music

Orcas inspire creative music

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.

A celebration of dance

Liat Har Lev premières a new work at the Dance Centre on April 29, as part of the centre’s celebration of International Dance Day. (photo by Chris Randle)

International Dance Day is April 29. To celebrate the occasion, the Dance Centre is presenting a day of free events, including a performance and workshop by choreographer Liat Har Lev.

Born in Ashkelon, Israel, to Ashkenazi parents from Romania, Har Lev said her parents decided to immigrate to Canada in 1982 because they wanted a safer haven for their children.

While dancing has always been a part of her life, flamenco came later.

“I remember my first jazz dance class at the age of 10,” she said. “Moving in space and creating shapes to the sound of music was natural. I felt alive and so vibrant.”

She first encountered flamenco at the Kino Café, which used to be on Cambie Street in Vancouver.

“I was mesmerized by the force, strength and intensity of the dancers and musicians,” she said. “It was a projection of who I am, an instant connection. Flamenco is a challenging art form in terms of rhythm, physicality and expression. I never stop learning and evolving. It challenges my mind and body and allows me to express deep sorrows and great joys.”

photo - Liat Har Lev — Liat Har Lev (photo by Catalina Torres)

One of the highlights in her dance journey, she said, “was the first time I stepped on stage to perform my first flamenco solo. It boosted my confidence and opened the door for opportunities.”

On the Dance Centre’s website is a profile of Har Lev. In an interview with the centre, she says, “I believe that dance performance exists to communicate and teach. It is an embodied language that has different forms, shapes and expression. As an expressive dancer, the source of the inspiration for my choreographies and performances comes from the need to express a story, to invite people to move and think deeply. My work is inspired by the human condition and personal experiences. I take pride in collaborating with local dance artists and musicians and I strive to create new works.”

The Dance Centre profile includes a video of Har Lev’s We Shall Not Forget, which she began choreographing with the support of the centre’s 12 Minutes Max program. It is a powerful commemoration, dedicated to the victims of the Holocaust.

“We Shall Not Forget was inspired by my ancestors that perished in such a horrific way,” she told the Independent. “It was a calling for me to honour and remember them; a message from them through me. This tragedy left a big scar and a lesson to humankind.”

On International Dance Day, Har Lev will première a new work, Tientos. The program description says it “explores themes of personal integrity, internal conflict and the freedom of resolution, expressed through the flamenco dance forms of tientos and tangos.”

A work-in-progress, it features live music and singing. It is a collaboration between Har Lev, who choreographed and dances the piece, singer Maria Avila, guitarist Peter Mole, drummer Matteo Bebbo Sampaolo and choreography facilitator and dramaturg Carmen Romero. The performance will be followed by a brief introduction to flamenco workshop, led by Har Lev.

At the presentation, the artists will be collecting non-perishable food items for the Greater Vancouver Food Bank. So, if you’re heading downtown to see the show or attend the workshop, try and remember to bring an item to donate.

International Dance Day was started by UNESCO in 1982, with the date commemorating the birthday of Jean-Georges Noverre (1727-1810), who is considered the founder of modern ballet.

For the full local International Dance Day lineup, visit thedancecentre.ca.

Celebrating Israel together

Israel’s Gilat Rapaport and the InJoy Band headline this year’s Yom Ha’atzmaut celebration on May 4 at the Vogue Theatre. (photo from injoyprod.com)

This year’s Yom Ha’atzmaut celebration on May 4 at the Vogue Theatre, headlined by Israel’s Gilat Rapaport and the InJoy Band, marks 20 years since the first large-scale community-wide event to celebrate Israel’s Independence Day was organized by the Jewish Federation of Greater Vancouver.

“Growing up in Vancouver, the community had occasional large Yom Ha’atzmaut events with Israeli performers and I have wonderful memories of attending them,” said Stephen Gaerber, who co-chaired that first major gathering. “I was incredibly impressed by a large event held to celebrate Israel’s 50th in 1998 at the Orpheum [which was chaired by Judy Mandleman]. It was 2001, the Second Intifada was raging, Camp David had resulted in failure and Israel was, as usual, being disparaged in the press. My friend, Rick Schreiber, had become the chair of the Federation’s Israel department, and I told him that I thought the community should be having large-scale events every year to celebrate Yom Ha’atzmaut and all that is wonderful about Israel. His response was, ‘OK, you chair it.’ That’s how I became chair for the 2002 Yom Ha’atzmaut celebration, first co-chairing with my wife, Shari, and then, starting in 2003, with my brother Allen.”

Of course, local groups celebrated Israel’s birthday in various ways prior to 2002, notably the now-defunct Canadian Zionist Federation (CZF). Bernard Pinsky was CZF chair in the late 1980s.

“In the 1980s,” said Pinsky, “CZF brought in big names from Israel for a Yom Ha’atzmaut concert, including top artists like Nomi Shemer, Chava Alberstein, and Haparvarim. The concert was held at the JCC and wasn’t always right on Yom Ha’atzmaut, it was when the artists were available. The venue meant that we could only sell about 400 tickets, and CZF did a lot of fundraising to cover costs.”

Geoffrey Druker, who still leads the community’s annual Yom Hazikaron (Israel’s Memorial Day) ceremony, said he was recruited by Pinsky to become involved in CZF and it was from Pinsky that Druker took over the role of local CZF chair in the early 1990s.

“We ran most Israel-related community programs,” said Druker, including Yom Ha’atzmaut, Yom Hazikaron, Walk with Israel (which took place on Jerusalem Day), the student public-speaking contest and other programs. When CZF closed nationally, Druker said he gathered past local leaders of the group to decide “whether to become an independent local organization or join Federation.”

The choice was to join the Israel desk at Federation, and Druker continued to chair many of the events, with most of the Yom Ha’atzmaut activities being held at the Jewish Community Centre of Greater Vancouver, he said.

“Federation didn’t have the funds for a large Yom Ha’atzmaut, and we couldn’t risk having a large celebration … while keeping the event tickets affordable to all,” said Druker. “So we ran smaller celebrations and with less-known artists.”

Affordability remained key when Federation, led by a committee put together by Stephen and Shari Gaerber, took over the event.

“Our goal wasn’t to just make it a concert, but a real community celebration,” said Stephen Gaerber. “We kept ticket prices very low so that everyone could afford to attend – and if they couldn’t afford even that, we made free tickets available through JFS [Jewish Family Services]. We invited all Jewish organizations in the city to add their names as Community Partners, and dozens did. We had children from Hebrew Academy, Talmud Torah and RJDS performing in addition to Israeli singer Danny Maseng.

image - The ad promoting the 2002 Yom Ha’atzmaut celebration — The ad promoting the 2002 Yom Ha’atzmaut celebration.

“We were given no budget (other than staff time) for the event from the Federation and I didn’t want one. I was determined that the Federation not take anything away from what they were allocating to local community agencies in order to make this event happen. We believed that the community would support the event and we were right. We raised the funds from generous donors, rented the Chan Centre and signed a contract with the performer. We put tickets on sale and we sold out all 1,200 seats very quickly. The event itself is a bit of a blur, but my most vivid memory is the joy people expressed to us at its conclusion.”

With that success behind them, the goal was to involve even more individuals and organizations in the celebrations.

“For years,” said Gaerber, “Jonathan and Heather Berkowitz wrote a piece for young community members to perform and we were fortunate to have Wendy Bross Stuart direct them. We later added the JCC’s children’s Israeli dance troupes to the program, sometimes joined with dancers from our partnership region in the Upper Galilee.

“Pam Wolfman took over chairing the event in 2014 and continued to tweak things to make sure everything is new and fresh and even better each year, including involving the entire community in the community song,” he said. “What hasn’t changed is the support from the community. To this day, other than staff time, the Federation has not had to give any funding at all towards putting on the event. The group of donors has grown over the years and that allows the event to continue to stay true to our initial vision – tickets are still affordable and many are available at no cost to those who need them – and the events continue to sell out.”

The annual celebration brings Israeli performers – from veteran musicians to up-and-coming singers and musical groups – to Vancouver on Yom Ha’atzmaut.

“For many,” said Gaerber, “it was their first time performing outside of Israel on Yom Ha’atzmaut, as they hesitate to leave the country for this important day. Without exception, they have all expressed how incredibly meaningful it was for them to experience the warmth of our community and its love for Israel. A number of our performers who would not have otherwise considered coming to Vancouver for Yom Ha’atzmaut have only done so because they have heard from other performers about their experience and our Jewish community.

“Despite our Jewish community’s relatively small size,” he said, “we have been told by Israeli diplomats that Vancouver’s Yom Ha’atzmaut celebration, always occurring actually on erev Yom Ha’atzmaut, is one of the largest celebrations of its kind taking place on that day outside of Israel.”

For tickets to this year’s event and a sneak peak at the program guide, go to jewishvancouver.com/yh2022.

The Chiribim-Chiribom feud

Many years ago, in the village of Chelm, there were two families, the Chiribim and the Chiribom. They were enemies. They fought over everything. They fought over land, they fought over water, they fought over cows and horses and chickens. They fought over air.

The Chiribim and Chiribom didn’t talk to each other. They were stubborn. They didn’t look at each other.

In the synagogue and village hall, they would sit on opposite sides of the room and glare or shout or scream. Or spit. It was disgusting.

The feud had been going on for years, decades, perhaps centuries. No one knew where it began or how it had originated. What insult had provoked the first Chiribim to scorn the first Chiribom? It was long ago and long forgotten.

Sometimes the anger came to blows, but, fortunately, so far no one had been seriously injured or killed.

Rabbi Kibbitz, the oldest and wisest of leaders, was sick of it. He was tired of the malice, tired of the hatred, tired of the tension. He was tired of mopping spit off the floor of the synagogue.

So he decided to solve the problem. The Chiribim and Chiribom needed to come together to work out their differences. They were farmers, they worked the land. They were neighbours, living so close to each other but so far away.

The problem was that he couldn’t get them all in the same room without someone blowing up.

It had been pouring rain for most of the week of Passover, and everyone was cranky.

In those days, after a long rain, everyone in the village would go out into the woods to pick mushrooms. Mothers, fathers, grandmothers, grandfathers, aunts, uncles, cousins, brothers and sisters would all pack up their lunches, bring along empty baskets, and hunt for wild treasure. The youngsters would find dozens of kinds of fungi, and the elders would teach them which ones were tasty, which were revolting, and which might kill you.

During the rainstorm, Rabbi Kibbitz sent a note to the Chiribim, asking them to join him in the forest for lunch. He also sent a note to the Chiribom, asking them to join him for lunch in the same place, at the same time.

Early the next morning, the rabbi pulled on his boots, put a basket over his arm and plodded into the Black Forest. First, he would find the Chiribim and then the Chiribom. And then they would work it all out.

Unfortunately, he forgot his glasses, so he was having a hard time seeing where he was going.

Soon, he came upon a group of people.

“Chiribim?” he asked them.

They shook their heads. “Chiribom,” they answered.

Sighing, the rabbi continued his search.

He realized he should change his tactics. He would meet with the Chiribom first, and then the Chiribim.

Soon, he came upon another group of people. “Chiribom?” he asked them.

They shrugged, “Chiribim.”

“Hmm.” The rabbi wandered off, muttering, “Chiribim bom bim bom bim bom.”

Another group of people were asked, “Chiribom?” and they answered, “Chiribim.”

The next group were queried, “Chiribim?” and they replied “Chiribom.”

The rabbi was getting frustrated. “Ai Chiribiri biri bim bom bom! Ai Chiri biri biri bim bom bom!”

Back and forth the rabbi went racing through the forest. If he asked, “Chiribim?” they told him, “Chiribom.” If he asked “Chiribom?” they told him, “Chiribim.”

“Ai Chiri biri biri bim bom bom. Ai Chiri biri biri bom!”

image - “Chassidic Dance” by Zalman Kleinman, 1964 — Until Rabbi Kibbitz decided to put an end to their feud, one could never have imagined the Chiribim and the Chiribom speaking, let alone dancing together. (“Chassidic Dance” by Zalman Kleinman, 1964)

The Chiribim and Chiribom were stubborn. They loved an argument, and neither group liked to be pinned down or admit to anything. Perhaps they were playing tricks on the rabbi. Perhaps they were just being obstinate.

“Bim!” the rabbi shouted.

“Bom!” they answered.

“Bom?” the rabbi yelped.

“Bim!” came a chorus.

“AAAGH! Bim bom bim bom bim bom!”

He began to twirl about.

He asked another group, “Bom?”

They answered, “Bim!”

The next had to be … “Bom?”

“Nu. Bim!”

“Impossible! Bim bom bim bom bim bom!”

The rabbi was running and twirling, almost dancing. “Ai Chiribiri biri bim bom bom.”

His hair was everywhere. His coat was open. “Ai Chiri biri biri bim bom bom. Ai Chiri biri biri bim bom bom. Ai Chiri biri biri bom.”

Well, the Chiribim and the Chiribom started laughing. They couldn’t help themselves. Their rabbi, this wise old man, was acting like a chicken with his head cut off, like a frog trying to escape a pack of curious boys, like a school teacher with a cube of ice dropped down his back. All the time he was muttering to himself like a crazy man, “Chiribimbombimbombimbom.”

They laughed and they grinned and they smiled, and then they looked up.

Across the forest they saw something that they had never seen before.

They saw each other smiling and laughing and grinning.

They looked and they realized that they all wore the same kind of clothes. They had the same kinds of shoes and hats and hair. They all held baskets full of mushrooms.

So the Chiribim and the Chiribom came together in the middle of the forest and shook hands, and they kissed cheeks, and they hugged.

And, of course, they had a Passover lunch.

Such a feast! Chopped liver on matzah with fresh-picked mushrooms. Beet salad. Brisket. And Mrs. Chaipul’s light-as-a-feather lemon meringue pie. So delicious!

When they were done eating and finished cleaning up, they lifted the poor rabbi up on their shoulders, because he was still too dizzy to walk, and all together they carried him back to the village of Chelm, singing: “Ai Chiri biri biri bim bom bom….”

From that day on, they were no longer known as the Chiribim or the Chiribom, but as the Chiribimbombimbombimbom…. Bim…. Bom.

“Ai Chiri biri biri bim bom bom.

“Ai Chiri biri biri bom….”

Izzy Abrahmson is a pen name for author and storyteller Mark Binder, who lives in Providence, R.I., and tours the world – virtually and in-person. Abrahmson’s Winter Blessings: Warm Stories from the Village was a National Jewish Book Awards finalist. This story about Chiribim and Chiribom is from his latest book in the Village Life Series, The Village Feasts: Ten Tasty Passover Stories, which is available on Amazon and at books2read.com. To listen to the audio version of this story, narrated by Binder, visit izzyabe.com.

Celebrating together

InJoy, led by Gilat Rapaport (centre), comes to Vancouver for the community’s Yom Ha’atzmaut celebration on May 4 at Vogue Theatre. (photo by Linda Kasian)

Tickets are now on sale for the community’s celebration of Israel’s 74th Independence Day. This year’s Yom Ha’atzmaut event will be held, COVID permitting, at the Vogue Theatre on May 4.

“The Yom Ha’atzmaut committee, Federation staff and I are really excited about our first large community gathering since before the pandemic,” said Pam Wolfman, chair of the committee. “This year also marks our 20th anniversary of this event, making it an extra special celebration for the whole community!”

Emcees Lu Winters, Kyle Berger and Adora Harel will guide attendees through the night’s festivities, which will include special guest performers Gilat Rapaport and the InJoy band, as well as local community dance groups, and Vancouver Talmud Torah and Richmond Jewish Day School students. Once again, a community song video will be screened – to participate, submit a video of yourself singing Jewish Federation’s version of “Salaam” by March 31. Video submissions will be edited into one that will première on May 4 at the Vogue. For details, including the audio and lyrics of the song, visit jewishvancouver.com/community-song-2022.

Rapaport was born and raised in Israel and has been performing on stages in Israel and around the world since the age of 12. After her service in the Israel Defence Forces’ entertainment groups, she moved to Los Angeles in 1998.

Rapaport began her career with classical training at the Israel Conservatory of Music in Tel Aviv and continued at the Rimon School of Music branch in Boston. She founded her company, InJoy Productions, just over 20 years ago.

Rapaport and InJoy have been touring – South America, South Africa, Australia, Europe and the United States – performing their joyful and energetic music for Jewish and non-Jewish communities around the world. For Metro Vancouver’s Yom Ha’atzmaut celebration, they will perform traditional and contemporary Jewish and Israeli repertoire, with the hope that audience members will dance and sing along.

For more information about Rapaport and InJoy, visit injoyprod.com. For tickets to the May 4 event, go to jewishvancouver.com/yh2022.

– Courtesy Jewish Federation of Greater Vancouver, and InJoy Productions

Accessibility seems improved

(image from flickr / Province of British Columbia)

Last November, the American advocacy organization Respect Ability announced some good news. New research it had conducted in 2021 suggested that disability awareness and inclusion was improving in Jewish communities across North America and Israel. According to its most recent survey, more synagogues, Jewish community centres, schools and private institutions are designing programs that consider the needs of people with disabilities. And more individuals are able to find Jewish organizations that support individuals with invisible disabilities like autism and attention-deficit/hyperactivity disorders.

Respect Ability’s goal for the survey was to determine the health of disability rights in diverse Jewish communities, particularly in countries where there were laws against employment and housing discrimination. Its last survey had been in 2018, and researchers wanted to know whether accessibility and acceptance had improved in the past three years.

There were just over 2,000 respondents in total, primarily from Canada, the United States and Israel. The overall message was that inclusion and accommodation was expanding. Accessibility for wheelchairs and improved opportunities for individuals with sight or hearing challenges were on the rise, as were outreach efforts for individuals with disabilities in general.

What is more, the number of faith organizations hiring rabbis and staff who had disabilities and, therefore, understood firsthand the challenges of a physical or cognitive disability, had increased by more than 73%. More than half (57%) of the survey-takers also said that the organizations had made public commitments to support diversity.

But the survey also identified a key obstacle: many community leaders wanted to help expand opportunities for inclusion, but “didn’t know how.” Roughly one-fifth of all respondents said that expanding opportunities in their faith communities was limited by leaders’ lack of knowledge or experience in making settings more accessible. This meant, in some cases, that members with invisible disabilities like autism or ADHD didn’t have access to resources or were turned away from programs and activities.

Most of the responses to the survey came from Respect Ability’s home base: U.S. states like California and New York, where laws and advocacy initiatives are different from those in Canada. Only about 7% of the responses came from Canada, where disability rights are protected by the federal Charter of Rights and Freedoms. The survey also did not reveal how much, or if any, of the Canadian data came from the Vancouver area. So, are the survey’s findings reflective of diversity inclusion here?

The last three years have been challenging for many, but particularly for organizations that rely on in-person community participation. The 2020 shutdown of schools, synagogues and community centres due to COVID forced many organizations in the Vancouver area to suspend programs that offered disability-inclusive services. Still, the Jewish Independent found that a number of organizations were able to develop creative ways to maintain their inclusive classes and programs.

Trying to inspire inclusion

In 2018, the Jewish Federation of Greater Vancouver launched its Inspiring Inclusion grant program to assist community organizations in designing or improving inclusive programs. The grant competition was created as part of its 2020 Strategic Priorities, and it offered up to $2,500 to organizations that developed a new program or idea that would expand disability inclusion.

Four one-year grants, which were awarded in 2020, went to Vancouver and Richmond applicants. Each offered a unique way for engagement, ranging from new educational strategies that catered to individual learning approaches to special equipment that helped expand creative participation in the classroom.

The Jewish Community Centre of Greater Vancouver’s Family Yoga Fundamentals program was designed to appeal to a variety of abilities and offered options for in-person family participation. It later gave rise to a virtual format that attendees could link up with from home. According to the JCC’s adult programs coordinator, Lisa Cohen Quay, Family Yoga Fundamentals integrates adaptable exercises that are non-stigmatizing and fit a variety of abilities. Quay said the program has also been shown to help with pandemic stress and loneliness.

Richmond Jewish Day School turned to music as a way to inspire inclusion. According to principal Sabrina Bhojani, the grant provided funding for specially adapted Orff percussion instruments, or xylophones that could be used by students with special needs. “Music education is an integral component of both our B.C. and Hebrew curriculum at RJDS,” Bhojani said. “Weaving music into [the] curriculum is a meaningful way to help our students develop their Jewish identity and better understand their culture.”

Congregation Beth Tikvah used the funding to help develop Kavod. According to Rabbi Susan Tendler, the program aims to ensure that the synagogue’s services and activities are open to everyone, “regardless of personal physical, financial, or accessibility limitations.” Kavod’s development is ongoing.

Congregation Beth Israel received a grant to create new Hebrew school programming. Beth Israel’s director of youth engagement, Rabbi David Bluman, said the funding helped make the Hebrew reading program more inclusive to children with learning challenges. “We always strive to be [as inclusive] as we can,” he said, adding that many of Beth Israel’s youth programs are adaptable to students’ abilities, such as the use of “shadow” companions who function as a “big brother or big sister” for a child during activities and lessons. The shadow program can be used for age levels. “We want our teens to be as independent as possible,” Bluman said.

B’nai mitzvah programs

Both Beth Israel and Temple Sholom tailor their b’nai mitzvah programs to meet the specific abilities of the child. Temple Sholom School’s principal, Jen Jaffe, said about 10% of the student body have varying needs.

“All b’nai mitzvah-aged children are given the opportunity to have a b’nai mitzvah, and the clergy works with each family to make sure expectations and goals are feasible and met. Each child is given the chance to shine regardless of any disabilities,” Jaffe said. The school also trains madrachim, or helper students, to support students with invisible disabilities.

Beth Israel is also known for its inclusive b’nai mitzvah program, which is led by ba’allat tefilla Debby Fenson. She said the program is designed to ensure that a child, irrespective of ability, can participate in the service: “I think that the expectation is that every child should be called up to [the bimah]. It’s not about how well they read the Torah, it’s about welcoming them into the community.”

Fenson said the community has celebrated more than one b’nai mitzvah in which a child’s medical challenges needed to be considered. In one case, the child, who was nonverbal, was aided by his mother in saying the Shema. “There was clear understanding on his part,” Fenson said. “His mother helped him in forming the words and saying along with him. He was welcomed into the community.”

Leadership by inclusion

Respect Ability’s survey of North American and Israeli Jewish communities highlighted two factors that are often important to creating inclusiveness: the top-down commitment to diversity and a leader’s personal experience. All of the above synagogues, schools and community services – as well as others – benefit from clear initiatives that attract families with accessibility needs and see inclusion as an expanding mission. In some cases, they also benefit from leadership that is open about their own health challenges as well.

Beth Israel Rabbi Jonathan Infeld said he is aware that his willingness to talk openly about his own challenges can help create a supportive environment for others. Infeld was born with a congenital heart defect.

“Unfortunately, I have firsthand experience with health issues that I am happy to share with people about, certainly because I want to be transparent about who I am as a human being…. I would hope, had I been born with a whole heart and not a hole in it, that I would still have a whole heart,” he said, noting that when we’re forced to reflect on our own abilities and limitations, it can inspire empathy for others faced with similar challenges.

One area that was not addressed in the survey was accessible housing, which helps expand disability inclusion. Tikva Housing Society’s very first housing project in 2008 contained accessible units. The organization’s third inclusive property, Dogwood Gardens, opens this year in the West End. This will be the subject of a future story in the Jewish Independent.

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.

Shira Choir focus of lecture

Reverend Hazan Daniel Benlolo (photo from Kolot Mayim)

“To repair the often-shattered world, I cannot think of a better way than to give a voice to those less heard,” said Reverend Hazan Daniel Benlolo, leader of the Montreal Shira Choir, a vocal ensemble comprised exclusively of people with physical and intellectual challenges.

Benlolo was speaking at a Feb. 13 lecture co-hosted by Montreal’s Spanish and Portuguese Synagogue and Victoria’s Kolot Mayim Reform Temple during Jewish Disability Awareness and Inclusion Month, or JDAIM.

Born in Morocco, Benlolo settled with his family in Canada in the 1970s and became the cantor of Montreal’s Spanish and Portuguese Synagogue at the age of 17. He is also a rabbi and an artist who, among other things, designs ketubot (Jewish marriage contracts). Despite his many hats, Benlolo’s true passion, as evidenced throughout his talk, is to provide a stage for those who have seldom been listened to, accepted or appreciated in the community.

While working in Ottawa in 2002, he helped lead the Tamir Neshama Choir, which toured throughout Canada, the United States and Israel.

“It really inspired me and opened my eyes to a new life that I never explored before. To be able to spend time with people of special abilities made my life that much better in so many different ways,” Benlolo said of his Ottawa experience, for which he received a Governor General’s Caring Canadian Award in 2013.

The move back to Montreal came a few years ago. There, Benlolo and his wife Muriel Suissa founded the Shira Choir in 2019, with the assistance of Federation CJA and the Jewish Community Foundation of Montreal. The choir, made up of singers from many cultural backgrounds, performs a wide range of music, from liturgical to Broadway and pop.

Not long after the choir’s formation, the pandemic struck in early 2020. Nevertheless, Benlolo has managed to keep the music playing through Zoom rehearsals and socially distanced visits with choir members.

Benlolo stressed that, too often, people with special needs come in and out of our lives, without our taking the time to engage with them. His simple request to the Zoom audience was “to take the time,” as “it could make a world of difference.”

“They teach me more than I could ever teach them,” is the view Benlolo expresses regularly, saying there is no way to place a value on these relationships.

He emphasized the importance of not patronizing anyone in the choir. That is, audiences should give them a standing ovation only because members of the choir deserved one for the quality of their singing, not for the act of performing itself.

“They have hopes and aspirations. Some are going to fulfil them, some are not,” asserted Benlolo.

The future for the choir, he declared, is to continue to spread love, positivity, inclusion and the sense of community, but not tolerance, a word to which he has a particular aversion. “I don’t want to tolerate you, I want to love you. I want to count you in the community as a full member,” he said.

“We want to continue building from here,” he added. “It can only come to fruition if everyone puts in some effort. Just a little bit of an effort, the results will be so satisfactory, both for the individual and the community, [and] we will learn some new things, we will learn a way of life, that for so long has been hidden.”

Benlolo’s talk covered the recently premièred documentary Just As I Am, which can be viewed on CBC Gem (gem.cbc.ca/media/absolutely-canadian/s21e26). The film, a profile of the adults with special needs in the choir, explores the universal language of music and its ability to transform lives.

Benlolo also presented two short videos, both available on YouTube, showing members of the Shira Choir singing Ed Sheeran’s “Perfect” and Leonard Cohen’s “Hallelujah.”

In his concluding remarks, Benlolo urged the audience to not look upon those who are differently abled as “different” in a pejorative sense. “Different is great,” he said. “Different is beautiful. There is so much untapped talent out there that I am always in search of these people who are hidden gems.”

The Spanish and Portuguese Synagogue in Montreal is the oldest in Canada, tracing its history back to 1760, when the first Jewish settlers arrived in Quebec, making it as old as the province itself.

Now in its 14th year, JDAIM is a unified effort among Jewish organizations and communities throughout the world to build awareness and foster inclusion of people with disabilities and those who love them.

Benlolo’s presentation was the fifth in Kolot Mayim’s six-part series on the theme of Building Bridges: Celebrating Diversity in Jewish Life. The final session in the series features Indigenous artist Patricia June Vickers and Rabbi Adam Cutler of Adath Israel Congregation in Toronto, which is co-sponsoring the event. The topic on March 20, 11 a.m., is An Indigenous and Jewish Dialogue on Truth and Reconciliation. To register, visit kolotmayimreformtemple.com.

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

Singing on social issues

Mike Kobluk (the Chad Mitchell Trio) is one of the musicians featured in Under the Radar, by David Eisenstadt. (photo from Trail Times)

Under the Radar: 30 Notable Canadian Jewish Musicians, which I wrote with Alan L. Simons (editor), takes an historical approach, covering musicians of most genres and genders, some alive and others having passed on, all skilled, but excelling somewhat out of sight. This is the third in a three-part series of excerpts from the book, which was released last November, and is available in paperback and as an ebook from amazon.ca. The excerpts feature performers with B.C. roots: Robert Silverman, Ben Mink and Mike Kobluk.

In 1958, as students attending Gonzaga University in Spokane, Wash., William Chadbourne Mitchell, Mike Kobluk and Mike Pugh formed the Chad Mitchell Trio. Their repertoire criticized the Cold War and the Vietnam War while championing civil rights. Many of John Denver’s early songs were part of their songlist.

Kobluk, who is Jewish, was born in Trail, B.C. As a child, he sang for fun, but “singing for a career … never entered [his] mind.” He majored in English and math at Gonzaga. He spent 10 years – the longest-serving vocalist with the trio – before leaving in 1969.

But, going back. In the summer of 1959, a friend of Mitchell’s “hatched the plan that started us on a professional career” and the trio journeyed to New York to begin that chapter in their lives, according to Kobluk.

By May 1960, they signed with Harry Belafonte’s management company and performed with Belafonte, Pat Boone and Arthur Godfrey.

After two albums were pressed – The Chad Mitchell Trio and In Concert – Everybody’s Listening – Pugh left the group in the fall of 1960 to return to university. Mitchell and Kobluk auditioned more than 150 vocalists, including Tom Paxton. They chose Joe Frazier and, according to The Virgin Encyclopedia of Popular Music, the group cut nine albums together.

Initially, the trio recorded on the Colpix label. Their sound soared recording for Kapp Records, with tunes like “Lizzie Borden” (about the accused axe murderer), “Mighty Day” (remembering the Galveston, Tex., hurricane of 1900) and the Prohibition-era tune “Rum by Gum.” Other songs included “The Ides of Texas” (about financier Billie Sol Estes) and “The John Birch Society.” On their live album, they sang “Moscow Nights” in Russian, a controversial decision at the time.

Interviewed by the Trail Times, Kobluk said that, “in the early 1960s, we worked with Belafonte, culminating in a Carnegie Hall concert he hosted featuring Miriam Makeba, Odetta, the Belafonte Singers and us.” As part of a U.S. cultural exchange program, the trio also toured South America in 1962.

“Over time,” he added, “we’d renew our association with Belafonte and, years later, when the Selma, Ala., march with Dr. Martin Luther King was being organized, our reputation put us on Belafonte’s list.”

They left Belafonte Enterprises in 1962 for Mercury Records, adding provocative songs like “The Draft Dodger Rag” and “Barry’s Boys,” the latter of which lampooned Barry Goldwater’s Republican 1964 presidential run.

Mitchell quit the band in 1965, replaced by John Denver, then a relatively unknown singer/songwriter. The musicians retained the well-known Mitchell Trio name with Denver, “who stayed for three years, writing many of the group’s songs,” notes The Virgin Encyclopedia. In 1966, Frazier was replaced by David Boise. In 1969, when Kobluk departed, Michael Johnson joined. Because of contract legalities, the Mitchell name could no longer be used and the group became known as Denver, Boise and Johnson. But it was shortlived – they disbanded in 1969.

Kobluk told the Trail Times, “[We] performed songs of political and social commentary, not exclusively, but such material was an important part of any program. Equal opportunity and voting rights for all were high on our personal and professional priority list and fodder for such commentary.”

Kobluk, Frazier and Boise moved to careers outside the music business, Mitchell cut various solo albums and Denver’s career as a solo performer soared. Johnson recorded more than 15 solo albums and Frazier became an Episcopal Church priest.

On Nov. 15, 2014, in Bethesda, Md., the trio shared a final stage at a “farewell” concert, with singer/guitarist Ron Greenstein replacing Frazier, who died in March of that year.

Classical pianist & educator

Robert Silverman is one of the musicians featured in Under the Radar, by David Eisenstadt. (photo from Robert Silverman)

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photo - David Eisenstadt — David Eisenstadt *(photo from tcgpr)*

Under the Radar: 30 Notable Canadian Jewish Musicians, which I wrote with Alan L. Simons (editor), takes an historical approach, covering musicians of most genres and genders, some alive and others having passed on, all skilled, but excelling somewhat out of sight. This is the first in a three-part series of excerpts from the book, which was released last November, and is available in paperback and as an ebook from amazon.ca. The excerpts feature performers with B.C. roots: Robert Silverman, Ben Mink and Mike Kobluk.

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Robert Herschel Silverman is one of Canada’s premier pianists. He was born in Montreal, Que., on May 25, 1938, to Jewish parents from the Ukraine and Romania. Globe and Mail reporter Marsha Lederman wrote, “when he was just 4, after seeing how he was drawn to classical music programs on the radio, he was signed up (by his parents) for piano lessons. By his second lesson, Silverman could identify notes by ear. He could read sheet music before he could read words. But even as he continued with his lessons through high school and university, he never considered a career in piano.”

At 6, Silverman played his first recital. His debut at 14 was with the Montreal Symphony Orchestra. At 23, he planned to become an engineer but decided to be a classical pianist. Lederman reported Silverman saying, “It was really, really late. It’s not the way to do it.”

He earned undergrad arts and music degrees in the 1960s from Sir George Williams (now Concordia) University. He studied with Dorothy Morton (the daughter of Silverman’s childhood piano teacher) at McGill University, and with Cecile Genhart at the Eastman School of Music, Rochester, N.Y. He also earned a Canada Council grant to enrol at the Vienna Academy of Music.

Silverman won the top piano prize at the Jeunesses Musicales Canada national competition, playing twice at Expo ’67. His Allied Arts piano competition success earned a recital debut in Chicago’s Orchestra Hall in 1970. He made his New York Lincoln Centre debut before he turned 40, in 1978, where the New York Timesdescribed him as “a polished and thoroughly finished technician and an extremely articulate [virtuoso].”

Silverman performed with global and Canadian orchestras conducted by John Eliot Gardiner, Neeme Jarvi, Kiril Kondrashin, Zdenek Macal, Seiji Ozawa and Gerard Schwarz.

In his 30s, he was an artist-in-residence at Nazareth College in Rochester, N.Y.; he also taught at the University of California in Santa Barbara from 1969 to 1970, and the University of Wisconsin-Milwaukee 1970-73. He moved to Vancouver to join the University of British Columbia as professor of music (piano) in 1973. He was the director of UBC’s music school 1991-95, retiring as professor emeritus of music in 2003. Celebrating his 30-year tenure, Silverman received an honorary doctorate in 2004.

Working with Adrienne Cohen, the former music program director at Toronto’s Koffler Centre of the Arts, Silverman, in 2002, was the artist-in-residence.

“My relationship was informal with no written contract. I received an honorarium for seasonal concerts. I appreciated the opportunity to maintain a visible presence in Toronto’s music life and to help Adrienne enhance and enlarge classical music’s role. Although I’m not observant from a religious standpoint, I am keenly aware of my Jewish heritage and pleased to be affiliated with Koffler, whose programs were attuned to the Jewish community in its traditional sense,” he said.

“I grew up when many North American Jewish luminaries were visible – Horowitz, Rubinstein, Bernstein, Reiner, Heifetz, Menuhin and the up-and-comers, Fleisher, Graffman and Rabin. My musicality was shaped by their warm manner of phrasing and attention to tonal beauty, qualities I hold dear and continue to strive towards.”

He returned to Montreal in 2008 to initiate the Dorothy Morton Visiting Artist series at McGill University’s Schulich School of Music, performing there on its 10th anniversary. He and his wife also endowed a biannual Robert and Ellen Silverman Piano Concerto Competition.

His discography numbers 30-plus CDs and 12 LPs. He received an Order of Canada in 2013.

As a Vancouver-based retiree and a Steinway artist, Silverman devotes himself full-time to recordings and concerts and is heard often on the CBC and Radio-Canada networks.

Singing for my supper

Do you sing? I’ve always fancied myself as one who had a good singing voice. I love to sing. I’m always ready to join in when there’s a sing-song, particularly if I know the tune and especially if I know the words. Although I’ve never had ambitions to be a singing star, I’ve always been first in line to make a musical noise.

For me, singing is associated with all those times around the campfire. The nostalgia for those times may be the underlying reason for the positive response I have toward the whole idea. Those memories carry a strong positive emotional content.

When I was a kid, I never had the least idea about singing. I never was a fan of singers. I never bought records or tapes. I was too busy reading all those delicious books.

My greatest exposure to singing was my experience in the chorus when my high school – St. John’s Tech, in Winnipeg – annually presented operettas by Gilbert and Sullivan. I loved that. I was in the chorus every year I was at that school. I appeared in HMS Pinafore, Yeoman of the Guard and The Mikado. It was a lot of work, and we spent many hours after school in practices before we could get things right. It shouldn’t be a surprise then that some of the tunes are still with me after more than 60 years. The excitement, and even the thrill, of the performance occasions lends a rosy glow to my memories of those days.

It was only in later life, in Montreal, when I tried to repeat my vocal exploits, that I really learned to appreciate how small my talents were in this area of endeavour. I discovered that I was prone to take up the tune of anyone who stood beside me. I found out that my capacity to keep strictly to the notes of the part I was supposed to sing was variable. I had no knowledge of how one could sustain a note. In short, it was a hazardous undertaking for anyone to include me in a respectable chorus. To make things worse, I was known to become confused as to where we were in a production, and to launch myself forcefully into song when the rest of the chorus was steadfastly silent. These were the only solos I ever performed.

To the detriment of those who might be concerned about sound pollution, these small negatives have never discouraged me from forcing my voice on an unappreciative public. I leap with lusty abandon at any chance to show off my limited abilities.

Over time, I have passed from tenor to muffled baritone, and I continue to be eager to share my gifts. While I have never been offered money to do this, I feel it is my duty, nonetheless, to do so, especially when participating allows me to share in the buffet that can sometimes accompany such occasions. It is only fair that I sing for my supper.

When I am engaged in my full-throated roar, I am too busy to note the pained expressions of those around me. This is just good fun for all of us, isn’t it? I am just entering into the spirit of things, and covering for those lacking a musical sense, aren’t I? Or perhaps they are just too shy, a failing from which I do not suffer. Surely, they are enjoying the noise just as much as I am? I worry only if people start to leave.

I sometimes sing in the rain, something like whistling in the dark, to keep up my spirits as I venture into unknown places. Let the winds blow the clouds away to deliver to us another sunny day, I say.

We were fortunate enough, at one time, to have had a second home in Arizona. Really only a trailer, it permitted us to spend the worst winter months away from the cold and dreariness of both Ireland, when we lived there, and the wet fall and winter seasons in the rain forest where we’ve lived lately. What had brightened our time even more was to have fallen in with a group of Canadians fleeing the winter cold. Wonder of wonders, one of them played the guitar and liked to sing.

Was I happy? You betcha! We were just a small group and when I was belting out songs as loudly as I could, it was as if I were back at camp. And they tolerated my enthusiasm. And, sometimes, they fed me. I was singing for my supper, again.

Now, in our current hideaway, we’ve joined a group, mostly oldsters, who meet weekly to reprise all the melodies reaching back across recorded history. My Bride is a witness – and if I perform as required, she will serve me a hearty brunch as a reward when we return home. I can do this!

Max Roytenberg is a Vancouver-based poet, writer and blogger. His book Hero in My Own Eyes: Tripping a Life Fantastic is available from Amazon and other online booksellers.