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"The Basketball Game" is a graphic novel adaptation of the award-winning National Film Board of Canada animated short of the same name – intended for audiences aged 12 years and up. It's a poignant tale of the power of community as a means to rise above hatred and bigotry. In the end, as is recognized by the kids playing the basketball game, we're all in this together.

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Tag: illustration

Shabbat with Bubbie

Shabbat with Bubbie

“I learned about climate marches and I learned about dancing bubbies,” said my niece Fae, 9, when we were discussing Bonnie Sherr Klein’s new children’s book, Beep Beep Bubbie, over FaceTime. Among other things, my niece Charlotte, 7, learned “you can learn to ride a bike at 53 and anything is possible.… And I learned about grandmothers who can shush a crying boy.”

Amid much laughter, including talk about dogs pooping – Bubbie has a dog – and what my nieces recalled of Vancouver from their visit here last year, Beep Beep Bubbie offered more discussion than I had anticipated. But, before I get to that, I have to say, for the record, that my nieces have dancing bubbies in their lives, and bubbies who can shush crying children, so they more related to these aspects of Bubbie’s character than learned from them. With that qualification and butt covering, I continue with the review, starting with the basic story of the book.

It is Shabbat and Kate and her little brother Nate are going to visit their grandmother, who is going to take them to Granville Island to buy apples for Rosh Hashanah. The kids have been told there’ll be a surprise waiting for them at Bubbie’s. That surprise, though – Bubbie’s new scooter – isn’t a happy one initially for Kate, who “already missed the Bubbie she used to have. That Bubbie danced and took them to climate marches.” However, during the afternoon’s adventures, Bubbie’s scooter not only allows her to venture farther from home than she otherwise would have been able to manage, but has other advantages, as well.

After their trip to Granville Island, Kate shares a library book that she’s brought along for the visit. About American educator, activist and suffragist Frances Willard, Kate and Nate find out that Willard “fought for women to have the right to vote. When Frances was 53 years old, she learned to ride a bicycle to show that women could do anything.” A conversation ensues about why Willard wouldn’t have known how to ride a bike. “People were afraid women’s ankles would show under their petticoats,” explains Bubbie. “Can you believe it?”

Well, at my nieces’ house, this part of the book was met with disbelief and more laughter, as Charlotte was keen to show off her ankles, which were hard to see, given the placement of their computer and her being the height of a 7-year-old. But, before things deteriorated into mayhem, Fae said, “I also learned that girls are tough.” And, she “learned another reason why women weren’t treated fairly in the past.”

“And what was that reason?” I asked.

“Because women didn’t ride bikes because their ankles were going to show. And they couldn’t vote, [it was] like they didn’t have an opinion.”

“It’s definitely not fair,” said Charlotte about people thinking that girls showing their ankles was wrong.

All in all, Beep Beep Bubbie elicited much talk and not an insignificant amount of gymnastics. The illustrations by Élisabeth Eudes-Pascal are wonderfully colourful and fun; full of energy and movement. Both Fae and Charlotte gave a resounding “yes” when asked if they liked the pictures.

One the drawings is a two-page spread of Bubbie, Kate and Nate and the park, where they join in the fun of flying kites. One young person is in a wheelchair, and Charlotte asked why Bubbie had chosen a scooter instead. Not knowing the answer, I asked the author. Here is her response: “I chose a motorized scooter over a wheelchair, btw, because it felt more sportif,” wrote Klein in an email, “and I am lucky enough to be able to transfer, which keeps me a bit more mobile.”

I like knowing, but the reasons aren’t important, as far as the story goes. Art is to be interpreted and my nieces and I talked about a lot of ideas, from serious to silly, during our FaceTime book review session.

Published by Tradewind Books, Beep Beep Bubbie can be purchased from pretty much any online bookseller. Enjoy!

Format ImagePosted on November 27, 2020November 25, 2020Author Cynthia RamsayCategories BooksTags activism, aging, art, Beep Beep Bubbie, Bonnie Sherr Klein, children's books, Élisabeth Eudes-Pascal, environment, illustration, suffrage, Tradewind Books, women
Not what you expect

Not what you expect

So much of what we do in life we do almost automatically. For better or worse, we anticipate what’s coming next and, often, we’re right. But a trio of children’s books just published by Tradewind Books will amuse young readers and refresh the perspectives of their adults. Crocs in a Box, written by Robert Heidbreder and illustrated by Jewish community member Rae Maté, contains three expectation-smashing little hardcovers: Crocodiles Say …, Crocodiles Play! and Crocs at Work!

In Crocodiles Say …, it’s the bright, cheerful and iconic crocodiles of Maté that are at odds with Heidbreder’s words. In one scene, for example, we see three restrained crocs, the epitome of manners, “never rude.” The crocs “chew and swallow, their mouths closed tight. Crocodiles say … [page turn] Always be polite!” Well, it has to be said that the crocs are doing anything but eating politely.

In Crocodiles Play!, the crocs get all dressed up for one type of sport, such as baseball, but then play … basketball?! And, in Crocs at Work!, we are treated to a healthy dose of silliness, as the crocs engage in doctoring, cooking, painting and other work, all with a small twist, lots of joy and no little mess.

This collection would make a great Chanukah gift, expected or not!

Format ImagePosted on November 27, 2020November 25, 2020Author Cynthia RamsayCategories BooksTags art, children's books, crocodiles, humour, illustration, Rae Maté, Robert Heidbreder, Tradewind Books
Couple cartoons about love

Couple cartoons about love

Yehuda and Maya Devir and their self-drawn webcomic characters in One of Those Days. (image from Devirs)

Fans always do a double take when they see Yehuda and Maya Devir at a comics convention or in a New York City subway, or wherever. The young Israeli couple looks like they jumped right out of their virally popular webcomic One of Those Days.

“I suppose it’s like meeting a real Bart Simpson in the street,” mused Yehuda. “We act exactly the same as our characters.”

Indeed, about seven million social media followers know that Maya loves super-hot showers and hates folding laundry. They know Yehuda’s a big baby when he’s sick and is willing to say “I’m sorry” after an argument. They sympathized with the couple’s struggle to get pregnant.

Most of all, fans smile at the humorous spin the webcomic puts on everyday scenes in a marriage, from dishes in the sink to kisses on the couch.

“We get lots of emails and messages from around the world about how we changed the way couples look at their relationship and how they talk to each other,” Yehuda told Israel21c. “It’s amazing that we can make such a difference for people, that our work can connect Muslim, Jewish, black, white, rich, poor … it doesn’t matter.”

One of Those Days won the Most Creative Content Maker Award at the Inflow Global Summit 2019 Awards for social media influencers.

“We dedicated our award to our followers and supporters around the world. We have fans in Brazil, Japan, Trinidad, Iran, Iraq – basically, every country,” Yehuda said. “People thank us for making them happy once a week and making them feel they are not alone. It’s an amazing journey we’ve been on.”

The Devirs’ journey began in September 2016, when they packed up their diplomas in visual communication from Jerusalem’s Bezalel Academy of Art and Design and moved to Tel Aviv.

The newlyweds hoped to find an affordable apartment in a nice neighbourhood. And they hoped to make a living in illustration and design. Neither aspiration was terribly realistic.

“A friend suggested we post a selfie on Facebook asking friends to help us find an apartment,” said Maya. “We didn’t know how to take a good selfie, but we can draw really well, so we did a cartoon of ourselves and posted that.”

Not only did that illustration help them find an affordable flat in a very expensive city, but it also formed the kernel of One of Those Days.

While working as a freelance illustrator in the fashion, music and startup industries, Yehuda posted funny snippets on social media about being a new husband.

“Very quickly I joined him because I wanted him to make me look good,” Maya said with a laugh, “and because the story belonged to both of us. The concept was to illustrate moments we both experienced.”

In May 2017, Bored Panda posted a piece about the Devirs that went viral. “After a week, we gained half a million followers on Instagram,” Maya said. “Since then, we never stopped gaining followers. We got tons of emails and Yehuda couldn’t manage by himself. So, I left my job as art director in an ad firm and joined him full-time in October 2017. This was our dream – to create something of our own.”

They take complementary roles in each cartoon. “We start the idea together and the actual illustration is Yehuda’s talented hand,” said Maya. “Then I add my suggestions about colour composition and typography. I also manage the business.”

She said, “I opened an ecommerce shop. At first, we sold only autographed A5-sized prints of One of Those Days comics and Yehuda’s other comic illustrations. People who were into art and comics appreciated that.”

The online shop now sells three One of Those Days books plus merchandise, including apparel, shower curtains, calendars, phone skins and other items imprinted with favourite cartoons.

The Devirs’ YouTube channel has 46,000 subscribers. They have a Patreon subscription content service. They’ve appeared at comic-cons in Europe, India and will soon visit the United States. They are in great demand to give talks and lectures.

“Everything we do is because our fans suggested it,” said Yehuda. “Now, they want a TV show and we are going to try to do it. We are working with a scriptwriter at a studio in the U.S.”

photo - The online shop sells three One of Those Days books, plus other merchandise
The online shop sells three One of Those Days books, plus other merchandise. (image from Devirs)

Relationships proved to be a universal kind of language for the Devirs. “When we decided to move into the stage of being parents and saw it wouldn’t be that easy for us, this was a turning point,” Yehuda confided. “Would we really talk about the unpleasant experience of trying to get pregnant? It’s a super-personal subject.”

Maya felt that Yehuda’s humorous and colourful style would put the right spin on the topic and could be supportive for other couples in a similar situation. And so they introduced comics about ovulation, periods and lovemaking on demand. Messages offering support and advice came pouring in. It was like a worldwide group therapy session, Yehuda said.

The cartoon announcing Maya’s pregnancy got 16 million likes and shares. The first illustration of baby Ariel got 13 million. As of Dec. 1, she had 219,000 Instagram followers at just six months old.

“It was unbelievable to see the amount of love we got from people we didn’t know,” said Yehuda. “As Israeli and Jewish people, it was especially unbelievable to get supportive reactions from our huge fan base in the Arab world. The Israeli part is not important. We’re just the cartoon couple about love.”

Now living on Maya’s childhood kibbutz, the couple puts Ariel in the care of her two grandmothers when they travel to shows and lectures. The difficulty of parting with their baby became another comic that went viral because it was so relatable.

“It’s hard for Maya and me to leave her,” said Yehuda, “but, when she’s older, she’ll join us.”

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

Format ImagePosted on February 28, 2020February 26, 2020Author Abigail Klein Leichman ISRAEL21CCategories Visual ArtsTags art, Devir, illustration, Israel, marriage, webcomics
Marriage no fairy tale

Marriage no fairy tale

“Kiss! Kiss! Kiss!” by Lilian Broca is part of the exhibit Brides: Portrait of a Marriage, which is at the Italian Cultural Centre’s Il Museo until Sept. 30.

In most romance novels and fairy tales, a love story ends in a wedding and the couple lives “happily ever after.” In real life, it’s not that simple. Marriage has its challenges.

The show Brides: Portrait of a Marriage, which opened at the Italian Cultural Centre’s Il Museo in Vancouver this summer, examines some of the aspects of marriage that fairy tales purposefully omit. The show incorporates the works of several local artists in different media: textile art by Linda Coe, photography by Grace Gordon-Collins, drawings by Jewish community member Lilian Broca and a tapestry by fellow Jewish community member Barbara Heller.

“I always wanted a show about brides,” Angela Clarke, curator and director of Il Museo, told the Independent. “We have weddings at the centre almost every week. There is so much energy, so many emotions. But the Roman goddess of marriage, Juno, was not a happy woman. Hers was not a happy marriage, and the controversy attracted me.”

Brides is part of the museum’s Gendered Voices series, and looks at marriage from a woman’s perspective.

“This exhibition places the institution of marriage under the looking glass,” said Clarke. “Each participating artist tackles the deep psychological complexity and immense social pressure involved in a traditional marriage. Historical perspectives and family dynamics, personal reflections and the impact of feminism are explored in the show.”

Each artist contributed her own personal outlook. Coe’s fabric panels belong to her Dirty Laundry series. Colourful and sophisticated-looking hangings were all created from fabric snatches that were once parts of women’s dowries, used and reused for several generations before they ended up in the artist’s stockpile.

“The eight fabric panels represent eight stages of a woman’s life,” explained Clarke. “Each one incorporates relevant texts from Renaissance romance novels and etiquette manuals. In the 16th century, such manuals were very popular in Italy, especially among the middle classes. They were written to instruct young brides in the proper comportment, in the ways to become a successful bride and mother.”

In addition, those eight panels reference the eight requisite parts of a romance novel, from the Middle Ages to the modern Avon romances. “Those stages have names, the same names as the panels,” Clarke said. “No. 1, Stasis (infant). No. 2, Trigger (young girl). No. 3, Quest (betrothal). No. 4, Surprise (courtesan). No. 5, Critical Choice (bride). No. 6, Climax (wife). No. 7, Reversal (matron). No. 8, Resolution (widow). Every love story published these days must follow this structure.”

Heller’s tapestry and Gordon-Collins’s photographs explore wedding dresses and the commodification of weddings. The tapestry shows a bride in a beautiful dress, but her face is blurry, unimportant, and the dress becomes the focal point, a uniform, a symbol.

The photos, in the photogram or X-ray style, lack faces altogether, only the wedding attires of four generations of women of the artist’s family can be seen.

“Grandmother’s wedding tunic was modest, especially in comparison to the artist’s daughter’s wedding dress, much more opulent and sensual, and designed for one-time use only,” said Clarke. “Here, we can trace how, through the generations, the weddings grow into an industry, and the wedding accessories become commodities.”

While neon-bright colours dominate Gordon-Collins’s images and Coe’s collages shimmer with the patina of gold, Broca’s contribution to the show is a sequence of stark black and white lithographs, all from her Brides series.

“My mother passed away in 1989,” Broca said, as she explained the roots of her series. “I was devastated by her death, although it was a blessing after suffering for years from cancer. Soon after her passing, I started dreaming about her as a young bride. I decided to draw my dreams.”

Her drawings reflect the dichotomy between the happily-ever-after concept and the fact that most marriages in the past were arranged, and not unions of love.

One of the drawings, “Kiss! Kiss! Kiss!” depicts a bride sitting in a chair, regarding a frog in her lap. A few more frogs – potential princes? – wait at her feet, expecting her to choose between them.

“I knew my bride would not kiss that frog,” said Broca. “So I added several other potential grooms. Some small, others big…. Still, I had a feeling she would resist them all.”

The work “Upon Reflection” is even more powerful. It shows a bride in a gown and veil looking into a full-length mirror. The image in the mirror depicts the bride, face and posture serene, as befits the occasion, but Broca has left the image of the bride herself white and, from within it, there is the drawing of a woman, the bride, trying to escape.

“That woman, upon reflection, discovers how much she doesn’t wish to be married, to be tied down. What happens next is up to the viewer’s imagination,” said the artist.

For Broca, black and white was the only possibility for the series. “It was the most appropriate way to describe what I felt…. After the first two or three drawings, I began to realize that many brides were not happy at the altar – I showed them. Only a very few happy brides appear in my drawings. Not because happy brides are a minority, but because happy brides are difficult to portray without slipping into a less-than-powerful mode. I may be wrong, I may be able to do it today, but, at that time, it didn’t seem possible.”

Clarke knew about Broca’s series and wanted to include it in its entirety in the show, but that wasn’t possible. “We couldn’t include so many that Angela wanted because they had been sold,” said Broca. “We couldn’t borrow them. The owners live in the U.S. and Eastern Canada. As it is, the two works in the exhibition were borrowed from local owners.”

Brides is at the Italian Cultural Centre until Sept. 30.

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

Format ImagePosted on September 13, 2019September 10, 2019Author Olga LivshiCategories Visual ArtsTags Angela Clarke, art, Barbara Heller, Brides, Il Museo, illustration, Italian Cultural Centre, Lilian Broca, tapestry, women
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