Tag: lululemon

Something a bit lighter

This article is a respite from my previous piece, “Living under fire of missiles” (Jewish Independent, May 26), which was about the Islamic Jihad missile that hit a house just around the corner from me during Israel’s most recent flare up with Gaza. It was cathartic writing that article, as it was this one – moving on, as we Israelis do. So, here’s something a bit lighter.

First, a call out to Burton Cummings about Israel’s first flute festival, held at the beginning of June in Tel Aviv. Unfortunately, Burton – who effortlessly played a beautiful sounding flute solo in the Guess Who’s hit song “Undone” – didn’t attend. OK, he was probably unaware of the event. But I suggest that Mattan Klein, founder and artistic director of the festival, reach out to the legendary Canadian singer, songwriter, Guess Who lead and flutist to arrange for his attendance at next year’s festivities. I’ll be first in line for tickets.

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The definition of irony? Israel, the Jewish state, is facing a critical shortage of doctors. According to a recent OECD report, Israel has 10% fewer doctors per 1,000 people compared to other developed nations. That’s 3.3 doctors versus a 3.7 OECD average. No wonder I must wait so long to see a specialist. Anyway, I guess “my child the doctor” is bragging rights reserved for the diaspora Jewish parent.

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Speaking of bragging rights. According to the Naturist Society, Israel’s Metsoke Dragot Beach is considered one of the 20 best nudist beaches – in the world! Along with Wreck Beach in Vancouver. Metsoke Dragot is located somewhat off the beaten track, along the western shore of the Dead Sea. A black mud rubdown anybody? And, speaking of irony, it’s only a half hour drive from Jerusalem, the world’s holiest city.

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Speaking of clothes. Or lack thereof. First off, kudos to Noa Kirel, who came third in this year’s Eurovision song contest. Her performance was simply spectacular as she sang her new hit song, “Unicorn.” Is the song’s meaning related to Israel’s standout status as a “unicorn” nation? Unicorns being high-tech startups worth more than a billion dollars!

Or, does it relate to how much of the world may perceive us? To wit, Kirel sings: “Hey, you don’t like the way I’m talking / Hey, so you stand there keep on callin’ me names / No, I’m not your enemy…. Hey, do you wanna check my DNA? / Older stories, time to go away / And believe in fairytales…. I’m gonna stand here like a unicorn / Out here on my own / I got the power of a unicorn / Don’t you even learn?” The song goes on to say that we don’t have to be caught in a loop, that we “can write a new book / Don’t you wanna change it now?”

But back to Noa’s attire. The day after her stunning performance in Liverpool, England, esteemed United Torah Judaism lawmaker Member of the Knesset Moshe Gafni, had the chutzpah to comment on her wardrobe. Telling – no, lecturing – the Knesset that he is considering donating her some clothes, clearly insinuating she was not modestly enough attired during her performance. Give me a break, Gafni!

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Speaking of modesty…. While every community has the right to define its own standards, I think the pharmacy in the ultra-Orthodox city of Bnei Brak went too far by covering the faces of women models on boxes of hair dye with purple stickers. They could have at least used stickers reflecting the colour of the dye. But no. That was not the purpose. It was to comply with extreme definitions of modesty. And, in a modern, high-tech country with more unicorns than most other nations – if not ironic, then just down right inappropriate. Fortunately, the pharmacy changed tack and removed the stickers a week later.

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Back again to clothes. Welcome, Lululemon, the Vancouver sports apparel retailer that just opened its first Israeli branch in the high-end Ramat Aviv Mall, north of Tel Aviv. If all goes to plan, Lululemon will open seven more stores across Israel over the next three years. Can’t wait to see those shapely joggers in high-quality, skin-tight Lululemon outfits highlighting their muscular legs … and other parts of the anatomy. Unless, of course, the joggers are running along a path in Bnei Brak or have the benefit of being given alternative attire by Moshe Gafni.

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Finally, looping back to a much earlier piece I wrote (JI, March 24). Remember that Hebrew Bible, the one dating back 1,000 years, which, according to Sotheby’s, was the most important document ever auctioned. This leather-bound, handwritten parchment on 792 sheepskin pages – known as the Codex Sassoon – sold for $38,100,000 US. The buyer was former U.S. ambassador Alfed H. Moses, who will graciously house the scrolls at the ANU Museum of the Jewish People in Tel Aviv. Well, I have my next museum outing planned.

Bruce Brown is a Canadian and an Israeli. He made aliyah … a long time ago. He works in Israel’s high-tech sector by day and, in spurts, is a somewhat inspired writer by night. Brown is the winner of the 2019 AJPA Rockower Award for excellence in writing, and wrote the 1998 satire An Israeli is…. Brown reflects on life in Israel – political, social, economic and personal.

Amber Funk Barton premières piece with lululemon tie-in

The Art of Stealing grew from Barton’s desire to explore what’s considered right and wrong in a post-apocalyptic world. (photo by Chris Barton)

When Amber Funk Barton was constantly dancing around her house at the age of 4, she didn’t realize that one day she would become a professional dancer and choreographer. But the Vancouver-born artist, now 33, is living her dream. Her latest production, The Art of Stealing, created by her choreography company, the response, premières on May 28 at the Firehall Arts Centre.

“I didn’t think I had a future as a professional dancer, I thought choreography was one way I could still be involved in dance,” said Barton. “My dream was to have my own company and to choreograph.”

The Art of Stealing grew from Barton’s desire to explore a dark theme, what she describes as a “post-apocalyptic world” and the difficulties in understanding what’s right and wrong in this haunted, mysterious future.

“The small picture is the obvious thing – the obvious literal act of stealing, that’s physical, taking something physical without consent,” she said. “I found it very interesting in this post-apocalyptic world that all of sudden it’s OK to steal – and if you don’t steal, you’re gonna die. It’s related to survival. On the bigger level, I started really thinking about it – the stealing that we can’t control at all – our time, our energy, our youth. Essentially to me, death is the ultimate thief in life.”

The 60-minute piece is the third full-length work that the response has created. Established in 2008, the company’s two previous pieces, RISK (2008) and Portraits and Scenes of Female Creatures (2011), also premièred at the Firehall.

photo - choreographer and dancer Amber Funk Barton
Choreographer and dancer Amber Funk Barton. (photo by Chris Barton)

Although Barton said she had been dancing since she was a little girl, she only started dancing professional at 21. Perhaps her maiden name, “Funk,” was a glimpse of the career trajectory her life would take.

But Barton isn’t just making her mark in the dance world. While creating the piece, she teamed up with active-wear clothing line lululemon’s innovation hub, called lululemon lab. “The lab is very inspired by different groups in the community and works with them to make functional fashion for people specifically in our community,” said Barton. She was introduced to Jean Okada, team director at lululemon lab, who was impressed by Barton’s creative piece.

“She came up with the idea that she would like to pitch what the lab calls a capsule collection. So they essentially designed our costumes,” said Barton. In addition to designing the dancers’ costumes, they created a collaborative clothing line, which launched last week, on May 16. “They’re selling it in stores and we’re wearing [that] same clothing on stage. It’s a really beautiful exchange,” Funk said. The clothing is in line with the dance piece’s theme – it’s dark and edgy and promotes Barton’s unique ideas about the struggle for survival in a dark world. The limited edition capsule collection produced three pieces for women and three for men and will be available only until the items are sold out.

“First of all, having a line designed is beyond what I was imaging in the first place. It was amazing. They had such respect for what we were doing as artists. They asked dancers thorough questions, what our needs are. I was able to share images and whatever I had collected in terms of inspiration. They actually took what I wanted and integrated it into the line. I was part of fittings. It was beyond what I was hoping for,” said Barton.

Reflecting on her beginnings and how far she’s come, Barton said, “I started dancing probably around 4 years old and it was with ballet and I had some kind of alignment issues. I had weak mobility in my legs so the doctor recommended ice skating or dance to strengthen the alignment of my legs. My mom noticed I was dancing around the house all the time anyways and she also didn’t want to sit in an ice rink at 5 a.m., so she enrolled me in ballet classes and that’s basically how it all started.”

Now, she wants to focus on choreography and creating more unique pieces, as she embarks on what she calls her “mid-career artist years.”

“I feel very fortunate and very grateful,” she said. “My company is a small, project-based company. It’s like a little home where I can make what I’m interested in and make my art. Sometimes I just pinch myself.”

The Art of Stealing is on stage May 28-31 at the Firehall Arts Centre. There is an artist talk back after the performance on Thursday, May 29. For tickets, contact the Firehall at 604-689-0926 or visit firehallartscentre.ca.

Vicky Tobianah is a freelance writer and editor based in Toronto. Connect with her on Twitter, @vicktob, or at [email protected].