speakers

What is Jewish music?

On March 8, Joshua Jacobson, professor emeritus of music at Northeastern University in Boston, Mass., spoke on the topic Jewish Music: What’s That?

photo - Prof. Joshua Jacobson was the latest speaker in Kolot Mayim’s Voices of Jewish Music series — Prof. Joshua Jacobson was the latest speaker in Kolot Mayim’s Voices of Jewish Music series. *(internet photo)*

The Zoom lecture was the fifth of six talks in Kolot Mayim Reform Temple’s 2025/26 Voices of Jewish Music series.

How can music even be Jewish? Jacobson asked. Does music keep kosher? Is music circumcised? Did music have a bat mitzvah? He played an excerpt of African-American clarinetist Don Byron performing the klezmer number “Der Nayer Doyne.”

“You don’t have to be Jewish to compose or perform Jewish music,” he said. “And that’s why I prefer the terminology, the music of the Jewish people. Although I will admit that, for the sake of convenience, I often do use the term Jewish music.”

But the question of what constitutes Jewishness remains. The word represents an ever-widening expanse, including an abundance of liturgical music, a vast array of music influenced by the cultures in which Jews have lived and the languages they have spoken, and the contributions of Jews who have entered the community by choice.

“There is no single Judaism, not anymore. It’s a big tent,” Jacobson said.

One school of thought Jacobson pointed to came from Swiss-American composer Ernest Bloch, who said, “Racial consciousness is something that every great artist must have. A composer who says something is not only himself, he is his forefathers. He is his people.”

Leonard Bernstein wrote in his senior thesis at Harvard University in 1939: “It is easily understandable that a composer whose parents were immigrants still maintains a close contact with the old racial traditions. If their traditions are part of his childhood, they are inevitably part of his life.”

Jacobson played Irving Berlin’s “White Christmas” to illustrate that any music composed by a Jew could be considered Jewish music.

The Nazis, however, defined Jewish in purely racial terms, Jacobson said. They would not allow any music written by a Jew to be heard or even studied in Germany and German-controlled countries. Nor would the Nazis allow Jewish-German conductor Bruno Walter to lead a concert of Ludwig van Beethoven’s works. Jews, the Nazis believed, would spoil the music with their “Jewish accent.”

Jacobson played excerpts of Beethoven’s Symphony No. 6, asking if members of the audience could distinguish between a performance led by Walter and one by conductor Wilhelm Furtwängler.

“How many of you think that the first one was conducted by a Jew? How many of you think the second one was conducted by a Jew? How many of you think that it’s a ridiculous question? – which, of course, it is. Did one of these have a discernible ‘Jewish accent’? No,” Jacobson said.

image - In his March 8 talk, Prof. Joshua Jacobson gave Irving Berlin’s “White Christmas” as an example of how any music composed by a Jew could be considered Jewish music — In his March 8 talk, Prof. Joshua Jacobson gave Irving Berlin’s “White Christmas” as an example of how any music composed by a Jew could be considered Jewish music. *(internet image)*

Defining what constitutes Jewish music by what exists within borders or, as in much of Jewish history, in exile, can be an equally insurmountable task. As an example, Jacobson played part of a track from Arab-Israeli hip-hop group DAM, which is in Hebrew.

Many Israelis write music that doesn’t sound geographically constrained, he said.

Nonetheless, the professor did offer a definition of traditional Jewish music in his talk, saying it is music that has been used – whether sung, played or listened to – by Jews more than by other people, and, therefore, it has become associated with Jewish people.

Cantillation, the way the Torah and other biblical books are chanted, is the oldest form of Jewish music, Jacobson said. Demonstrating the cantillation styles of Babylonian, German and Yemenite Jews, he showed that the practice is similar, although not entirely the same, in Jewish communities throughout the world.

“Some scholars think that these are variations on an ancient theme, he said. “The variations are due to acculturation. German cantillation betrays the influence of German music. Yemenite cantillation betrays the influence of the culture in which they lived, the Yemenite culture.”

Jacobson said we find Jewish music in many styles and periods, and perhaps the problem in seeking a definition is that there are so many Jewish “musics.” He returned to Bloch, who once said that he could not say what Jewish music is, but one knows it when it is heard. According to Bloch, “It is something that both you and I can recognize and feel, even if we cannot analyze it.”

To Jacobson, the term Jewish music “is itself a wide tent in which all may not agree on a definition, but it’s something that we cherish, and something that fulfils us.”

An authority on Jewish music, Jacobson is also the founder and director of the Zamir Chorale of Boston. He has guest-conducted many ensembles, including the Boston Pops Orchestra, the Bulgarian National Symphony and Chorus, the New England Conservatory Orchestra and the Boston Lyric Opera Company. He has written articles on various aspects of choral music and has published more than 100 compositions and arrangements.

The final speaker in this year’s Voices of Jewish Music series is author Michael Posner on April 12 at 11 a.m. Posner will explore Leonard Cohen’s Jewish heritage, philosophy and musical legacy – and how Judaism influenced Cohen’s lyrics, philosophy and life. For more information, visit kolotmayimreformtemple.com.

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

Wrong choice to host Piker

As a political science student at the University of British Columbia, I believe fiercely in free expression, open debate and intellectual diversity. I have defended the idea that universities should be places where ideas are rigorously challenged, interrogated and tested against competing visions of the world. But debating controversial ideas is not the same as giving a platform to only one side. It’s not the same as presenting individuals whose speech crosses the line into hate and dehumanization.

Universities are not neutral stages without consequence. They are institutions that make choices, and those choices carry weight. The people a university decides to platform is never incidental. It is a statement of values. It shapes the tone of campus discourse. It sends a message about whose voices are elevated and whose concerns are dismissed. And, in moments of deep political tension, it can determine whether students feel genuinely safe, respected and included, or alienated in their own community.

It is because of these reasons that I am deeply concerned that UBC decided to include Hasan Piker in its America First, America Alone? lecture series.

The Phil Lind Initiative claims to explore global politics in an age of uncertainty. That is an important and timely goal. But the credibility of such a series depends on the seriousness and integrity of its speakers. When a university invites someone whose public commentary has repeatedly included inflammatory, dehumanizing or violent remarks, it undermines the very academic rigour it claims to promote.

US Democratic Congressman Ritchie Torres warned about the amplification of antisemitism on Twitch and specifically in reference to Piker: “Since October 7th, there has been an explosion of Jew-hatred on social media platforms,” Torres wrote. “Hasan Piker has emerged as the poster child for the post-October 7th outbreak of antisemitism in America.”

This is not about disagreement. Universities should host controversial thinkers. They should invite people whose views make us uncomfortable. But there is a difference between complex ideological debate and rhetoric that outright promotes violence, questions the suffering of victims and/or uses language that dehumanizes and endangers entire communities, including marginalized groups.

Piker is not merely a “polarizing” internet personality. He has built a brand around extremist commentary, from justifying 9/11 to repeated attacks on Israel and Zionism that go beyond policy criticism to attacking Jewish identity and calling for the destruction of Israel.

He has compared Zionism to Nazism, a comparison that is as morally distorted as it is historically indefensible. This kind of talk isn’t political critique, it’s erasure. Piker takes Zionism, a movement rooted in Jewish survival and self-determination, and distorts it into the Nazis’ attempt to annihilate us. These are not accidental slips of the tongue. They reflect a consistent pattern of language that crosses from criticism into dehumanization.

Piker has been temporarily suspended from Twitch multiple times for violating community guidelines related to hateful or abusive speech. That matters. Even if someone wants to defend his right to speak, we can’t pretend his public record reflects thoughtful, careful debate.

His style is built on provocation – on pushing buttons and escalating outrage – because that’s the business model of social media. The louder and more inflammatory the take, the more clicks, the more engagement, the more money. Academic spaces are supposed to prioritize nuance, depth and serious inquiry, not viral moments designed to generate cash and controversy.

For Jewish students on UBC’s campus, this isn’t some abstract political theory debate. Since Oct. 7, 2023, campus has felt different. Heavier. As antisemitism and openly hostile rhetoric have increased, many of us feel more exposed than we did before. I know I do. It has changed how openly we express our identity, how we participate in class discussions and how comfortable we feel in spaces that once felt safe. Friendships have been strained. Conversations are more tense.

So, when the university invites a speaker who has compared Zionism to Nazism, brushes aside concerns about antisemitism and treats Jewish self-determination as inherently illegitimate, it is difficult to believe this is simply about “intellectual curiosity.” It does not feel neutral. It feels dismissive. It feels like our fears and lived experiences are being minimized. More than anything, it feels like no one is listening.

UBC often speaks about inclusion, safety and belonging. Those commitments are not tested when we invite speakers everyone agrees with. They are tested when we decide whether “academic freedom” should be used as a shield for rhetoric that alienates vulnerable students.

To be clear: academic freedom protects speech from censorship, but it does not obligate a university to amplify any individual voice. Universities curate speakers all the time. They reject invitations. They choose who represents them.

Some will argue that silencing controversial figures sets a dangerous precedent. I agree that censorship is not the answer. But accountability is not censorship. Standards are not censorship. Students have every right to question whether this invitation reflects the kind of discourse a serious institution should highlight.

At the least, UBC has a responsibility to ensure ideological balance in the series. But where are the scholars who defend liberal democracy from the populist left and right? Where are the voices that articulate the Jewish experience of antisemitism in progressive spaces? Where is the intellectual diversity that the series claims to value?

Universities should be raising the nuance of conversation, not bringing the loudest parts of internet culture into serious academic spaces. Piker already has millions of followers. He did not need UBC to amplify him. The real question is whether our university’s stage should have been used to legitimize Piker’s approach – I don’t think it should have been.

As students, we deserve better.

We deserve debate that is rigorous, not reactionary. We deserve speakers who challenge our ideas without dehumanizing entire communities in the process. We deserve administrators who understand that inclusion cannot be selective.

Inclusion cannot mean protecting some students while asking others to tolerate hostility in the name of “dialogue.” If UBC is serious about equity, then protecting Jewish students from being dehumanized should not be controversial. It should be common practice.

If views like Piker’s were directed at almost any other marginalized group, there would have been immediate outrage, with statements, listening sessions and other institutional responses. There would have been no confusion about whether they crossed a line. So why was it different when it came to Jewish students?

UBC’s brand is built on excellence, inclusion and global leadership. Excellence requires discernment. Inclusion requires sensitivity. Leadership requires moral clarity.

The decision to host Hasan Piker fell short on all three values.

Avigail Feldman is a fourth-year student at the University of British Columbia, with a bachelor’s in political science and going into a master’s of management. She is also a StandWithUs Canada Emerson Fellow.

Broadway’s Jewish storylines

David Benkof, the Broadway Maven, spoke on Jan. 11 as part of Kolot Mayim Reform Temple’s 2025-26 Voices of Jewish Music series. (photo from David Benkof)

David Benkof, the Broadway Maven, visited Victoria recently, to give a talk titled Spotlight on Jewish Broadway, on Jan. 11. He began with a clip from the musical Spamalot, which, in a tongue-in-cheek manner, asserts that a potential show may have the finest sets, the loveliest costumes and the best shoes, yet it “won’t succeed on Broadway if you don’t have any Jews.”

“The joke is that Jews wrote Broadway, Jews perform Broadway, Jews produce Broadway – and that’s true. It’s historically true, it’s statistically true, and it’s been said so many times that it barely counts as an insight anymore,” Benkof said.

Although seemingly innumerable Jews – Irving Berlin, Jerome Kern, Barbra Streisand, to name a mere few – may be associated with Broadway, Benkof encouraged the audience to consider the meaning of “Jewish Broadway” as something beyond the names of those who created and performed in well-known shows. Rather, he asked those attending in person and on Zoom to think in terms of Jewish-related themes: assimilation, reinvention, insecurity, exile, visibility and ambivalence.

“I want to go a step further,” he said, “and argue that Broadway isn’t primarily Jewish because of the people involved, but because of the very sensibility of the art form. Broadway is Jewish because its plots, themes and character arcs reflect the Jewish experience in North America.”

With clips from Hairspray, Hello, Dolly, A Chorus Line and Chicago, Benkof demonstrated that, while characters and plots were not overtly Jewish, or Jewish at all, there are invariably elements – such as restlessness, striving and defensiveness – that make them feel deeply Jewish.

“It grows out of histories of conditional welcome, where excellence becomes a survival strategy and visibility is both opportunity and danger,” said Benkof. “Broadway characters don’t assume that the room loves them. They hustle to make the room need them. That’s why Broadway feels Jewish even when Jews are nowhere in sight.”

Hairspray, for example, makes no claim that the characters are Jewish. It is method, not identity, according to Benkof, that makes it Jewish. The lead character does not want to tear down the system; she seeks to join it, he pointed out.

“The belief that assimilation is both a strategy and an ethical good is deeply Jewish in a North American context,” Benkof said.

“The combination of idealism, anxiety, and faith that the system can be nudged towards justice if you appeal to its conscience is not universal,” he argued. “It’s a Jewish sensibility operating inside a story that never needs to say the word Jewish out loud, which makes Hairspray slightly subversive, like quite a bit of postwar Jewish art.”

By the end of his Victoria lecture, audience members were able to find Jewish themes in musicals that, on the surface, seem far removed from the Jewish experience: The Lion King, The Phantom of the Opera, The Sound of Music, even The Book of Mormon (think reinvention).

In the example of The Sound of Music, audience members found that its themes of escape, persecution and fear were elements that could be perceived as related to the Jewish experience.

Congratulating the audience, Benkof said, “We could have said, Richard Rodgers was Jewish and, therefore, The Sound of Music is Jewish. That is true and boring. What we have been able to do here today is think about how you won’t succeed on Broadway if you don’t have any Jewishness, as opposed to just Jews.”

Benkof also discussed a Canadian connection to Jewish Broadway, Come from Away, a musical about the care of thousands of travelers, who, after Sept. 11, 2001, had their flights diverted to Gander, Nfld.

In 2024, Benkof made a trip to Gander to see a performance of the show, written by Canadians David Hein and Irene Sankoff.

“I got to go and meet some of the people who had done it,” he said. “They welcomed people into their home and their community, and that, I think, is a very Jewish theme.”

Benkof’s website, broadwaymaven.com, offers five to 15 classes every month. In January, for example, the online educational community had classes on the musicals of Howard Ashman and Alan Menken, on Pal Joey, and a 50th anniversary roundtable on Pacific Overtures by Stephen Sondheim and John Weidman. Upcoming events include classes on Sweeney Todd, Evita, Kiss Me, Kate and Cats, among others. Benkof also posts weekly about Broadway on Substack: substack.com/@thebroadwaymaven.

Benkof’s talk was the third lecture in Kolot Mayim Reform Temple’s 2025-26 Voices of Jewish Music series, part of the Vancouver Island shul’s annual Building Bridges program. The next in the series will be from Naomi Cohn Zentner, an ethno-musicologist at Israel’s Bar-Ilan University, on Feb. 8. Her talk – Music and War: An Optimistic View – will examine how Israeli musicians have responded to recent historic events and explore music’s role in processing grief, inspiring resilience and connecting community in times of crisis. Visit kolotmayimreformtemple.com.

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

An oral song tradition

Shenandoah University Prof. Lori Şen spoke about Sephardic music on Nov. 2, as part of Kolot Mayim Reform Temple’s 2025/26 lecture series. (PR photo)

Kolot Mayim Reform Temple started its 2025/26 Building Bridges Zoom lecture series – six music-themed talks running through April – on Nov. 2, with Lori Şen, a professor of vocal pedagogy at Shenandoah University in Winchester, Va.

The title of Şen’s lecture was Classical Echoes in Ladino: Sephardic Songs Reimagined.

“This talk is especially meaningful to me, as it reflects a journey that began about eight or nine years ago with my doctoral dissertation in voice performance,” she said.

“What started as an academic project has since grown into a broader exploration and celebration of a rich and underrepresented genre within the Western classical tradition – Sephardic art song.”

Şen spoke about the Sephardim, their history, language and culture, before discussing the elements of traditional Sephardic music. Later, she introduced Western classical arrangements of Sephardic folk songs for voice and various instruments, and spoke about the development of this genre, playing excerpts from a variety of songs.

Within the expanse of what constitutes Sephardic culture, there is a language, most commonly called Ladino or Judeo-Spanish, a mix of 14th- and 15th-century Castilian, with contributions from Galego-Portuguese, Catalan, Valencian, Aragonese, Hebrew, Turkish, Arabic and others, such as Greek, French, Italian and Balkan languages.

“A certain linguistic creativity is inherent to Judeo-Spanish, which has even been used as a vehicle for expressing verbal revenge through humour in an oppressive society,” Şen said, citing examples of plays on words that can be found in Ladino.

Şen quoted from linguist Marie-Christine Varol, author of Manual of Judeo-Spanish: “Irony, distance, puns and endless plays on meanings and stylistic nuances bouncing back and forth make this language of quotations, double entendres, discrete jokes that seem undecipherable of implied and overly clear meanings into an original and eternally renewed linguistic system steeped in a devastating sense of humour that can only be achieved through a knowledge of several languages, a knowledge that gives it its strength, its richness and its freedom.”

Şen said the types of Sephardic song are defined based on musical parameters such as structure, melody and rhythm, as well as the text and the relationship between the music and text. Many songs were passed down orally, making their origins difficult to trace. Others are Ladino translations or adaptations of Turkish, French and Balkan songs, incorporating dance rhythms like tango and foxtrot, and sometimes referencing familiar operettas.

“Since this repertoire represents such a wide range of cultural exchange, the musical analyses of them require vast musical knowledge,” Şen said. “Sephardic music possesses elements of Western classical music of all periods, starting from medieval, Spanish, Moroccan, Balkan and Greek musical traditions, and Turkish folk and classical forms, including makam.”

Makam is the Middle Eastern modal practice with more pitches than we’re used to in our Western 12-tone notation system.

According to Şen, although instruments were employed on occasion, the Sephardic song repertoire is essentially vocal. When instruments were involved, they were mainly percussive, a tambourine, for instance, though mandolin and oud were also employed.

Traditional Sephardic folk songs, since they were transmitted orally, incorporate a large amount of improvisation. Thus, the melodies of the same songs can differ significantly between communities and across generations.

On her website, lorisen.com, Şen has a catalogue she compiled that includes lists of Sephardic works and composers, works categorized by instrumentation, and songs. Based on archival research and interviews she has conducted with Jewish musicians and music scholars, Şen has identified more than 45 composers who have arranged more than 190 different traditional Sephardic folk songs in the art song form for voice and various instruments. Also on her website is a Ladino diction guide designed to assist singers interested in performing Sephardic songs.

A mezzo-soprano and Fulbright alumna, Şen’s range spans opera, art song, musical theatre and jazz, and she has performed throughout Europe and the United States. Her teaching and research specialize in vocal literature, pedagogy and voice science. Further, through her background in physics, she explores the art and science of the singing voice.

The next lecture in the Kolot Mayim series will feature Broadway historian and lecturer David Benkof on Jan. 11 at 11 a.m. Benkof will deliver his talk – Spotlight on Jewish Broadway with the Broadway Maven – in Victoria in person and on Zoom. For information, visit kolotmayimreformtemple.com.

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

Jew-hatred is centuries old

Bar-Ilan University’s Dr. Mordechai Kedar spoke in Vancouver Nov. 17 at Temple Sholom on root causes of Jew-hatred. (from idsf.org.il)

The Enlightenment of the 18th century carried hopes for Jews that their long history of persecution would end, but the ideas of that period carried the seeds of a new form of Jew-hatred. Communism was intended to erase class and national differences, which might have eliminated discrimination toward Jews, but this ideology too carried a poisonous element. Zionism was intended as the answer to systemic discrimination against Jews. It too, though, merely sparked a variation on the ancient bigotry.

In a survey spanning centuries, one of Israel’s leading scholars of the Middle East explained the seemingly limitless justifications for Jew-hatred in Christian and Islamic civilizations.

Dr. Mordechai Kedar spoke in Vancouver Nov. 17 at Temple Sholom on root causes of Jew-hatred. Kedar is a senior lecturer in Arabic and Middle Eastern studies at Bar-Ilan University, where he has taught for more than 30 years. Kedar served for 25 years in Israeli military intelligence, specializing in Syria and regional Arab affairs.

Kedar said he prefers the term “Jew-hatred” to antisemitism because it subverts the rhetorical claim that Arabs, who are semitic, can therefore not be antisemites.

“We don’t find anti-Jewish sentiments in India, in China, Japan and Korea,” said Kedar. “One reason is the religion. Both Christianity and Islam are religions which are derivatives of Judaism. Therefore, in order to establish their validity and their legitimacy, they must undermine the validity and the legitimacy of Judaism.”

Another reason, he said, is that there have historically been few or no Jews in those places. In addition to being theological, Kedar argues, Jew-hatred has been a xenophobic reaction to the “other.” In the absence of Jews in India or Japan, this role was filled by other others.

Traits of Jews themselves also spark antisemitism, he said. Illiteracy in Jewish communities has been almost nonexistent, said Kedar, and this has created jealousy. More recently, the disproportionate number of Jewish Nobel Prize recipients may be a point of pride for Jews, but it can serve as a red flag for those seeking reasons for resentment. Jewish success in a range of fields spurs bitterness among some who are less successful or struggle to compete.

The historical trajectory of Jew-hatred is long and winding.

“Two hundred years ago, more or less, some countries, especially after the Enlightenment in Europe, started to give emancipation to Jews,” said Kedar. “Instead of erasing the differences between Jews and others, [this freedom] actually increased the hatred because now the Jew, the ‘other,’ invades our circles, he becomes a lawyer, he becomes an accountant, he competes with us in our court.”

When Jews in Germany abandoned traditional distinctive clothing choices, this caused a backlash among non-Jews.

“This is frightening for them because, all of a sudden, the Jew looks like us,” Kedar summarized. “Is he like me or not? All of a sudden, he wants to look like a German, sound like a German, act like a German.”

With the French Revolution, and gaining steam after 1848, the Age of Nationalism was another turning point. The collapse of empires, notably the Austro-Hungarian Empire, where as many as one-third of Europe’s Jews lived, brought unanticipated challenges for Jews. As Hungarians, Romanians and others gained both national sovereignty and greater ethnic identity, Jews were again isolated as outsiders.

“If we are Romanians, we are Christians,” Kedar said. “We speak Romanian.… We dance to the same music. We eat the same food. Who doesn’t? The Jew. He eats different food. He speaks a different language. So, he’s not one of us.”

Socialism and communism were meant to erase the differences between peoples, Kedar said, including the very concept of separate nationalities.

“And who is leading this erasing of nationalism? The Jew Trotsky and Lenin, with his [Jewish] roots,” said Kedar. The Jew is blamed when nationalism is ascendant and when communism is pushing nationalism to the margin, he noted.

Envy and othering even undermined Zionism, which was conceived as the ultimate answer to the inescapable antisemitism experienced by the stateless Jew.

“The Zionist movement was another reason to hate the Jew,” Kedar said. “Let’s imagine that we have a little town in Romania with problems of employment, problems of poverty, problems of alcoholism as well. The Jews are starting this new theology of Zionism, to leave the country and to go to eretz Israel. ‘What, you’re going to leave us and go to a better place? We hate you.’”

Kedar spoke extensively about Islamic theological and political antisemitism, which he described as like a “layer cake.”

“Judaism was canceled 2,000 years ago by Christianity,” he said. “And Christianity was canceled 14 centuries ago by Islam. So, Judaism was canceled twice.… Since Judaism is null and void, why do we need a Jewish state if there is no Jewish religion?”

Another layer rests on the Islamic concept of dar al-Islam, the domain of Islam, he said, which holds that no land controlled by Muslims must ever fall into the hands of the infidel.

Under the Ottomans, he said, eretz Israel was under Islamic rule and should forever remain so because, “according to the belief, according to Sharia, any land in the world has only a one-way ticket to enter the House of Islam, not to get out.”

A third layer is a widespread rejection of Jews as a people or as a nation. By reducing Jews to a religious group, he said, this idea subordinates Jewish identity to national affiliation, so a Jewish Canadian is Canadian first and that is their nation. This argument succeeds in justifying dozens of Muslim states while rejecting one Jewish state based on the premise that these are not Muslim states, but Turkish, Uzbeki or other states that happen to share a religion.

A fourth layer, said Kedar, is that some Islamic thought denies Jewish connections to the land and maintains that the people who today call themselves Jews are descended from central Asian Khazars who converted to the Jewish religion.

These concepts negate a core intention of Zionism, which was to resolve the problems created by Jewish statelessness. Muslim opposition to Israel, founded on these layers of theological justification, and Western opposition to Israel, mainly taking the form of political criticisms that extend into existential rejection, have prevented the Jewish state from serving the role Zionism intended, which was in part to make Jews a people like any other.

Rabbi Dan Moskovitz welcomed Kedar, who is associated with the right-wing in Israel, and said his congregation is a “big tent.”

“I did hear from some of you here,” said Moskovitz, “or in the community, [asking] why is Temple Sholom hosting Dr. Kedar?… As the senior rabbi of this congregation, it is my intention and mission to bring in voices, within the boundaries of the tent of the Jewish people, that represent the spectrum of Jewish thought. I tell my children all the time, you only learn when you listen to people that you don’t already agree with.”

Aron Csaplaros, BC regional manager for B’nai Brith Canada, which co-sponsored the event, introduced Kedar. He also highlighted his organization’s most recent audit of antisemitic incidents, noting they recorded 6,219 incidents of hate against the Jewish community in Canada in 2024.

“That’s the highest number we’ve ever recorded in the more than 40 years that we’ve been tracking this data,” he said. “That comes out to an average of 17 antisemitic incidents every single day.”

Incidents range from online harassment, threatening behaviour and vandalism targeting Jewish institutions to direct attacks against Jewish individuals, Csaplaros said.

“It is hostility directed at people simply because they’re Jewish,” he said. “Many in our community feel less safe today than at any point in their lifetimes. Parents hesitate sending their kids to school. University students are increasingly targeted and isolated. And Jewish Canadians who have always lived openly and proudly now find themselves looking over their shoulders or questioning whether this is still the country that can offer the sense of security that they once felt.”

Explore Jewish music

On Dec. 3, Rabbi Deborah Sacks Mintz will speak on Harnessing the Potential of Our Comfort Songs, as part of Kolot Mayim Reform Temple’s Building Bridges Speakers Series. (photo from Hadar Institute)

Kolot Mayim Reform Temple’s annual six-part series of free lectures – the Building Bridges Speaker Series – returned earlier this month with the Nov. 2 talk by Dr. Lori Şen of Shenandoah University on Classical Echoes in Ladino: Sephardic Songs Reimagined. It continues Dec. 3, with Rabbi Deborah Sacks Mintz of the Hadar Institute speaking on the topic Harnessing the Potential of Our Comfort Songs.

The Building Bridges Speaker Series’ theme for 2025/26 is Kolot Zemirot: The Many Voices of Jewish Music. In the wake of the dramatic rise in antisemitism following the events of Oct. 7, 2023, it is more important than ever to celebrate and amplify the rich tapestry of Jewish culture, history and heritage. This series of lectures will explore the role of music in shaping and sustaining Jewish identity across generations and around the world, delving into the diverse expressions of Jewish music – its history, traditions, and its cultural, religious and secular aspects. Music has always been a source of strength, resilience and hope for the Jewish people, and this series will highlight its power to unite communities and inspire pride in our shared heritage.

An educator, practitioner, composer, vocalist, multi-instrumentalist and facilitator of Jewish communal music, Sacks Mintz will explore, on Dec. 3, how Jews use the internal strength we source from singing our own anchor songs to serve our communities in times of disruption. For Sacks Mintz, the power of communal music ignites spiritual creativity, fosters participation and deepens connections within Jewish life.

Historian and lecturer David Benkof, “the Broadway Maven,” will speak in person in Victoria on Jan. 11, with hybrid access for a wider audience. His presentation will dig into Jewish creators, characters and themes that have shaped – and continue to shape – the world of Broadway, revealing how musical theatre reflects and influences Jewish identity.

A leading voice in the study of contemporary Israeli music, ethnomusicologist, Dr. Naomi Cohn-Zentner of Bar-Ilan University observes that Israeli songs about the war and the army have always been about a hope for peace, and this was even more the case after Oct. 7. Her Feb. 8 talk – called Music and War: An Optimistic View – will examine how Israeli musicians have responded to the tragedy, offering an exploration of music’s role in processing grief, inspiring resilience and connecting community in times of crisis.

On March 8, Dr. Joshua Jacobson, author, composer, scholar and founder and director of the Zamir Chorale of Boston, will speak on Jewish Music: What’s That? One of the world’s leading authorities on Jewish music, Jacobson will share his expertise in the history and ongoing evolution of Jewish music. His presentation will invite listeners to consider what we mean by Jewish music and how musical expression is a rich part of our identity.

Toronto author and biographer Michael Posner wraps up the 2025/26 series on April 12 with the lecture Hallelujah and Beyond: Leonard Cohen’s Torah of Song. Posner will explore Cohen’s Jewish heritage, philosophy and musical legacy and how Judaism influenced the singer-songwriter’s lyrics, philosophy and life.

The Jewish Independent will feature coverage of the lectures in future issues, including Şen’s Nov. 2 lecture, which can be viewed on Kolot Mayim’s website.

Kolot Mayim, from the Hebrew “Voices of the Water,” is Victoria’s Reform Jewish Congregation. The Building Bridges lecture series is partially supported by the Jewish Federation of Victoria and Vancouver Island and donations are gratefully accepted, with tax receipts available for contributions over $25.

The webinars are free and mostly occur monthly mostly on select Sundays (with the exception of Sacks Mintz’s), at 11 a.m., on Zoom. Pre-registration is required via kolotmayimreformtemple.com.

– Courtesy Kolot Mayim Reform Temple

Etgar Keret comes to Vancouver

(PR photos)

Israeli author and filmmaker Etgar Keret will be at the Rothstein Theatre Oct. 30, 7 p.m., in conversation with author and columnist Marsha Lederman. The JCC Jewish Book Festival event is sponsored by the Ronald S. Roadburg Foundation.

Keret, who also teaches creative writing at Ben-Gurion University of the Negev, is known for writing short stories that are lean and accessible in style, but whimsical, surrealist and darkly funny in subject. His work explores life’s smallest, most unremarkable interactions in ways that are profound and unusual, and his seventh story collection, Autocorrect: Stories (translated by Jessica Cohen and Sondra Silverston), is no different – it is vast in reach yet grounded in the bewildering absurdity of modern life. Books will be available for purchase at the Oct. 30 event and the author will be signing. For tickets ($36), go to jccgv.com/jewish-book-festival.

– Courtesy Cherie Smith JCC Jewish Book Festival

New fall lecture series

White Rock South Surrey Jewish Community Centre’s first-ever Fall Speaker Series, starts Oct. 29, with a talk on Jewish immigration to Canada. (image designed by Chloe Heuchert)

On Oct. 29, I will help launch White Rock South Surrey Jewish Community Centre’s first-ever Fall Speaker Series, which will also feature presenters from the Jewish Genealogical Society of British Columbia and the Jewish Museum and Arch-ives of British Columbia over the coming months.

For my presentation, I will give an introduction to the history of the Jews in Canada and some of the adversities they have had to face. I start off with the first known Jewish settlers, who came here in the 1760s, following Britain’s conquest of New France. So, Jews first came to Canada when it was under the British colonial rule. While there were no legal restrictions on them, the opportunities for integration into public life and to hold public office were limited.

One of the earliest Jewish settlers was Aaron Hart, a fur trader who lived in Trois-Rivières, Que. The Hart family was influential over generations and laid the groundwork for Canada’s first Jewish community, in Montreal, in the late 1760s.

Most formal Jewish communities – which grew into the ones we inhabit now – were established in major Canadian cities during the 19th century. Most of these Jewish Canadians would have been small business owners, farmers and traders. While small in number, they established the first synagogues and communal organizations.

During the latter half of the 19th and early 20th centuries, a significant surge of Jewish migration from Eastern Europe occurred. Between 1880 and 1920, Canada’s Jewish population grew from a few hundred to tens of thousands. These individuals found jobs as garment workers, shopkeepers and tailors, among other things, contributing to the industrial economy. They formed organizations, published English and Yiddish newspapers, held social gatherings, etc. In the larger community, Jewish immigrants were regularly at the forefront of labour, social justice and human rights movements, in part because of their own experiences with marginalization.

While Jewish immigrants had thriving communities, they also faced adversity. Antisemitism dates back millennia, before there was even a word for it. In the context of the first Jewish settlers in Canada, Jews were often treated with suspicion and faced social exclusion. Certain professions, institutions and clubs were closed to them. Different publications and political figures depicted Jews as a threat to Canadian morality and economic stability. Restrictive measures were put in place in the 1910s and 1920s, as Jews were seen as “undesirable.” The 1923 Immigration Act severely restricted Jewish and other immigration. (Most notably, it effectively banned Chinese immigration.)

Antisemitism continued to be prevalent during the interwar years, becoming more organized and explicit. Hotels, social clubs and resorts often displayed signs barring Jews and there were several groups advocating for even more restrictive policies. The government of William Lyon Mackenzie King was antisemitic and, during the Second World War, only permitted a small percentage of Jews into Canada – the attitude of “none is too many,” in reference to Jewish immigrants, applied. Many Jewish boys and men were put into internment camps and the government imposed strict financial responsibility requirements on those wanting to sponsor others to enter the country or be freed from internment. While immigration policies began to loosen after the Holocaust, antisemitism is an ongoing challenge in Canada.

White Rock South Surrey Jewish Community Centre’s new speaker series was created to highlight and celebrate Jewish heritage and identity in Canada. Its goal is to engage the community in exploring Jewish genealogy, culture and history, while encouraging intergenerational dialogue and a personal connection to the past. Ideally, it will serve as a platform for education, reflection and preservation of Jewish life in Canada, inspiring attendees to delve into their own histories and contribute to the broader communal narrative.

To register for any of the series talks, go to wrssjcc.org.

Chloe Heuchert is an historian specializing in Canadian Jewish history. During her master’s program at Trinity Western University, she focused on Jewish internment in Quebec during the Second World War.

Series explores music

Building Bridges, Kolot Mayim Reform Temple’s annual six-part free lecture series, returns this year, beginning Nov. 2, 11 a.m., on Zoom. The theme for this season is Kolot Zemirot: The Many Voices of Jewish Music, exploring the role of music in shaping and sustaining Jewish identity across generations worldwide.

The series opens with Dr. Lori Şen presenting Classical Echoes in Ladino: Sephardic Songs Reimagined. Rooted in the folk melodies of Sephardi Jews and shaped by centuries of migration, Sephardi art song brings a distinctive voice to the Western classical stage. Şen explores the transformation of Ladino folk songs – an expressive Judeo-Spanish language enriched with influences from Turkish, Arabic, Greek and other cultures encountered throughout the Sephardi diaspora – into Western classical art song.

Through musical examples, historical context and stories from her research, Şen reveals a genre that not only preserves Jewish memory but also expands understanding of what Jewish classical music can be. Her presentation offers listeners a rare sound world that bridges history, culture and art.

Şen is a Turkish mezzo-soprano and Fulbright alumna known for her versatility across opera, art song, musical theatre and jazz, with an international performing and teaching career. She uniquely bridges the worlds of art and science with a background in physics coupled with vocal pedagogy and voice science. As a dual citizen of Turkey and Spain, her multicultural perspective drives her pioneering research in Sephardi art song. She is recognized as the first to catalogue Western classical settings of traditional Sephardi folk songs and to create a Ladino diction guide specifically for singers.

Currently assistant professor of vocal pedagogy at Shenandoah University and part of the voice faculty at the Peabody Institute of the Johns Hopkins University, Şen has shared her work worldwide.

For more information about the Building Bridges series, visit kolotmayimreformtemple.com. The series is partially supported by the Jewish Federation of Victoria and Vancouver Island. Donations are gratefully accepted, with tax receipts for gifts over $25.

– Courtesy Kolot Mayim Reform Temple

Innovative approach to care

On Sept. 30, Canadian Friends of Sheba Medical Centre will host Medicine Reimagined, an evening with Prof. Amitai Ziv, deputy director of Sheba Medical Centre and head of its Rehabilitation Hospital, which is the national rehabilitation facility of Israel. Ziv is also the founder and director of the Israel Centre for Medical Simulation (MSR), an innovation hub for improving patient safety and clinical training.

Originally from Montreal, Ziv is spending his sabbatical in Vancouver at the University of British Columbia.

“This will be the first Canadian Friends of Sheba event in Vancouver, as we launch our chapter here, and we are truly thrilled to welcome Prof. Amitai Ziv,” Galit Blumenthal, manager of donor relations and events at Canadian Friends of Sheba Medical Centre, told the Independent. “Our goal is to raise awareness of Sheba Medical Centre and highlight its profound impact both in Israel and on the global stage.”

photo - Prof. Amitai Ziv, deputy director of Sheba Medical Centre and its Rehabilitation Hospital, speaks in Vancouver on the topic Medicine Reimagined — Prof. Amitai Ziv, deputy director of Sheba Medical Centre and its Rehabilitation Hospital, speaks in Vancouver on the topic Medicine Reimagined. *(internet photo)*

Sheba Medical Centre was established in 1948. Located in Tel HaShomer, near Tel Aviv, its website notes the facility has 159 medical departments and clinics, almost 2,000 beds and 75 laboratories, and receives about 1.9 million clinical visits and 200,000 emergency room visits a year. Its seven major facilities comprise a cancer centre, an academic campus, a research complex and four hospitals: children’s, women’s, acute care and rehabilitation. It also has several centres of excellence and institutes, notably for cancer, and heart and circulation. It counts 10,000 healthcare professionals, 1,700 physicians and 200 PhD research professionals.

“I support them, along with many other Israeli institutions, as I feel that this is at least some contribution that I can make during these difficult times,” said Tova Kornfeld, who connected Canadian Friends of Sheba Medical Centre (CFSMC), which is based in Toronto, with the Independent.

“I sometimes feel powerless living here in Canada when I see what is happening in Israel,” said Kornfeld. “If I can help in any way, whether by bringing awareness to the work being done by the various organizations or by making financial contributions, then I feel I must. As far as Sheba is concerned, it stepped up to the plate when Soroka Hospital was hit by an Iranian missile and took in all the ICU patients.

“It is also the biggest rehab hospital in Israel and is providing rehabilitation for thousands of soldiers who have been injured since Oct. 7,” she added. “I have family members in the IDF and it is comforting to know that, if something were to happen to any of them, there would be hospitals like Sheba to care for them.”

Ziv’s areas of expertise are medical education, simulation and rehabilitative medicine, and he has served as a consultant and speaker at academic and health institutions around the world. The event in Vancouver will offer a look at Sheba Medical Centre and its innovations in, among other things, the rehabilitation field.

On Sept. 30, Vancouverites will also get to meet Einat Enbar, chief executive officer of CFSMC, which was established in 2017 to raise awareness and funds for Sheba Medical Centre, the care it offers, the research it conducts and the educational training it provides.

For Kornfeld, there is another aspect to supporting Israeli organizations and institutions. She hopes that financial and other assistance from the diaspora “gives the Israelis caught in the fray the message that we have their backs and that we are all in this together regardless of where we live. I would hope that this would be comforting to them when it appears that most of the world is against not only Israel but the Jewish people themselves.”

For more information on CFSMC and SMC, visit shebacanada.org. To attend the Sept. 30, 7 p.m., event in Vancouver (location upon registration), go to weblink.donorperfect.com/ProfAmitaiZivInVancouver. While free to attend, donations are welcome. Readers can email Blumenthal at [email protected] with any questions.