. “I am keen to explore more devised performance, Shakespeare and the contemporary Canadian theatre scene. What I love about this line of work is that it scares me and challenges me to always keep learning, whatever the future may hold.”

Everett’s love of theatre came from her maternal grandmother, Irene N. Watts, who most recently has published Seeking Refuge (2016), a graphic novel, with Kathryn E. Shoemaker, which is a sequel to the graphic novel version of Goodbye Marianne. (See jewishindependent.ca/meet-award-winning-artists.)

“Her most well-known trilogy includes the novel (adapted from the play) Goodbye Marianne, which draws from her experience as a child Holocaust survivor, arriving in England via the Kindertransport from Germany,” said Everett of her grandmother. “In England, she became a teacher and worked in drama education before coming over to Canada in 1968, where she continued working in children’s theatre, acting and directing.

“Her love for theatre trickled down to me, and I was incredibly fortunate to be taken to numerous productions over the years, and given seemingly endless supplies of plays and books. Our shared passion has created such a cherished and close relationship and, as Judaism has had such a deep effect on her life and storytelling, I am always eager to share and learn her stories. Coming from both Jewish and non-Jewish heritage on my father’s side, I have learned to appreciate and be open to different views of the world, especially when it comes to making art.”

Tickets for GOLDRAUSCH – which contains adult themes and language – can be purchased from ubctheatretickets.com or 604-822-2678.

Accountant in Seattle

Auschwitz survivor Eva Kor forgives former SS officer Oskar Gröning. (photo from TLNT Productions)

The Accountant of Auschwitz is more than the latest documentary to successfully convey the horrors of antisemitic genocide to an audience 75 years removed from those events. It exemplifies the emergence of a coterie of young filmmakers eager to tell the stories of the Holocaust to their peers and to future generations.

For Toronto director Matthew Shoychet and producer Ricki Gurwitz, the trial of nonagenarian SS officer Oskar Gröning in his Lower Saxony hometown in 2015 provided the entry point to explore an ambitious array of historical, legal and moral concerns. The approach they chose for their debut feature documentary, however, was as important as the facts and the message.

“The way we put it together with the editors, we knew we didn’t want to play it chronologically,” the 32-year-old Shoychet explained. “The film opens with fast-paced, happy music with animation, then right into the trial, then back. You’re challenging the audience, but in a fresh, exciting way. You don’t see many Holocaust films that are told that way.”

The Accountant of Auschwitz screened at the Vancouver Jewish Film Festival last fall and is part of the Seattle Jewish Film Festival, which opens March 23.

Shoychet’s path to The Accountant of Auschwitz was unusual in that his family was not directly affected by the Holocaust. He was interested in films about the Holocaust, but he wasn’t instilled with the kind of painful personal history that was (and still is) the catalyst for many filmmakers.

In 2013, Shoychet went on the March of the Living to Poland and Israel, where he received his first close-up exposure to the Final Solution and Holocaust education. A friend he made on that trip went to work for the Neuberger Holocaust Education Centre in Toronto, and that contact led to Shoychet directing the short film Anne Frank: 70 Years Later (2015), which screened at Auschwitz-Birkenau and the University of Warsaw.

Shoychet joined that year’s March of the Living as a chaperone, where he met Bill Glied, a Serbian native who’d been deported from Hungary to Auschwitz in 1944. When Glied remarked that he was going to Germany to testify at Gröning’s trial, Shoychet and Gurwitz put a pitch together to the Government of Ontario, the Rogers Documentary Fund, CBC’s Documentary Channel and a couple of private investors.

“It came together fast,” said Shoychet, who arrived on the scene in Lüneburg, Germany, in the midst of the trial.

photo - For Toronto director Matthew Shoychet, the trial of SS officer Oskar Gröning in 2015 provided the entry point to explore an ambitious array of historical, legal and moral concerns — For Toronto director Matthew Shoychet, the trial of SS officer Oskar Gröning in 2015 provided the entry point to explore an ambitious array of historical, legal and moral concerns. *(photo from TLNT Productions)*

Gröning’s job, as The Accountant of Auschwitz makes clear, wasn’t loading Zyklon B into the gas chambers or machine-gunning Jews. Thanks to a change in German law, it is no longer necessary to prove that a Nazi pulled the trigger. His presence at the scene and involvement in crimes is sufficient to decide guilt.

“Oskar was on the ramp [when the trains arrived and where selections occurred], taking suitcases and calming chaos,” Shoychet said. “But it was all part of the mass murder operation.”

Among the issues that The Accountant of Auschwitz takes on is the purpose and value of trying a 94-year-old man for war crimes. The film makes a convincing argument on multiple grounds, beginning with the extent of the cover-up that took place in Germany after the war.

“Ninety-nine percent of the judges in West Germany from 1945 to 1967 were members of the Nazi party,” Shoychet noted. “Hardcore believers. Of the 800,000 SS officers, 100,000 were investigated between 1945 and today, just over 6,000 were brought to trial and 124 received life sentences.”

That paltry number minimizes the scale of the crimes and serves to bury the past. The film asserts that Gröning’s confirmation under oath of his work at Auschwitz was a public and irrefutable rebuttal to Holocaust deniers and other antisemites.

“Even if you say he’s too old – and even the survivors say they don’t care if he goes to prison – for history’s purposes, the fact that a Nazi perpetrator is sitting in a German courtroom with German judges, saying, ‘Yes, these things happened, I was there,’ that makes the trial worthwhile,” Shoychet said.

A loquacious interview subject, even on the phone from Israel, where he had presented The Accountant of Auschwitz at the Jerusalem Jewish Film Festival a few months ago and was presently working on a project of the One Family Fund (he’s a board member), Shoychet confided that the process of making his feature doc debut was one of learning as he went. For example, until he went to Germany, he had never heard of John Demjanjuk, a Ukrainian who had been convicted of crimes at Sobibor yet consistently denied any involvement. Demjanjuk’s tangled tale, which, among other things, raises the subject of putting an elderly man on trial, ended up being a 20-minute segment in the film.

The Accountant of Auschwitz is rife with revelations and messages, but one gets the sense in talking with Shoychet that his main goal was conveying his own experiences of discovery, discussion, inspiration and outrage – with respect to Nazis and survivors, as well as contemporary justice-seekers and neo-Nazis – to viewers his own age.

“There may not be an ISIS fighter who will be deterred by a 94-year-old Nazi being prosecuted,” Shoychet allowed. “It’s making the connection of the past to the present. Trying to take a younger person and put them in the shoes of the survivors.”

Shoychet’s affinity for provoking questions and debate among the audience bodes well for his next efforts behind the camera.

“I never actually thought I would make a documentary,” he said with a trace of bemusement. “My passion is scripted narratives.”

For tickets to The Accountant of Auschwitz and the film festival schedule, visit seattlejewishfilmfestival.org. For another perspective on the impact of Gröning’s trial, see jewishindependent.ca/witnessing-her-history.

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